we're kicking off this development dialogue series in 2022 with a talk from a colleague, Corley. Just as a bit of background, I worked with Corley indirectly a couple of years ago, because a PhD student of mine, Jessica Spakers, was at the Stockholm Resilience Centre, and she was looking at questions of climate change and the impact on fisheries conflict. So it was a very complex and interesting study, but it was also very difficult to explain that to an audience. Talking with Jessica, she thought it would be a really good idea to try to improve the communication of her research, and a way to do that was to think of introducing her papers through animations, which would essentially capture the core message that she was trying to say in the paper itself. So we talked about that, and it seemed like a good idea, and she worked with Corley, who she knew previously, and the product I think you'll see later on was really excellent, and I was really happy to see this as a kind of touch point for people that maybe don't know very much about the subjects or are interested in the topic, but would find reading a hard academic paper a bit difficult to do. So then when we were doing our own project here at SEI, I was leading on a project called Lococons, which was looking at conflict prevention and low carbon development, and basically we had planned to do a series of dissemination activities in Kenya and Ethiopia as well as in Stockholm, but of course as we all know COVID had other plans, and that really made it difficult to communicate the outcomes of the project we were working on, and we were sort of going around the houses a bit amongst the team about thinking of options to disseminate our work, and then I thought, ah well what about we contact Corley, and maybe she could produce some animations similar to what she did with Jessica at SRC to create some animations to describe the narrative of what we were trying to say. So for about six months or so now Corley and I have been working in our team, and we've produced a series of these animations which essentially communicate the call messages of the various outputs from our project, and it's been a real pleasure and a really interesting experience to work with a professional who really knows what they're doing but doesn't know much about our subject, and that interaction has been you know really enjoyable, and it's great to get somebody who is you know pushing back at you and interrogating you and saying yep yep that's great, lots of lovely words, but what are you trying to tell me here, and who are you trying to tell it to. So it's been really a positive experience for me and I've really enjoyed working with Corley over the last few months, so I will pass the mic over to Corley and then she can tell a little bit more about what she's been doing on this project and some other work she's done before as well. Over to you. Yes thank you Matthew. I will start by sharing my screen, you will see my presentation, all right if everything works well you will see my presentation now. So hi everybody, my name is Corley Legrand and I am motion designer and visual storyteller from Brussels Belgium, and I'd like to start by thanking SEI and in particular Matthew Osborn and the team behind Tweet of Talks for inviting you today to talk to you about visual communication and storytelling and how it can help you to create more impact with your research. I'll start off by giving a short introduction on me and my work. After that I'll be talking a little bit about storytelling, so what is it and why is it so important. Next I'll be taking you through all the different steps of creating an animated explainer video and I'll do this through different projects that I've created. And lastly I'll give you some key takeaways and we will have a Q&A after that. So let's start with a short introduction. As a professional I can go by many names. I'm a motion designer, I'm a graphic designer, I'm an illustrator, I'm also an animator, I'm a social entrepreneur but in general I am a visual storyteller. So through storytelling I design and create still or animated content that helps deliver a message to raise awareness to inform or to educate a certain audience. And I've been designing for more than 10 years and I've added animation to my tool belt around four years ago and after a career in fast fashion I realized I really wanted to use my skills to help raise awareness around sustainability and to focus on science communication and social impact because I want to help create change to move towards a better future and to tackle the climate crisis. So scientific research plays a very important role in our society but often it stays inside of the academic world and my mission is to really create visual communication tools that help bridge that gap between the scientific community and the rest of the world. And I do this by making the complex science more digestible. So my challenge is really to translate the complexity behind it and to make it more understandable and engaging as a tool to create societal impact. And this is something I'm super passionate about because I think that there's tremendous opportunity for visual communication and storytelling here. So what does my work look like? This is a short selection or small selection and it can be really anything from a still illustration to an animated GIF, a full explainer video, social media posts, but also infographics, publications or presentations. So now that you know what I do I would like to tell you a little bit more about storytelling. So what is storytelling? Well storytelling is the vivid description of ideas, beliefs, personal experiences or lessons through stories or narratives that evoke powerful emotions and insights. And what is visual storytelling? Visual storytelling is a story that's primarily told through the use of visual media. So the story can be told using photography or illustration, video, it can be enhanced with graphics or different types of audio such as voiceover or music. But why is it so important and valuable? So this is the Sulawesi Cave in Indonesia and this might actually be the world's oldest recorded story. And in a step to the science of storytelling an author and journalist will store says that stories come as natural to our brain as breathing is to our mouth. It's really a product of a biological evolution and the brain loves stories. It's how we bond, it's how we learn and it's how we share. And it has been deeply connected to our humanity from the very start. So about 100,000 years ago humans started developing language and it is believed that we started using storytelling to transfer knowledge from generation to generation to educate each other to warn each other. And later on people started using visual stories through cave paintings and it's only quite recent that we started transferring knowledge through text. And stories actually create an emotional investment. So when we listen to a story our entire brain starts to light up.  Stories actually give us this artificial reality. It connects us to the message on a very human level and it makes it more likely for the viewer to remember and engage with the content. Neuroscientists have also studied decision making and they discovered it all starts in the amygdala. And this is our emotional epicenter where we have the ability to experience emotions and it's actually here on a subconscious level that the decision making process starts happening. And at the point where we become more aware of it on a conscious level we start applying rationalization and logic to it which is why we think that we're making these very rational decisions while in reality the process already started happening in our subconscious. And the thing is that the commercial world understands this very well. And this is why marketing is such a serious business and billions of dollars are being spent every year by businesses to connect to their customers to sell their services and their products. So to give you an idea Coca-Cola spends an average of four billion US dollars a year on advertising alone. And in 2020 Amazon spent a whopping 22 billion US dollars on marketing. Now in the last two years the data has been heavily influenced by the pandemic of course which is what we can see here on the left. This shows the percentage of revenue that was allocated to marketing over the last two years per industry. But even with that dip there is still so much money being spent on marketing and communication. And this is exactly why I'm so passionate about this because I believe that these are tools that we could and should use for the better to help society create a more sustainable future especially now in a world where the climate crisis where we're facing the biggest climate crisis in the history of humanity and there's a big urgency to act. And these methods of visual storytelling have been tested and approved by the commercial world so we know that they work. So imagine how much impact science and research could make by using visual communication and storytelling together with the research and the data. Because it's not an either or situation it's an end situation. Storytelling and research together actually create this power ballot that really connects you to the information differently into that emotional way that we all make decisions. And I think that there is a lot of untapped potential there. But it's not an easy task because in today's communication field there are two opposing forces at work. On one hand we have the content overload. There is so much content being raised every day that people often suffer from digital fatigue. And on the other hand we have fragmented user attention spans. And those two together make it quite challenging to really stand out for a crowd when you're communicating something. But that's why it's so important to really make a difference and really connect to the viewer on an emotional level. And that's what visual storytelling can do. It gives us a way to open up to a whole new world of possibilities and new ways to convey the message and to share it. So that's all about storytelling. But how do we build those visual stories? Well that's my job and it is something that I'm very excited about. So let me tell you how that works. For the purpose of this talk I'll be talking about the process of creating an animated explainer video. Like I mentioned in the beginning there are different types of visual communication tools. But most of them include the steps that I'll be talking about today. Some of them have less steps, some of them have more. But in general this is what the essence, what the process looks like. I'll be talking about all of the different steps that you see on this chart here. And I will go through them one by one. So first things first. Every great project starts with a clear briefing. Sometimes clients come to me and they know exactly what they want. They have all the information bundled up. They know what they want. They know what they need. And that's amazing. But sometimes they don't. And that's also fine because then we can create the brief together. The most important thing to know before you start on creating a communication tool is to know your goal. What is the purpose? What is it that you want to achieve with this communication tool? What is the desired outcome? So for example do you want to trigger people with the video to afterwards read the full research paper? Or do you want to take out a particularly complex part of the research and really explain that? So knowing where you want to go is half of the work. After that there are two important secondary questions to be answered. And the first one is what are we trying to communicate? So what is the core message that we're trying to get across? And narrowing this down into one or a few sentences really helps to set a target for the video. The second secondary question to be answered is who are we talking to? So who is the audience that we're trying to reach? And this is very important because in order to create a captivating tool that really connects to the viewer we have to know who they are and we have to know what their background is. So for example if we're trying to reach scientists or practitioners in a specific field we might be able to assume that they already have some prior knowledge on the subject. But on the other hand if we're trying to reach a general public who might not have an academic background we need to adjust our language and the way we're getting the message across. So once these three main questions are answered we can move on to the next stage. And that is the script. The script is really the base for the entire video. This is a highly collaborative stage where we set a solid foundation for an engaging story that effectively conveys the core message. And when I work with research and science this is a challenging task because we're trying to simplify the research into a cohesive and understandable narrative that still does justice to the depth of the science. And when it comes to an animated video more words mean more time and also more work. So to give you an idea a two minute video should not have more than 300 to 350 words. And in comparison to a research paper as you all know that is not a whole lot. And time is an important aspect to take into the equation because of that dynamic that I talked about with the content overload on one hand and the fragmented attention spans on the other. And that's why we don't want the video to be too long. But in reality that often makes me at the word police because I've noticed that researchers really love words which makes sense research is something that you do with a group of people over a long period of time you go very much into depth. But how do we translate that lengthy research project into a short two minute video. And that is exactly why building a script together is such a collaborative stage or needs collaboration because I need you to tell me what is scientifically correct and relevant.  So those first meetings are very vital and in my opinion shouldn't be rushed. So once we have our script and move on to the concept phase where I sketch out all of the storyboards to show how the script would be visualized scene by scene. Now these are very much sketches they are rough and they're a little bit ugly but the goal is to start building the visual story and to not get lost in details just yet. The ones I show here are very rough I usually don't show the client teeth but I make clean sketches afterwards to send and talk about. So after I've sketched out the full story and we've agreed on the storyline I move on to art direction and art direction is really all about style it's about colors textures it basically the look of the video and I explore different styles through moveboards and for this project that I'm co-creating with SEI and Matthew we are looking at low carbon development in Africa and we're trying to explain the technique of flood recession farming which is a technique that is being used in for instance the Omo Valley in Ethiopia and we want to explain why it is so important but also what happens when big dams are being built for renewable energy supply and how that disrupts the flood and in this project it was very important that we connected the viewer to the people's lives that got that were interrupted by the dams and we were very lucky in this project because we had film footage available from Ethiopia and this seemed like a great opportunity to use that to connect to the viewer to connect the viewer to the actual people involved because when we're depicting people in design or animation it's always very important that we also think about representation diversity and inclusion and in this project it seemed best to go with the actual footage over illustrations or designs. I chose to use simple but soft lines like you can see here in the middle with quite a hand drawn look to really have that natural feeling to the design in this stage I also think about textures and other details and I build all of that together until I have a visual style that works best for the project and then we have color. Color is a really important part of visual storytelling because it's again one of those sensory aspects that really tap into our emotions and for this project I really wanted to drown the design into reality so I opted for a rather realistic color palette using browns and greens and those organic textures to talk about nature as a way to connect it back to the region in particular and so after all of that it's time for design and I take the sketched out design storyboards and I transform them into full blown designs and I use all of the elements of the art direction to do that these are some designs I created for the future fisheries a project I co-created with the SRC and Jessica Speckers and Matthew also mentioned in the introduction and here are some of the designs for the current project I'm creating with SCI for the video about flood recession for farm wing and so one of the reasons that visual storytelling and in particular animation is so powerful for layer topics is the ability to break down complexity into something that's easily understood by the viewer because in design and animation we're not bound by rules of reality we can choose how we visualize something and that really gives us a lot of opportunities metaphors or actually or visual metaphors are actually very powerful tools to simplify complex topics into a way in a way that really engages the viewer and is easily understood so for example in this project that I the future fisheries we were breaking down the complexity of different socioeconomic and ecological factors that come into play when we talk about conflict around fisheries they all affect each other they intersect they create a very complex and layered situation and we needed a way to simplify that and so in this project or in this scene I chose to work with quite a simple setup with different kind of circles that represent those factors that then fall into the sea disrupting the current and stirring conflict at sea so this is actually a great example on how metaphors and visual metaphors can really help to explain a complex topic so once I have all of the designs I move on to animation and that's truly where the story comes to life animation is a rather technical and very time-consuming process so I make sure that all of the design choices are locked before we move into this stage here you see some clips for the future fisheries and you will see more on this project in the end of this presentation as well and on this slide you have two clips from the video I'm creating for flood recession farming with SEI this is still work in progress but I wanted to show you anyway and then when all of that is done we have one final thing to do and that is to work with the audio we have to pick the right voice for a narrator that's going to tell our story and we have to pick music or soundtrack that really helps set the mood for the video and audio again is one of those sensory aspects that really help the viewer to get into the right mood or emotion for the video and for example if you think about it a horror movie would not be half as scary if you took the music away and after that the video is ready to be used whether it's to put on a website or to screen in a meeting to post on social media wherever you see it fit and that's it that's how we create these animated videos and so to end I'd like to show you a fully animated video and I would have loved to show you the two projects that were creating SEI but since they're not quite finished yet I decided to show you the future of fisheries instead world is changing and so is the ocean due to multiple stressors such as climate change overfishing and poor resource management the ocean suffers a great deal as do the living species within it one of the consequences of these unprecedented changes is growing tension over fisheries expert data shows that a multitude of stressors is responsible for sparking conflict at sea rising nationalism overfishing climate change and inadequate fishery regulations are just a few of those stressors in some regions a number of these stressors have already risen to the surface and are already causing ripple effects whether they act on a local or global scale these drivers can further influence each other making this a complex and layered problem the oceans fishery resources play a major part in our food supply when fish populations become threatened our global food security will be challenged if we don't act now the conflicts that may emerge might put not only fish stocks but also people at risk the decisions we make today can lead to a dramatically different tomorrow now is the time to reduce risk whether you're a policymaker a concerned scientist or an engaged citizen we need all hands on deck because only by standing together can standing together can we protect our fisheries and avoid conflict at sea the ocean needs you because if she is a risk we are a risk that is what an output could look like and what is the impact of a visual too or what can you expect when you work with visual communication and so for this project that I created with yes a gap or the future fisheries the research got picked up by stanford university and the marine biologists and they both used the visuals that we created in the articles we created four animated illustrations which is what you see here in the articles on top of or next to a video and jessica speakers believed that the visuals really helped to extend the reach and the impact of the research and that is really what it's all about to make sure that the right people learn about the research and then use it to create that societal change so to end I would like to give you five takeaways the first one is visual storytelling is almost as old as humanity meaning that it is very entangled with our biological evolution and the combination of research and storytelling is particularly powerful for sustainability science in the world where societal impact is more pertinent than ever due to the climate crisis and you really need all the tools we can get and this this is a method that's been tested and approved many times over by the commercial world and we know that it works it is a very powerful tool that helps you to connect the viewer on a more emotional level which is where we know that our decision-making starts happening and that is especially important to not get lost in the quicksand of online content these days where everybody is fighting for people's attention and then lastly if you want to create a visual communication tool there are three core questions that you need to think about what is the goal that you're trying to achieve what is the core message that you're trying to communicate and who is the audience and when you answer those three you really set yourself up for creating a powerful visual communication tool I have listed some extra resources in case you want to learn a bit more about these topics and if you want to reach out when any questions or comments feel free to do so and then all that rests me is to thank you for your attention and for taking the time out of your day to listen to me and we can move on to the Q&A. Thank you very much Coralie if I could I can hear the room clapping you in the background but that was really really great to hear. I was struck as you were talking about the benefits of leveraging the experience of the private sector for our collective public good and I was like that's such a smart thing to do you know people have invested you know money and time to learn these techniques to sell us stuff so why not you know re-divert those skills for like our shared benefit I think that's really a great idea. I'm sure there are plenty of questions so I'll dig into them straight away I will leave my colleagues to tell me when time is up but I'll just plow ahead with the first question I have. This one's from George and it's can every type of research be visualized if he asks? Well of course it really depends on the topic as well but I think we in every research we can find a way to communicate the message and it all depends on what the different tools that you pick I mean it could be a presentation that I mean if it's a more abstract topic maybe a presentation that's really uses some smart infographics or some visuals can really help there. If we're talking about more sustainability or something that's really gravity in reality an animated video could be very useful so it all starts with the goal and it all starts with what are we trying to communicate and then we have to find the right tool to do that so I think yes I think most research would definitely benefit from it of course there are some like very technical mathematical things that might be more challenging but I think if you're trying to communicate something it's always great to think about this because humans we think in images and it really connects to us so what it is that you're communicating doesn't really matter I think. Fantastic the next one is a comment and a question really so it's from Kalika who says such beautiful visual metaphors and then asks can you share your process for coming up with the concepts for them? Thank you Kalika. So coming up with the concepts yeah that's I mean that's a very very big question and it's kind of like the creative sauce that comes out of my head but what I do I is in the beginning of every project is that I ask for a lot of reading material first so that's also what we're talking about the script and we're building that so that I really get almost I take a deep dive into the world that I'm trying to communicate and then oh it's I mean it's a big question about how creativity kind of happens for me it's very basic things it's you know having the research and having the thing I'm trying to do the core message in my head and then I see things I associate things there's so much inspiration everywhere so yeah I look at a lot of different things I will also have a look at what has been done how things have been visualized and then yeah and then I come back to my drawing table and kind of puzzle that together relatively but it's I mean it's not like I have one moment and I sit down and everything comes it's really like a puzzle that I'm making and things yeah it's a process I hope that answers your question Kalika. Great, we have one from Victoria which is how similar or different is creating content for policymakers versus the general public? Yeah so that's a great question because that's again ties back into those four questions and I think it's it's quite different in the way that I mean we have to know who we're talking to in order to really be able to connect to them I think if we're talking to practitioners who are for example working in the renewable energy space there's language and wording that we can use that we know that they already are aware of and if we're talking to the general public we might need to connect more on that I mean we have to do it on both more on that human level connected back to their lives and and it's it's a lot about the language I think it's a lot about how we how far can we use scientific terms and how much do we have to explain them as well if we're talking about a concept maybe practitioners would be more yeah we can take some more liberation there but it depends on what field and honestly also what message for sure yeah. Excellent we have quite a practical question here I think from Alessandro so he's saying that as a project manager if if he's interested in in exploring the use of illustrated animations to spread knowledge about his project how can he reach a motion designer such as yourself and how much budget should he allocate for this task? Yeah great question and so how to reach me is or how to reach a visual story in general is I mean there's there's plenty of us out there so I would say emailing or it would be a great way to start or doing a google search or something like that but then when we're talking about budget that's that's a very good question because every project is unique so it's very hard to say okay and explain a video costs this exact amount of money but in general I give clients a range of like let's say the video that you just saw the future of fisheries that could go anywhere in between 6000 and 15 or 14 000 euros so it really it depends on the complexity of the research it depends on the length of the video the complexity of the style how yeah and animation is so time consuming that often and this is a bit sad for us but often the budget kind of defines how complex and how long we can work on something the longer we work on something the better it is obviously but that's also I mean I don't want to discourage anybody with those with that I think what I often tell my clients as well is that we can also have a look at the budget available and then see how can we achieve the outputs in the smartest way possible or what can we do with the budget now can we allocate it in a way that reaches your goals but when we're talking for instance about still designs it could start f yeah I mean there's such a big range but it can start somewhere between five to six hundred euros for an illustration up to yeah either very difficult to say three four thousand I mean it really really depends on the project itself but I feel I mean I think having an open question about that budget is you can definitely do that you don't have to assume to know or I mean it's yeah it's a conversation to have is what I'm trying to say I hope that answers your question yes that's the conversation we have had you'll have before as well thoroughly and it is it's a discussion isn't it you have to sort of see what you're trying to do and the length of time you have to do it we have a question from Johanna which is it's a little bit lengthy when it comes to working with metaphors how to find a good balance between cliches that are that are easy to understand and then creating some new symbols or to represent some more broad topics that might be more difficult to understand so I guess it's how to sort of simplify but without becoming a meaningless cliche yeah yeah and that's that's really I mean that's really my job when we're trying to build a story sometimes it's it's easy to fall into these cliches or to go like very sensational and to use words or you know sentences that sound very big and I think and I try to when I work with research and science to not go overly dramatic and it's something that we've seen in the commercial world where you know it's drama and big things are always very very good but I think we're talking about a very serious thing when we're talking about science and data and research so I think we it's important to take that down a bit and to not focus on that dramatic storytelling so much and when it comes to metaphors I think there's definitely we always have to keep in mind who the audience is metaphors and some things that are cliche for instance for us might not be cliche or easily understood by people in different parts of the world different cultures so it's also about that and finding this universal language to communicate something but I mean cliches are not necessarily always a bad thing I think if we find things that people within this universal thing that we understand that can also be a tool and it's something that we can also use to to help them connect so that's again this finding this balance for me in the in that creative process yeah great I have a question from Nelson which is could you share any concrete examples of how you have engaged with the public in communicating the outcome of research that was done in their community that might be a bit specific but yeah I think and maybe also I mean because I created tools that I then hand over to the researchers who take it further into the field so I'm not sure I can only like what I mentioned with what Jessica talked to me about how she had a feeling that or she thought that the researchers really picked up or had a further reach because of the visuals and I mean I think if that's where my knowledge I'm not an academia so I know from the world through talking to you and through talking to my clients and stuff like that but it's not my world so in that sense I'm not sure I can answer it fully I mean I can answer a little bit for you maybe because the reason we wanted to connect with you for our animation is that we couldn't go to the places where we were working in order to talk about the outcomes of our of our work so we needed to find a medium that could essentially explain what we had learned to the people who had taught us directly um but doing that in a way that was tangible and accessible so this seemed like a really good opportunity so I'll report back to you how successful it's been when we're done yeah I have a couple of questions um a little bit that's because I mean the video that we're trying to or the video that we're creating around flood recession farming the idea is there as well so it's it's quite an objective video that talks about explaining a certain technique but the idea really for the video is that it can live onwards and that it can really live in that field of renewable space or practitioners in that space so that when they are building a new project around it or or thinking about building dams or working in that space they can connect back to that video and I think having the short two minute video we have a much more bigger chance that they will look at that and that that will spread itself rather than a full research paper that they have to read prior to starting with that so I think it's also this way of how videos find they find their ways into our society very easily and they're very easily distributed and it takes it takes two minutes of our time which is a pretty small time commitment that people have to make and if we can in that sense give the core message or deliver the core message and I think we're very successful I'm going to ask just two more questions one is sort of a question which relates to what you just described really I think you may have just answered it but it's from Victoria saying going more into the differences between engaging policymakers versus the public do you think that more emotive style of animation with its simpler messaging will influence a policymaker who also has access to the more detailed and technical messaging I guess it's a question about you repeat yeah I think it's a question of the difference between engaging policymakers versus the public on the one hand and the idea of emotive style of animation with its simpler messaging will this influence policymakers who also have access to the sort of technical reports and so on so forth does it fulfill the same well yeah so this this goes really back to the goal of the the of the visual communication tool in the first place um what I find is that often when we're trying to reach a general public it's more on a level of creating awareness around something um so it's it's yeah it's more in that space when we're talking to practitioners or policymakers um often it feels like we are trying to um I mean and this comes back I think in many parts of sustainability science the it's about talking about the complexity of the situation about the different layers coming together um and and it's more tangible uh messages like that I think we're trying to get across about about a specific topic um and I would I mean I can see it it seems pretty similar but then I think it's um it's how we go about the language and it's how how I what were we visualizing um so yeah there is definitely a difference but it's it's easy to talk about it in a vacuum but we have to look at the goal and then um we have to look at who we're talking to and that really yeah so it's it's different for every project but I would say in general the general public is more about awareness and we can dive a little bit deeper when it is what we're talking to practitioners or that's at least my experience up so far I'm going to squeeze a couple more in here um the two two um questions are sort of a bit more technical perhaps so one is it from a colleague who's saying what is the typical timeline from creative brief to delivery of a video like the one you showed so that's the first question and then the the second one is from Steve which is are stories and visuals culturally independent or do you need to think about the differences with the location of your audience yeah two great questions I'll start with the timeline um yeah so the timeline there's different ways we can go about this uh sometimes there's a hard deadline from the client and then we really work towards that um then I mean we you know we try to if it is a very short deadline we try to crunch in the time um but I think in general um having at least a few months is also really good to to um have time to really dive into it and to really be clear on what we're communicating and to building that script um when I have projects in the more commercial world it usually there's a quick turnaround um but it's it's it's way less complex in a way and I think like I mentioned before I think those first meetings are extremely important and I really find that we have uh we can create better outputs and more qualitative outputs if all of us have time to really digest and to for me to dive into the research for us to have these conversations about what it is that we should communicate and then yeah really taking the time to build it so I would say at least a minimum would be two months minimum absolute minimum but ideally I mean we've been working yeah and you Matthew can can um testify on that I mean we we set a short deadline in the beginning and then when it felt like we need more time anyway so yeah I am there a couple of months for sure um and I would say five to six months would be ideal or four to five um yeah so that's the first one and then yes to our stories location or cultural bound absolutely I think um that's that's really something to take in mind we cannot assume and that's I mean we shouldn't assume that our stories um are easily understood or carry the same um emotional connection that to other parts in the world so that's the first openness that we have to have there and really that's why I think it is so vital to understand who that audience is because it's so easy to stay in your bubble of um you know I'm making something pretty and I think it's amazing and I connect to it but yeah I mean if I'm not the person we're trying to reach then what are we doing we're just creating something nice in a vacuum so understanding um who the audience is uh cultural backgrounds um also being aware of symbols or colors or different kind of um associations in different cultures I think is very important and also I think it's part of it's I mean it's it's in my I think as a communicator it's it's vital that I think about these things so yeah that's fantastic um well we don't have any more time for questions there are several still coming but um I'm sure we could keep talking like this for a lot longer but I want to just thank you personally very much for agreeing to come and talk to us today um and I've really enjoyed our collaboration so far and I'm looking forward to continuing and um and yeah thanks very much I'll pass over to Janet now thanks a lot Matthew and thanks a lot Coralie really for your great presentation and sorry for everyone maybe it only happened in my computer but I was in the beginning I was hearing it three times in my own voice and I just couldn't continue talking so uh but I'll say the words I was aiming to say in the beginning about these dialogues now instead so um these dialogues were created by a development and aid policy team at the SCI headquarters and sweat the Swedish development researchers network and we aim to continue with this dialogue so this was the second one in our series but just shortly on what the development aid policy team is and also what's where there is that the DAP team we were formed there as part of our reorganization at SCI in September 2022 and the formation of a team a specific team at SCI working with development aid was a response to an internal project looking at the development dimensions of SCI's work and so despite that SCI is conducting a lot of work within the development field and has a dual mandate which is development and environment it is mainly recognized as an environment thing thank so the DAP team wants to bring forward the development work done by SCI and works with issues related to human development and environment from local to global scale and then Sweden it's a member-based network it was constituted in November 2019 we have around a thousand subscribers to have a newsletter and around 200 members at the moment the network aims to connect the researchers development researchers and the research and to increase the interaction between development researchers and practitioners and please check out more about the network on our website sweatdev.dev and on the website you can also register yourself as a member if you are a researcher or sign up to our newsletter and when signing up to the newsletter you will know about our future dialogues as well when we invite more speakers to these dialogues yeah so this opportunity that we already now have had is the aim of this is to have be a learning space where we spread findings of development research and we aim to invite development researchers around the world to give short presentations about ongoing or finalized work and we're targeting researchers practitioners and policymakers so if you do have any ideas of like speakers you think we should invite to our future events please be in touch with us or as I said earlier if you want to receive invitations to the forthcoming events please sign up to the sweatdev newsletter and yeah by these words I think I want to thank you currently so much for this talk and Matthew for moderating it and thank you all of the participants for participating in this event and hope to see you in our next event in maybe one or two months time thanks a lot


فشرف بل اشتغالي بالعلم ولا تبغي به ما عشت يا بدا بدا وياله من شراف عظيم الحمد لله رب العالمين والصلاة والسلام على أشرف الانبياء والمرسلين سيدنا ونبينا محمد وعلى آله وأصحابه والتابعين لهم بإحسان إلى يوم الدين أما بعد لقد توقفنا في المساعدة عن أسباب الأمور المعينة على الصبري على أدى الخلق الأشياء التي تساعدتك ومساعدتك في حيث تأخذ الناس من الحمد للصلاة لقد توقفنا في الرأس من 20 طريقات التي الشيخ يتكلم أننا في الرأس لقد تأخذ 16 طريقات وإن شاء الله وإن تعالى وإن هذا سيكون 17 الرابع الرأس ويشهد الرأس يستطيع المحاولة إلى حمد للصلاة ويشهد أن المساعدة يتكلم أنه إذا عفا وأحسنة أنه إذا تساعد وأنه يأتي مع أكسلنس أو رطه ذلك من سلامة القلب لإخوانه هذا سيأخذ أحسنة إلى حمده ونقائه من الغشي والغيلي ويأخذ منه جلسي انوي ترسي ترسي ترسي إلى حمده وطالب الانتقامي ويأخذ منه يريد أن يتكلم ويريد أن يأخذ يأخذ من كل ذلك إذا كان يفهم أنه يأخذ أكسلنسي ويأخذ منه إن شاء الله أن يأخذ منه إلى حمده ويأخذ منه من الغشي ويأخذ ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه ويأخذ منه في other words the benefit that the person will reap and the sweetness that the person will gain is far greater the benefits in this world and hereafter is far greater على المنفعات الحاصلة تله بالانتقام then the sweetness that he gains when he retaliates and he takes revenge اضعافة مضعافة multiplied your sweetness and the joy that you will gain in this world and the happiness that you will gain and the sweetness that you will gain in forgiving is far more better than the sweetness and the benefits that you will gain in retaliating taking revenge and the sheikh then goes on to saying and it enters under the verse of Allah والله يحب المحسينين الله loves the محسينين the righteous ones so the person becomes يصير محبوبا لله he becomes beloved to Allah because he's a محسين now ويصير حاله and then his situation becomes حال من أخذ منه درهم and his situation is going to be like one who a dirham was taken from him and dirham is what it was a currency that was made out of gold درهم is gold and دينار is what دينار is gold right and the dirham is silver I may be wrong in one of the ways one is gold and one is silver I think درهم is silver and دينار is gold it is like a person who a dirham was taken from him a silver was taken from one silver and he was exchanged for him a thousand دينار دنانير a thousand golds so in other words the currency is better and the amount is also more so your situation is like that like as though one dirham was taken from you and then what was given to you in exchange فعوض عليه ألف من الدنانير a thousand دينار was given to you فحين إذن at this moment يفرح بما منن الله عليه يكونوا at this point the person will become so happy and joyful on that which الله سبحانه وتعالى has bestowed upon him he will be more happier than any other way so this is very important this one that the sheikh is mentioning that forgiving and letting go is better for your heart and you know there is a saying they say keeping a person in your heart is allowing a person to live in your property without paying rent why does this person deserve to be living in your heart for the other one who is carrying this stress and this headache they are probably out there not worried about nothing so the minute you let go and you forgive you forget your heart is actually a state of tranquility and also the evil thoughts that were running in your head and the things that you were thinking to yourself to get this person back to retaliate, revenge the evil that you wanted for this person will go and then you will enjoy yourself in this world you will enjoy yourself because you will be stressless you see and in the hereafter what awaits for you is greater you are from the محسينين you have gained the love of Allah so you are basically the reason why you will forgive and forget is because whatever this person can do to you in this world and whatever they can put you through in this world for forgiving and forgetting and letting go allows you to get better and greater things in the hereafter so you've exchanged a better value you've taken a better deal in what you could have gained in this world then you're a wise person the fifth one the شيخ رحمه الله he says and he knows that the person knows that you do not ever retaliate or take revenge to a person you never take revenge from a person قطن whatsoever except that it will inherit you humility in which you will find in yourself you feel humiliated in yourself the شيخ is trying to say this point the first sentence that what you need to know is that there is not a person who takes revenge whatsoever for himself except that this inherits him humiliation which he finds internally فإذا عفى but if he forgives and he goes and this is what he informed us of the one who is truthful and the one who has been taken and been considered as truthful ما زاد الله عبداً بعفو إلا عزا that Allah does not increase a person in forgiveness except honour in other words forgiving increases you in honour but you brothers all know the way that the messenger said it here has a very strong meaning which is that the ما here is ما نافية negation and then that negation comes after it what? how we stiff that comes إلا عزا is there by forgiving you gain nothing except honour from it فالعزو الحاصل الله بالعفو the honour in which a person gains through forgiveness is more beloved to him and is more beneficial for him than the honour he will gain in retaliating or taking revenge the honour that you gain in forgiving is far more beloved to you is more beneficial for you than the honour than the benefit sorry that you gain or the honour that you gain from taking revenge why? because one of them when you take it the one when you take revenge for yourself is only an honour that is external and this is عزا في الظاهر it is only externally in the eyes of the people or in the outer world you might look unrepored و هو يورث في الباطن ذلن but what it inherits you internally is humiliation و العفو ذلن في الباطن و هو يورث العزا باطن و ظاهرا and the sheikh says that forgiveness it inherits internally and this is based on what the perception of the people you ظنوا في من عفا أن هذا ذل automatically the people perceive you as a person who is what humiliated و العفو ذلن في الباطن but he says but he said in reality is that it inherits you on an internally it liberates you and frees you from the humum and that is very powerful number 6 he said و هو من أعظم الفوائد this one is one of the greatest benefits in his speech this one is one of the greatest benefits which is أن يشهد that the person bears witness أن الجزاء من جنس العمل that the reward is in accordance to the actions و أن و أنه نفسه ظالم مذنب that you yourself are an oppressive sinner و أن من عفا عن الناس عفا الله عنه and anyone who forgives the people الله تبارك وتعالى و من غفر لهم غفر الله له and anyone who forgives and forgives the people الله تبارك وتعالى will forgive you wipe away from you your shortcomings فإذا شهد if the person bears witness to that أن عفوه عنهم و صفحه و إحسانه مع إساءتهم إليه سبب ببن جزيه لأنه يقول جزيه الله كذلك من جنس العمل و يقول if the person testifies that he is forgiveness and he is letting go forgetting so he is not only forgiving but he is forgetting it turning a blind eye and also و إحسانه حتى those who have dealt with him in an evil way مع إساءة إليه they've dealt with him in an evil manner it is a سبب it will be a reason it will be a reason for Allah to reward you in accordance to the action of yours so the way you turned away from their mistake towards you are you turned a blind eye to it and you let go of it even though they are dealing with you in an in an evil way then this act of yours is the way Allah is going to deal with you فيعفو عنه الله will forgive you ويصفح and he will let go ويحسن إليه على ذنوبه and Allah will be good towards you in the sin that you have done ويسول عليه أعفه وصبره and when you tell me says الله will make it easy for you as well in your forgiveness towards the people and your patience towards the people الله will make it easy for you to be able to do it now ابن تيمر then says ويكف العقل هذه الفائدة this is a sufficient for an intellectual person a smart person this one alone is enough for him as a benefit that he remembers دقائدة which الجزاء من جنس العمل that is enough for him to say to himself that i will forgive and forget so this one helps you definitely a lot number seven أن يعلم that the person knows أنه إذا اشتغلت أنه إذا اشتغلت نفسه that the person knows إذا اشتغلت نفسه if your your soul بيزيز itself so the person knows with unwavering conviction that if his nefs his soul busy itself بالانتقامي it busy itself with revenge and it preoccupies its time with revenge and how to get the person back وطلب وطلب المقابلة and he wants to give him in return exactly what he did to him in other words revenge ضاع عليه زمانه your time will get wasted like that وتفرق عليه قلبه and you will you will divide your heart and your heart should have been all focused you lose focus of whatever you're trying to achieve your brain should have been focused on something more important but here what you've done to your heart is you've divided it and you've also wasted your time and then شخص says وفاته من مصالحه and also you miss very beneficial things ما لا يمكن استدراك with things that you can never get hold of again things that you cannot gain again things that you cannot catch up with anymore you lose everything you could have done in that period of time where you busyed your mind and your heart to just think about retaliation and revenge and revenge all you did is you wasted time you see you've also lost focus of what you should have been doing you've made yourself lose opportunities that went by ولعل هذا أعظم عليه ولعل هذا أعظم عليه وقل maybe this ولعل هذا أعظمه and he said maybe this is great عليه on the person من المصيبة التي نالته من جهتهم and maybe it is possible that this becomes greater in calamity than whatever you had endured from the person this is actually a greater calamity that you wasted your time you've lost focus in life you've missed opportunities that came by maybe that's a greater calamity than what this person put you through but if you forgive فإذا عفا وصفح فرغ قلبه وجسمه لمصالحه التي أهم عنده من الامتقام but if you forget and you let go then your focus comes back your mind is is there and your body is ready and prepared for the things that are beneficial for it then what من الامتقام then a revenge so your mind is there your body is there and your focusing what's more important in life for you to achieve number eight that also the person bears witness that your revenge and your retaliation and you bringing yourself honor and victory for yourself you know and you bear witness what من تقام لنفسه قط that the messenger of Allah never took revenge for himself so you know and you bear witness that this retaliation and this revenge that you want to come with and this victory that you want to give to your nefs that the prophet of Allah will never عليه الصلاة والسلام took revenge for himself فإذا كان هذا خير خلق الله وأقربهم if this is the best of creation and the most honorable of the creations of Allah لم ينتقم لنفسه never to revenge for himself مع أن أداهه أد الله even that though harming the messenger is harming Allah ويتعلق به حقوق الدين and also harming the messenger صلى الله عليه وسلم is a religious duties is connected to it ونفسه and the prophet صلى الله عليه وسلم it is the most honorable of souls وازكاها the most purified one وابرها and the most obedient of them and he is the one who is the furthest from any evil traits and characteristics وأحقها بكل خلق جميل and he is the one who is most befitting for every good characteristics that is out there ومع هذا مع كل هذا فلم يكن ينتقم لها he never took revenge for himself فكيف ينتقم أحدونا لنفسه so then how could one of us take revenge for himself التي هو أعلم بها how could one of us take revenge for himself when you truly know that which is within your soul من أشروري in terms of its evil how are you going to take revenge for it when you know how evil it is and how much come is your soul has rather the man who truly knows and understands لاتساوي نفسه عنده the one who truly knows himself who is smart he knows that his soul is not equal to any revenge that should be taken for it in other words he does not see his soul deserving of a revenge و لا قدر لها عنده يجب عليه انتصاره انتصاره لها and it has no status to him that necessitates for him to bring his soul and a victory so the smart person is the one who knows him so his his soup comes very well and he knows his mistakes and he knows that his soul is not a one is not one that deserves a retaliation or revenge لا and this onelers in the beginning of the sheikh statement is that he brought you the Prophet as an example and we are commanded in the Quran as لقد كان لكم في رسول الله أسوة حسنة لمن كان يرجو الله و اليوم الآخرة و ذكر الله كثيرا فهو ever hopes for Allah and the day of judgment رسول الله عليه وسلم لنفسه في شيء يؤتى إليه حتى ينتهك من حرمات الله و ينتقم لله رسول الله تعالى عنها she said until Allah subhanahu و تعالى's boundaries that he set is broken فينتقبوا لله و تقرأ رفع الله تعالى anyone who reads the prophet's biography will realize that he never took revenge for himself rather he never got angry for himself even though he salawatullah and peace be upon him he was harmed many times if you read his seerat al atirah you will never see that he never took revenge for himself so for you one of the things that will help you is what to be patient upon the harm that the people put you through is you look at the prophet's biography and you ponder and you analyze and you strive and you fight to be one who follows his footsteps صلوات الله وسلامه و عليه التاسعو number nine the sheikh says إن أوذي على ما فعله لله so this point inshallah و تعالى the sheikh is going to speak about this one so we have an understanding proper before I translate it is that the creations harm to you it happens in three ways the sheikh mentions those three the first one is that the people harm you because of a religious issue for your religion you're calling them to the good you're prohibiting them from evil you're doing da'wah to them then the sheikh is going to tell us how to deal with that the second one is that you are harmed because of some evil which you came with then the sheikh says how to deal with it then the third one is you are being oppressed and you have been afflicted with harm from the creation based on a worldly issue which is not necessarily haram then how do you deal with it then those are the three and the sheikh tells us what to do in those situations so let's mention the first one and the second one and the third one he says and all of them are in the ninth one he says the sheikh says if you are being harmed in something you are doing for the sake of Allah or something you were commanded to do and you were doing it because Allah commanded you to do it and you were following His command and somebody harms you because of that or you were staying away from something you were prohibited from because Allah told you to stay away from it but then you get harmed because of that واجب عليه الصبر it is obligatory for you to be patient ولم يكله الانتقام and it is not permissible for you to take revenge on this one and you cannot take retaliation because you were harmed for the sake of Allah because you were on the path of Allah that's why you were harmed فأدره على الله your reward is with Allah and then the sheikh gives you a powerful evidence for this he says well you had that because of that لما كان المجاهدون في سبيل الله those who are fighting in the cause of Allah when they lost their blood when they died ذهب الدماءهم وأموالهم في الله they got killed and their wealth got distributed and taken لم تكن مظمونة لم تكن مظمونة there was no guarantee placed on it in Islam when these people kill a Muslim in a battle and they are fighting if that person repents from this act and becomes a Muslim we won't say to him you killed a Muslim so we are going to kill you for it this blood of the مجاهد is not guaranteed for a soul a soul for a soul it's not enough to be nefs why فإن الله هشترى منهم أنفسهم أموالهم الله boot his soul from him and Allah boot his wealth from him فالسمنه على الله لا على الخلق the money is upon Allah تبارك وتعالى not upon the creation فمن طالب السمنة منهم you are the مجاهد is in a trading with Allah and if you request who is the one who bought your nefs from you who is the one who is going to give you the money for it الله سبحانه وتعالى whoever goes and then ask the creation for it لم يكن له على الله يثمنه then remember you have no money with Allah تبارك وتعالى because Allah bought it from you your nefs you see pay attention here powerful Allah tells the سبحانه وتعالى that the مجاهد who is fighting in his cause Allah brought his nefs from him and his أموال when you buy something what do you do? I take your product and I give you money in return so the مجاهد lost his nefs so Allah took his nefs from him so where is the semen the semen is Jannah because Allah says إن الله اشترى من المؤمنين أنفسهم أموالهم بأن لهم الجنة the semen is Jannah if retaliation is taken on his behalf on his behalf then he is asked the semen from other than Allah when it was from Allah that he should have got it so for example the مجاهد loses his wealth he is still alive but he loses his wealth and his wealth gets destroyed in the battlefield and then because of that he tries to take retaliation for his wealth and tries to regain his wealth then he here should have waited for Allah to give it to him because Allah says to him إن الله اشترى من المؤمنين أنفسهم وأموالهم بأن لهم الجنة you already exchanged it for Jannah so you shouldn't ask anyone for it you should be patient for Jannah the day of judgment when it comes you see فإنو من كان في الله تلفه كان على الله خلفه anyone who loses anything in the cause of Allah then Allah will exchange it for him is something else pay attention so this is the person who is calling to the good he is like the مجاهد this is the jihad that you are in so when you get harmed when you get put through hardship فصبر كما صبر أول العزم من الرسول be patient like the messengers the five chosen prophets the way they were patient be patient like that and endure this suffering for the cause of Allah for his religion that's the first one it's the first harm that the creation put you through for the sake of this religion the second one is وَإِنْ كَانَا قَدْ أُوْدِيَ عَلَى مُصِيبَةٍ but if you were harmed because of a mischief a calamity that came from you فاليرجع then go back to yourself below me in blame على نفسه ويكون في لومه له شغل على لومه لمن أده and make and preoccupy your time with blaming yourself then preoccupy yourself in blaming those who harmed you because this one is what Allah says in the ayah before أما أصابكم من مصيبة there is no trials and tribulations and a calamity that befalls on you except it is what فبما كسبت أيديكم ويعفوا عن كثير the third one is وَإِنْ كَانَا قَدْ أُوْدِيَ عَلَى حَضٍ and if you are then harmed because of a worldly issue حض من حضوض الدنيا فاليوطن نفسه على الصبر then exercise your soul upon patience فإنني لأ الحضوض دونه أمر أمر من الصبر فمن لم يصبر على حر الهواجر والأمطار والثلوجي اما شقة الأسفار والوصوص الطريق وإلا فلا حاجت له في المتاجبتي الشيخ من here mentions if you are being harmed because of a worldly issue then be patient upon it because remember a person who does not show patience on what the heat the rain the ice and the cold weather and the hardship of traveling from one land to another land then you are really not ready to trade are you you show patience for that then the sheikh says that a believer has more rights for you to be patient with him وذا أمر معلومة عند الناس انما صدق في طلب شيء من الأشياء بدل من الصبر في تحصيله بقدر صدقه في طلبه the sheikh says this is a known matter that a person this is a known matter that a person who is truthful in his quest in something in his love and his passion for his word he loves his job then this person you see that he gives a lot of patience towards everything that comes his way and the patience is in accordance to his passion and love for his job so if that's the case for a job and a worldly matter you show that patience for it then your brother is more befitting your Muslim brother for you to be patient for a worldly reason is more befitting number 10 اي اشهد that you bear witness معية الله ذهر الله is with you إذا صبرا if you show patience ومحبة الله له and الله تبارك وتعالى is love for you إذا صبرا if you show patience وريضاه ذهر الله is pleased with you ومن كان الله معه دفع عنه أنواع الأذى الله will repel from you all types of hardship and harm والمضرات all types of hardship and harms and calamities and pain and agony ما لا يدفع عنه أحد من خلقه he will repel it from you he will defend it from you that which no creation can defend from you قال الله تعالى الله says وصبر be patient إن الله مع الصابرين الله is with those who are patient الله سبحانه وتعالى he is with the one who is patient and this معية is معية ونخاصة is not the general type of معية that معية are two types as Ibn Rajem mentions in his general that Allah is with you here Allah is with you that معية ونخاصة بالتأييد ونصر which will help Allah is with you not only that وقال تعالى الله also says الله يحب الصابرين الله loves those who are patient الله loves those who are patient الله loves you سبحانه وتعالى you gain the love of Allah and we all know my beloved brothers and sisters that the matter is not that you love Allah ليس الشأن أنتحب ولكن الشأن كل الشأن أنتحب the matter is not that you love Allah the truth of the matter is that He loves you in return because we could all love but what really matters is that we are loved in return so you gain the love of Allah by being patient and that's what you gain


The Kraft Foods Company presents Willard Waterman as the great Gildesley. He was brought to you partially transcribed by the Kraft Foods Company. Kraft, makers of the one and only Miracle Whip salad dressing. We say one and only because there just isn't any other salad dressing like Miracle Whip. Miracle Whip is different and it tastes different. Miracle Whip tastes so good it's become the most popular salad dressing ever created. More Miracle Whip is sold on the next 20 leading brands of salad dressing combined. Try it. Make your salads better tasting with the one and only Miracle Whip. We don't know whether it's due to the genius of the great Gildesley or to Summerfield's rapid growth. But the fact is the water department is flooded with business which keeps the water commissioner on the go from early morning to late at night. Now it's early morning again. Can't you wait for your second cup of coffee, Miss Gildesley? No, thank you, Bertie. I have to be on the move. I'm late at the office now. Yes, sir. You want to drink your coffee on your way out and leave the cup in the mailbox again? I'll bring it back. No, Bertie. Why don't you take the cup to town with you and mail it back? All right, Leroy. Now where's my coat? I'll get your hat, Auntie. Thank you, Marjorie. I'll hold the burrow. That's the spirit, Bertie. Here's your chapeau. Chapeau? Oh, hat. It's too bad you don't even have time to enjoy your breakfast. You have my own fault. That worked so late last night I just overslept. Bert, open! Coming, Bertie. Auntie, you didn't shave this morning. I know that I'll try to find a few minutes later this morning and run down the Floyd's barbershop. Well, goodbye, everybody. Goodbye, Uncle. Leroy, I'll drop you by. I'll walk. I'm in a hurry. I'm in a hurry, too. Come along. Candy bar. Get one for me, Auntie. We'll see.  Okay, you hold my books. All right, eight books. You're walking library. Nobody hasn't opened any of them. Nope. They're slipping.  They would fall under the car. I dropped your arithmetic. I wish I could drop arithmetic that easy. Yes, yes. Climb in the car. It's so cold. Slide out. Last night I was too tired to put it in the garage. Don't antagonize it. Am I next for a shave, Floyd? Well, I wasn't planning to shave the broom, Chair. I thought you may have had an appointment, Floyd. No, you're the first customer I had today. Business a little slow? Yeah, but I like it this way. Gives me a chance to read and think. Yeah, is that what you've been doing all morning? Well, I've been reading. Yes, yes. And I've been doing some thinking, too. I've been thinking I might sell the barbershop. Sell the shop? Sure, I got to stand an offer. Just ain't standing high enough. But I may take it. I ain't proud. Floyd, you're not serious. I'm a level commissioner.  That's too bad. Yeah, competition's pretty tough. He's got six chairs and a buckin' Bronco. Bucking Bronco? Yeah, wooden horse to set the kids on while he gives them a hoppy haircut. Oh, yes, I've seen it. He even put in a television set. Drove the barbers crazy trying to cut hair during a tennis match. But it brought in the business. It's all right. I'm sorry to hear things. I'm so good. Oh, well, I ain't worried. My wife, Lovie, has been wanting to take a job.  Does your wife ever work, Floyd? Yeah, she used to work for the telephone company. I like to kid her about how I took her away from Alexander Graham Bell. Operator, was she? Yeah. First time I talked to her, she'd give me a wrong number. Well, let's hurry it up, Floyd. I have a pile of work waiting for me at the office. I'll have you out in a jiffy. Say, how was just thinking, Kimish? Anything Lovie could do down there? Down where, Floyd? At the water department. The kids are weird at addressing envelopes, putting on stamps, stuff like that. Well, I need somebody, Floyd. She can run an ad machine. You want to see her punch them buttons. She uses all her fingers. You know, I mainly need somebody to do odd jobs. Answer the phone. That's for Lovie, the telephone. When she worked for the company, she was elected misnumbered, please, of 1935. How about it, Kimish? Well, I suppose I could use it. Hey, that's swell. You won't regret it, Kimish. She's really deficient. Fine, Floyd. Send Lovie down in the morning. That's what I need. A little help at the office. And I'll tip Floyd and Lovie, too. It makes me feel good. Say, before I go back to the office, I think I'll stop in at Peavey's for that candy bar. Oh, Peavey. I don't know. I'm thinking honestly. What can I do for you this morning? You Peavey, I'm so busy at the office, I won't get out for lunch, so I'd better buy a candy bar. Oh, really? I have some new ones. Do you want a sludgy pudgy or a nudgy muddy? Well, which one smells so good? The ham. A ham bar, Peavey? No, no, the baked ham on the sandwich counter. Hey, it looks good. Make me a combination sandwich with some of that, Peavey. You mean ham between candy bars? No, Peavey. Combination ham and cheese. It's a little early, but I'll eat it now, I have to waste time unwrapping candy bars at the office. Yeah, I'm thinking of ways to save time, Peavey. My office is bursting at the seeds. Reports, estimates, expansion plans, new subdivisions, everybody's looking to me for water. Are you really that busy or are you just gilding water lilies? You're right, Peavey. I'm actually busy this time. In fact, I just hired Floyd's wife. How's that? Floyd's wife. You know, what's her name? Oh, you mean the lady who's known as Lovey? That's right, Lovey. You must be busy. Here's your sandwich, Mr. Gildersleeve. Thanks. You know, I just had to get help somewhere. What do you think about my hiring Lovey? Well, after you've hired her, it's hardly the time you think about her. What do you mean, Peavey? Mr. Gildersleeve, I never thought it a good idea to hire the wife of a friend. What's wrong with that? We have plenty of jobs around town if Mrs. Munson wants to work. Why shouldn't you work for me? Well, what do you say to the wife of a friend if she's late to work in the morning? What do I say? What does your friend say to you when his wife works overtime and can't get home to pixie dinner? Well, he'll say more than that. You know, this situation is different, Peavey. Floyd's having trouble making ends meet since that new shop moved in across the street. Hmm, yeah. Lovey was gonna work someplace. I think I'm doing a good turn. Hmm, yeah. And I need help at the department, so work-wise and friendship-wise is probably the smartest move I ever made. No, I don't care. Go, posh. You'll see, Peavey. There's nothing wrong with hiring the wife of a friend, especially a good friend like Floyd. He's a fine fellow. Down to earth. Just from what I know of Lovey, she's a little on the Gabby side. Yeah, well, I'll keep her busy. Nearly nine o'clock. I hope she comes to work on time. Yeah, I'll show, Peavey. Where's my office key? See? The door's unlocked. Boo! Lovey! Yeah, I mean, Mrs. Monson. Did I scare you, Mr. Gildersleeve? You jumped a foot. Well, I didn't expect you to jump up. He's from behind the door. Hi, Commish. Floyd! My wife's a great little kid, huh? Well, how'd you two get in? I dollied the janitor into giving you the key. Oh. Come on in. Make yourself at home, Commish. You're first talking with his feet propped on my desk. I'm not opening the barbershop till 9.30, so I thought I'd drop the little woman by. Oh, you sure got a swell office, Chief. Chief? Don't you like Chief? Well, why don't you be ritzy? Call a miss to Throckmore and P. Gildersleeve. Oh, Floyd. I got it. I'll call you like us girls used to call the boss at the phone company by his initial. From now on, you're T.P. T.P.? Oh, my goodness. Here, Commish. Take your chair and tell Lovey what to do and where to go. I may have to. Oh, sure is nice of you to put me on the payroll, T.P. When Floyd came home last night and told me to knock me over with a feather. Yeah, she didn't believe it. The water department, she says. Are you kidding? She says. And when we came to the office this morning, I still thought he was kidding. Is this really the water department, T.P.? Yes. Yeah, I think so. Well, where's all the pipes? You have pipes and things that are underground. The water doesn't run through the office. That's Lovey for you, Commish. She takes everything literary.   Yep. You can explain all this destiny as we go along, T.P. I catch on quick. Yes, well. Did you ever run a telephone switchboard? No. Oh, you want to see Lovey at a switchboard. She can light that thing up like a Christmas tree. Me, I wouldn't get near one. Yes, well. You might find an octopus. Well, we have a lot of work to do, Mrs. Munchen. I guess you're the one to do it. Now, if you come over here, I'll explain the operation of the billing machine. Oh, I could have had a job at Hogan Brothers in the kitchen where, but I told him I saw enough pots and pans at home. That's what I like about being in water. It's a clean. Oh, brother. Now, Mrs. Munchen, about the billing machine. Yeah, Lovey, pay attention. Another thing I don't like about these big department stories is punching them time clock. That's adulterated nuisance, T.P. Oh? Time clock isn't necessary in your case. You were prompt this morning. You should have seen us getting out of the house. We was flying. Yeah, I was so anxious to get down here on time. I didn't get a tasty breakfast. Now that I've checked in, how about me going out for coffee and donuts? Yeah, coffee. Well, I guess the billing machine can wait. Sure, come on, Lovey. Let's see. I'll be back in a jiffy, T.P. Oh, by the way, I know the T stands for Throckmorton, but I don't know what the P stands for. Yeah, I know. Pigeon. We'll be back in just a minute. One of the easiest ways you'll find to brighten up any meal is to serve a colorful, tempting salad. Here's a wonderful fruit salad that's made with pineapple and peach slices. For each serving, place a drained pineapple slice on a bed of crispy lettuce. Then on the pineapple, arrange four well-drained slices of peach in pinwheel style, and top it all off with a spoonful of Miracle Whip salad dressing and a maraschino cherry. There, it's pretty, it's easy, and you can be sure it'll taste especially good. Thanks to Miracle Whip. Miracle Whip gives salad such wonderful flavor, a lively, teasing flavor that's peppy yet not a bit too sharp. It's a flavor most folks call just exactly right. And it's a flavor you won't find in any other salad dressing because Miracle Whip is actually a different kind of salad dressing made from an exclusive craft recipe to give you the best qualities of old-fashioned boiled dressing and fine mayonnaise. Treat your family to colorful, tempting salads often. And to make them better tasting, make them with Miracle Whip salad dressing. Remember, there's only one Miracle Whip and it's made only by craft. Let's get back to the great Gilda Sleeves. Yesterday, under pressure of work and out of sympathy for his friend, Floyd the Barber, the water commissioner hired Floyd's wife, Lovie. Already, his little family is wondering if he did the smart thing. Hey, I'm late for breakfast. We had a hard day at the office, Leroy. Listen to my job. I thought Mr. Gilsley wouldn't have to work so hard after he got some help. Why not? So sure, Mrs. Munson's going to be a help, Birdie. Now he's working twice as hard. She sure is a talker. Oh, and you know her? I do now. I called the office yesterday and she answered the phone. I not only know her, I know by everybody else in town that all I asked was what Mr. Gilsley wanted to send to the cleaners and she had everybody else's laundry. Yeah? What's the dope, Birdie? Now, Leroy, we don't listen to gossip. Birdie, I didn't know Mrs. Munson gossiped. Oh, she didn't say it was gossip. She was just repeating what other people told her. Hey, Miss Marjorie, did you know that Miss Aftermathie bought a new dishwasher and an installment plan and a husband may have sent it back and now she makes him do dishes? No, really, Birdie. When did that happen? Oh, for corn's sake. We don't listen to gossip. Well, before I could find out when it happened, she started talking about something else.  What, Birdie? She calls him Tee-Tee. Tee-Tee? What does she think I'm giving? Isn't it? Oh, Birdie, his initials, Leroy. Oh, yeah. Poor Unkie. Good morning, everybody. A muddler still flew. Good morning, Unkie. Hi, Tee-Pee. Leroy. Where'd you hear that? Oh, gossip. Excuse me, I'll go get you breakfast. Unkie, we understand Mrs. Munson calls you Tee-Pee. Well, yes. Do you call her Lovie? No, Leroy. I call her Mrs. Munson. And I wish she'd call me Mr. Gilsley. Why don't you tell her, Unkie? Well, she's not easily told. You know, I'm afraid I made a slight mistake, children. I suppose I did hire her on impulse. But my snap judgment has always been so good. Now your judgment's snapping back at you. Yes, yes. But she may work out all right. She's giddy. She accomplishes quite a little when she finally settles down. When was that? About a quarter of five. That was a bad case of parking. Mmm, looks good. Thank you, sir. And here's your coffee. Unkie, if Mrs. Munson is like you say she is, maybe she'll lose interest in quits. That's a pleasant prospect. Yeah, maybe some morning she won't show up. She has been offered other jobs and water can interest a person only so long. Sure, I take a bath and then forget it. Yes, sir. If I know Lovie, Mrs. Munson, she won't be with us long. She'll fled someplace else like a happy hummingbird. Miss Giltley, there's a hummus bird outside. You know, isn't it a little early? Not for this one. It's Mrs. Munson. Oh, my goodness. Why is she coming by here? Hello, Mrs. Munson. Come in. She's already in. I thought I'd drop by and take you to work, T.P. T.P. Yeah, right. Well, Mrs. Munson. And Marjorie, how are you? I haven't seen you since you had the twins. You're looking just grand, honey. Oh, thank you. Hello, Bertie. Good morning, Mrs. Munson. Where's your handsome husband, Marjorie? Oh, he goes to work early. Why, T.P., you're still right in the middle of breakfast. Come on, let's get the waterworks going. Well, thanks for offering me the ride, but I'll be down a little later. Well, if you're not in any hurry, I may as well have a cup of coffee. Oh, excuse me, Mrs. Munson, won't you join us? Thank you, honey. Anything in the pot, Bertie? Yes, ma'am. I'll go get you a cup. Wonderful. Get two cups. Will you, Bertie? Two? Floydie and I left home without breakfast again. Something has to be done about this. I see you managed to get out of the office this morning. I had to, P.P. Did you hire Mrs. Munson? Yep. And it isn't working out. I never should have hired the wife of a friend. I should have taken your advice. Oh, I'm sorry. Thanks. P.P., I'm glad you're not the type who says I told you so. You didn't give me a chance. P.P., how am I going to get lovely out of the office? I can't fire her. I don't want to hurt Floyd's feelings. Oh, I know. You wouldn't have hired his wife in the first place, but I didn't want Floyd to have to sell his barber shop. It seemed a delicate situation. A few years ago, I had a clerk I couldn't get rid of. You did? He was a great one for eating. He used to sample everything at the soda fountain, ate up all the profit. How'd you get rid of him, P.P.? Well, I had a little private chat with his wife. I told her the reason he ate so much was because he worked too hard. Ooh! Goat-chat was a little fib, Mr. Gillespie, but she made him quit the job. Yeah, that's an idea, P.P. You didn't have any trouble finding other work, did he? Oh, no. He caught on at a machine shop, nuts and bolts. I bet he isn't eating the profits now. Surprise George P.P. while I talk to Floyd and tell him the job at the water department is too much for lovey. Well, husbands don't like it when their wives work too hard, unless it's around the house. P.P., this time I'm going to take your advice. My worries are over. I'm back in this chair reading a magazine. What a barber. What are you doing out this time of the morning?  Not exactly, Floyd. Are you out reading meters? No. I walked over here because you're a friend of mine, and I have your interests at heart. Oh, yeah? What's up? Well, to tell you the truth, Floyd, I'm a little concerned about lovey. Yeah, I mean your wife's health. No kidding. You never mentioned it to your wife, Floyd. I thought I'd come to you. Oh, yeah? What's the trouble, Commissioner? Well, there's too much work at the office for her. I don't think she can stand the pressure. Are you kidding? Lovey's strong as a horse. That may be, Floyd, but everybody has a breaking point. Well, that ain't like lovey. That kid got an iron institution. I don't doubt that. But there's so much work to do up there, if she ever does it. It'll endanger her health. It will, huh? She's developing nerves, Floyd. Nerves. See, that's funny. Lovey ain't never been a nervy type. She is now very nervy. You really think she's cracking, huh? I think she's already cracked. You guys probably want to go out for some much coffee? No. In the movie magazine. She's trying to escape all that work. But, Commissioner, she's only been at the water works two days. Hardly long enough to get her feet wet. She might pull out of it. You're right, Floyd. Don't say I didn't warn you. But if you don't care about Lovey... I love Lovey. Well, why don't you do something about it?  She's a cinch. I don't want no wreck around the house. I'll see if I can't handle it, Commissioner. Can you handle it today, please? Well, I'll be by before you close the office. Good for you, Floyd. See, I'm sorry the job's too much for Lovey. I even had envisions of her being the first woman water commissioner. Lovey? Yep. And who knows? From there, she might become one of them female business typhoons. I'll see you at the office, Floyd. Make it soon. I'm getting machines to keep Lovey busy until Floyd gets here. He's 4.30 now. Copy's when I finish this batch, TP. Oh, almost finished. Are you, Mrs. Monson? Sure, I'm rolling now. What's next? Well, you might take these water bills on my desk and put them in envelopes. Sure thing. Say, what's this you wrote on this bill? Oh, that's just a way of greeting new customers. Welcome into the fold, honey. Mrs. Monson, what's the idea? Well, when you're sending them bills to pay, you've got to be nice to them. But... When you're billing, what's wrong with a little crewing? I hardly think the mayor would approve of being so chummy with the customers. I'll answer it. You're fine. Well, I'll find some more work for you. Water department, hello. Yeah, he's here, Mr. Mayor. You're Mr. Whittaker? And you're lucky to find him in. He's been out all day. Sure, sure. I'll relay the message. Mrs. Monson, that was the mayor. I know it. Oh, well, boy, it'll be here soon and take it away. What was the message, Mrs. Monson? Oh, that's funny, I forgot. Oh, yes, very funny. Now, now, what did you want me to do, TP? Well, we still have to put the bills in the envelopes, but please, no greetings. Check. And there's filing to do and reports to check. Check. And letters to write. Right. Oh, brother. Hiya, Lovie. Floydie! Hi, Commiss. Floyd, am I glad to see you. I had a lot of wheels turning since I saw you, Commiss. What? I bet you came to take me out for a cup of coffee, Floydie. Wait, Mrs. Monson. I think Floyd had something to say. Yeah. I had to make a big decision, Lovie. The Commiss tells me there's too much work here for you. I only had your interest at heart, Mrs. Monson. What? Come to the point, Floyd. We'll all try to take it big. Well, Commiss, since there's too much work for Lovie, I decided to take that offer I had for the barbershop. You sold your shop? Yep. And out of appreciation of all you've done, I'm coming down here to help you and Lovie out. Oh, Floydie, you're going to work here with me? Yep. Well, you work, I work. You've been tried. Commiss, Lovie and me are insufferable. I'll say they are. What have I done to deserve this? The Great Gilded Sleeve will be with us again in just 30 seconds. The next time you need a main dish for a luncheon, how about serving a shrimp salad, and to make it really delicious, make it with Miracle Whip salad dressing. Miracle Whip will give it just the lively favor you want, not too sharp and yet not too mild. Miracle Whip has a flavor millions of folks call just exactly right. Get a jar of Miracle Whip from your grocery tomorrow and make all your salads better tasting than ever with America's favorite salad dressing, the one and only Miracle Whip salad dressing. What's the matter, Anki, tired? Leroy, I'm exhausted. Dinner's on the table, Anki. Aren't you going to eat? Yeah, I don't think so. I just want to sit quietly and not hear any voices. I've had all I can take for one day. And Mrs. Munson didn't leave then? No. No, I have Floyd in the office helping her. I have to get there early in the morning to have a place to sit. Well, relax, Anki. You can have a nice and quiet here. Yeah, I tore out of the office so fast tonight I forgot my hat. All I wanted was to get home. Poor Anki. Shall I get your slippers? Thank you, my dear. Thank heavens a man can come home and find sanctuary. Hide from the world in all the trouble. Oh, it's her. Trapped again. Good night, folks. Good night for the craft foods company, makers of those famous craft quality foods. Be sure to listen in next Wednesday and every Wednesday for the further developments in the life of the great Gildersleeve. Boy Scout Week begins today. This week, the Boy Scouts of America are celebrating their 42nd anniversary. More than ever before, men of good character are needed to serve as cup masters, scout masters and explorer advisors. Here's your chance to do something curbing juvenile delinquency in your community. With more unit leaders, the Boy Scouts of America can enroll more boys in their program of training for good citizenship. During Boy Scout Week, offer your services. Volunteer to your local Boy Scout headquarters. Find out how you can help. Tonight, be sure to hear the Robert Montgomery News program on NBC.


KSI and Deji got a little bit of family drama going on right now but hang on to your seats because it's about to get a little bit controversial up in here. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem but focus on the solution and if you're new to my channel, my channel is all about mental health and what I like to do is pull different topics from the YouTube community to try to teach you how to improve your mental and emotional well-being and part of that is dealing with family drama. So if you're into that kind of stuff make sure you subscribe and ring that notification bell. So real quick before I get started, I am currently working on an anger management book called Rewire Your Anger and this is important if any of you have major anger triggers that have to do with your family but anyways follow me on Twitter. I just gave away 10 free copies of this book on Twitter yesterday because I asked a question for some feedback for my book and everybody who's a tweet that I used or they DM me to I'm giving them a free copy of the book when it comes out in a few days. So follow me on Twitter at the Rewired Soul so you don't miss any of that stuff all right. So yeah those of you who don't know what's going on KSI and Deji are very large creators here on the platform and they've been beefing a little bit having a little bit of drama creating diss tracks left and right and let me tell you this right now for those of you who don't know me or my preferences and YouTubers the only reason the only reason I know about what's going on is because of other YouTube channels I don't subscribe to Deji or KSI but this is actually funny like I do not watch reaction channels like why am I going to watch somebody else react to something like why don't I just watch it and react to myself but I recently came across this channel this offends me TV is this dude Todd and me and him talk on Twitter too now and the dude is absolutely hilarious and he's been like reacting to all the back and forth diss tracks with KSI and Deji and Dax and Crypt and like I commented on one of his videos the other day I'm like dude I can watch you react to a phone book what the f*** bro this dude's you know KSI bro what have you done what have you done JJ man I don't even like you but I'm trying to help you right now you need to apologize to everyone you've done piss the f*** off my god like he just cracks me up so if you if you're not into reactions like me but you just want to like watch a funny dude like cool guy react to stuff like go check out his channel but anyways anyways there's a lot of speculation about is this drama between KSI and Deji fake so basically what what happened was you know there were some you know diss tracks between like Deji and Randolph and from what I understand Deji used some kind of like bank statement from like KSI in a video KSI got upset because he figures that his parents gave Deji access to his bank account to use in his video now there's some more personal stuff coming out in these diss tracks about like relationships and like baby mama drama and stuff but those of you who are new to my channel I ain't a drama champ like I'm just like kind of giving you a recap of what's going on but anyways uh KSI then said that he's like done with this he's done he's not talking to Deji he's not talking to his parents um he's done with that stuff right and is it fake if you want my honest opinion I think so but anyway stay stay for the rest of the video stay for the rest of the video because I'm gonna teach you how to deal with toxic family members okay but yeah it all seems fake it seems like BS to me um Deji was just on Logan Paul's podcast I think because I was researching this video it like recommended me Logan Paul's podcast or it's or it's Todd's fault from this offends me tv maybe it's his fault because I watch his videos and now YouTube's recommending that anyways like yeah Deji was on the podcast and he talked a lot about this beef with KSI but yeah like they're like reacting to reactions of reactions and reacting to that and that that and it's just like whatever you do you whatever you gotta do to make the algorithm love you do your thing boo but anyways like this is this is a real topic like and what I meant in the intro about this is kind of controversial is I've never talked about this on my channel and like I have some views and like real quick disclaimer these are my views these are my opinions um I do videos on like neuroscience and like evidence-based therapies and stuff like that like these are my personal views and opinions take them with a grain of salt for some of you this might be the best course of action for others of you it might not but I am not telling you to do what works for me all right but I want you to take it into consideration okay okay so anyways I was actually inspired by my friend Kaleila to make this video because she has a channel called post-traumatic victory she just passed 3000 subscribers congratulations girl I love you but I know I have a very large audience and a lot of you struggle with PTSD like please go check her channel out but you know I wasn't even going to make this video but then I saw this clip I've stopped crying about that sorry for showing you that but I mean like I'm tired of sitting on this sweater this channel is about honesty and healing and you know what healing isn't pretty um sometimes you have panic attacks where you can't speak or breathe sometimes you have minor panic attacks where you can't stop talking and crying and yeah like I was just talking about this in my last video about Haley Reese that like this is why we share our stories and like I'm so proud of my fellow creators and mental health creators especially who get on camera on a regular basis and open up because yeah like showing this struggle that she's been going through and that process like it's a cliche old saying like if you've ever been like in a treatment center or like worked with a therapist you've probably heard the saying you gotta feel if you want to heal but it's it's very true and so many of us are trying to run away from our emotions but anyways I can relate to Kaleila and Kaleila's situation is a little bit different than what my situation was but those of you who don't know I have a crazy family my family is out of their minds and you know it's great even though I'm at 40 000 subscribers my family doesn't watch my youtube channel so I can say whatever I want no I'm kidding I have a lot of great relationships with different family members but growing up I had an alcoholic mom and you know I had a lot of issues with my sister I always felt like they loved her more than me and all these other things and like in Kaleila's situation it's a little bit tricky um because she talks about like she has a brother who's kind of caught in the middle of this so that that is tricky when you have like another sibling involved but for me personally for me personally I've shared about my alcoholic mom and how we healed our relationship but I also share about our story and like there were months and even years when I just stopped talking to her I cut her out of my life like I'm the type of person where I grew up and like where my friends were my family okay well my mom was an alcoholic I was going over to my best friend's house for Thanksgiving for Christmas all these other things my dad's amazing he raised me and stuff but he worked a lot but my friends were like my family and like it's just like the reason I say is kind of like controversial what I say it's just at a very young age like I was like 12 13 years old when I cut my mom out of my life for a while right and it kind of helped me set up boundaries for later on in life like if I can cut out my own mother because she's affecting my mental health like don't get it twisted like I can cut you out too right but for me and I just talked about being selfish in my last video too and it's not always a bad thing to be selfish my mental health comes first and I'm gonna try to word this so carefully because this is like why I haven't made this video yet but I know like biologically we are connected to our families but there's a lot of expectations that we have like a family is supposed to be like this we're supposed to be like that da da da da but people are fallible okay just because it's your mother just because it's your aunt just because it's your dad or uncle or sibling it doesn't mean they can't be royally messed up and extremely toxic okay and like once you get that through your head it'll be easier to set up boundaries but like like I said my friends growing up were my family okay and this is probably why why I'm such a huge advocate of support groups like our Facebook group and our discord server okay because we don't get to choose who our family is I didn't choose my alcoholic mother I didn't choose my stepdad I didn't choose my aunts or my uncles I didn't choose any of these people but but I can surround myself with as many positive supporting loving people as possible like some of my best friends are like my brothers some of my best friends are like my sisters okay but for me personally for me personally once I got it out of my head that like a mother has to be this a father has to be this a family member has to be this and I have to talk to them because their family like when I got that out of my head things got started to getting better for me so for example I mentioned that I sent an email out this morning from my emailing list and I was uh you know it had an empowering message in there the difference between can't and won't like I made a video a while back about Logan Paul and Jake Paul like listen like I hear people say oh I can't cut this person out of my life they're my family member I can't I'm like no no no no you can you just won't you don't want to because you think you're gonna hurt their feelings or you get self-conscious you're worried they're gonna be mad at you like let's just be real about the situation you can cut these toxic people out of your life you're just afraid to and there's nothing wrong with being afraid to dealing with this stuff is difficult okay but I just want you to know that you can do it all right so what I recommend is if you have toxic family members and remember this is what worked for me find a support group turn the support group into the people you need to be there for you to love you and do things like that all right so even though KSI and Deji are probably faking this entire thing at least there are some lessons that we can learn from this about cutting out family members who continue to hurt you all right but let me know down in the comments below let me know down in the comments below if you've had to cut out certain friends or family members from your life to prioritize your mental health okay but anyways again please go check out this offends me tv uh Todd he's amazing go check out Kaleila's channel especially if you have PTSD she makes amazing videos over there so go check them out all right but if you like this video please give it a thumbs up if you're new make sure you subscribe and ring that notification bell because I make a ton of videos and a huge thank you to everybody supporting the channel over on patreon you are all awesome and if you want to get a free copy of my book follow me on twitter or you can sign up on patreon because at some of the tiers you get free copies of my book pretty sweet all right thanks again i'll see you next time