Hello, beautiful, you look so good. Thank you for being here. Today we're watching some people with natural, very, very, very, very, very coily, curly hair. And they're coloring their hair with box dye. Curly hair, notorious for being dry, notorious for being easily damaged, and we're putting box dye on it. It sounds like a combination made in hell. So we're probably gonna see some disasters today.  I do. It goes by Yaz TV. Oh. Hello, beautiful people, it's Yaz TV. We'll come back to another video.  We have enlisted the help of what looks to be her boyfriend. When we get boyfriends involved, things just get shaky real quick. But sometimes these guys pull through. So hopefully it's that kind of thing today. Today I got some white hair stopped just cause I was just starting to part my hair for this. Oh, what is that? That is an interesting looking box. That hair is extremely light.  How are we getting from there to there? Seems not realistic, but we'll see. But what it has inside is this developer. Okay. I've never dyed hair before. Great. We have this booster pack to help it light more. Then it also comes with the actual hair color, a conditioning treatment, and this little arc and oil. I'm so confused. She pulled out some hair colors and developer and then a lightening pack, which looked like powder bleach. What is the lightening pack for? Is it a lightening pack and a toner? Don't quite understand yet, but we'll find out. Okay, so what is the technique here? I'm not seeing a technique yet. Okay, we're done. And this is the part. Oh. I'm bad, so this is bad. This is false. The parting isn't great, but at least we're parting. At least there's something going on in this head rather than just like guessing what they're doing. Well, they're probably still gonna guess, but at least there's parts. It doesn't take much to satisfy me these days. So it says to take off the developer thing and put high lift booster. My hypothesis is that the parts in my hair that are already lighter are gonna be lighter than the dark parts that I dye. That's more obvious. So if this is not bleach, if this is just color, color doesn't lift color. There's a lot with that unpack. But probably in this instance, her ends are gonna stay the same color and her roots are gonna lift a lot. This just sounds sketchy. So what I'm gonna do is take the section and then I'm gonna take a little section from that section. Okay. Okay, so we're doing like a balayage moment. Ooh, this might be okay. Might, is the keyword, be okay. We're using foils here. All right, to just separate the sections. This is a whole arts and crafts project already. This guy is putting in the work here. He's fully saturating those pieces, which we love. That's great. That's amazing. All right, so we're gonna be doing the same thing to the back. I'll get to you guys when we give a little more progress. Done. This could be a cute look. Listen, I'm optimistic right now. I think that with the foils, with the teasing, with everything she's doing, it could be a good look. Then again, maybe totally not. Oh, he's half-assed already. Dude, put in the work. And also, are we just picking up random sections and randomly painting it to a certain height? We need a pattern here. However, she does have curly hair so she can really get away with like kinda f***ing up a little bit. When your hair is curly, every day, different pieces are gonna be different lengths and everything's just gonna be all around. When you're straightening your hair or when you're straightening it and then like waving it or something, you're gonna really see those flaws. Curly hair, it's quite forgiving. So we just finished putting this all in. Okay. I'll leave in for another 20 minutes, probably. I'm excited to see the results. If she opens these foils and the hair is still brown, which has happened so many times in these videos, I'm gonna be so distraught. I don't need that today. I don't need that type of negativity. So look at this front piece first. Ooh. So it lifted a lot. It's giving red. It's not giving what was on the box. We get a reference picture of that box. It's not giving this. Oh, that looks spotty.  Oh, the teasing is gonna help this a lot because once they let down that teasing and all those hair fibers go into each other like this, the blonde with the dark, you're gonna get a nice gradation of color. It's looking a little sketchy. Doesn't look great so far. Oh, we've seen things like this happen and then they get better. Oh, shoot. Hold on a minute. I told you it's not nice. Oh my God, that is light. Oh, what? And it blends just like how I wanted it to. Does this look really good or what's going on? Cue it. Oh, you're cute, you're cute.  It does not look this dark in real life. I didn't cut any off. This is how it is. Yo. There I fixed it. So all I did was add a hair mask in. Wait, sorry. How did that even happen? How does it look that good? This looks like a professional took hours to do this and did a phenomenal job. Never mind somebody with a box dye in their bathroom. This doesn't happen to everybody so don't get your hopes up. Don't try this at home, okay guys? I'm shocked. Her hair looks stunning better than I imagined it looking and oh my God, her curls look not damaged at all, so hydrated and so flawless. This video is by Nikita Thimna Ciotula. I'm going to be using these two products, ruby red and cherry red. I have never seen that box color before. Looks very interesting. I'm intrigued, I wanna know what's in there. Today we're going in with full force. Inside each box is the permanent hair color cream, conditioner, a set of gloves and a mixing stick. Right off the bat, I'm a little bit worried about her ends. Her ends are definitely already compromised with some lightener. So I'm worried about putting that box dye that we don't know the developer of onto those ends and then it's falling off right onto the floor and her being left with one inch of hair which honestly she would rock it. So I'm not really that worried about that but I don't know what the red is gonna do to her ends. I think it'll be fine but I don't know. Okay so now I've mixed both of my cherry red and ruby red dyes into my mixing bowl and I actually forgot to mention that they both come with these color developer. Ooh. So I'm not gonna be using these two developers today simply because I know with box dyes the developer that comes with it is not that strong. It only lifts your hair color one to two shades lighter. That's so funny you say that because I feel like the opposite about it. I feel like the developer that comes with a box dye is usually extremely strong. Especially for reds, it's like 30 or 40 volume because you really wanna get your hair lifted right when it comes to these bright bright reds. We're on two different pages here. I'm using 40 volume cream peroxide which is developer. Okay so she's mixing her own concoction here. She's putting the 40 volume with the box dye which honestly I would say it's fine for her regrowth but her ends are going to probably be fried. You don't wanna put 40 volume on those ends. I don't know what she's gonna do so why don't we watch it but I'm still very worried that she's gonna put 40 volume over the ends and her ends are gonna fall out. No! Okay we're starting, we're going in but it looks like we're only doing the regrowth so hallelujah because I just really don't want her to touch her ends. But also how is she gonna make her ends red? Very confused so far. What she really should do is use 30 or 40 volume with the red color on her regrowth, let that process rinse it out and then put a glaze over the entire head of an all around red to then color her ends and color them safely without them breaking off and out putting 40 volume on them because the 40 volume is too much. She's doing it well. She's going in there, she's separating her hair out but she is still overlapping onto the blonde parts. And there we go, we did the end. We're doing the end, I really wanted her not to do that. The other risk is that the color molecules might not even stay on the blonde parts because you're already taking compromised hair then you're blasting the cuticle open with 40 volume and then you're trying to inject those red color molecules inside the hair which are really big molecules and then they're probably just gonna slip right out when she washes it and she's probably gonna be left with like pink hair rather than deep red because they're just not gonna stick. You need to use like a demi-permanent color in order to make them stick better and you probably do it multiple times because porous hair doesn't like to hold red molecules. It's getting red, so we're getting somewhere.  I'll come back when I have washed my hair. Okay, so these are her results after doing that and they're not gonna cut it. See how her ends ended up pink? It's because it was already blonde and you're trying to put 40 volume. You're trying to blast the cuticle open. It's not gonna stick, it's not gonna look right. She's now gonna have to go in with more color. Obviously, it is not the red that I wanted, so I went ahead and ordered a product from Revlon which is the color conditioner and this was going to give me the shade of red that I actually wanted. She's using a conditioning hair color which is a semi-permanent color and that's going to be great because that is going to probably stick way better than 40 volume with permanent color on her porous ends. Yes! Oh, this is already looking good. Oh, and I'm glad she's combing it through. With conditioning colors, that's totally fine to do. Oh! Wait. She looks stunning. My fingers are still stained. Wow. This is her color. Just turn around so you can see how I look, yeah. I love it. I really, really do love it. She is glowing. This is the perfect red for her, this cool toned red. Her skin is actually more on the neutral side looking at this video. So I think the cool tones really look great. I would even love a warmer red but this looks beautiful and she's glowing and she looks fabulous. And I'm so happy it came out good even though it was looking very iffy at one point.  I was like, mm-mm, I can't go through this today. This video is by Ron Karaji. I am dyeing my hair today because I know how to dye my hair this specific color which is like a ginger, it's not really blonde. I'm definitely afraid of bleach. So I would much rather just use my box dye. I'm literally obsessed with watching Brad Mundo videos. Well, welcome into the video. Thank you for watching. Brad Mundo is this guy who's a hairdresser and he reacts to like hairdresser videos. Doesn't really like box dye from what I've seen but I'm using box dye because I feel like bleach is just scary. And yes, I could get a better blonde with bleach but it's okay, whatever color I get, I stick with because I like it and I just really want my hair to be lighter. So here's the thing. There is something else besides box dye and bleach and that is professional color. You do not necessarily need to be professional to buy it. You can go to somewhere like Sally's Beauty Supply and you can buy professional color and you can accomplish the same task that you would have with box dye with professional color and it doesn't have to be that difficult but I understand what you're saying. I do. You just don't know what you're getting in the box dye. It's scary. Two boxes of this color which is light golden blonde. Two boxes of this color which is more of a honey blonde. Why do we have two different colors though? And also it's interesting that you're trying to go ginger but you're using like platinum blonde and I understand that you know that it's not gonna end up platinum blonde but it's interesting that you're buying a box color that is made for like blonde blonde but you want to go ginger. This is the issue with box dye. It's like what's on the package is not what you're gonna get and you really don't know what you're gonna get but as long as you're okay with the unknown maybe box dye is fine for you. I had to go to the bathroom to do the back because I couldn't do my hair just not looking. I wanted it to be very precise. Okay, so she did the back in foils and it looks like we're doing a little bit of an ombre thing. So what are we doing? Let me take out. What are we doing? You see this section of hair? Yeah. I'm gonna take some dye, I squeeze it into my hand. Usually what I'll do is I'll just scatter it everywhere. Okay, the issue here though is that we're putting color on top of color.  So your ends are probably gonna say the same level or just like a half a shade lighter and it's just gonna cause a lot of damage. You need to use bleach on your ends. If it's already colored, you need to use bleach. So use like 20 volume and powder and put it on there. Maybe don't put foils in if you don't want your hair too light but if you're trying to make the ends lighter it's not gonna happen this way. You can do a good dye job is to not to do the roots. So I'm putting the dye only on this section of my hair. Look at her going in and doing a great job. I'm not doing the roots, I'm leaving about an inch just because the roots process faster because your scalp has heat. If you watch his videos, he repeats this over and over again. So it's something that I have learned. Oh, it makes me so happy. She learned that when you put color on your scalp it processes faster because of the heat from your scalp which is so true. And that's why she's doing her ends first. However, you need to use lightener next time. It sounds like she's gonna do her roots after. I'm excited to see what's gonna happen but I don't know if it's gonna be a great result. She'll probably opt for like 30 volume and color on your roots and then use like 20 volume and lightener on your ends for the remaining time. That way you get an even lift all throughout. So I'm gonna use the Clare-O lightest blonde for my roots. I will start off in the back then I guess in the front I will still do the honey blonde just in case this one bottle is my help. I got it, so she's using the, I think the lighter color on her ends and the darker color on her roots which makes sense but color doesn't lift colors or doesn't make sense in this instance. And now she's gonna take all the foils out and put color all over her roots. This might work. Oh, it does look a bit lighter. This is interesting. I need the bathroom mirror because I'm not about to do this on camera but I like it that it's already lighting. I'm gonna wash it out. Oh my God. Because I don't want to leave it here for any longer because my ends are so bright. We're getting so much lighter. Sometimes hair color theory doesn't stand up to the test because sometimes color does lift color even though we're all told that it doesn't. It sometimes does. So don't come after me because it did work in this instance which I'm happy about. I'm just blonde color. I use my clear all that I use. Oh, it's really light. I'm enlightening my hair a lot better than dark and lovely. We're not getting ginger anymore. You're fully blonde. It's day and it's blonde. Like when I first looked at it, I was like, oh my goodness, I've never had this light. But I fell in love with it. I was just like, oh, it's cute. What? The way her hair is styled, the darker ginger root with the blonde ends and the outfit and the makeup and her in general, this is magical. Why is everything coming out so good today? Keep in mind that dye or any type of chemical is going to loosen your curl pattern. I moisturize my hair. So as I'm touching it, it feels really soft. You honestly got really lucky though. Like don't try that again. You may not get as lucky but it looks fabulous and wow. Your curls are beautiful and they're still intact. Thank God. Because I would hate to see those curls go away anytime soon. You guys always amaze me. In some of my hair just reacts videos and I'm expecting everything to go wrong. It like somehow all goes right. Like I really don't understand what just happened but I'm happy for all of you that were in today's video that I came out beautiful. Anyways, if you guys haven't followed me anywhere else do it up here on my social media handles including X-Mondo hair and X-Mondo color. You can also shop any of my hair care or my hair color with the links down below. That is all for today guys. Thank you so much for watching and don't forget to live your extra life. I'll see you next time. Bye.


Welcome back to another acne analysis and tips for animators and today I want to talk about episode 5 of mayor of Easttown and I'm gonna talk about character motivation character placement and staging for the characters tweak on lip syncs in a bunch of other stuff So let's go There will be two more episodes to cover episode 6 and 7 as two separate parts and before I cover an episode 5 Hi, my name is JD. If you use this channel, I do acne analysis tips like these. I do animation analysis tips I do animation feedback. I do lectures. I do rib reviews product reviews a bunch of stuff This is the moment where I pitch my channel if you like it subscribe if you don't like it Hang on and maybe you like it later on and subscribe later on whatever you want to do Well, that is the pitch it's YouTube you know in the drill and let's get to the sequence first up We have this here. We have these characters talking and we have this character intro, which I love It's so good. That kid is so cute. I absolutely love it now The reason I was showing is because this is actually a good frame here because usually when you look at rigs that are free online It's more the younger or you know, like 20-30 years old but you don't really have that many old rigs and that many kits and I'm gonna be you know selfishly plugging here my creature lectures You should have creatures on your reel as well So think in terms of how many different types of characters in terms of age and size and scale Could you show off in your reel because that could be really interesting Also because of behavior because all people will behave differently than younger people not this guy super young But when you go forward here, you can see here You have an interesting scale difference so you can even have an older person But you don't show the whole thing if the worry about feet or about the face But you have that interaction with the kid that could be really cute also because you have a kid You can have something like this this would be interesting within adult as well But it's bit more appropriate for a kid because they do a bunch of weird stuff at that age So using a rig that's you know on the younger side It gives you a lot more freedom to do silly stuff like this And then you got the big contrast in terms of again behavior and movement speed like the agility and bending over that kid can do This but she probably can't so this to me is a reminder of what you could use on your rig in terms of just more possibilities to show off your skills and Even this here from a mechanical point of view this could be your sitting to standing assignment, right? So this character sitting and then gets up and you can see how it's much more Over the feet for balance Takes a lot longer now She's also staying slightly hunched over because he's there and she wants to you know hold his hand But as an older person you're gonna get up differently than a 20 year old now What I like about this is the combination of this so you can say I'm gonna do a sit-up assignment But I want to make it more interesting. Well, maybe the motivation for her to get up is this is a kid That does something really funny really weird really fun to animate and that is now the driver for her Oh, I need to get up and take care of this kid So now it has become something about this character interacting with this other character Maybe you know something like this or at least a motivation for her to get up versus just a simple exercise Where someone is sitting and then standing so she kind of expands your shot It makes it more interesting as more layers more things for you to show off on your reel This is a longer sequence I can scrub through you can see the evolution of what is going on And I'm showing this because of character placement and things you can do in terms of Ialine and reactions and the whole progression of how people relate up to a point where she is even leaving So this will be in the first staging you have someone is standing someone is sitting right so you can potentially in your shot Maybe they're not on the same level or they are or she wants to be in this case And this is why she goes down lower on his level maybe even lower so that it's kind of a plea for something Why it's for sympathy or whatever it is and we're gonna spoil too much in this scene But this is something for you to think about when you have two characters. What is the staging? Do you want to start like this? Do you want to be always like this? Will your character maybe get this close, but then there's some sort of reaction Then she goes back to that or will she or he or wherever you're gonna use get closer like in this case Then after that after a certain reaction she will go Okay, maybe he has change and then she goes back up which you can see here after his reaction You can see how she decides. Okay, that's enough for me. And it's not even just getting up It's even putting her hands into her pockets. It's really closing herself off. I'm gonna go away You can even go further and turn your character away and have their back turned towards that character But think about that in terms of your relationships, right? If you have multiple characters Let's say two or more Are they always like this will there be a change where he gets up and she sits down will she get that and so on? So you have many of possibilities to stage this in terms of camera and just placement between the two characters and something else I want to talk about is that as she decides to be a bit more empathetic She wants to help him you can see there's the eye contact They're looking and something else about multiple characters is eye line So they have contact every now and then they look to each other and they have a conversation You can see they're looking but the thing is at one point the character is going to this engage And this is depending on you know your lip-sync and whatever you have in your scene there But at this point she says something that is not quite sitting well with him You can see how suddenly he breaks eye contact and starts to look away and she notices that she has that a little bit tilt And because of that she starts to sit down and wants to sit more more more though She wants to reconnect and you can see he just doesn't want to do this and it continues even with this Here when he realizes she's closed. She's touching him. You got that look here of what are you doing? What is this and it looks down and just that disconnect with the eye line is really something that you can play with as well So again, if you have multiple characters and this is your staging Will they look when will they break contact who will and why this can be in combination because of a dialogue piece This could be something just a reaction. This could be a pantomime thing But overall, I think this is really cool sequence for you to use You know as not as reference, but as a springboard, right the placement of characters when do they look and Will that intensify at one point when he tells her well, you know, maybe you should get away from here Is that the moment where he will re-initiate eye contact and you can see this here? I am Really locking in and telling her to get out Through a point where it scares her and then she gets out So anyway, think about that in terms of staging eye contact composition and all that good stuff This example is about a tweak for lip sync so you have this character confessing to this character about what they did and Not gonna say too much because of spoilers But there's a question that he's asking and it prompts a specific, you know bit of an anger reaction and a bit of a question from This guy to again, I don't want to say too much Basically the gist is that he is gonna ask him if he did something very specific and you can see how again talking about eyeliner again where He really locks in before that. He was talking about it was kind of you know scrambly and he was upset But now he locks in and goes what do you think I did this again? I don't want to say what what the lion actually is but in this case instead of asking again Yes, did you do this? He just has this and I love that. I love how subtle this is It's almost like he feels bad about asking. It's kind of maybe potentially embarrassing. It's like he feels bad It's like you're really have to ask I mean, I'm sorry, but you know, did you really do this and then he gives him the answer and blah, blah, blah, blah But the reason why I'm showing you this is what if in your dialogue you have Whatever line and then this character says another line and then this character would say the line again or ask again And then this character would answer what if it's possible in your audio to actually delete this So now you're left with hey, did you do this? What do you mean? pantomime oh, I did blah, blah, blah, blah, blah This could be an interesting tweak where instead of verbalizing it and you have this Last piece of dialogue you actually not take control of the shot eliminate the dialogue moment there and just do this just do a moment of a Pleading where just it's all in the eyes and in the face and head tilts all that awesome subtle stuff This is not always possible again if you have dialogue and then you have ambient noise You have busy street stuff anything and you cut out a piece you're gonna really hear that beep that silence And then it kicks back in so you would have to find a way to if this is your dollar piece to cut a section out But an add an overall noise, you know ambient sound room tone where you can't really tell that you cut a Piece out so it might be a bit trickier on your end But I wanted to mention that was it could be a really cool moment where instead of being you know stuck with the dialogue and the Delivery now it's totally up to you to do something like this and you can add you know a second to you can make it long Or you can really determine what is the facial expression going to be is could be also full body Whatever you want to do but I like the idea of taking charge and tweaking an audio piece with something where it's all up To you. This is your creativity. You can you know keep it non-verbal you can change the subjects You can do a bunch of stuff and I think that would be kind of interesting to do this one is about a character reaction So again, I want to say too much, but they have an interaction a really cute He likes her and he does this and it's this moment after that and she goes What was this for and he gives her a certain answer and then it's the reaction after that a this is really cute He'll smile there and then that I love how she has that tilt and she watches him She studies him meals, huh? Yeah, why not? And I like this and the reason I like this because this is again for you actually piggybacking on the previous shot What if this is your shot? It's two characters lip sync and Lip sync and technically this would be the end and Scene right this is your two shot and that's where you're ending your animation But what if you add that extra button and again, you would have to have something where this is your lip sync sound and you If you just end it's just kind of odd when it just cuts off and there's just silence So we'd have to find a way to extend like I said before some ambient noise This could be some I don't know some birds in the back and some water something So it doesn't feel like you're just cutting it off But I like the idea of once the audio is done You continue and I've said that many times and if you go through my analysis clips I'm sure you have a bunch of examples of that But I really like this was again, you're you can do something where you almost expand the relationship You can do your own pantomime. You can have your own little moment of Huh, it would be really cute a cute reaction like this You can do something where it's a complete change where once he turns She goes into bleh and you know I know what you would do after that case or whatever reaction you completely change everything where the original You know the source is they like each other, but you're changing it Making it different in the original where she doesn't you know mean just a thing of you might have lip-sync as your source You might have reference that you found whatever it is But ultimately the goal with your shot is to be as original and as creative as possible You don't want to just parrot something that's in the audio You want to show that when you do something for your demo reel and you send something to a company Wherever you want to work that you have your own ideas your own creativity and you can bring that to the table So that people can hire you based on your new ideas They want something where you as an employee or again, what a relation you have at that job But you bring something new to the table you can offer them something new instead of just copying something And this is why I always bring up those those examples with either like a button at the end or tweaking your lip-sync We need to take a piece out. It's just what can you do to show off your own ideas your own sense of timing your creativity While still shaking off all those boxes that you kind of have on the reel I got to show weight. I got to show full-body mechanics I got to show pantomime. I got to show lip-sync like you have and weight I give you have all those different things that you should technically show off so that people can look at you You can go yeah this person can animate But the thing is every time someone sees a shot like this like everybody should be at that level where you can say where you look At this you go that person can animate in terms of mechanics and weight and polish and then after that I think the next level is what will get you hired or at least get the foot into an interview door But what is your original thought behind that? What is the the creative choice of the performances or the mechanics or some style something where it's really oh That was a cool idea by this person specifically and again This is why I'm doing this whole series that hopefully all those examples serve as a springboard for you to go Oh, that was a neat idea Now let me take this idea rework it make it my own and then do this with it and then people watch this and go That's cool. You're hired. I'm obviously, you know exaggerating I know it's probably not that fast or maybe it is you never know But that is the plan with those examples and speaking of examples If you feel like those examples are helpful and you want me to help you with your shots You know, we know what the drill is at the end. I pitch my workshops You can sign up at any time you can start whenever you can just very flexible Check it out in the description all information go through the FAQ and if you like it sign up or contact me We can talk about it and that is that and if you're still watching as always Thank you for watching thinking for your time I appreciate it and if this is something where you don't want to miss my next upload Because you thought me know what this was kind of cool Feel free to subscribe to pitch at the end again hit that bell button So you don't miss any of those uploads and that is that from my pitch I thank you for watching till the end and I'll see you in my next novel


Let's talk about a scam. Did you see this, that now these big pharmaceutical families are getting taken to court because it's been proven, they got the documents that they're telling people to over prescribe five times more, all this stuff. All this stuff, this opioid crisis is created by the pharmaceutical company. So where's the outrage around that scam?


Hello, I am Dr. Murli Krishna, Consultant Cardiac Surgeon at Manipal Hospital in Bangalore. Minimal Invasive Cardiac Surgery as the name implies is doing cardiac surgery in a less invasive way using minimal incisions. Those incisions can be minimal as in a sense it can be very short or it can be in an area which is completely hidden in the body. So that's all that is about Minimal Invasive Cardiac Surgery. It's required whenever we need any intervention on the heart, any surgical procedure required on the heart you can either go about it in a conventional way as in when cutting the sternum or the breast bone or you can if you don't want to avoid that you can go in a minimal invasive way as in axillary incision or anti-rotoracotomy.


What's happening guys, it's Shane here. So in this video, I am going to go over the college degrees that create the most billionaires. Now I know I went over in another video the ones that create the most millionaires, and that's a little more practical for the everyday person I think, but just for fun, let's go over the ones that create the most billionaires. Now if you remember back to the video, the ones, the degrees that create the most millionaires, engineering was actually number one. And it's kind of interesting because on this list, it's not. And honestly, this list was actually extremely surprising to me. There were a lot on this list that just blew my mind a little bit. You just blew my mind. But you have to realize that these people are just extreme outliers. These are not normal human beings whatsoever.  So these are definitely not normal human beings. So take it with a grain of salt. But overall, it's going to be fun to go over it. So let's start off right away with number 10 on the list, which is physics. And by the way, this was a study of the Forbes 400 list of the top 400 billionaires of the world. And like I said, number 10 is going to be physics. And that comes in with about six total billionaires. And again, this is a little bit surprising here. I mean, physics is a really good major. It's well respected. It's also probably one of the most difficult majors you can get. It's even harder than engineering probably. And so I think Elon Musk did physics and undergrad, for instance. It's a very difficult one. So you have to be super intelligent in order to even be able to do it. And you probably also have to be a very hard worker. Those are two things that you'd probably need to become a billionaire in the first place. So I'm not too surprised by this one. Physics is a little bit more theoretical than engineering. I think engineering is a lot more practical. You can use it to solve real world problems. And so it's basically like practical problem solving, which is very similar to entrepreneurship. So I think engineering is probably a better one if you're trying to get into entrepreneurship. And obviously, most of these people were entrepreneurs, I'm guessing, because that's the only way you're going to get to the billionaire status. So number nine on the list is going to be philosophy. That came in with about six total billionaires overall. And that one is a little bit surprising to me. You know, it's a liberal arts major for one. Those usually don't become millionaires. But again, these people are not normal human beings. This is a good beginning of my plan to dominate the human race. So it's kind of not that surprising. Philosophy is very interesting. You could say it's also very practical. You can apply it to the real world, especially things like, you know, game theory, for instance, where you basically use it to make really good decisions. There's a lot of people in business that are adopting principles of game theory. And philosophy had about six of the, you know, 400 billionaires on the list. So pretty good one. Number eight on the list is going to be history. And that comes in with about nine billionaires. And this one is near and dear to my heart, because history is probably one of my favorite subjects. It's definitely like top three for sure. And again, a little bit surprising because it's a liberal arts sort of major, doesn't really have any practical use in the real world. But again, these are not practical people. These are people that got either exceptionally luckier, they did something just totally crazy, where the odds were against them and they just happened to succeed. So I can see how this one would come in handy. By studying the past, you can sort of predict what's going to happen in the future. There's a lot of truth to that. And so learning from the mistakes of the past, you can make better decisions in the future. So again, I can definitely see how this one could lead to someone becoming a billionaire. Number seven on the list is going to be is honestly very surprising. And it's going to be English with about nine total billionaires on this one. So I really don't know what to say about this one. I guess communication is a very important skill for any, you know, high level business person. So, and that way, English could definitely come in handy because you're kind of learning to communicate. Although it's more over written communication, but you know, it can apply to the real world, I think. So yeah, I guess this one kind of does make sense if you really think about it. But I'd say that was probably the most surprising one on the whole list. Number six on the list is going to be politics. And it's going to come in with about 10 total billionaires. And this one's not surprising at all. In fact, I'm kind of surprised it's not further up on the list. You know, if you understand politics, you understand, you know, how economics works sort of. And when some giant log gets passed or something, that's always going to affect different markets. And if you can predict how that's going to affect markets, you could invest in there, or you could maybe start a business in an emerging market or something along those lines. So I'm not surprised at all that politics is so high on the list. Number five on the list is going to be a newcomer. And I see this one shooting up the list in the next 50 years, and that's going to be computer science. It comes in with about 11 total billionaires. Now, again, this one is relatively new. So, you know, the time it takes to accumulate a billion dollars, that takes a very, very long time to do that, generally. And, you know, computers have only been, you know, functional for like the last, like 30 years to where a lot of people could use them anyways. So this is one where I definitely see it shooting up in the list. I think it's going to be in the top three, 20 to 30 years from now, maybe even number one, relatively soon. But it's very obvious, the applications of this, everything is moving towards technology, software, hardware. Everything is moving towards computer science. And if you have a knowledge of how computers work, you're going to have a very good idea of how to start businesses in that sector, etc, etc. So definitely not surprised on this one. Number four on the list was a little bit surprising. And that's mathematics. Now it comes in with about 14 total billionaires.  Things like mathematics probably come in handy. I bet a lot of these people who were mathematics majors, what they ended up doing is they probably went into finance and then became quants or something like that. They started their own hedge fund or something along those lines. Number three on the list is no surprise whatsoever. It's going to business majors and that comes in with about 38 total billionaires. So you're really seeing it ramp up here.  I was thinking about buying a small country or something. Then you're probably going to be starting a business of some sort. You're going to be an entrepreneur, you're going to start a business. And that is how you're going to create your fortune. So it's no surprise to see that business comes in at number three. And honestly, I'm a little surprised it's not a little bit higher on the list. Number two on the list is going to be engineering. And that comes in with a total amount of billionaires of 43. And again, this one was actually number one on the top 10 degrees that create the most millionaires list. So again, I'm not surprised that engineering is this high on the list. A lot of engineers that end up on the list learn everything about their field. And then what do they do? They end up becoming entrepreneurs in their field, innovating, creating something that nobody else has done, creating an amazing product, and making a ton of money from it. Number one, economics and finance. And that comes in with about 62 total billionaires. I'm not a big fan of the fact they combine them because those two things are definitely different. But at the same time, are you really surprised on this one, a lot of people who become going to the finance industry, or they understand economics really well, and they become billionaires by investing, maybe opening up a hedge fund, investing other people's money, and then taking small percentage of that for themselves, like Warren Buffett did, for instance, with Berkshire Hathaway. But yeah, this one, you know, makes a lot of sense. Investing is the way to get rich.  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Internationally speaking, the one production process for TV series just doesn't exist. As it's impossible to give an insight into all worldwide production methods during this chapter or any, we have picked the US and German market to give just an example of how series are created and produced. Please, however, feel free to use the comment section below to share your own experiences, especially in huge important TV markets like The Aging, especially Bollywood and Latin and South American that we in Germany still know much too little of. Please really use it, put your information in, share it. Right now, to give an impression of how different production looks like for different formats on different continents, let's have a look at production specifics of US weeklies versus German daily, good times, bad times. In the US, a series, no matter whether serial or procedural, has its own show runner. I suppose the most basic explanation that you can say for what a show runner is is they are the person or the persons responsible for all areas of a television series, both creatively and logistically. What that really turns into, there's kind of an analogy I use, which is basically the show runners, the captain of the ship, and they've got a crew of anywhere between three and 500 people working for them, and each one of those people requires a certain amount of information from them on a daily basis in order to make things happen. So your job when you're sailing that ship, because there are all these other ships that you're racing against at the same time as you like, is to make sure that you steer it to safe harbor of renewal rather than crashing onto the rocks of cancellation. But it's a very, very challenging job. I don't think people, hopefully they will after seeing the film, get a much better understanding of how many levels are involved and what the job is. But I had a conversation once with James Duff, who was the creator on the showrunner on The Closer and also on the spin-off show, Major Crimes, and he was telling me, for each episode of a show that happens, the showrunner has to go to a production meeting, which is with the director and all the heads of staff, and the script is broken down into all the minor details, like everything, what costume is this person wearing, what glasses this person's looking, what camera are we shooting with, so on and so forth. And at the end of the meeting, he came out in his office, it was like a two-minute walk down the hall from where the meeting was, but it took him 40 minutes to get there, because everyone was coming out and going, Mr. Duff, I have one more question, I have one more question, I have one more question. And that's kind of what you spend your day doing as a showrunner is answering questions. And I think it's quite a shock for, because a lot of people I've spoken to are writers who've graduated to run in their own show, and it really is a shock to the system, because the thing they spend the least amount of doing, amount of time doing as a showrunner is writing.  And there are things that they may never have encountered, budget meetings, casting sessions, network notes calls, which can be hugely challenging when you're starting off, especially at a pilot stage and in those first couple of episodes where you're building the world of the show. So yeah, it's a hugely challenging job. What do you think is the key to US TV that makes it so worldwide, accessible and valid in storytelling? There's a couple of things. I think audiences worldwide are pretty much indoctrinated is a very strong word, but there are a lot of their basic education in visual and storytelling comes from watching American films and TV series. American storytelling is profligate around the world, but there's almost nowhere that you can go that you can't turn on a TV and watch something. And there are also, I will certainly give them the credit for they basically have created that format. How you tell stories in that format is a creation of the American television system. I've heard a number of different people tell me a story that the whole concept of the writer's room was born with Woody Allen and a couple of the comedians in New York in the early 1960s. And you know, that became adopted as an industry standard very quickly when they saw how successful that was at generating ongoing stories and comedy. There's also the financial aspect, I guess. You know, an episode of network television, a show like Castle or Prison of Interest or something, their budgets are three, four, maybe up to five million an episode. That's very difficult for, you know, especially in Irish television, it's impossible for Irish broadcasters to compete with budgets like that. And budgets like that do allow you to really literally make a mini movie every week. There's a certain scale and a certain polish and finesse that you can achieve. Also think that they have, you know, fantastic writers. And the thing about it, I suppose, over there as well is there is a system, there is a channel for learning, really learning how to write for television to be, because it's quite a very, it is a very specific kind of way of doing things. And there is, you know, from university to some of the faculties to some of the awards and bursaries that people can win, studios like Warner Brothers and Fox and whatever have their own training programs while they'll bring in writers. Things like that certainly do not exist at all in Ireland. They're very, very rare in the UK. The UK operates quite a different system though as well in the sense that like, because they only produce normally anywhere between five to eight episodes of a show, one writer generally tends to be the person writing all of those shows or maybe two. There's a very limited number of shows that would employ a bigger writing staff than that. And even though they employ more writers, they don't have a writer's room. They don't use that system at all. So I think those are the contributing factors. And I mean, you know, Americans do it phenomenally well. And especially in the last 12 to 13 years, there's just been some absolutely amazing television made. You know, a lot of people talk about this is in the new Golden Age. And I would agree with that to a certain extent.  I actually, I can't keep up at one point last year. I think I was watching 47 different shows simultaneously.  But they're they are phenomenally good at what they do. And that's not to say like, I mean, there are some great British shows and certainly things are changing over there. Success of Broadchurch and Danton Abbey and shows like that, which are translating to American audience as well. You know, and I read a really interesting interview with Chris Chibnall, who is the showrunner, the creator of Broadchurch. And he was saying that he is now having everyone refer to him as the showrunner instead of the head writer. Because it allows him to win arguments that he wouldn't have been able to win before with the network. Because in some in some way the idea, the whole idea of a TV showrunner, because there's been so much publicity and interest in everything generated with these guys in the States, by osmosis, it is kind of filtering across the European TV landscape. I think people are latching onto it very much because I think they feel it empowers the writer in a much bigger way.