I think we're going to hand, are we Dave? We're going to hand over to Marcus there and we're going to hand over to him in a moment. Marcus, are you ready? I'm good, I'm good, yeah. Can everyone hear me all right? Brilliant. Marcus, I'll hand over to you. Thank you very much and it's been really great watching this or listening to itiau'n cael ei hyn i gael i chi gael, ond mae'n ddaeth chi'n gael arall... Hynny, ond mae'n ddaeth i chi'n gael arall... Yn Rivera, rydyn ni'n gael. Dyna, mae'n bwrth, mae'n gael! Mae gael fydd o'r g Caerfod! Rydyn ni'n gael i chi, opath! Roedd eich gweithioog yn apple, rydyn ni'n gael i'w meddwl i'r carneid i chi'r llunio!  Fy oeddwn yn rhoi'r bobl erioeddiol. Byddwn ni'n gobyl i nhw'n gweithio a'u gwneud mewn cyfnod i gyd i'w clynyddu gweithio. Prydych chi'n mynd i'n meddyliad wedi chi'n yw'r bleddyliau a'r gwneud ddweudio. Diolch i ddim yn rhoi'r ddweudio. Efallai yw Llywodraeth i'r ar-en. No delay at our end. Oh, OK. That's cool. All right. So that's fine. So I'm the artist director of Pilot Theatre Company. We're based here at York Theatre Roll. We're in the process of moving. And we're also in the process of about start shooting a movie. So it's kind of one of the most disruptive days of our kind of working life. But that's just the way it is for us today. So in terms of what I'm going to talk to you today, I'm going to talk to you a little bit about the work that I've done. So as a director, I make theatre. And also I've been to Ted. I've been to Ted in California twice.  You can hear me, yeah? That's good. OK. I want a two-way dial-up. This is about engagement, OK? Otherwise, you're going to get this. OK. So we're international touring. We tour the UK. I've been to Ted twice. And we're just recipients of one of the new space awards from the BBC and the Arts Council, which we're very grateful. I'm going to fill you in a little bit more about that. But a bit of background about me. I'm actually a scientist by training and an artist by profession. I trained at Glees University. And what really interests me is the space between the arts and science and where that blur and that edge margin happens. And that's one of the reasons why, as a director of pilot theatre, I created and set up the Shift Happens Conference. Now, the Shift Happens Conference is our Ted-style version of looking at the arts integration with technology. So what we're doing is running that again this year on July the 5th and more of that later. But I'm really glad that we talked about business models. And some of the things I want to share with you today is really some of the things that we've learned along the way. And our business model, it's not a business model. It's a business picture. And in fact, we are a starfish as an organisation. And the reason I particularly like starfish at the moment is that starfish are really cool. And they're really cool because, many reasons, they've got five digits.  Not only does the original one grow back, but the one that you cut off also forms a completely new starfish. So in this age of austerity and cuts, we've been using that as a kind of mantra in terms of one of the things that we do. So we've attached five areas of our work to each of these points across the starfish as a model, as a visualisation tool for us as a whole team. So for us, we do our traditional theatre touring at the top. That's what we do. We tour nationally up and down the country. We also run our shift happens and our TEDx events. And that's another event of our conference running. We also do our education and young people and participation work. And that's again another of the arms. The other one is our international work. And we are a member of an EU network. And we've been doing work internationally with an EU-funded programme. So we work internationally. And the final arm is our R&D and our development arm in terms of creating and looking and exploring the new ways and new technologies that they have and the things they can offer for us as arts organisations. So one of the key things I want to share with you today because we're publicly funded and we're very grateful for that. But with that comes a great responsibility. And the responsibility I feel as an artist and as a theatre maker and as a creator is that at some point along the line of DNA, at some point on that food chain, we have to make that point of access free for our audiences. We have to make some point of that entry free. Sometimes what we're talking around in terms of our models of business is not about financial capital but about social capital and what we gain in terms of being a trustworthy, a reputable organisation. And with that we can build our partnerships and develop our brand and develop the way that we become trusted and we become trusted through the way we use those networks and we use these technologies to develop those partnerships. And the key one of those for us at the moment is working with Kinura. And Kinura will be working with us on the space project, but we've been doing live streaming and working with them since 2008, 2009. But more of that later. So I want to just come back and just check sure that if anybody thinks you can't hear me or whatever, just come and wave from the camera Dave, that'd be really cool. So in terms of the projects we've been developing in the fifth arm strand of our starfish, if you like. And just so everyone knows, we've got the reference points on that. There's a great book called The Spider and the Starfish, The Rights of Leadless Organisations by Ori Brafman and Rod Beckstrom. And I first saw that thing paired in California in 2007. And really that's about the shifting way of organisational and the organisational change that we're undergoing. Where, and the breaking news is, the smartest people sometimes don't work in our organisations. They work outside our organisations. And it's our role and responsibility to harness that potential, to bridge those gaps and to make those partnerships. So we end up working with those people and we end up connecting outside of our organisation. And so we are able to do that thing like the starfish of being survival and being able to hang on in times of austerity. And let's be clear that if one of those areas of our work goes, we are not going to fall over as an organisation. So there's a strength and a real integrity in terms of that as a sort of visualisation model. So some of the projects we've been doing, I'll run through those for you. As I've mentioned, the live streaming. And for us, the one key thing to be clear about this is it's not us trying to do NT live light. It's not us trying to do broadcast on the web a bit like NT live. What we're doing here is different. And the New York Met is absolutely integral to some of the thinking that we've been doing. And in fact, it's a bit of a backstory. I was over in New York in 2008. And the reason I went there was I went to see one of the first streams coming out of the New York Met. And there I met Julie Borshar Young. And Julie Borshar Young was the person who was heading up the entire streaming programme. And while we were in New York, I invited her over to York, New York to York, so good we named it once, invited her to come over to Shift Happens to speak around the model that we were seeing with burgeoning. The genie was out of the bottle. And that first shift happens in 2008. David Sable was there from the National Theatre and that's where NT live in terms of its research was started with the relationship with Julie Borshar Young and their by experience company, which now delivers the whole global NT live programme. Now for us, we recognise that, but also we recognise that us as a small organisation, we're not going to compete with satellite broadcasting, we can't afford to do that. But what we wanted to be able to do was to develop ways where online, we were able to create a different sort of engagement. So back in 2008, we did start to livestream our work. And what we found in that is that on the live stream programme, we were able to also have the chat room running side by side. This is pre-Twitter everybody. Okay, this is how fast this world is working. So in 2008, Twitter wasn't really on the radar in terms of most people. So the idea of a chat room down the side of the work that was happening was quite extraordinary. And it's there when I was streaming the very first piece, a piece called This Child, and we streamed it from York Theatre Royal. Someone was online in Seattle talking to someone who was online from Florida. I knew that because they were the parents of a member of the cast who was then talking to someone in Queensland, Australia, who was then talking to someone in London, who was then talking to someone in York.  Now that for me was incredibly potent, exciting, and completely new. And let's be clear, one of the things around this, this was all stimulated from a piece of live book. And I'm going to be absolutely clear about this of saying that live is the key to the things that we're doing and the things that we make and how we connect and communicate. The internet is alive, it's live, Twitter is live, this live stream is live, this Skype is live. Live is what it is, and that's what we're selling. That is our unique selling point, particularly in the performing arts. Visual arts too can also have run live work. So the live streaming was incredibly important to us in terms of unlocking some new possibilities of engagement and real connection with people right across. Okay. So, we also run, I think, called Drama on Demand. This is another new project here, which I'm going to show you. I haven't got slides, I've got real things. Okay, this is our Drama on Demand, and here there's an iPod in the back. It's designed by a designer. And you can come into the theatre, we've got several of these books made. You can come and say, I want some drama, I want it now. I want it on demand. I don't want to wait till half past seven, I can't wait, my bus goes a quarter to eight. I want some drama and I want it now. And we're able to make it available through wireless headphones without building. We're generating a whole area for the work and saying, what is it that people want and how can we as artists and creative individuals really help to shape and make that change to provide the audience's needs? So if you want to have some stuff when you're coming to have a cup of tea, they can have it. Okay. So, the other thing is, the reason I can't be with you today is that we're working on a green screen film. And again, one of the key points for all organisations is to have some, I call, artistic currency, some creative currency. And what that means is that we've got, we have a project and a product that no one else has. So therefore, we were able to go to a commercial organisation who was able to help us to do some of the funding for this and to help us deliver some of the money that we needed to help deliver this as a new movie project. And from the back of that, we've been working with seven graduates who are from York University who are visual effects graduates who've been working with us since September on developing a new 3D world and they're working on beta test, beta versions of software for things like Myron, things like Hero, and these new stuff have been beta tested. And these graduates working, we're able to create something that hasn't been done before and we're able to attract the funding in to help us with that. Because again, we have some artistic or we have some creative and cultural currency of being able to sort of make a bargaining tool for us to develop that work. So, really, it's coming back to what Mel says, that some of the ideas and the core activities that we do have are absolutely vital that help us to move forward. I just wanted to come back about the idea about innovation and creativity. I noticed that innovation had been sort of one of those words that sort of become hijacked recently. It was on the front of Cameron's box the other day when he was talking and if innovation is great, written. And I think one of the key things is that the key word for me is creativity. It's something that I'll mention as well, and also Nicolle's mentioned. And for me, the creativity, I stick with the Ken Robinson definition of creativity. And creativity is when ideas have value because we can have hundreds and hundreds of ideas and people can spiral off and we can do sort of crazy thinking. But actually, do they have any value? Do they have any meaning and can they be taken further? And can those ideas then be shared to develop projects and to go further? So does it have value? And that's one of the really key things that we have to sort of remember as us as organisations about the stuff that we make and create. So that's one of the key things. So having artistic currency, having something, having ideas that have value, and then being bold, brave and ridiculous and not being afraid in the science bit of my brain of poking something, seeing how far you make it work until it breaks. Push something to the edge until it falls over. Find out what it can do. For those of you who are on Twitter, you might want to follow a project which we are running under the radar until June, and the hashtag is TAG2012. It's an immersive extended duration of performance project. We don't know where it's going. We don't know where it's going to end up. It's interactive because the live nature of it means that people are being engaged with it and are engaging with it as it's being written. Again, this is part of our R&D project. So, really, as organisations, not only do we control the means of production, but also the channels of distribution, we see incredibly exciting, I think, for organisations, and we should remember this, that we do actually have control of the production and we can now absolutely harness the channels of distribution, and that for us is absolutely key. So just a little bit about the live streaming stuff. A little bit about the live streaming stuff. I mentioned Kinura. I'm going to have a thing for time, by the way. Are we all right? Are we doing okay at the time? Do you want to talk to me? Are we going home? I am looking at a wall, okay? It's okay for you. I'm going to do that. I am looking at a wall. Are you still there? Yes. Thank you. Guys, this is the weirdest theatre gig I've ever done. I'm talking to a blank wall in my office whilst boxes are being packed around me. I'm enjoying it. So, the live stream is really interesting. The next iteration of live stream for us is when you look at a theatre stage and you look at a big proscenium space or whatever, will it be good? Hang on, hang on. I'm just flipping you around. Oh, I know that. It's better. It's better. Come on, it's better. Thank you. I don't feel quite so... I don't feel quite so billy. No, mate. It's better. Thank you. Also, the sound's better as well. Who knew? Who knew? I can hear the impression in action. You can see my moleskin now. I'm just saying the live stream, the next iteration is... So, when I'm looking at you now and I'm looking at an audience, so when an audience is looking at a stage, you know that when you're watching something, you choose where to watch. You can be listening to the dialogue, you can be listening to the music, but you might choose to watch the person on the down stage left's shoes because they're an interesting shade of orange, or you might want to watch the upstage right lighting change, ac os yn ôl, mae'n rhoi fawr yn cymhizzio'r cyfan o mhaen nhw yma, mae gydwch yma confusing o'r gwn y wych? Mae gen i gyd yn ddefnyddio'r gyd. Cyngor, mae'n rhan o'r delwedd sydd bras wedi'i gydig yn eu tiliau ac o'r thangos y bydd. Roedd gydwch y ddefnyddio yn ddefnyddio'r llwyddi. Roedd gydwch y ddefnyddio yn gyflym yn dod. Mae'n ddim yn ei ddefnyddio'r cyfr onwards o'r hyn yn chi â'i adnog. Ond wedi bod yn cyfeiri gyda'r prosiect yw, Rwy'n gweithio'n gweithio y 7-8 o'r ffordd y camhwyllion ymlaen i gael gael ymlaenau. Felly, yn y ffordd, yn ymlaen i'r cyffredinol, sy'n gweithio'n gweithio'r gwladau. Ond ydych chi'n dechrau, wrth gwrs, y gallu'n gweithio'r gwaith o'r ffwyllgor yma ychydig yw'r gweithio'r gweithio. A'r gweithio'n gweithio'r gweithio'r gweithio'r gweithio'r gweithio, Maen nhw'n fwy o'r newid ar yng Nghymru iawn i'r cynnwyr ar yng ngyfaint? A'r cwmombaeth nid y LBC iwn i'r Llanfydd Cymru yw byddai'r canffor? Felly yna'r cymdweithio â'r dwylo, â i'r cyhoeddi am y ddweud a chydag i'r newid yn ddau y pwg cymdeithio, mae chi, yn ychydig, o'r moddau a'r gweithio, wedi'u tyfu o'r cyfle cwmach rhai, wedi'u gweld highlight i'w gwasanaeth gweld, yr ysgol am wnaeth yr hyn sy'n cynghwyl? Mae yna dwi'n cael ei wneud o ffyrdd y byd i'n ymddangos. Mae'r ddysgu'r gyda'r byd i'r gwrthoedd. Felly, mae'n mynd i ddigonio'r byd i'r ddweithio i chi am ymateb sy'n cael ei ddweithio. Bydd yw'r ddweithio'r byd i chi'n dweithio? Yn ddweithio'r byd i chi'n ddweithio? A mae'r ddweithio'r byd i chi'n ddweithio i chi'n ddweithio'r byd i chi'n ddweithio? Yn ymnoethaf, aur i'r cyd-dweithio, o dweud y dweud, i'r cyd-dweithio. Roedden i ddechrau i wneud eich newydd fel ddymer i ddechrau aynealthawer deployant wrth ein achor. Roedden i ddechrau i ddechrau eich wneud gyflym ei ddechrau mae'r eu chymdeithas â yr ymgau y maes. Yn hynny, dyma'r cyd-dweithio sy'n ymddych chi'n bwysig i ddyn nhw yma'r cyd-dweithio i gael yr adleidol i sefydlu cyllid. sy'n rhoi'r ysgrifennu i'r gwell i'r proses. Rydyn ni'n ddim yn ymddangos i gydigio. Rydyn ni'n dweud o'r cwilio a gydigio ac mae'n gweithio ddych chi'n gweithio ar 2008 yna bod hynny'n gweithio yna bod y bod yn ffordd ysgrifennu, y rymdau, ysgrifennu, ymdwyng, ysgrifennu, ymdwy'n gweithio. ac rwy'n gwybod i gyd, ac i'n gweithio yr ysgol yn Fborsha'r Yng Nghymru. Rwy'n gweithio'r clif yma yw rwy'n gweithio'r system, ac sy'n gweithio'r sgol ffostiff. Ac yw'r newid model, y pethau'n gweithio. Mae'n gweithio'n gweithio'n gweithio o'r gwybod, ac mae'n gweithio'n gweithio'n gweithio ar y cyfnod ymgyrchu. Mae'n gweithio ar y cyfnod yn gweithio'n cyfnod yn gweithio ar y cyfnod, ond we will assume there's a number of viewers and we're going to imagine there's views that have paid a price and that price is the price of an app. It's 59 P, it's 69 P, it's a dollar, whatever. And we want to say that's the kind of industry price that people might have paid. And we amatise that up and say, okay well if we get 30,000 views on that then there's not enough views on that. If we have 30,000 views visited, then the virtual box office would cost you $30,000. But what we're saying is that, then 10% will come to the creative team as well so $3,000 would come to the creative team and then that's shared amongst the team. We are looking at the new models of how we get around the not fit for felly Grandma has been a part of PEPPs, the legislation that exists already on how IP and distribution and rights are covered. So it's up to us as artists in part of the creative sector to be creative learn how we might envisage those things, those solutions to be made. And it's a little bit like the Llorrans-Lessig, the Lary-Lessig creative commons, a lot of the stuff that we do, all the stuff we do, is creative commons share and share alike. iawn i lleidio'r cyffredinol. Y Llywodraeth Cymru yw'r llysydd Cymru yw'r cyfrifysgol yw'r disgol o'r llunio gyda'r cyfrifysgol. Gweithio'r cair sy'n gwybod y cyfrifysgol a mae'r gweithio'r cyfrifysgol. Felly y gallwn ni wedi bod yn ddeud. Felly y pethau sy'n gweithio'r cyfrifysgol. Felly yma'r gweithio'r cyfrifysgol yn gweithio'r arig ac yn ddod i'r cyfrifysgol, mwyn fydd i'r cyfrifysgol, ac yma y'r fomwyedd arferol iawn yn edrych gan y pwn, a dweud yn ymwler gymhadai chebynidol excuse nad yw'r ffordd prejudigol yn yr ymddangas cyngor yn y teimlo'r ysgol. Dwi'n cyfio'r ffynish yma, ond rydyn wedi'i meddwl a'u gyffredinol ar gyfer y cyfyrdd 5, ac mae'r ffordd yma yn bwysig, gan y 5 p heb, dwi'n creu'r ffordd yma. rym ni wedi cael ei wneud o gyda'r barat yma. Felly, mae'n meddwl bod yn ei ddechrau i gael gwaith, cyhoeddiol, cyhoeddiol, a'r bwysig, mae'n cyhoeddiol newydd yn cael ei gael gwaith o'r bwysig a'r bobl. Maen nhw'n dweud a'r cyhoeddiol, bobl yn cael mewn ei wneud o'r bobl a'i gael ei wneud o'r bobl. Mwyaf yw'r gweithio 5 Penywydd, gweithio 5 P. Mae'r gweithio 5 P sydd wedi llwyddiad yma gyda'r i'r omfyngwys. Fel ydych chi erioedol i'r omfyngwys, ond wych hyn sy'n gwybod a phas. Ond y cwylod hi ydw'r amddangos y bydd. Yn amlwch gyda'r omfyngwys ymlaen. Llyfrgech chi'r gweithio a'r amlwyddo. Nid yw'r ddweud? Nid yw'r amlwyddi'ch amlwyddi'ch amlwyddi'ch amlwyddi? Cynghwyddi'ch amlwyddi'ch amlwyddiadol? Fy mwyn arferfyn? Mae gydag i'r platoryn? felly bydd yma ychydig cyffredinol yn ôl i nodi'w cyffredinol? Yn hyfforddetsodd, tyddw'r myfyrdd pyrrhyws cyllido, ond rydych yn ffrifio chi'n bêl iawn o'u bwrdd. Bysig yn hwnnw, ac yn halen. Nid yw'r ei ddweud, i'w byddur o'r adegau, maen nhw'n credu y byddur rhaeg yr adegau. Rydych chi'n edrych yn rhaeg oherwydd y byddur o'r materiale yr adegau bod oedd yn ni Trybion rydych chi yn bod bwysig. ynghylch i ddweudio'r ysgol yma i ddweudio yma i gael y broson cyflawn yma. Y dyn nhw'n cael eu gwasanaethau. Felly, yna'n dweudio'r dweudio'r ddweudio, a hynny'n dweudio'r ddweudio a dwi'n dweudio'r ddweudio a dwi'n ddweudio i'r ddweudio a ddweudio'r ddweudio'n ddweudio'n ddweudio, dwi'n ddweudio'r ddweudio i'r ddweudio i ddweudio'r ddweudio. A byddai'r Pwysigol yn cael eu cyfnodau a'r cyffredinol, mae'n gwybod iawn i'r pyrwyr a plesifio. Felly, gallwn i'n cael eu cymryd yma hwnnw, ychydig, yng Nghymru Rose, a hefyd yn ei ddweud yr archif am ymwneud. Mae'n яrchif am ymwneud. Mae'n gallu cyfryd yn ymwneud allwch. Mae'n gallu cyfryd yn ymwneud, ac mae'n gallu cyfryd yn ymddangos. When something that fundamental is happening, the worst thing you can do is cling on to what worked in the past. Let's put it this way. Silicon Valley thrives on risk and Hollywood is fuelled by fear. Your guess as to who will win. Thank you.


Is Hulu's new shogun show the best asian show ever? Let's talk about it because the reviews are flying in. It seems like everybody likes the portrayal of the Tokugawa Shogun. Ah, Error we gotta talk about it. This is uh getting rave reviews right now. It's charting as the highest ranked Hulu show over the bear. Shogun fans declare it an absolute masterpiece after just two episodes because Hulu unlike Netflix they don't release the whole season at one time. Wow so it's kind of got everybody on the edge of their seat guys. If you have not caught this show we're going to talk about it. David you've seen the two episodes. I've seen the reviews. I've watched some of it. Let's talk about it man because it is does it check the boxes of a badass asian show? Right there's there's badass good-looking asian people.  They're also killing each other. There's white people fighting each other. But there is a white guy who gets with an asian girl. That is true. That is so I don't know if you hold points against that. Listen guys there's some controversy even some geopolitical stuff. Make sure you like subscribe turn on your notifications check out Smala Sauce at SmalaSauce.com guys um sold out right now but we are coming back soon. Listen Shogun review an extraordinary extraordinary historical epic with heart. Is it as an old school epic with dazzling new vision? Long story short Andrew this is a remake of Shogun from 1978 which was a very classic series starting a British guy. It was beloved in the Anglo world. Right. But this one is different because it focuses more on the Japanese side and they're actually speaking Japanese instead of English. Right so do you think it's uh more I guess pro-Asian in that sense? It is more pro-Asian. It's more balanced. It's more pro-Asian and if you are like from the 70s and you're like you know I just liked it when they would speak all language even though it was unrealistic you might not like the new version as much but they do do a job of um humanizing Black Thorn as well which is the English guy. Andrew long story short in the 1600s Portugal and Spain discovered Japan but they want to keep it a secret from England. England and Portugal are our war but then there's some English people who want to go to Japan and break up the Catholic rule and make it more Protestant. So basically these are kind of like Europeans fighting over Japan even though Japan is its own thing by now. Right right they're fighting over at least the trade rights but in Japan there's also a feudal system because the main leader died his son is too young to take over and there's five warring warrior clans that are essentially like vying for power. Right right right. And uh one of the leaders of the clans Andrew is Hiroki Sonata. Yeah no I mean that's one of my favorite Japanese actors. Very cool guy so I guess David we're gonna go through the comment section and some of the gripes and some of the things that people love about the show because overall people think it's a good show but there are it does not go without its critics. Right. So let's get into it. Andrew it is loosely based off a true story of an English guy going to Japan and becoming a samurai. So but this is not the last samurai story with Tom Cruise. No but Hiroki Sonata was also in the last samurai. Right. He Hiroki Sonata also does fight along a lot of really good white people like Keanu Reeves. Keanu Reeves is part Asian though. He's part Asian but like I know but Keanu Reeves plays non-Asian in that movie. Um somebody said that this is the new Game of Thrones. It's the closest thing to Game of Thrones but way more Asian for me that's why it appeals to me because I like I never fully got into Game of Thrones. I'm not saying Game of Thrones wasn't really well made but it was just so western why wouldn't I watch the eastern one. Yeah and also I feel like this one's more rooted in realism because this doesn't have like the what the dragons and the sorcery and stuff that Game of Thrones would have. Well they're actually talking about the creation of the Tokugawa show in it right. Right. On Osaka and Tokyo and all these different things in the Edo period. Some people it does open up on a white guy like the first scene in the very first episode is on a white guy fishing off a boat. Okay so no but I'm saying that some people were like oh my gosh is this the Tom Cruise situation the last Samurai Tom Cruise. I think it is funny and I understand because I'm Asian and I have similar feelings although it doesn't affect me that much where you like see a white dude talking to an a hot Asian girl in a movie and you cannot help but think yo this white dude is about to get with her. No matter the relation it does not matter. She's smiling at him. It doesn't matter if they're enemies if the if she has a husband if he has a wife you just have a feeling you're like if they're speaking the same language they're about to get it on sooner or later. No no there is a scene where she runs back to all the other like women in the like the empire and it's like his eyes were blue blue like the ocean sky. Well maybe that really was said though maybe that is accurately I don't maybe it's possible who knows I'm sure the actual dude you know Williams or whatever his name was he got with some Japanese girls anyway let's get into the comment section. Somebody said totally worth the hype legit one of the best new series in a long time Game of Thrones level television best series no cap.  Yeah and also I think as an Asian guy you can't help up help look up to the legend of the samurai and the shogun and how they operate how badass they are they're like warrior poets they know how to do calligraphy right but they also know how to kill people they're like believe in honor believe in pride but they're also kind of like ninjas but then it's like you know I they're very cool. Yeah it's funny there is also a hidden assassins in there and they're yelling out ninja ninja it's funny but anyway um somebody says I swear if mariko sama has an affair with that white boy I'm gonna stop watching this show I can't stand it right yeah and that was from was that from like a girl or no from this is from a black woman oh yeah but um also other people there was people talking about the WMA AMF WMAF storyline however um if you watch the original shogun or see any clips from an Andrew the whole thing was based on that they actually downplayed it relative to how much it composed of the 1978 series. Right well I feel like it's not really a remake of the past one it's almost like inspired by the past one but it's probably pretty different. I heard it's actually way closer to the source material than the one in 1978 right because the one in 1978 yeah that was more anglicized right the one in 1978 is going to be heavily heavily heavily pro anglo but the source actual story is actually more 50 50 right it was more about japan right right right um somebody just said well you know I'm just gonna rewatch the old version because this new version feels a little anti-white just like everything does nowadays this was from some old British people. I gotta ask and and I can imagine feeling like a white person that it's a white dude that like you're not getting the props that you used to but you're saying an old white guy who like enjoyed the 1978 show yeah but but you had your complete decades and upon decades of media and now it's just starting to even out the stories a little bit like it's not to say that all white people are evil but let's just acknowledge in these stories now that there were more evil white people white people weren't always the hero but well you wouldn't know what it feels like you wouldn't know what it feels like to win for hundreds of years and now you feel like you're not winning anymore you know I don't know what it feels like to be a tall white man growing up feeling that you're the hero of everything and then one day feeling like everybody's just being critical of you right I don't know what that feels like they're boiling the British sailors in a pot in the first episode I've never won that much in order to feel like I lost that right you don't possess enough to feel a sense of dispossession David a lot of people are saying some people are saying yo I like to show warrior more than this show right like when you're comparing bad ass Asian shows because warrior was also about a bad ass agency yeah and I also noticed that some of this crowd under they're only into like really American things because warrior does take place in America right like you know how like some people can be so Asian American they don't even like stuff from ancient Asia you mean they think like the shogun era is like too Asian it's like too feudalistic Japan and like it's too too Samurai because they're like dude let me tell you this Asian history is way better than Asian American history you know how many L's Asians took in America repeatedly to the up to 2024 like if you really analyze Asian American history it is composed of way more L's than W's no I'm serious you know what I mean I'm keeping it real so why would you tell stories about the times where just like we were just repeatedly taking L's why not the shogun it at least yeah they were dominating the shogun era if you're a shogun duh it's nice to see some like dominance David you make a good point you guys let us know in the comments down below how you feel about that statement because I think you're making a point here and then also some Asians and this is the whole geopolitical aspect Andrew some people don't want to watch something about Imperial Japan because let's be honest Imperial Japan it didn't even try to take over Asia until 1895 but there is some direct linkage to obviously this this whole shogun era and the main restoration listen I was when I was watching episodes of shogun David remember when I told you we were watching it together and I was like damn the Japanese were this badass no wonder they thought they could take over the world like no wonder they try to take over Asia you know what I mean and I was like dang yeah like I didn't I don't feel this way when I watch like the old Chinese epics where I'm like oh yeah China's gonna take over all of Asia but I was like I watched this I was like yo the Japanese are this organized they're killing Europeans already right yeah and they're cutting off like the villagers heads who are like not bowing to the samurai but I think it's like the same thing as like the whole Godzilla minus one thing where it's like dude you're but that that had a better argument because that was actually about soldiers who came home from war yeah exactly but I'm like this is in the 1600s this is like way back in the day yeah this is way before Japan became evil they are talking about taking over Korea in in shogun a little bit that's true if I was Korean and tapped into history and felt some type of way yeah I could see that no I saw some a few mostly Koreans but some Chinese people in the comments saying that you know they're they can't get down with anything like representing that era anyways David how bad should Asians all right do you can you make a case to everybody to watch at least one episode if they can everybody watch an episode get the free trial you know what I mean like where you don't have to pay but you got to put your information in get the free trial check out the first three episodes wow you're saying it's worth getting a free trial of hulu just to watch the first three episodes I'm rocking with it bro listen I get it you know don't you know root for the shogun so like take over your mother country or whatever back in in in the later episodes but I'm just saying like it's fire yeah all right all right representation man shout out to a rookie sonata I always was feeling I like the way him and Donnie and both played in uh John Wick 4 hey guys let us know in the comments down below have you seen the show is this something you're looking forward to it is considered one of the best badass Asian shows recently I will say warrior get similar reviews but you guys can debate about which one you guys like more so we'll see you guys uh let us know in the comments down below thank you so much for watching the hot pot boys and until next time we out peace


The head of the Wagner group accuses the Russian Minister of Defense of betrayal. The head of Russia's Wagner group, Yevgeny Prigozhin, renewed his criticism of Russia's security establishment, saying there was a betrayal going on inside Russia. According to him, Russia's Defense Minister and Chief of General Staff of starving his fighters in Ukraine of ammunition, which he said amounts to an attempt to destroy the force. Prigozhin, who has for months fought openly with Defense Minister Sergei Shoigu over the conduct of the war, said his troops were suffering five times as many casualties due to a lack of support from Moscow. He also questioned why Russian forces had not launched offensives against the nearby cities of Sloviansk or Kramatos in eastern Ukraine to relieve the pressure on Varkhmut. But he said his forces would do whatever it takes to halt any Ukrainian attempt to retake the city. Prigozhin, with close ties to Russian President Vladimir Putin, said in an emotional audio statement released through his spokespeople that direct resistance from the Russian military is nothing other than an attempt to destroy Wagner. Emotional statements from Prigozhin and his fighters highlighted long-brewing tensions between the Russian military and Wagner, which has unclear legal status because Russian law prohibits private military companies. Prigozhin said in a raised voice that Russian Defense Minister Sergei Shoigu and Chief of General Staff Valery Gerasimov are handing out orders left and right not to supply Wagner with ammunition and or air transport. This can be likened to high treason in the very moment when Wagner is fighting for Varkhmut, losing hundreds of its fighters every day. Prigozhin said. Prigozhin also has repeatedly accused Russia's top military brass in recent months of incompetence.


Good morning, all of you. Once again, I welcome you all to my channel, Explore Education. I am Dr. Rashmi Singh, Assistant Professor, Department of Education, S.S. Khanna, Girls degree college, University of Allahabad. It is my email ID. And today, I am going to discuss a very important topic under educational psychology, that is, educational implications of PRJ's theory of cognitive development. Okay, so do subscribe my channel. The lecture will be in bilingual mode, that is beneficial for both Hindi as well as English medium students. And it will be useful for various certain teaching examinations. Okay, so let's start. First of all, we have to quickly revise the cognitive development theory of PRJ. So what is PRJ's theory of cognitive development? So what did PRJ say? Many people must have forgotten or must have left their minds or must have not seen the original video of it. They must not have known about cognitive development where PRJ is. So PRJ, you must know that there are a few days that you should know about it. Generally, you do not get it in the text book, because there are two points in the text book. There are a lot of things that cannot be included in it. So when we remember Alfred Bine, when Alfred Bine was making the first intelligence test, then what was he called? The French government told him to make a test in which we can segregate the children who need special treatment, special counselling, special needs and some that are better than them. So in this process, when he was making it, when he was making it in French and English, his translation was being done in English and French. So in the translation work, where PRJ was included, that is, Bine was working under you and when he was translating it, he found that this intellectual thinking, this age-wise intellectual thinking is differing. You will remember that Alfred Bine has given us the concept of mental age. So he told us that children of this age can complete this task, children of this age can complete this task. That is where the concept of mental age came out. So PRJ also found this idea that intellectual functioning is age-wise differing. From here, he is giving his theory that the children who are young, who are young, do not think like a child. From here, this myth is broken that the children who are young, I don't, I mean young children, kids who are under 12, at least think like a child. I used to believe that, or you can say that they are less intelligent. But PRJ has made it clear that there is no difference in the level of intelligence, there is a difference in the thinking process. They think in a different way, they think in a different way. So this thing is coming out from here. And later, PRJ must have known all these three children of his own. He has been trying hard for his whole life and that is why this theory is still incomparable. It is a very, very big study and we will get a lot of it. We will get a lot of it. Then he said that cognitive development is stage-wise. It will go on in a different way. He told us four steps, stages. What were they? Sensory motor stage, pre-operational, concrete operational and formal operational. Okay, so we won't go there. For that, I will give the old video link in the description. You can see from there. Read it, know it. Today we have to know that there is no leadership included. When we ask a long question, we also ask. And in general, we should also know because objective-based questions can also be made about who said this, how he said it. So it is not only beneficial to take on the theory until we know that we have an implication in the educational world, educational scenario, in the teaching-learning process, in our classroom. So what is the leadership leadership of PRJ? First of all, focus on the process of children's thinking, not just on its product. Because he talked about the thinking process. That is why he tells us that we have to work on the way of thinking of the students of the classroom, the way of thinking. The last step is coming. We have to come by default. That is why we will emphasize the thinking process of the children. This is what comes out of PRJ. Then, recognition of the crucial role of children's self-initiated active involvement in learning activities. That is, he made us feel that the child is an active learner. He plays a crucial role. The teacher's role is secondary. He should be the facilitator's role. And what will the student do? Self-initiated active involvement. That is, he will take initiative and actively participate in the learning process. So we have to learn in this way. Then, a de-emphasis on practices aimed at making children adult-like in their thinking. That is, we don't have to give strength to the child to think like that. No. You can't think because their thinking process is different in accordance to PRJ. When you go to Brunner, Brunner says that these stages are loosely connected and interwoven in each other. That is why anyone can understand the study material in any direction. But here, we are understanding it according to PRJ. So, a de-emphasis on practices. That is, we emphasize that we don't have to do this and that. Rather, we have to treat the thinking that is going on in the way of the child according to the way of the child. Then, acceptance of individual differences in developmental progress. Look, he said that every child will go in the sensory motor first, then in pre-operational, then in incongruary, then in formal operational. But this process will differ from individual to individual. It is not necessary that there are two sensory motors from zero. So, after one day of two years, it will enter the pre-operational. So, this process is the same in all, but different in all. That is why we like individual differences and we should accept individual differences in developmental progress. Then, adaptation of instruction to the learner's developmental level. That is, we should know that a child of 0 to 2 years lives in a sensory motor, so how will we treat it? What is the importance of this level? Then, when he lives in pre-operational, then how will we treat it? In concrete operational, logical thinking is developed. So, we have to give instructions according to logical thinking. And in formal operational, he can do hypothetico-deductive reasoning. So, there he has a developmental level. So, his instruction is given accordingly according to his adaptation. Then, acceptance of the fact that children think differently and see the world differently from adults. We have to accept that the child, the world, the child, the world perceives it in a different way. We have to accept it in accordance to the P.A.J. Then, children are not passive learners. They actively build up their knowledge about the surroundings. So, it has already happened that the students are not only passively grasping the knowledge, they are not only receiving it. In fact, they actively build up their knowledge. Why do you think that P.A.J. is the birthplace of constructivism? The second point is that constructivism goes into three parts later. Cognitive constructivism, social constructivism, and vertical constructivism. So, cognitive constructivism is the weakest constructivism in the continuum of constructivism. But, it starts with P.A.J. That the subject works with his surroundings, according to the cognitive level of his knowledge. And, he establishes his knowledge in that way. Then, helps in understanding one's intelligence is a function of one's ability to adapt or adjust to one's environment. This helps us to understand who is the function of a student's intelligence. That is the function of a good person, his capacity, and the adjustment of his environment. Then, highlighted the importance of drives and motivation in the field of learning and development. P.A.J. is an active learner. He interacts with his surroundings. He constructs his knowledge. That is why, drive, motivation, and all these things help in learning. You should work on them. The motivation level should be high. Drive should be there. Only then, he will move towards it. Then, provides valuable information and advice on curriculum planning and structuring. Everything is clear to the curriculum planner in which year the student will be in the developmental level. That is why, we will design a curriculum for him. There should be things like that. Sorry. He actively participates in the chapter and gets experiences like that so that he can design his knowledge. Then, provides quite valuable to teachers and parents for making them aware of the nature of the thought process of the children at a particular level of maturation. Of maturation and chronological age. That is to say, everyone knows about the chapter. I am sorry. Vyas knows about it. His parents know about it. Gajin knows about it. His teacher knows about the chapter. Which chronological age group is he belonging to? Which developmental stage is he belonging to? That is why, what is his thought process? That is why, we should be aware of it. Like, the most important example is when he is in the adolescent age. That is to say, when the highest thinking process is going on in him. So, inductive, deductive, every type of reasoning, creative thinking, problem solving, when he is dealing with it. That is why, he is doing it step by step. That is why, we parents often believe that the child is answering the question and they believe it is wrong. Rather, he should think in such a way that in his mind, now that thinking process is highly activated. That is why, he is reacting in such a way accordingly. He should treat it sympathetically. And things should be easily solved. Then, major contribution of Piaget's theory is its analysis and suggestions of the optimal conditions for an individual's learning and development by introducing the concept of assimilation, accommodation and equilibration. Look, whoever has read Piaget's theory, he knows that they talk about the mental structure, they talk about the schema. What is the schema? It is a mental image of any concept in your mind. So, they say that the child is learning in three ways. Three processes of the child's thinking process. Assimilation, accommodation and equilibration. What is assimilation? It is a mental image of something in our mind. And we get a new image. So, what do we do? We match it with that image and adjust it on it. We have adjusted it one by one and there is no problem. I have assimilated it. It is okay. It is okay. It is okay. The new schema is done. But what is in accommodation? The previous knowledge is in our mind. And the new knowledge we are getting, there is some dissonance somewhere. There is some problem, there is no setting. So, the previous existing schema, we accommodate it a little and fit it with the new one. This is accommodation. It is one step ahead. We are doing some additional work in it. And this process, when your assimilation happened, then the equilibrium was not disturbed. But we need homeostasis in accommodation. We need a situation in front of us that our problem has been that this was the case and we need to fix our thinking process. So, this process of assimilation and recommendation is called Equalibrations. We are good, we are good, we are individual. We try to make our mental structure an equilibrium in the schema. Everything should go in homeostasis. I am a little early because I have already studied in Piaget. So, I will not teach everything in detail here. You should see the old one. So, what is their major contribution? We can say that their contribution to our teaching learning is that they have told us about these processes, about assimilation, accommodation, equilibration, so that they can know and study accordingly. Then, it has advocated the need of child-centered education. Why do we understand the education of children? Because they are saying that child-focused, students-centered learning, child-centered learning, there are individual differences. And by saying that the educational experiences must be built around the learner's cognitive structure. That is, the cognitive structure of the mind, we have to provide educational experience according to that so that they can work on it and develop their own knowledge. When learning is doing, when it is actively involved, what will be the learning? It will be permanent, it will be fixed, it will have more retention. Then, what are the themes of child-centered learning? For example, constructivism. People are considered to be the students of Ratchanabad. Then, discovery learning. They say, don't study everything, just leave it for a while. For that, they discover themselves, answer questions, search for answers, if they are more involved, then learning will be better. Problem-solving. Problem-solving is thinking that the hierarchy comes up at the top-most level. So, we have to generate problem-solving, inculcate it in the children. Then, learning by doing. That is, if you learn by doing, it will be better. And understanding of individual differences. Every child has to pass through that much stages, but according to their individuality. That is, every child will cross those stages, but according to themselves. The main points to address. I mean, we get all these things from P.A.J. and all these are P.A.J. leaders. And till today, we are trying to follow them till the very end. The rest is criticism of every theory of P.A.J. Okay? So, thank you. And don't forget to like and subscribe my channel. And join, if you join my telegram group, you can find their learning material. You can ask your query there, because here only I am speaking.  Okay? So, join that group. Thank you. Thank you all. And don't compromise it.