The Kraft Foods Company presents Harold Perry as the Great Gilder Sleeves. The Great Gilder Sleeves brought to you by the Kraft Foods Company makers of Parquet Margarine. Millions of women all over America serve Parquet because it tastes so good. Why, Parquet tastes like it should cost twice as much. To market, to market, to get some Parquet. Hold again, hold again, try it today. You like it, you love it, like millions who say their favorite Margarine needs. P-A-R-K-A-Y Parquet Margarine made by Kraft. Well, we never expected to find Summerfield's water commissioner the Great Gilder Sleeve in ladies' hacks. But that's where we find him today in the ladies' half business. Yes, he and Adeline Fairchild are about to open a fashionable millinery shop in her house, right next door. It's the morning of the grand opening, and the Gilder Sleeve family is at home, busily preparing for the great event. Margarine! Yes, Anki? You take those decorations over to Adeline? Yes, Anki, and her living room looks awfully cute, just like a hat store. Well, that's nice. Well, we got a lot of things to do if we're going to open by 3 o'clock. Let's see. Margarine, you can call the floor. All right. We can't have a big opening without flowers, and tell them to send plenty of roses. If we have any leftover, we can sew them on a hat. Did you call the musicians about wearing their tuxedos? Yes, but the cello player doesn't have one. Oh, well, he can hide behind his cello. Uncle Mort, don't you think it's a little silly to have a string trio? Silly? No, I don't. Your old uncle knows what he's doing. Adeline's hat salon is going to be a fashionable hat shop. So we've got to have a fashionable opening, just like those stylish stores in New York. Uncle Mort, aren't you going down to the water department today? No, taking the day off. In fact, I may not be at the water department much longer. What? Well, this hat business might grow into a pretty big thing. Before long, we might have a whole chain of hat stores. I might even change my name. Shapples by Pierre Gilles-Live. Oh, uncle. I'll go make those phone calls. Palace in the spring. Leeroy, did you get all your little jobs done over there, my boy? Yeah. Tired in all those hat boxes? Hopeless third child moved the tables around and burnt the trash. Oh, well, that's good. Now you can sweep the front walk. Oh, uncle, I'm tired.  No, my boy, that's not the right attitude. Don't forget I'm doing the brain work, and that's the hardest job of all. Leeroy? That's the spirit. And when you finish that, I'm going to give you a dollar. A whole dollar? Yeah. Will that make you feel better? Sure. I'm not tired now. Yeah, I thought so. Well, my boy, this opening could lead to big things. You may not know it, but you're gazing at the future hat king of America. Huh? Shapples by Pierre Gilles-Live. Wee-wee, madame. Wee-wee, mademoiselle. La-la.  Better see how mademoiselle birdie is getting along with the refreshments. Paris in the spring, trot, trot. Oh, hello, Mr. Gilles-Live. Bonjour, birdie. Huh? Yeah. How's everything coming out here? Just fine. Got the sandwiches all made, nitty-bitty ones like you told me. That's right, birdie. Canopies. That's what they always serve at fashionable openings. Sure sounds like it's going to be a fancy affair. Well, that's the way you have to do these things, birdie. I figured it all out. By having a ritzy opening, I got a big social leader like Mrs. Pettibone to come. Mrs. Pettibone? I thought you and her didn't get along so good. Well, she is a little on the stuck-up side, but business is business, birdie. She's president of the women's club. Carries a lot of weight in this town. First, sir. If we get her for a customer, the women will be flocking into our hat shop. We'll be selling hats like hotcakes. And some of them look like hotcakes. Well, you sure were smart to figure that all out, Mr. Gildersleeve. Well, you have to use your head in the hat business. Glad you liked it. Well, just a better get over and see if Ms. Fairchild needs any advice. She's a lucky girl to have Pierre Gildersleeve for a partner. Paris in the Spring. Trola. Trola. Good morning, partner. Well, it looks like we're ready for business. Does it really look all right? Wonderful, Adeline. And those hats you've made are really beautiful. Yes, sir? You've certainly got the artistic touch. Well, it sort of runs in the family, I guess. My Aunt Clementine was a famous artist in Savannah. She was? Yes, she used to paint rose buds on tea cups. That's all. Well, Adeline, with your talent and my business ability, will you make a fortune in this place between now and Easter? I suppose so. I am a little nervous, though. I didn't know the little hat shop was going to have such a fancy opening. You just leave everything to old Uncle Throckmorton. A big opening like this will start us off with a bang. Mrs. Pettibone alone will bring in half the women in this town. A Throckmorton. Yeah? Mrs. Pettibone isn't coming to the opening. What? Why not? We had a spat at the women's club last night. Oh, my goodness. Well, she started it, I didn't. But, Adeline, what happened? Well, I overheard her make a remark about my dress. You know my old-fashioned organdy with the bows? What did she say? She said it looked like something left over from going with the wind. But, Adeline, this is no time to quarrel with Mrs. Pettibone. Throckmorton bets an insult to the entire south. So I told her in her Yankee clothes she looked like General Grant's grandmother. She thinks she's so stylish, I cannot dress her any day. But, Adeline, this will ruin the opening if she doesn't come. I don't care. But you're upsetting all my plans. We'll lose a lot of customers. If we had to depend on making Yankee for customers, I'd just assume close up. Close up? We haven't even opened yet. Adeline, you can't do this. Remember, I've got $200 in this hat shop. Then we need Mrs. Pettibone. Well, I just don't want to hear any more about it. If she doesn't want to come, she doesn't have to. What? I haven't talked about it. I've got some work to do out back. See ya. What a partner. I wonder if Sears had this much trouble with a robot. Just got to patch things up with Mrs. Pettibone some way. Let's see. I wonder if I took her over one of these hats. Here's a little peace offering. It might work. I'll pick out a nice one. Here's one. Got an ostrich feather on it. Just the thing for Mrs. Pettibone. She's got a neck like an ostrich. Yeah. Well, I'll try it. I got nothing to lose. Onward Pierre Gillisley. Hope Mrs. Pettibone is home. I'll just flatter it a little bit. Make her think. What's that? Mrs. Pettibone, dog. His nose is turned up just like hers. Get away, dog. Get away from that hat box. Let's go with that.  Gillisley. Hello, Mrs. Pettibone. What are you doing to my dog? Nothing. He won't let go of my hat box. Well, you must have frightened him. Come here, Rullo. Rullo.  Scare you. Here's your hat box, Mr. Gillisley. Good day. Mrs. Pettibone. Guess what's in the hat box? What? A lady's hat. Really? Are you selling hats door-to-door now? Oh, no. No, no. It's a gift for you. Yes, I thought that is Miss Fairchild thought you might like to have it. Miss Fairchild? No, thank you. After the remark she made at the club last night. Oh, well, Adeline, sorry about that. I look like General Grant's grandmother. You do?  Adeline was only kidding.  Mr. Gillisley, you're not just saying that, so I'll attend your opening this afternoon, are you? No. But I want you to just look at this hat. Here, I'll open the box. There. Isn't that a beauty? This is. It is rather nice. Oh, and it has an ostrich feather. Yeah. Came from a real ostrich. Looks like it was just made for you. Why don't you try the hat on, Mrs. Pettibone? Well... All right. Why, Mrs. Pettibone, it looks beautiful on you. It does? Well, I just look at myself in the window here. Well... It does look rather chic, doesn't it? Chic? Oh, yes. Mrs. Pettibone, it's a mighty good thing you're not coming to the opening this afternoon. Why? Why, you look so beautiful in that hat. Our customers would spend all their time admiring you. Oh. Well, Mr. Gilda Sleeve, on second thought, I will attend your opening. Well, if you insist. See you at three o'clock. Goodbye, Mr. Gilda Sleeve. Goodbye, Mrs. Pettibone. I made it. Where is she? Adeline, take your time. Well, Gilda Sleeve, you did it again. I certainly have a way with women. Look at all these hats. Money, money, money, money. Women sure put some strange things on their heads. Well, if they're silly enough to buy them, we're silly enough to sell them. Look at this one. Looks like a soup strainer with a veil on it. I think I'll try this on just for fun. Take a look at the mirror here. Very chic. Well, I look as good as Mrs. Pettibone, anyway. Anybody here? Who's the judge? Well, pardon me, madam. Haven't I seen you someplace before? All right, Hooker. You look very fetching in that hat, Gilda. Would you care to go to the movies with me tonight? All right, you skinny old goat. Stick around. We can use you for a hat rack. Very amusing. Well, I see you're all ready for the grand opening. Yes, yes. I understand it's going to be quite a social event. Newspaper photographers, a string trio, everything very ultra-ultra. Naturally. When I do something, I do it right. Oh, too bad Mrs. Pettibone isn't coming. What? I hear she and Ms. Fairchild had a little spat at the women's club last week. Is that so? Well, that's ancient history, Mthuzla. I just went over to Mrs. Pettibone's, gave her a hat with an Auschwitz feather on it, and the whole thing is patched up. Oh, it is? You bet. Nothing to it. Well, I'll be with women, Judge. Throckmorton. Oh, hello, Judge. How do you do, Ms. Fairchild? Throckmorton, I don't know where I put that hat. I've been looking all over for it. What hat? The one with the Auschwitz feather. The one with the Auschwitz feather? Yes, I made that one especially for myself to wear to the ocean in this afternoon. Oh, you did? When my pictures in the paper tomorrow and that stylish hat, Mrs. Pettibone will just turn green. Oh? Have you seen a Throckmorton? Uh, yeah, they, isn't that the hat you gave to Mrs. Pettibone? Throckmorton? Well, it was just a little gift, that line. That's how I got her to come to the opening. She's coming here? Well, yes, you see...  But that line, you wouldn't make a scene, would you? Oh, wouldn't I? I'm liable to rip that hat right over her head. God, that line, you ruin the opening. I don't care. There's gonna be another civil war, and this time the South's gonna win. Well, guilty, you certainly have a way with women. Why did I ever want to get in the hat business? Birdie, do you know what taste buds are? Taste buds? I've never heard of them. Well, it's like this. When you take one of your crisp homemade rolls from the oven and spread some parquet on it to try out the flavor... I sure love testing them rolls with parquet. Sometimes I test two or three at once. Well, it's your taste buds that tell you the flavor is okay. Okay, bud. I mean, okay, Miss Wall. I mean, well, I don't know what you call them, bud. Taste buds, Birdie.  It's a luxury flavor, all right, Birdie. Light, delicate, and delicious. And the reason is, parquet is prepared like a rare luxury food from the selected products of American farms. Yet with all its flavor and with all the nourishment and the 15,000 units of essential vitamin A you get in every pound of parquet. With all that, parquet costs only about half as much as the most expensive spread. Friends, if you want to have a real treat, serve parquet tomorrow. Sure, you just sit down at the table and say, okay, bud, here comes that parquet. That's T-A-R-K-A-Y. The margarine made by crafts that tastes like it should cost twice as much. Well, the great Gilder Sleeve is learning that every hat does not have a silver lining. In fact, the hat with the ostrich feather on top is giving him a headache. Right now, he's nervously ringing Mrs. Pettibone's doorbell in a last-minute attempt to avert a civil war in the hat shop this afternoon. Pretty bell. I can just talk her into taking this hat with a veil. Maybe she'll give me back the one with the ostrich feather. I guess she's not home. What am I going to do? I've just got to get that. Hey, what's that in the window there? On the table. It's a hat. The one with the ostrich feather. The window's open, too. I wonder if I could reach it. No, that wouldn't be right. I don't know, though. I can put this hat in its place. A fair exchange is no robbery. This will fix everything. I'll just bend down here and reach in. Can't quite make it. Have to lean in a little farther. Feather's tickling my nose. Come to Throckmorton, you little... Seguracy. Oh, hello, Mrs. Pettibone. Oh, you're back. What are you doing with your head in my window? I'm just looking for the water meter. Time to read it, you know. The water meter is under the house. Oh, yeah. New fangle invention. Mrs. Pettibone, I've been thinking. That hat with the ostrich feather doesn't quite suit your personality, so I brought you this hat instead. I think you'd look much better with a veil. I mean, it's more stylish. Thank you, Mr. Gillespie, but I simply adore the hat you gave me. You do? Yes, indeed. The ostrich feather seems to do something for me. Oh, then you wouldn't consider giving it back. Oh, no. Why, no one could take that hat away from me now. I'd just like to see them try. You will. Good day, Mr. Gillespie. See you at the opening in my new hat. I wonder if they will fight over that hat. That line sounded awfully determined, so did Mrs. Pettibone. Could be another battle of bull runs. Well, maybe I'm worrying about nothing. I always worry so much. That line will calm down. I think. Well, let's drop into PB's. Check on that ice cream. Hello, PB. Oh, hello, Mr. Gillespie. I suppose you're all ready for the grand opening this afternoon? Uh, yes. Just wanted to remind you, PB, don't forget to send out the ice cream. One gallon of vanilla, one gallon of tutti frutti. It'll be there, Mr. Gillespie. Good. Any thoughts for the opening? Hmm? Some iodine and bandages might come in handy. What? Just in case there's any trouble. Oh, I see the judge has been broadcasting again. Where are you, PB? I don't think Adeline and Mrs. Pettibone will make a scene. Do you? Well, I guess they won't. No. Mrs. Pettibone is a refined society lady. Yeah. Adeline is a charming southern woman. If that wouldn't fight over a little thing like a hat... Well, I wouldn't say that. They would not, PB. I know women. Well, no, I wouldn't say that either. Let's be logical about this. Now, you take your own wife. Would Mrs. Pettibone fight about a hat with an ostrich feather? No, I don't think she would. Well, she doesn't like ostrich feathers. What? They give her hay fever. PB, the opening of this hat shop means a lot to me. I've got $200 invested in that thing. Yeah. If anything happens this afternoon, it'll be awful. PB, if you were in my shoes, what would you do? Well, I'd take along the iodine and bandages. Oh, goodbye. Well, if it ain't the commish. Hello, Floyd. Give me a quick shave. Okay, hop right up in the chair. There you are. All set for the big opening today, commish? Huh? Oh, yes. Just before the battle, mother. Floyd. Have it. That'll be a lullaby of a scrap, all right. What are you going to do, commish referee? All right, Floyd. Just get on with the shave. Okay.  We're not closing. In fact, the opening is going to be a huge success. Uh-huh. Commish, did you ever see two dames fight over a hat? No, I haven't. Well, I did once. Down to Hogan Brothers. Two gals got their eyes on the same hat and they started tussling over it. Boy, you should have seen them. They almost wrecked the whole store. They did it? What's going to happen at your opening? Everybody acts in very refined and high class and them fiddles playing soft music. Da, da, da, dum, dum, dum, da, dum. Da, da, da, dum, dum, dum, dum. Da, dum. And then bang, Mrs. Pettibone walks in in a fight start. Floyd. Before you know it, the joints in the uproar. Hats flying through the air, dames screaming. Then a riot squad comes. Roar! Then tomorrow it's all over the front page. Riot and hat shops. He's unconscious. With a Norse bridge feather in his hand. Oh! Hey, where you going, commissioner? I didn't finish your shave. Never mind. I'll shave myself. Almost three o'clock. It's it better go in the hat shop.  Customers will start coming in a few minutes. Rock coat's kind of tight. Well, I guess I'll have to get another one anyway. This one will probably get torn up when the fight starts. Well, here goes. Might as well go in and face the music. Lee Roy. Gee, you look swell now, lousy. Just like a floor walker. Lee Roy, don't say that. Hello, Miss Gil, please. Hello, Bertie. I got all the food ready. That's nice. Yes, sir. I'm ready. Just let him come. Yeah, let him come. Mr. Gil, I know this is going to be a new society opening. And when Miss Settibone walks in, that'll be the finishing touch. It sure will. Yes, that's going to be a knockout. I wonder what round. Bertie, you seen Miss Fairchild? She's out in the kitchen fixing some flowers. Oh. Oh, I better go out there, I guess. Oh? Musicians are here, huh? Yasha Mitz and his ensemble. I'm going to go out and see Adeline. Maybe she's forgotten all about this Pettibone business. Hello, Adeline. I'm just fixing this last base of flowers and then we'll be all ready for the opening. I'm so thrilled, aren't you, partner? Yeah, partner. Yeah? I suppose you've forgotten all about your little piff of Mrs. Pettibone. I've done no such thing. I'm going to take care of her all right. What are you going to do? I'm going to wear that hat with ostrich feather. Hey, Aunt. What is it, LeRoy? A lot of women are out there and Mrs. Pettibone just came in. Where are you going, Adeline? Out of my way, Throckmorton, and I hope she's wearing that hat. Oh, my goodness. Something wrong, Aunt? Oh, everything's fine, LeRoy. See, was Mrs. Pettibone wearing a hat with an ostrich feather on it? Yeah, she sure looked funny. That's all I wanted to know. That's the wrong way. That's what you think. Good-bye. In the den. Well, I... We had a wonderful opening. We did? Who won? I mean... We had an awfully big crowd, took pictures for the newspapers, and we got a lot of orders for hats. But didn't you and Mrs. Pettibone have a fight? Of course not, dearly. But she wore your hat with the ostrich feather. I know that. Yes, I talked into it in the Easter parade. Well, then everything's all right between you two? Well, I didn't say that. Huh? I'm going to get even all right. I have a little plan. I'm going to make two dozen hats with ostrich feathers and sell them for Easter. You are? Mm-hmm. Just wait until the stylish Mrs. Pettibone sees all those other women wearing hats just like hers. That Easter parade will look like an ostrich farm. Yeah.  Maybe I am.  What? She does look a little like General Grant's grandmother. A cup of steaming coffee and golden brown waffles covered with parquet. There's a combination that would be hard to beat on any February morning. And parquet margarine is as nourishing to your system as it is delicious to your taste. Get some parquet tomorrow or at the latest before those big leisurely Saturday or Sunday breakfast you'll probably have this weekend. And as you take big generous helpings of parquet, remember, it costs only about half as much as the most expensive spread. That's all the more reason for enjoying that light, delicate flavor, that luxury flavor you get when you eat parquet. The margarine that tastes like it should cost twice as much. That P-A-R-K-A-Y parquet margarine made by Kraft. Well, looks like this hat business is going to be all right. He had a wonderful opening yesterday after all. Oh, Mr. Gildersley. Oh, hello, Mrs. Pettibone. Oh, hello, Rallo. Oh, Mr. Gildersley, but terrible thing happened this morning. Oh, what's that?  Isn't that a shame? Oh, yeah. Now I won't be able to wear it in the Easter parade. I know Mr. Pettibone will be dreadfully disappointed. You don't know the half of it. What, sir? Nothing. Rallo, did you see? I guess that ostrich feather gave me a fever. Good night, folks. The Great Gildersley is played by Harold Perry. Adaline Fairchild by Miss Yuna Merkel. The show is written by Gene Stone and Jack Robinson with music by Jack Regent. Included in the cast are Walter Tetley, Harry Lee, Rob, Lillian Randolph, Earl Ross, and Richard Legrand. This is John Wall saying good night for the Kraft Foods Company, makers of the famous line of Kraft quality food products. Be sure to listen in next Wednesday and every Wednesday for the further adventures of the Great Gildersley. You bet. Here's a real bargain. An all-aluminum silent butler. A dollar-and-a-half retail value, and it's yours for only 50 cents and a tabstep label. This silent butler is handsome enough for a gift, and it's big. Has a deep, generous-sized bowl, a long handle, a hinged top that opens at your touch. It's just the thing for collecting cigarette ashes or crumbing your table. Now today, just get either right or wrong. It's just the thing for collecting cigarette ashes or crumbing your table. Now today, just get either regular tabstep or the new tabstep two-pound economy low. Your dealer will give you full details about getting this beautiful aluminum silent butler valued at one dollar-and-a-half for only 50 cents. This is NBC, the National


I'm Sam Vaknin and I'm the author of Malignant Self-Love, Narcissism Revisited. There is a strong compulsive strand in the narcissist's behavior. The narcissist is driven to exercise internal demons by means of ritualistic acts. The narcissist's very pursuit of narcissistic supply is compulsive. The narcissist seeks to recreate and re-enact all traumas, ancient unresolved conflicts with figures of primary importance in his life, mainly his parents. The narcissist feels that he is bad and diffusely guilty, and that therefore he should be punished, so he makes sure that he is disciplined. These cycles possess the tint and hue of compulsion. In many respects, narcissism can be defined as an all-pervasive, obsessive-compulsive disorder.  The narcissist develops a unique defense mechanism. He constructs a story, a narrative, another self.  It is perfect, brilliant, omnipotent, omniscient and omnipresent. In short, the forced self is divine. The narcissist develops a private religion, with the forced self as its divinity. This religion is replete with rights, mantras, scriptures and spiritually physical exercises. The child worships this new deity. He succumbs to what he perceives to be the forced self's wishes and needs. He makes sacrifices of narcissistic supply to the forced self. He is owed by the forced self because he possesses many of the traits of the hallowed tormentors, his parents. The child reduces his true self, minimizes it, is looking to appease the new divinity, the forced self, not to incur its wrath. The child does this by adhering to strict schedules, ceremonies, by reciting texts, by self-imposition of self-discipline. Hitherto the child is transformed into the servant of his forced self. The child daily caters to the needs of the forced self and offers it narcissistic supply. He is rewarded for these efforts. He feels elated when in compliance with the creed, he emulates the characteristics of this newfangled entity. The fuse with narcissistic supply is forced self-content. The child feels omnipotent, untouchable, invulnerable, immune to threats and insults, and omniscient. On the other hand, when narcissistic supply is lacking, the child feels guilty, miserable, and unworthy. The superego then takes over, and this is an inner judge which is sadistic, ominous, cruel, and even suicidal. It chastises the child for having failed, for having seen, for being guilty. He demands a self-inflicted penalty to cleanse, to atone, to let go. Caught between these two deities, the forced self on the one hand and the superego on the other, the child is compassibly forced to seek narcissistic supply. Successively his pursuit holds both promise and emotional reward and protection from the murderous superego. Throughout, the child maintains the rhythms of regenerating his conflicts and traumas in order to try to resolve them. Such resolution can be either in the form of punishment, or in the form of healing. But since healing means letting go of his system of beliefs and deities, the child is more likely to choose punishment every time. The narcissist strives to reenact all traumas and to open old wounds, for instance he behaves in ways that make people abandon him, or he becomes rebellious in order to be chastised and punished by figures of authority, or re-engages in criminal or anti-social activities. These types of self-defeating and self-destructive behaviors are in permanent interaction with the forced self, and they are compulsively. The forced self breathes compulsive acts. The narcissist seeks for his narcissistic supply compulsively. He wants to be punished compulsively.  There is no joy in his life or in his actions. Just relieved anxiety, the moment of liberation, and soothing protection, and he enjoys these only following the enactment of compulsive acts. As pressure builds inside the narcissist, threatening the precarious balance of his personality, something inside warns him that danger is imminent. He reacts by developing an acute anxiety, which can be alleviated only with a compulsive act. If this act fails to materialize, the emotional outcome can be anything from absolute terror to deep-set depression. The narcissist knows that his very life is at stake, that his superego, in his superego, lurks a mortal enemy. He knows that only his forced self stands between him and his superego, because the true self is warped, depleted, immature, ossified, and dilapidated. The narcissistic personality disorder is an obsessive-compulsive disorder writ large, where the forced self is empowered to fight the superego and to maintain the life of the narcissist to protect him. Narcissists are characterized by reckless and impulsive behaviors. Binge eating, compulsive shopping, pathological gambling, drinking, reckless driving, but what sets them apart from non-narcissistic compulsives is two things. One, with the narcissist, the compulsive acts constitute a part of a larger grandiose picture. If the narcissist shops, it is in order to build up a unique collection. If he gambles, it is to prove right a method that he has developed or to demonstrate his amazing mental or psychic powers. If he climbs mountains, if he races cars, it is to establish new records. If he binges on food, it is part of constructing a universal diet or a body-building method. The narcissist never does simple, straightforward things. These are to mundane, to pedestrian, to insufficiently grandiose. He invents a context, a narrative within which his actions acquire outstanding proportions, outstanding perspectives, and a purpose, a messianic cosmic purpose, and thereby they are rendered non-compulsive but part of a larger picture, part of a larger scheme.  Compulsive goes inward, the narcissist goes outward. With the narcissist, the compulsive acts enhance the reward penalty cycle. At their inception, and for as long as they are committed, these compulsive acts reward the narcissist emotionally in the ways described above. But they also provide him with fresh ammunition against himself. His sins of indulgence lead the narcissist down the path of yet another self-inflicted punishment, as the compulsive act is self-reinforcing. Finally, normal compulsions are usually effectively treatable. The behaviorist or cognitive behavioral therapist reconditions the patient and helps him get rid of his constricting rituals. This works only partly with the narcissist. His compulsive acts are merely an element in his complicated personality. Compulsive acts of the narcissist are the sick tips of very abnormal icebergs. Saving them off does nothing to alleviate the narcissist's titanic inner struggle for survival.


Away from the local scenes, now onto the forum we have the Suicide Squad. The R-rated comic book adaptation, directed by James Gunn, underwhelmed in its box office debut collecting $26.5 million from 4,002 North American theatres. Those ticket sales were easily enough to lead domestic box office charts, despite falling short of expectations heading into the weekend. There were several factors contributing to its less-than-stellar start, including but not limited to growing concerns over the Delta variant of COVID-19, the Warner Brothers film hybrids released on HBO Max, had no extra charge to subscribers, and its R-rating as well. An upcoming and opening weekend below $30 million isn't surprising given the ongoing pandemic, but it's disappointing because the Suicide Squad cost $185 million to produce, and many million more to promote globally. At the International Box Office, the Suicide Squad added another $35 million from 70 overseas territories, bringing its global tally to $72.2 million.


proudly we hail now another proudly we hail one of radio's outstanding dramatic half-hour starring Lee Tracy and presented transcribed by your army and your Air Force Radio City New York here is your star and host on proudly we hail the distinguished Broadway stage screen and radio star Lee Tracy thank you hello everyone welcome again to proudly we hail our play is entitled final choice and it's a story of a man's fatal decision a decision involving life or death we'll be ready with our first act in just a moment after a few words from Ken registered nurses volunteer for service with the Army Nurse Corps there are immediate assignments open in this country and overseas and only qualified graduate nurses can fill them right or wire the Surgeon General Department of the Army Washington 25 DC do it now and now with your star Lee Tracy in the role of Richard star your army and your Air Force present the proudly we hail production of final choice a man who called himself Richard star arrived in the rural village of Abbotsford at the tag end of a hot depressive Midsommers Day he arrived unannounced unknown and introduced himself to Jed Moore the town clerk and general fact totem of Abbotsford my name is star Richard star star a that's a good name kind of bright I'm Jed Moore not so bright just hot hmm but a scorcher all right I've been sitting here watching them clouds pile up over there they've been doing it for a week now pile up under regular thunderheads that's all sit down mr. star and tell me what I can do for you maybe with the two of us watching them we can coax a little rain out of them do you have a doctor in Abbotsford mr. Moore ain't sick are you oh no no nothing like that let's see nearest doctors over in Linden that's about 12 14 miles from here you're really off the beaten track yes I suppose we are kind of nice nobody bothers us most of the people around here are farmers aren't they most good land even with the hills yeah I can see that you think you could use a doctor around here any place could use a doctor mr. star but I don't know how one could afford to live here two things against it folks are healthy but poor unbeatable combination you were doctor that's right you're a good doctor good as I can be how come you'll pick a place like this oh I don't know I've had enough of cities I want a little peace and quiet my doctor ordered it well you wouldn't starve that's a fact folks could give you food if they couldn't give you money as a matter of fact you could go to work right now what do you mean Tom Grover's wife Mary has been sick for a week now Tom doesn't think much of doctors hasn't bothered to get one over in Linden but I saw him this morning and he seemed pretty worried thought I'd drop around the night myself and if Mary wasn't better I'd call the doctor over in Linden no matter what Tom said why don't you and I take a drive out there right now a good idea I'll get my bag and I'll lock up here you know it's funny I don't often forget a face that's where I'd seen you some place before that's funny I don't ever remember seeing you even in town how did you how's Mary about the same Tom this is dr. Star he's come to live in Abbotsford about letting him have a look at Mary doctor I don't hold any truck with doctors if I can help I'd like to that's it I don't think you can't help when Billy got sick we had a doctor had four doctors Billy died I don't know whether the doctors killed him or not but they sure didn't save him if I can't help your wife I'll tell you if I can I'll tell you that won't lose anything by letting me have a look at her that's straight enough down all right come on in the house well how close is the nearest hospital Melrose 20 miles over your wife has a rupture dependence we taken a Melrose she may die before we get there by operate here and now there's a possibility she may live I don't operate we don't try to take her to Melrose she'll die before tomorrow die you want to just straight that's it how can you operate here you two have to help me is there a house that kids can stay at sure the Adams will take them in well what about it Glover don't have much time what should it be you say the trip to Melrose my killer as soon as she's operated on the more chance she has to live you kill my wife listen you fool you hadn't been so pigheaded and gotten a doctor when she first got sick she wouldn't be in the spot she is now if she dies it'll be nobody's fault but your own I'm not the almighty I can't guarantee to save her all I can do is try make up your mind ever have you ever done an operation like this before yes I've done operations like this before much worse conditions all right let's get it over with like a cigarette no no no thanks will she live don't know done everything I can now it's up to her and the penicillin these new drugs are wonderful aren't they good thing you had some with you came prepared thanks for all you did mr. Moore you were a big help most folks around here call me Jed all right Jed you might as well go home now I'll stay here in the morning anyway stay with you if you like no no no point in it I'll just sit here on the porch a minute and I'll go in and stay with her yes you're not time out fast he needed sleep what about you haven't you heard doctors never sleep kind of a lucky thing for us you showed up here yeah lucky for me too Jen Tom poured the ether and I held the light and he stood there like a rock and did the whole thing I never saw anybody's hand move so fast and so sure don't you think it's odd though he's showing up here like this well maybe it is Joe but I figure that's his business all right daddy but don't you think everyone in town is gonna make it there's everybody but us it's really quite thrilling man arrives out of nowhere and says he's a doctor he doesn't have to say it I will it's quite a fellow whoever he is it's about time I drove out the Thompson found out how things are going can I come wouldn't be curious would you certainly would all right forget your coffee and come along morning Tom how's Mary Doc says she's the he thinks she's gonna be all right he's in with her now stayed up all night morning Joe maybe I could go in and help won't hurt to ask she's in the front room hello who are you I'm Joe Joe Moore anything I can do she's asleep you know anything about nursing a little I could take care of her all right you're gonna feel pretty rotten for a while she's gonna be all right hmm there aren't any other complications if you could stay for the day I'd come back this evening I'll tell you what to do you certainly have started off with a bang here haven't you regular fire cracker let's hope I don't disturb too many people another hot day and another hot night have you found a place to stay yeah your father took me all around and produced me to a lot of people I'm gonna rent the Sloan's cottage for the rest of the summer anyway have you had me sleep yet now I got a little this afternoon your father's been very helpful so of you and we Moore's are very helpful people do you mind if I ask you what everyone's going to be wondering what's that what are you doing here what made you come to this place you like it here don't you sure but this is my home you don't mind if I make it mine no of course not every town needs a doctor but well then let's just say I'm habit for new doctor and let it go at that in other words it's none of my business well is it no as a matter of fact it isn't but if you know anything about small towns you know everyone's gonna try and make it their business that's the chance I'll have to take chance yeah you see I'm really a hatchet murderer but I'm so adept with my tools that I double as a doctor all right I'm sorry I won't say anything more suppose I asked a question do you work for a living I take care of the house and help out as a secretary down at the town hall they could like to help me out to act as a sort of nurse but I'm not really a nurse I know that but you could help maybe a couple hours a day the pay will be rotten sounds interesting let me think about it I'll let you know after supper fine I'll come over come over oh didn't I tell you you are invited to a very formal dinner of leftovers at the moors no you didn't but let's not argue about it I accept be this will break the heat golly I hope so anybody else to see us no he was the last why don't you come for supper getting to be a habit well if we don't complain why should you I don't like to impose I wouldn't invite you if you were all right Joe I'll come maybe you'd rather not Joe what's the matter nothing well then stop acting like a two-year-old I'd love to come to supper you're a wonderful cook your father's a character out of a book and I enjoy spending my evenings with you there not enough I'm sorry I guess it's the heat come on let's go all right I gotta stop in and see Mrs. Meeker first you go ahead there's nothing wrong with her well she's old and lonely she needs someone to complain to all right mr. Anthony but don't be late I'm never late well now who's that come in yes can I help you doctor in no he left a few minutes ago is there anything I can do mind if I sit down it's kind of hot no go right ahead thanks name is quail how long the doctor been here you mean here in Abbotsford about a month and a half why is he a good doctor there are people around here I'll tell you there isn't any better I guess there aren't mind of a smoke who are you what do you want with dr. star star a nice name my name is quail came all the way from New York and a long time on the road it's hot this look like dr. star yes that's his picture would you mind telling me what this is all about here's my picture Henry quail police to your policeman detective what do you want to see dr. star for a little unfinished business will he be back here no no he he went to Melrose to the hospital there he won't be back till late just my luck well I guess I'll have to drive over to Melrose pass through there didn't I yes yes you follow route 46 what's the unfinished business you have with the doctor you ask an awful lot of questions lady well let's just say that it's a slight case of murder and let it go at that murder yeah murder M. U. R. D. E. R. the Tracy starring in the role of Richard star and the proudly we hail production of final choice will return for the second act in just a moment registered nurses here's a chance to be of service to your country and to yourself the Army nurse corps has opportunities for you as a commissioned officer with good pay and allowances you'll have excellent chances to further your career you'll have the benefit of working with some of the finest equipment in the world and of learning the newest techniques in the medical profession so get all the facts today right or wire the surgeon general United States Army Washington 25 DC do it now you are listening to proudly we hail now your Army and your Air Force present the second act of final choice what's the matter Joe cat got your tongue no no I was just thinking well don't do it too much put wrinkles in your head hey dick much too pretty I had to put wrinkles about time we had this think I'd better go upstairs and check the windows that was a good dinner honey hey too much that was close dick you've got to get out of here and right away huh just after you left a man named quail came he was looking for you he was a police detective I told him you've gone over to Melrose I see nice of you Joe but you shouldn't have done it no point in getting yourself in trouble I guess that's that I thought maybe I'd give them the slip but they're too smart dick what is it you've done please tell me Joe I killed a man I shot him deliberately no why long messy story had a kid sister got mixed up with the wrong man he drove her insane I killed him it's as simple as all that my thought maybe I could get away with but I see I can't I'm not gonna run any farther dick they'll send you to prison I suppose so you take the law into your own hands I guess you pay the penalty we'll get a lawyer that'll know just what to do you're very kind Joe I'm sorry I couldn't tell you before and oh dick how blind can you be don't you know never mind what I know never mind what I feel it's just too late it was too late when I came here it always will be sooner you forget it the better it isn't it isn't something you forget stop looking at me like that time takes care of a lot of things we'll tell your father and I'll go home and I'll wait for quail you'll probably want to leave tonight you came here unexpectedly you leave the same way that's right well Joe I'm sorry I couldn't last I like it here like the people like a rock that's what dad said you were the night that you operated on Mary Glover like a rock inside and out don't you have any feelings maybe have hidden them for so long that you've lost them let's say I have let it go at that dick dick you've got a rush call that was Myers lightning struck a tree in front of his place and the tree fell on the car fell inside is all smashed up how awful who was it nobody from around here Sam said his name was quail or quail or something what are you gonna do if I operate got a chance a good one if you don't that's obvious is it what do you mean you know what I mean I have to operate cause more questions not to what it caused questions of mr. quail didn't survive stop it what's the matter with you you want to be a party to the murder too don't your hands are hurting I'm sorry I know it I shouldn't think this way either but I can't help it figure that man in there wanting to take you to prison and I'm willing to do anything to keep you here anything no you're not you just upset have to help me upset we'll use a table in the kitchen Mrs. Myers don't you realize that if that man in there dies you'll be free hold yourself once and for all if you don't have to leave of course I realize if I'd never be free this man hasn't done anything to me he's just doing his job I'm gonna do mine you're gonna help me understand yes yes I understand even if I was tempted to be useless send someone else out here Joe look at me if there was any other way out there was any chance for us I'd take it but there just isn't now dry your eyes and help me wash up long time no see sorry it couldn't have been longer didn't think you could give Henry J quail the slip did you you and the rest of the police department no just me I'm on my vacation nobody knows about this but me you're an awful fool to tell me that tree gave me quite a thumb not gonna be screwy guess I'm not gonna make it anyway the operation is a success you'll make it be interesting to find out whether I'll wake up in this world or the next save your breath slip of my hand would make any difference either of us all right Joe start pouring the ether you do anything to keep you here anything nobody knows about this but me stop him you'll be free fun wake up in this world or the next swap nobody but me a lot of trees down on the roads dick they call from the hospital and Mel Rosen said they wouldn't be able to get an ambulance through before morning all right you couldn't be moved before that anyway is he gonna make it oh yes he'll make it a beautiful piece of work true to dr. star's form his hands were steady as rocks weren't they that's right you better take her home she had she's tired no I'm staying here there's nothing for you to do Joe yes there is I'm staying what about a dick I can't make her go hey what's the matter with you too maybe dr. star can diagnose the case whatever it is it's incurable it's nearly morning it'd be nicer a night would go on well maybe we can have a week or two before your patient gets on his feet will you marry me no I don't suppose many girls ask and get turned down why not do you want the name of a criminal I don't care anything about a name I want you persistent aren't you very over the man I love Joe Joe save save your love it is in mind to save I've given it to you and they can't give it back come here you see what I mean I suppose you feel fine stinko quite a surprise why didn't figure I'd wake up in this world you don't have much confidence in me I thought I'd had it don't remember too much besides that guess I owe you my life I'll send you a bill you know I came out here even if you hadn't been so clear on it last night I still might have been able to guess it's all kind of easy like I'd had a load on you had a load on all right yeah load of lumber dr. star sounds pretty good better in the old way yeah well what's the pitch on me how long do I get laid up ambulance is coming from Melrose they'll probably keep you in the hospital over there for a couple of weeks you're gonna be my doctor don't tempt me I can only stand so much you thought I came up here to take you back didn't you wasn't that the general idea you could have finished me last night no one would ever have been the wiser you'll never know how close I came you knew I was on vacation you were quite talkative you're quite a guy aren't you that's what my girl tells me the one who sent me to Melrose that's right she wanted me to cut your throat now I may yet nothing like a day pretty too you've talked enough I'm gonna put you to sleep that'll be nice oh something you might like to know before you do I didn't come up here to pinch you I came up here to tell you you were free this is your idea of a joke I don't go around taking guys on my vacation you didn't kill Roman even though you thought you did it was a frame when Roman dared you to shoot him he handed you a gun full of blanks you lost your head and you let him have the whole gun full he played dead thought it was a big joke his pal Ziggy knew all about it in fact he was there when you came in the old Roman a lot of money after you'd left he filled the gun with real bullets and goodbye Roman you mind if I sit down how did you find this out oh we cops aren't so dumb how long have you known it a week or so and how did you know I was here now you're worse than a woman put me to sleep doc when I wake up I'll tell you put you to sleep brother am I gonna take care of you yeah well just put that thing down at your hand stop shaking this is what I get for being a nice guy and on my vacation Joe Joe come in here and help me the rocks turn to water our star Lee Tracy will return with a word about next week's program in just a moment there is an urgent need for trained nurses in our expanding Army nurse corps Colonel Mary G Phillips chief of the Army nurse corps recently had this to say I have a very important message for all the civilian nurses of our country who can be spared from their jobs during the present emergency as you know the Army nurse corps needs volunteers and it needs them urgently many more nurses are needed to provide our soldiers with the medical care they must have in order to do their jobs you can serve your country well in the Army nurse corps and at the same time advance yourself professionally there are many opportunities for postgraduate training in anesthesia operating room management and technique nursing administration and many other fields the opportunities for advancement are practically unlimited learn all the facts about the Army nurse corps right or wire the surgeon general United States Army Washington 25 DC and remember the need is now Colonel Phillips message is indeed urgent and we urge you civilian nurses to get all the facts the address again the surgeon general United States Army Washington 25 DC right today this has been another program on proudly we hail presented in cooperation with this station by the United States Army and the United States Air Force recruiting service proudly we hail stars Lee Tracy supporting mr. Tracy as Joe Moore was Helen Kristen final choice was written by DeWitt Cup the music was composed and conducted by John Guarnieri this program was produced under the supervision of Charles and Rogers productions and directed by Charles Wilkes this is Kenneth Banghart speaking


This is the SF Productions podcast network When a dollar went a long way and so did 24 hours The 60s in the 70s dwelling place of the lost generation We who grew up in this era had no real heroes our role models came from the imaginations of others Our meager lives were formed by and revolved around weekly installments of our favorite TV programs Welcome to a place that your parents didn't understand A place that exists somewhere between the forefront of Recollectible memory and the edge of everyday thought Welcome to the vast wasteland Welcome home. Welcome to another exciting episode of vast wasteland Yes, it's the show where we talk about 60s and 70s television and today We're in science fiction and not Star Trek basically We already have done our big Star Trek show So we're doing all science fiction in the 60s and 70s on television other than Star Trek But we've got just loads of stuff to hit for tonight. So let's do Well, if Wilbert can stop playing his little Terminator things Over to Wilbert with his first point for the evening Oh, that was just a bunch of TV a bunch of science fiction TV in the 60s in the 70s My goodness, there were so many shows. We can't Of course, well Star Trek was probably the biggest but hey before that we had shows like lost in space Well my favorite Martian, but we're gonna we're probably gonna cover him in another one actually even though I did science fiction That's good science fiction, too. We'll cover my favorite Martian in another show And why are we all talking like Ha ha ha and well, let's see now Okay, now lost in space was probably the other big one from the 60s. I mean big big big as far as Having a family and oh, we're gonna have this family and they're going to Alpha Centauri. That was there Yes, everybody wanted to go to Alpha Centauri it was just the favorite place to go But when they got up there and oh by golly, what happened an asteroid shower or something through them off balance with his extra Okay, he was a stowaway. Yeah ship was not built to accommodate stowaways If they were gonna bring anything back with them, they couldn't because the ship wasn't built to take extra weight So dr. Smith actually threw him off course his fault as with everything that happened Mm-hmm, cuz he thought I know it was robot supposed to go with them. Yeah, yeah, okay Yeah, that was an essential part of the robot. Mm-hmm. Yep robot. What a name What a movie or warning warning warning well Robinson warning The thing to do to do robot you put your In your sleeve And you put out two fingers like that and danger will Robinson warning warning danger danger That's another one of those shows were well not so much that one, but Shows that were based back on earth. Well, this one was well the robot had the voice the voice that was used for every alien that was ever on Lost um Voice at the bottom of the sea, which was another big another one of the big science fiction shows from the 60s Boys at the bottom of sea although that one was earth based more than being out in space It was still considered science fiction because you have your your nuclear powered submarine here Although I guess they well anyway got a nuclear powered submarine that had um, we could probably even show that nuclear powered submarine The sea view was the Visual aides down here though any any day now they'll get around to getting those but You'll see them somewhere before the show's over right and they had they had the flying sub which was an amazing little thing It was just it was a two-person sub yet. It was as probably bigger than any family car And it's a mm-hmm. It's bigger than probably most of two Person airplanes, but anyway did had the capability of flying Above above the water it could fly and it could also go underwater as a submarine and it was just an amazing An amazing thing there, of course version of bottom of sea was one of the many Irwin Allen science fiction Really irks me with his he has no proportion in The end of the giant But it's like then later shot they're sitting on the phone and yeah, and they're bigger than it is Mm-hmm And Jupiter to the thing that always got me about the Jupiter to when you saw it in space It's like it looks but when it landed it always seemed like it must landed in a hole in the ground right because it was like a One story They walked right out of it onto the ground right and so I was like what did it always land in a crater? Did it dig a little hole and then land you knew there are several stories because they kept using those tubes and going up And they had the elephant or how does it look like if they went inside it must be going down underground We figure look like space like you can see it's like Like what's the big yeah, so I think Irwin Allen needed to take That's the thing about the 60s the 60s were the time where you could just suspend disbelief or hope we we hope As which was which is why I'm when Star Trek did come out It was a lot of people really liked because it it did stay pretty much with the same parameters They didn't jump from one size to another or something like that or the things weren't all mixed up But where we've discussed that one so we're gonna talk about these that are just I guess you consider them bad TV now The voice at the bottom of the sea thing basically I don't think they actually had a Definite mission. They were just underwater all the time. It's a submarine So of course they're underwater only time they seem to come up above the water was when they were in the Arctic or the Antarctic Which didn't make sense to me, right? This would not be the place to come up with a submarine And yet that's the only place where you saw him break the surface so they could come up through all these ice flows and Everything and be up there for a while why I don't know Maybe there were some people that were up there discovering things and they'd gotten stranded or something So they had to come up. Anyway the flying sub usually whenever they had to make their for their Trips anyplace else they would use that and they'd fly to Washington or fly wherever else they had to go Had your character so you have Admiral Nelson Captain Crane Sharky sharky was always down there. What is sharky? I don't even remember what sharky did and then it was somebody else that was Like a lieutenant or somebody that was always on and then Kowalski Kowalski was always there. Kowalski was like the the the check off, right? Kowalski always got hurt, but yeah, Kowalski was always back around and come back again And sharky I guess sharky must have been the engineer and that just makes sense to me Irwin Allen's were the ones where we take this group of people unrelated And we throw them into a situation where they got well, I guess the Robinson family was related except for And of course then Don had the Robinson's beautiful tall daughter Judy chasing after him all the time And then of course it was the land of the Giants where nobody was really their poor little orphan kid and little dog and Dumb people on there Mr. Mr. Fitzhugh Fitzhugh Who was Was he like a Doctor Smith of the group because he was the he was the he was the real negative kind of person But I'm just trying to figure what was his real thing there He had all this money in that first show where he was trying to get away from somewhere He got out there and he lost it all what what they never really explained exactly what he had done Scared me and I didn't watch it for a long time Well it was little because they would come on and say land of the Giants So I would like go hide in my room until it was like So it's that's laying the Giants another one of the great Irwin Allen But there is basically the spin drift which was the little ship They were on it's like I guess there must have been bigger ships because this one was only like a six-person craft and not counting the The pilot the co-pilot and the stewardess Well the dog was in that in that total in that total basket It didn't see the dog until he jumped out of the basket, but anyway you've got what you got a movie star here on here It's like ginger from Gilligan's Island Trap somewhere they can't leave You got the little kid in the dog, which is you might as well say it's Dorothy and Toto And then you got Fitz you who's like the Dr. Smith of the show and then you got the pilot the co-pilot and you got the stewardess and what happens they're flying from where New York to London or something and They there it's an it's like the space shuttle That what they're planning to do with the space shuttle I guess eventually where it can fly from well not to say spatial so much the SST I suppose right except this one could go out of the atmosphere it just fly We just bailed up and wait till the earth orbited around come back down All these shows they're going into space. They're going somewhere else. Why did everyone speak English? Why did they run into aliens from? Wherever and it's like hi, Mr. Ellen. Hello, well Robinson And why can't they figure out? Everything was just like home Yeah Well, they did they did actually say I want show that it wasn't earth and so they believed them the guy could have been lying They go out they go out in the space they fly through the green clouds the mysterious green clouds They fly through that thing and oh, no, it's it's all the all the instruments And they come back down. They're supposed to be in London But yet they don't know where they are because they can't get any signals They can't get anything and then they land and they're looking around they're trying to find something They think they're poor They don't know if they're at the airport or not And they go wandering there's fog everywhere So it must be London and yet the first thing that they finally do see is like a giant cat I had a lot of cat house shoes And they were giant And the guy had a bark at him Oh yeah, he had a bark at him It's like at that time they're at that time they're only about this big yet later in the show They're they're probably this tall Yeah, they can pick up the pencil and dial a phone They capture them and put they capture them with forceps and put them into a mouse cave Oh, what a great show They just had a joke it was this whole perspective I guess was often so But Erwin Allen went on to do other he went on he finally he got off a TV after those and he went and did movies Well, I mean he was he was quoted he said I won't get this quote exactly correctly, but it says that Said a movie was it was our show was worthless if you couldn't blow up the world in the first 10 minutes Effects was everything and plot and and continuity and and characterization was like well if we get around to those we'll do them The big thing is we want the effect. So I guess that's basically what he was trying to do with the Robinsons It's like they're on a mission. Oh, but their mission gets blown up. So there's their often space somewhere and of the Giants They're got to go somewhere. Oh, but they can't get there because they go through that darn green cloud And so they're their whole world gets blown up and there someplace else where should the bottom of the sea It's like a nuclear submarine. It's um, I guess they're really in the Navy. Although they they They never really go on any well, I guess they did a few times do Actual war related kind of missions, but yet they're they're just going They're just underwater And yet they're running to aliens and things that all talk the same Rock creatures crab men all kinds of things and they all just talk the same Y'all had that same voice It's like uh Machines are lost in space because they were like real 60s machines. They would like you turn them on and there'd be like a spiral Through the spiral. It's like what's the purpose of that piece? We're in space, but the machinery and things that we find everywhere still have these huge gears with giant teeth And yet and yet they did these futuristic functions, but they had this they're using like industrial revolution equipment here to like it's a teleporter It wasn't you know those gears then Well, they just didn't have it down. They just have not the circuitry right and everything is I mean you look at you look at um, just gears together. You can pretty much make whatever that's right. Yeah, put all these gears together You can make a miniature Can mass produce dr. Smith Or turn people into vegetables I was like great The carrot man Oh, no, we've turned Will Robinson into a carrot. Oh, no Okay, this is something about space shows any of them. How do you age in space? I mean, how do you age? Okay, if you're traveling in light years or such, how do you age is how are these kids? They always had clothes too and lost in space these kids were growing But they always had clothes Fabricator in the back that we just like slap a lure fabrication It came out on Mars Get some lovely valour flashes And they'll they'll be they'll be similar but different like Like the fifth dimension, you know, they would always have similar clothes, but they would be different So the Robinson family has similar clothes, but they're different Well, he packed his own clothes And then the little monkey they had on there.  Oh, that's right. Penny. The monkey's name was Judy. No, Judy was the older sister Oh, no, that's a monkey That's a monkey of another color Oh, where was Judy the monkey then? Oh, it's Judy the chimp. Well, I think it was the same I think it was the same monkey though and they just put those things on one monkey working Show businesses a dime What do we schedule the monkey This thing to that monkey's head Buck Rogers Well, buck Rogers, you gotta if you're going to buck Rogers in the 70s there, you got to go past Gold space 1999 and all the different Irwin Allen shows No, I mean not the spit Irwin out You got to go past the Irwin Allen You got to get into the Gary Anderson Gary and Sylvia Anderson Doing shows all through the 60s up to the 70s because um UFO was probably their first real Live action, I guess show because before then they did their their puppatoon shows We've got you've got supercar. You've got uh Fireball xl five You stingray Then there's several that didn't get here joe 90 um Captain scarlet and those those just never made it over here I guess and then you get back here to thunderbirds kind of got here Some were somewhere here somewhere and then from there you go right into UFO Which used the same All the same kind of props and things the same ships and all but yet it had live real real live people and that was just an interesting show because um basically UFO um shadow the supreme headquarters and alien Defense well supreme headquarters and defense organization. They were out to stop It was aliens from evil well all the aliens and UFO were evil Yeah, because they would come down and they'd mutilate cows and things and they'd find people and they'd cut pieces out of them and put them in little capsules and they'd want to take them back took all the um Urban folktales because I mean, you know when you're in school You hear all you have to hear about the UFO that landed and tore up all the cows And then they kind of took those and did UFO with yeah a lot of a lot of that so um But anyway, you've got um ed striker who's the head of shadow and he is actually a um He works in a tv station, but the under you go under the tv station And here we've got shadows headquarters on earth and so um from there you take their um their submarine And it could it had the capability had a ship on the front that could blast off into space Or um, you could just take a rocket and you'd fly up to the moon and up on the moon Is shadows real headquarters the shadows moon base the really neat vehicles Yes, okay like like the thunderbirds we saw sometime this year whatever it was um And and they were real meticulous about their miniatures. Well, that's the gary and something innocent You know, you could tell it was you know, you knew you were looking at a miniature, but it was so well done And it was so involved Let's take all these matchbox toys apart and put them back together differently and make something real neat with them But those were really that was really the thing that that made these shows the gary and sylvie anderson shows It was they they were effects oriented, right? That was really one of their big things. There's one of the thunderbird ships. Let me see if I can Show that I don't know Can we get the shot? Well, we'll get a shot sometime. Well, we got a long shot. Oh, no Well by golly, so um Oh, I think we're now ready for that exciting uh, uh still Okay, we don't have this still now, but it's still here This is very exciting for those of you at home, okay It's a black and white, but it's still nonetheless. There we go That's that well, we could that just kind of a camera in there too, but here's the ufo Okay, let's All right, it's this is um Um The uh the satellite that was out in space that kind of relayed stuff between earth and the moon and it was also like their first line of defense against Aliens it could tell when aliens were coming in through the solar system And so you've got commander ed streaker who is the leader of shadow curnaryl alec Freeman who is the second in command paul foster former test pilot for shadow A lot of other people here. I won't get all into them But basically these are more organization versus organization Exactly everyone had worked together team power go and from um shadow moon base shadow moon base Actually became a part of moon base alpha which they used in space 1999 So it all worked together. Yeah 99 was really bland to me. I didn't like it Well, they didn't know whether they wanted to be star trek or 2001 They were like, yeah, we'll do this we'll do this We have these things and lots of gadgets and it was like you could tell a lot of it was just like, well, let's see We could make this into a toy It would usually put me to sleep. That's the effect space 1999. It wasn't all that it was just kind of like Well, you got mark landow and barbara bane who had just who had left um Mission impossible in a huff or something because it's like when they left mission impossible littered new boy came in Oh, wasn't that interesting Well, well, we'll leave this spy show. We'll go to a science fiction show. He'll leave a science fiction show come to a spy show well, okay, but um Moon base alpha I mean space 1999 basically you've got the moon here. You've got this base on the moon Oh, we have a nuclear accident. Oh, no It doesn't fall off the moon. It just creates an enormous rocket like effect It catapults the moon out of orbit And that's like gary. That's like a nerwin allen kind of thing We'll blow up their whole world and make them put them into a situation So they fly out into space and meet all these interesting aliens who all have english accents by the way And they they look like interesting people like oh christopher lee or bryan bless it or David prowls made several appearances on there too all these people that have gone on to do other great things Exactly we we want to take over your world. You have the things that we need We'll we'll we'll capture some of your people and basically blow you up So it was it was just an interesting thing there um And then they had the second season of space 1999 where in which they really did a real interesting thing They went downstairs and they found new costumes That's about how they described it too. We went downstairs and we found these costumes. It's like half of the people Got went and um They took uh one of us a super eagle eagles were their main sources their main ships and they took Maybe a few of them and put them all together and they kind of blessed it off to try to find their way back to earth or something And the rest of the people still they're still wandering around here on the moon It's much more exciting when you tell the story Yeah, and then they got an they got an alien that actually joined the crew to Maya Who was a shape shifter kind of person turned into an animal just anything Anything any kind of animal or creature or whatever To help out and she had the hops for one of the guys on the on the on the moon base there and tony. Yeah Didn't tony have the still to not when tony to had to still it was another guy that hit or maybe it was Like well by There's some of course Okay, but you saw you saw an explosion In in television science fiction in the mid seventies when star wars came out that Everybody you know everybody was cranking out something a new space right and it was yeah in a way it was um You saw Within the space of a couple years you saw buck rogers and you saw galactica and battlestar galactica Well logan's run I guess was out actually a little bit before that because it had the great technology Right and it it actually explored the the story better than the movie did but um, it was still kind of weak Unfortunately because the basic thing that logan was running from well planted the apes. That's true that took off from but it was The show was not didn't have the Meaning or the spirit that the movies had yeah, because the um, you had you had your good apes and you had your bad Basically and that just uh We've got these apes over here.  We've got these apes over here that would be your friends And it's like they had more people in there that were working with the apes and so it was it kind of Yeah, it just went away from the whole idea Just didn't do well at all. Well then so you had galactica that uh, Was pretty galactic. It was it was very pretty. Oh, it was wonderfully pretty and it probably had the um The best um effects I would say of oh, yeah But of course once they had the effects, they just said okay. Well, we've got this effect Let's just show it over and over because you spent a lot of money on this effect You know like the uh the uh fighter coming out of the bay. Yeah. Yeah, it's like a standard shot It's like, okay. It's time to show all the fighters going out of the bay Shoo, there's another shoo, and it's like the same footage over and over because we Maybe we'll show two at a time coming out Now I don't know which came first this or Buck Rogers well galactica did come first galactica brought color nice color You know, it was where trek was so bland. It had the great stories, but no come It's like all space 1999 was all sterile with white with white Gray, oh, right, but they just had a budget for color Did well because somebody forgot to tell them over there space 1999. Yeah, they are doing television in color now I'm being told believe it or not. We're actually done with the half hour. Oh, are you serious? And we have yet to I We barely scratch the surface of this we may have to we may have to have we may have to actually have another part of this show No, possibly possibly or or not. We don't know we'll see if we can scrape together enough for another half hour If so, uh, we'll be seeing that next time and for all of us here at vast wasteland We'll see you later


Our next speaker is Sue Ellen Hopped. Sue is an NCUR Senior Scientist and the Deputy Director of the Research Applications Lab, RAL, at NCUR. And Sue also gave a great talk at the colloquium a couple of weeks back. Thanks, Sue. Look forward to your talk. Okay, I want to confirm that you're seeing my slides. Yeah, it's full screen, but it's cutting off on the side edges for me. Okay, I clicked, did that do anything? Yeah, this works. Great, thanks, Anish. And thanks for inviting me. We've heard lots of talks this week and during the summer school about advances in physics and all the different components that impact S2S prediction. Today I'm going to emphasize some of the tools that we can use to make our life easier as we're trying to advance these physics, specifically machine learning and verification systems. So we'll start with the AI and machine learning as a way of thinking about post-processing. This part of the talk is going to be very synergistic with what David John presented earlier this morning. And I want to talk about some work that emerged during a workshop that I attended in October 2019 when we were still attending things in person. And it was the Oxford Conference on Machine Learning for Weather and Climate. And as part of that, we had several breakout groups. I had been asked to lead group four, which was emphasizing post-processing. And the idea here was to think about how can we use post-processing effectively and what can we do to try to push it into more operational use? So the idea here is if models do have systematic biases then we can identify them. If we can identify them and quantify them, of course we should be able to correct for them as well. And some of the easiest methods have been developed back in the 70s, model output statistics, Golan and Lowry. But those methods have evolved so we're now using machine learning approaches. And there was a question about that in David John's talk and really it's become ubiquitous and part of most forecasting systems, at least for any applications now, to have machine learning as part of these. And I talked about that a bit at the summer school, what industry's doing about it. We can do ensemble calibration with machine learning. We can do regime dependent prediction by separating into EOFs, using K-means clustering, self-organizing maps, et cetera. And we can directly quantify the uncertainty using machine learning. Some folks like Vladimir Krasnopolski have built artificial neural network ensembles directly and then folks like Luca de la Monica have popularized an analog ensemble approach where you can build the ensemble based on past predictions using high resolution models. Here I'm just showing a diagram of a typical method where we can bring in a multi-model ensemble. We can correct each of those using a MOS-like approach with either machine learning or multi-variate statistics. We can blend them optimally. We can include vectors. There's lots of things you can do to improve prediction in this method. And applications often drive the post-processing. A couple of weeks ago, when I talked about what industry does, they have clients who want them to do a better forecast than they can get from the national centers. And of course they bring in machine learning, but there's researchers obviously doing research on that too. A few years back, we were asked to do some machine learning as well as model improvement for solar power forecasting. And through a project with DOE, we really did blend the machine learning with the physics improvements to come up with better predictions for a particular variable. And in this case, a variable that can't be directly assimilated easily. So when we strive toward merging the information, we end up with user-relevant information. And that's what we often strive for so that an end user can make decisions and we can support that with these machine learning post-processing approaches. David John talked about using physics constraints for writing the loss functions. I'm not going to go into that in more detail. He did a great job of explaining some details of that. We always get asked questions, what happens with the long-term forecast when you have trends? You can basically work in terms of anomalies on a detrended database, then add the trend back in as we did for a particular project we did a few years ago looking at climate impact. Deep learning is really showing advance in post-processing. And I love showing this example from Will Chapman and his team of advisors where they were able to use a convolutional neural net on top of GFS trained to mirror reanalysis data. And they found that the big change was a phase shift and using this convolutional net by implementing that phase shift which is really hard to do with other methods, they were able to significantly improve prediction of atmospheric rivers, as shown in integrated vapor transport. And additionally, we can provide substantial cost value by using these post-processing approach. For example, I talked about the analog ensemble, Luca de la Monica wrote a paper where he showed the huge computational savings you can get by building an analog ensemble that verifies in a reliable way, statistically reliable way that allows you to put your computational costs into having a higher resolution base case so that you don't have to run as many ensemble members. So the team talked about what is needed to really move forward in deploying post-processing, machine learning post-processing for weather and climate. First of all is trustworthiness. And again, David John talked about this. You have to have proper benchmarking, also interpretability, going beyond that black box to explainable methods, things like input permutation for feature importance, saliency maps, backward optimization. I love showing this example, David John on predicting large hail and then using this saliency maps, backward optimization and identifying that this dipole structure is one of the structures that produces the large hail. Well, is that realistic? And gee whiz, Andy Heimsfield back in 1980 identified this dipole structure as a feeder-seeder mechanism that did produce large hail. Now we need data to be usable and bringing out the fair principles. We've heard about that earlier in the workshop, findable, accessible, interoperable, reusable, important. We need to really push that technique. Applying the right methods for the problems, very important. We can't just bring in our favorite method every time and we can't just try something new that doesn't apply. And it's important to quantify the uncertainty in addition. So, I thought Marika's talk, she was really great in looking at predictability in terms of, is our spread less than our signal? And these are very important aspects. So the next thing the group addressed was what is a roadmap? What are the actionable things we can do to achieve this vision? And the first thing we decided, we really do need data repositories. There's lots of people out there applying machine learning on different problems. Some of them do a great job, most of them do, but there are some folks who are just trying it for the first time. They pull off a Python library and just be dating without really knowing what they're doing. Really need to be able to compare to some benchmarks. So having a data repository will facilitate improving post-processing techniques, standardizing data, again, getting back to the fair principles, bringing in these interpretability methods, needing broad research. David John mentioned the Center for Trustworthy AI and Weather, Climate and Coastal Oceanography. It's led by Amy McGovern at University of Oklahoma, lots of partners, agencies like NOAA included, universities, industry, including some of the big players like IBM, Google, NVIDIA, VISA, et cetera. Having a group like this making advances can really advance how we use machine learning for post-processing and other applications. Metadata in our data, this is really part of the fair standardization. If we have standardized metadata and trying to understand what we have, including having quality control data, labeled training data, very important for advancing the use of machine learning post-processing. And then finally, coming up with a database of failures of AI. So many of us are reinventing the wheel, trying something that somebody else found didn't work earlier. What a waste of time. We can do better if we communicate our failures as well as our successes. So the group decided to put our effort where our advocacy was, and we did build a repository as we were advocating for. You can go to this GitHub on NCAR of the data stored at UCSD. Anish contributed his MJO and P&A examples. Will contributed the integrated vapor transport for the Atnispiric River examples. We have data from ECMWF two meter temperature ensemble over Germany and UK surface road conditions. So we encourage those of you who want to try this out, go to this data repository. There's Python assessment tools. We tried to make it really easy to access this data and try your own methods and compare against the benchmarks that are on the site. Now, for the second part of my talk, I want to highlight some tools for evaluating and specifically the model evaluation tools. And this is part of the developmental test fed center which is a collaboration between NCAR, NOAA, some DOD agencies, multiple universities. And I've boldly stolen some slides from Tara Jensen and her Met Plus team in a recent talk that she gave on how their applications are now going into the S2S realm. So Met, the basis of this is really a composite of over a hundred traditional statistics and diagnostic methods for both point and gridded datasets. There's multiple interpolation methods. It can be applied to spatial and temporal scales and it's developed for easy sharing of the configuration files, lots of users, both in the US and international. It's based on GRIB, GRIB2, net CDF format. You can use it for gridded or point. Now, Met Plus is a suite of Python wrappers about around the core. There's viewing systems, there's Python plotting scripts. You can use as much of your own code versus as merged with as much of Met Plus that you wish. And it traditionally has focused on short range weather, medium range weather, ensemble prediction, lots of variables, and like I say, recently added capabilities for S2S. So what it does is it allows spatial analysis. There's neighborhood methods for upscaling and downscaling. There's masking so that you can allow separating out night day, you can pull out specific latitudes that you might be interested for your particular problem. There's ensemble methods where you look at scores, CRPS, rank probability, probability, integral transform, all kinds of spread skill, confidence intervals, as well as more traditional statistics contingency table. There's a big mode application here. Mode is method for object-based diagnostic evaluation. It allows you to identify objects in your model data and then look how they change over time, how they might morph, stretch, move, et cetera. A large area to study tropical cyclones, interpolating to common grid so you can compare data and observations very easily. Now, some of their, if I can get this to advance there. Some of their diagnostics are generally useful. They're bringing out now S2S multivariate distributions, multivariate objects, spatial distribution of errors, space-time coherence spectra, looking at systematic errors, using EOF analysis, all as part of these tools. Again, very easy to apply and merge your own Python code with this downloadable open source MET plus. I'm going to highlight two basic examples. One is related to MJO, first using an index outgoing long-wave radiation-based MJO index, or an OMI, where you can use either models or observations of the OLR. You can do these pre-processing steps where you may choose to look at a particular section of your grid, you could cut the domain, for instance, to the equatorial section. And then the calculation will automatically filter for 26 to 90 days, regress the OLR onto the EOF patterns, retaining the frequencies of the MJO, and it'll normalize the principal components. So that an output, a possible output, is a phase diagram, such as this, where you can look at the evolution in time of the different phases of MJO in terms of OMI. Now that's not the only index they've used, they also have the real-time multivariate MJO index, or RMM, in addition to OLR, now including both 850 and 200 hectopascal windfields as part of the basis of your EOFs. Again, you can cut out the part of the grid that you're most interested in. The calculation will remove the 120-day means so that you're looking at anomalies. Normalize by the square of the variance, regress onto the EOFs, normalize by the principal components, standard deviation. Again, getting nice phase plots of the evolution of MJO. You can compare predictions made at different times, as we see here, different colors. Great way to easily put in your data. They do have example data based on NOAA's UFS in there with some observations as well to go in and try, build your own diagnostics in addition to what here, but based, you can download the code and edit it, edit the Python code to whatever you want. The other example I'll look for, I'll mention is blocks. They've looked at various things you might want to analyze about blocks, specifically central blocking attitude, latitude defined here, you know, high pass-builder nine points weighted by a cosine. And then there's also instantaneous block latitudes, grouped instantaneous block latitudes, frequency of blocking, et cetera. You can have, again, you can input either models observations, both best to have lots of years if you're going to analyze statistics for blocking. You know, you can re-grid to whatever, you know, here's an example of one degree data. You know, you can look at running means, default is five days, the idea is to compute anomalies. And it does automatically look at each of these four objects that it wants, and it plots the CBLs, the IBLs, or, you know, the actual blocked events. So an example for the instantaneous blocking latitudes, okay, they actually have implemented, you know, identification criteria, the Peli-Hoskens method, which looks for the reversals in the geopotential height gradients, allows for offset from the, you know, central blocking latitude. And it looks for Easterly equator word flow. They actually pulled the algorithm from Barnes et al. And I copied in the equation that's actually used, so it's defined as blocked. If this function is greater than zero, you can plot the 500 millibar height average here. You know, you can see especially you have the blocking latitudes, the important blocking latitudes here over Europe as we know. And when you look at the frequency distribution, again, not surprising that you get just west of Greenwich for the highest frequency, second highest. If you look at this, that would be off the, you know, just off the west coast of the US. So identifying blocks in your data, very useful. And then group instantaneous blocks as well as blocked events, you can plot, compare, and it writes out met files so that you can then analyze further using your own.  You can download it from GitHub. I'm not the best to ask questions, but Tara loves to respond to user questions. So I put her email on that. And just in summary, you know, really these tools are making it easier to make progress in, you know, many areas, both weather, climate, S to S. These machine learning tools, we're finding that interpretable deep learning is making inroads. Data archives can really help advance the science. And these rigorous, easy to use validation tools. So you don't have to reinvent the wheel and code the same validation codes. And, you know, these ones have been highly vetted, debug multiple times and are used by 3,500 users. So I think it's easy to count on them being accurate. So thank you. Thanks very much. So we have this really interesting book, the machine learning site, but also the Metplus tools that can be used. Chidong, you have a question for Sue. Yes, I'm very glad you brought up Metplus. And I was very enthusiastic about these tools until this summer. I had three interns, one computer major, and the graduate students all worked together, tried to learn Metplus in a month. And we could not figure out how to use it. And we feel like we must meet some critical steps, but we're clueless. So I just wonder what kind of devices you can offer that maybe next summer we will not repeat this failure. Wow, that's too bad. And I'm sorry to hear that. Now they do have Metplus workshops on an annual basis. And if you could send somebody in your team to the workshop and I'll be glad to get you information on how to sign up for that workshop, maybe that will help in the future. The other thing is to directly engage the Metplus team and maybe they can help you jumpstart, to get going a little bit more quickly. So that's what they do is they engage with users. So instead of letting your interns spin their wheels, I really encourage you to have them reach out to the Metplus team and maybe get some good hints on how to get started, how to download the data, the tools, et cetera, so that they can be off and running much more quickly. Thanks. Thanks. Thanks, Julian. Judith, you have your hand raised. I'm putting a note to connect you with Tara. Thank you very much, Sue Allen. I have a machine learning question. It's a very fundamental one and I would be interested in your perspective. And this is that I think we have had great process in estimating model errors or errors in post-processing and improving forecasts in a post-processing step. Where I'm straddled with is how we can use machine learning to find unrepresented processes or erroneously represented processes in our models. And I was wondering if you could comment on what are the first steps to do more along these lines. And Libby has been talking about this relevance map and I understand this, but I wanted to get your perspective on it. Yes, and I think that really you're getting at the edge of research in collaboration between the modelers who are writing the physics routines, the machine learning folks. I think that's why a lot of progress is being made by many folks who are trained in physical science and then have learned the machine learning in parallel or after the fact, like I did because when I was in school there wasn't a machine learning type courses. But I think David John's paper was a great example of how he used these saliency maps, the backward propagation to be able to identify features in the models. But it was based on model data. And we often do our work on the model data because it's easy to get nice gridded data from the models. What we often don't have is observation data and to recognize what's wrong with our models we probably wanna do it in terms of observations. But even to grid our observations we often do re-analyses which automatically put it in terms of the model physics. I think we need to get to the place where we trust our observations well enough that we can go directly from some observational data. Now that we have a ghost 16 data and equivalent satellite data from across the world if we can look at some variables that we can composite over the globe from the satellite data perhaps we can get at working really with observations then compare it to our models not that there aren't problems with observations as well but even the satellite data as well but to really work with all three at once the observational data, the model data and the machine learning saliency methods that after we have trained to do whatever type of prediction we want and identifying features just like these Met plus tools do is really helpful. Thanks, Jordan. Thanks, Sue. Jacqueline, do you have a question? I saw your hand raised and then lowered. Oh, my question was very similar to you. But I would like to add something, I guess. I guess it's related to that collaboration. I know there is like this machine learning community is growing and there is also this like dynamical model community. So I was just wondering if there is this effort ongoing effort of collaboration between these two groups in a way that machine learning can help to improve dynamical models and like this feedback between these two communities because I think when we were so some students were talking about this like we're afraid that people are just gonna go and use machine learning only and they are gonna forget about the dynamical models and like we have to be aware of this issue. So I was just wondering if there is an ongoing effort or yeah. No, and do you bring on an excellent point? No, we learned a lot about dynamics over the years. I mean, back in the 60s in the days of Lorentz and Leith they were trying to figure out what were the best ways forward using the dynamical models or at that time what they were looking at as statistical learning really before we were talking about machine learning much. And the numerical methods won out because the computer power really was applied that way. We had more computer power than data at the time but a lot of the people who got into machine learning like myself were originally modelers. I still run modeling projects in addition to running machine learning projects. And there's a lot of people out there like that. NOAA in particular, they have folks working closely between the modelers and the machine learning folks. At NCAR we do that too. At CGD there's examples of like Katie Dagon who was trying to interpret her climate model data who applied machine learning to facilitate it. David John has shown examples and that Hale example was based on using model data trying to interpret the model. So you're absolutely right. Getting the model people together with the machine learning people is the best way forward to make progress. Craig, I think in the interest of time we'll move on. Janak, if you could post your question on the chat and Sue if you could reply on the chat that would be really great. I think we are 15 minutes over. So thanks a lot again, Sue for the great talk and for the discussion.