So, Pro-Mare, we finally get to it. Here's what is the deal, right? Studio Trigger, the makers of such fine anime as Kill La Kill, Little Witch Academia, et cetera, et cetera, et cetera. The studio that saved anime. Yes, they made a full length animated motion picture. Now, this is their first one. And as we say, if there's an anime movie in the theater. That's not a sequel? Even if it's just like brooms, you should go. Brooms. Yeah, there aren't that many anime movies that are feature length, full production value, released in theaters and are not a sequel to like Pokemon or Yu-Gi-Oh or something.  Yeah, the second piece. Or, you know, compilation movie of existing anime TV series. Yeah. Ones that are original stories, you know, things like that. They're pretty rare. So, if you're an anime fan, you know, it might be hard to go back in time and watch all of them, but you should go back in time and watch all the great ones. It won't take that long. There's not too many. And if you live in a major city in the U.S., they're all in the theater. Right. It used to be that, you know, back in the day, you could only see them really at like in New York at like, we used to go to like IFC or stuff like that, right? But now, thanks to what they call the Fathom Events and whatnot, you know, a small company, a small distributor like G-Kids or Funimation can now through that Fathom Events, put their movie on the screens in theaters around the country for like one or two nights only. So it's not even like, oh, go to Manhattan to the weird theater one night only. It's like, go to the movie theater we normally go to in Queens. Yeah. We went to just a normal old multiplex that shows all the, you know, but it's like, all right, they're showing the dub on one night and the sub two nights later and that's it. They got your back. They know what's up. They know. Yep. So you can go see this, the sub, which is the appropriate thing to do. You may or may not have missed your chance to see it in the theater in the U.S. I saw some talk that there are certain, there are still some screenings out there, I believe in some markets. They extended Promare's theatrical release because it was popular. I think it's made like a million dollars. The U.S. box office. It's doing well as far as I can tell for a extremely limited run and non English anime movie in the U.S. Yep. So before we get into like the full review, the TLDR version is just go see it. Of course. I mean, even before I saw it, I would tell you that because we said it's an anime movie. But now that I've seen it, go see it. Yeah, seriously, like so all I knew was that this is a movie by Studio Trigger. So I had expectations based on what I know about Studio Trigger, but this basically is even beyond like not only did it meet the expectation. It basically was too on target. It is literally Studio Trigger the movie. Yep. Like the way I put it is they just went in. They went all in on what they are good at and who they are. They didn't try to do anything new. They just did what Studio Trigger does as hard as they possibly could. It's like the opposite of what happened with Mary and the Witch's Flower. It's like, hey, we're going to make a Ghibli movie, but not be Ghibli. And they made a not that good Ghibli-esque movie. Yep. But this is literally like Scott said it best. This is Studio Trigger the movie. And if they made a Promare 2, I would go see it. Yep. It's the way I would describe it before we even get into the details is that is, you know, like an anime movie has like the first act, the twist, the second act, the big climax scene, and then the denim on.  Pretty much. There's like a few scenes where it slows down a little and they're not even that long. This movie just, it just shoves anime into your face as hard as possible. Take the biggest action scene in Giant Robo and make that an entire movie. And I loved every second of it. The other thing is it's the plot is there are firefighters. The plot is nothing. The plot is there are firefighters and there are fire terrorists. Yep. Well, the whole world, the plot is actually something weird happened that we can't explain. Whereas some people were suddenly on fire. The entire world got set on fire, literally. And the post apocalyptic, you know, reborn society. Firefighting is really important.   And then that Gestapo literally starts arresting people who are obviously immigrants effectively. Yes. They have like, they use ice weapons literally. And then, and if you go non-white worker in a restaurant making pizza, he's making the best pizza and all he wants to do with his firepower is make the best pizzas.  They're making pizzas.  There is zero ambiguity that it is ice. No, but yeah, it's a, the plot is not much of a plot. Well, the plot. So it's basically the plot they need to set things on fire and have giant robots. But the plot in terms of like, forget the animates, but like what the major characters are doing and why, I'm not saying it's complex, but it's more than you would expect. Like the villain has fairly complex and interesting motivations, like more so than I expected. Scott, did you ever actually see all of Giant Robo? Uh, yeah. So all I'll say, if you have seen Giant Robo the end and like what the real plot is and like the final moments of this movie are so, so parallel directly to the end of Giant Robo. I don't think it's actually, I don't think it comes from Giant Robo. I think it just comes from the same source material as Giant Robo, which is old Giant Robot animates. Yeah, but more the like, what did you, it's that, what did you expect me to do with this moment from Giant Robo? Similar sort of situation in Promare. Yeah.  Yeah, but Giant Robo kind of from the same cloth. Yeah, but Giant Robo really crystallized it. Anyway, so yeah, this is not a spoiler, even though it is a thing that happens near the end of the movie. This is a movie where a robot that is so enormous it put the entire earth is on fire.  Yeah, that happens.  Yeah, but that's the kind of movie you're going into. You know, so you know, you're in the gun drill through the earth insanity. Or, you know, like the open like Giant Robo starts in media res. It literally just starts with this crazy train and a giant action. Yeah, this starts with after they explain the history of the world briefly. Yeah, there's building on fire. The firefighters are going with their robots to fight the fire.  Yeah, the city is very Evangelion nerve city where the whole construction of the city is designed to help fight fires in the same way that, you know, the nerve city or whatever. It's called Tokyo Seven.  Every character is a ridiculous over-the-top character of something like they're, they're as ridiculous as you could possibly imagine. Right, and a lot of them use, they're basically transplanted characters from other trigger anime, right? Which I like. There's like the big dude. Yeah. The Gamagori. It's just Gamagori. And then, you know, the sciency girl who handles all the tech stuff. It's like, she's obviously just the hat girl from Kill I Kill. All those characters in the firefighting team, I was getting these vague like bubble gum crisis vibes a little bit. Like it almost made me wanna go watch bubble gum crisis again. Well, the, also the chief guy with the mustache. Yeah. You know, plus all the vehicles gave me a lot of tank police vibes. Yeah, it was especially there is literally a scene where a fire truck starts rolling through a hallway that is narrower than the truck. That is like the iconic scene in tank police. Well, the second most iconic scene. The most iconic scene is all the penises, but this movie is just ridiculous and over the top to the point that I am hesitant to try to describe anything about it beyond that. Well, I also gotta point out, you know, this is for all the peoples out there.  Yes, but, but here's the important point. There is no romantic subplot. No. Which I am very, that is refreshing. There is a female love interest and a male love interest. Right.  And like she likes him and there's stuff. He basically just gets on his motorcycle and drives away. And then there is another scene where it's like, oh, he's good.  You know, but there's basically it is inferred in such a way as like, yes, there's something there. And you know, they don't make it explicit, which is main character is either gay or bisexual. It's a show openly. Right. It's a shame that they don't make it more explicit, but they clearly the, you know, via the, it is unspoken that like, yeah, he is not interested in that girl. He is interested in, you know, the dude, I guess what I, what is refreshing though? I'm glad that was like in Darling in the Franks, which I haven't even watched, but I know that like, yeah, there's a dude in the girls all bent over in front of him. Here, the two dudes combine in the robot. All right. Not that the girl doesn't combine in the robot with the other dude. Yeah. Okay. The two dudes combine in the robot, but I'm glad there's no romantic subplot only in the sense that I hate that that just is in everything always. The fact that it's not actually a subplot and it's just about these people, but at the same time, their attraction to each other is not in any way hidden. It's just there. It's also a movie like, I almost want to just send this to my dad and be like, Hey, it's a movie about fireman. No, it's not. It technically is, but no, this is, it's just firefighting is merely the, you know, facade for which it is a, you know, tactical. They literally fight fires. Super hero team. They fight fires with fire trucks. It's like, it's like if you just repainted gatekeepers and put like a fire emblem, FDNY on the side of the gatekeepers vehicles, that doesn't make them firefighters. They're still. The other thing I really appreciated was that it's such crazy over the top action. The colors are amazing. Like the colors, the lines, like everything about the aesthetic they managed to combine the CG, right? And the, you know, the regular non CG animation in such a way, right? That is not the way that a Spider-Man, Spider-Verse does it, right? Like a new and different way. That's pretty, you know, it just has just like tons of energy in it. I don't know. The one thing is, what was I going to say? In the early part of the movie, the city itself looks very CGE and sterile. And I fed to the point that I thought that was on purpose and there was going to be a plot around that, which there wasn't. No. But otherwise, like it just looks so good. And in the midst of all this chaos, that what is actually happening on screen still like makes sense, which a lot of thing, a lot of anime and even live action movies that try to go crazy like that tend to lose this, like Transformers movies are the perfect example. It doesn't actually make sense what's happening.   You'll always see like the one from Macross where it's like, all right, the plane, they're fighting outside the Macross and then they're in the city and then the Transform and then the chase and then there's also the scene where like they're falling and the cockpit opens up and they fall out and then they come back in and he grabs and closes it, right? And it's like these, if you watch those old anime that have these scenes in them, it's like most of that show will be the cheapest, barely moving cut, low budget animation, just talking heads and stuff like that. And then during the action scene, they'll have this one sequence they put tons of effort into that you can then clip and make an animated GIF for Twitter. That will be amazing. In a while, look at that incredible animation.  It's just nonstop anime Twitter GIF of amazing animated action sequence. Also, I cannot stress enough the absolutely bumping soundtrack. And if it ever pauses for a moment and there's no action, instead you get like breathtaking, beautiful, still background kind of scene. Every frame of this movie would be a fine desktop background. Every single frame. But the music is fantastic. Well, I mean, it's the same composer that you heard, you know, in Kill I'll Kill and all the other studio trigger things with that same kind of energy. But the animation is like really set against the music very well and the music is varied within the confines of the movie. Yes. Like to the point that I've just been listening to the soundtrack at work. So it's on YouTube. Yeah. The other thing along all those lines is that despite all this nonsense and like all this crazy, crazy, there's a ton of humor and like little jokes and like little bits that would be easy to miss. And the movie, and I really, really appreciate this because it's so rare.  It's so fast. If you don't notice it, you're gonna miss it. Yeah, but like the movie trusts you to notice all these really little jokes without going back and like, hey, did you get the joke? Did you? Did you get it? Yeah.  That was crazy fast. Oh, the one where, God, this is so long ago. The Elf Princess Reign? Yeah, something like that, right? Where it's not just like.  Isn't that I'm so cool. I'm so smart. Yep. That's the one. Yeah. But yeah, it's crazy fast. There's another one we forgot that has a similar thing but it's not like this ridiculous breakneck speed that it's like, you know, you're listening to a record and it's spinning too fast. You can't tell what any, what the lyrics are. It's like, it's going. It's like a podcast on 2X where you can get all the words in and it's still fast but you 100% can tell everything that was said and it's perfectly clear. And I guess you might miss some things if you don't pay enough attention or you slip, you know, doze off or get distracted but otherwise is totally good. And they managed because of that speed to cram in a ton of stuff, right? I didn't feel like there was anything that was like that they introduced that was lacking screen. It's not like, it's not like, oh, not too many characters, not not enough characters, just the right number of characters, just right number of, you know, scenes and twists and things like that. Yup, like every side character as crazy as they are has just enough screen time for you to enjoy that character. Yup. Even like really minor characters, like they get enough. And everyone's like rotten tomatoes, like this movie is making money. It's like the reviews are all great for the most part. What did enemy news networks say? Promare is a refinement of the trigger formula to the point where I honestly believe it has outdone the classics that inspired it. Yeah, probably. The only thing I can say about this movie that would be negative besides the fact that the plot is basically nothing. Yeah. It's just anime plot the anime, right? I like anime plot the anime. I do, I love anime plot the anime. But relatedly, I think if you are not... Just like I like Guy Ritchie movie, the movie. Right, I think if you are not anime fan the weeb, this movie will just be like, what the fuck? Yeah, because the... This movie will just blast right, it might blow you away, right, physically. But then you... I don't think you're gonna penetrate.   Yeah, then it ends, you're just like, what? Right, whereas an anime fan would be... It's like, imagine two people riding a roller coaster and one person's like, roller coaster.  I don't know what a roller coaster is. Here's where I put it. Compare this. Why are the turnings all good? Compare this to Red Line.  Compare it to Red Line, which is a pretty... I was also thinking about Red Line, but I think Red Line... Red Line is actually sent like a normal movie that has more speed up and slowed out, right? It's not full speed the whole movie, right? It's like, there are the scenes where the racing and crazy racing actually happen. But then there's the scenes where like the characters are developing and having a quiet night. Right, and then there's talking in between, right? And there's a whole lot of setup before the race and stuff like that where this is just non-stop. To be fair, Red Line too. Red Line actually has a pretty nuanced set of character arcs and the plot is actually more complex than... Red Line has a plot that is way more advanced than the plot of Pro-Mare, which is just nothing. Yup. But if I take like random person and show them Red Line, they'll understand it as a movie. Yes, a normal person can watch Red Line. Only a weeb can watch Pro-Mare. I would be very surprised. I would love... This is why I want to send this to my dad and be like, hey dad, it's a movie about firefighters from Japan.  But I would love to just do like a test with like a room of non-webs of various sorts of people, but non-webs and have them all watch Pro-Mare as maybe their first anime ever.  Like kids might be like, woo! But I think adults who have closed or, you know, minds might be like, what the hell? I mean, the first anime I ever saw was Vampire Hunter D. And all I remember is that I'd never encountered anything like that in my life. No, no, it's just a vampire story. Yeah, but it was crazy, ultra gory event. Like it was way gory than anything I'd really seen up to that point. Yeah, that's true. It's Halloween time. Watch yourself with Vampire Hunter D. Yeah. If you haven't. We ever reviewed the original Vampire Hunter D? I haven't watched it in forever. I remember like, all I remember was there was like a... Oh, I remember almost nothing. Usually every year around this time, Nighthawk Cinema will do a midnight screening with food. Midnight though. On a weekend.  I'll do that. Yeah, maybe. So yeah, if you are listening to this episode of Gignites. That means you can probably go watch Pro-Mare as long as you get the opportunity. 100%! If you are hearing these words, just stop listening and go find out how you right now can watch Pro-Mare. You might have to wait for it to come out and stream to you or something like that. I almost just want to watch it right now. We can't easily. Yeah, I'm sure I could find it somewhere. It's possible. But difficult. It might still even be in theaters in New York. I'll have to go check on that. Maybe. Yeah, this... You know, this movie does have more of a plot than the original Vampire Hunter D. Maybe, but I'm still saying it really does not have, you know, a story. Yeah, but this is already like, world was on fire. Why? Like that's the plot. And at the end, you will know why the world burned down. Right. And it's actually a pretty interesting plot that was more than I expected it to be. Yeah, but it's not, you know, you're not getting any meaning or... No, you could, because one of the aspects of this movie is actually very relevant. Well, two of the aspects are very relevant to current day, like real world problems.  Yeah. And number two, rich people wanting to give up and start over and leave all the pores behind instead of using those resources to fix the world. Those are two very core, very real themes in this movie. But they are just, they're just like put right out there. Yeah. The plot is just, yeah. Those anti-immigrant people are bad. There is no, Jeff Bezos, bad. There is no subtlety whatsoever. There is no, right? It's literally just... But that is still more... I think they thought, when they made this movie, I think there was like an interview with them at the end, but they didn't say too much. But it did come across like, we decided we wanted to make a studio trigger movie. About fire. About fire. And then they pretty much has made up a plot in order to support the scenes that they wanted, including, like I said, robot so big, it punches the earth that is entirely on fire and solar systems that's on fire. They even hinted at it, because they were like, with Kill La Kill, we wanted to make a movie about clothes. And then they even cracked them. It was like, no. About clothes. Yeah, but then they cracked themselves. They were like, well actually about fabric. Specifically fabric. So this is the fire movie. And it's great. And you should go see it. And we truly live in a golden age of animation. Geek Nights is distributed under a Creative Commons attribution 3.0 license. Geek Nights is recorded live with no studio and no audience. But unlike those other late shows, it's actually recorded at night.


The Anderson family. Oliver, aren't you proud of Junior? Winning the essay on why I want a horse. I certainly am. Maybe I'll win a horse, Pop. If we don't have room for relatives, where are we going to put a horse?  But we can't keep a horse in a garage, Junior. I don't see why not, Oliver. Now, don't you make it tougher for me, Mary. Uh-oh. Here we go again, folks. Yes, ladies and gentlemen, it's the Anderson family. There's Papa Oliver Anderson who doesn't believe in the adage, be sure you're right and go ahead. He just goes ahead anyhow. Then Mary Anderson, his lovely wife, who thinks everything happens for the best, and she's the best. Then let's not forget Junior, 12 years old in the spark plug of the Anderson's daily life. They're a happy family, although Oliver is somewhat confused with life.  Well, almost king. There's no place for morbidity in their life, and their happy outlook is a tonic for everyone. Now, this whole thing started when Junior Anderson won an essay on why I want a horse. The first thing Oliver knew about it was when his boss called him into his office today and told him the bad news. Oh, yes. Anderson, come in. Sit down. I'll stand. I'm tired of sitting down. Now, as you know, Anderson, I was on the judging committee on the juvenile essay contest, which was won by Junior Anderson. Yes, I know. Junior's very happy about the whole thing. Yes, as your employer, I'm going to do something which gives me great pleasure. Well, gee, I don't think I deserve it. You're absolutely right, except that you're wrong. I don't get it.  Oh, now you didn't have to do that, Mr. Thompson. My car is good for another three weeks. It's not a car and it's not for you. It's just something to show my appreciation for Junior's efforts. Oh, that's different. Well, whatever it is, it's probably more than he'd ever get from me on my salary. I love your sense of humor, Anderson. Yeah. Well, I'm going home pretty soon. Shall I take it to him? No, it's been delivered already. Right to your door. Or should I say to your garage? Wait a minute. You don't mean a horse. Not just a horse. My, my, no. This is a racehorse. I know, but they eat too, don't they? Would you deprive the little fellow of the pleasure of a horse? Would you allow his victory to be turned into defeat? Well, of course not, but... He expressly wished for a racehorse. How proud he'll be of Flora Dora the second. Yeah, but I don't have a race. Flora Dora's racing days are over. She's just a kindly old lady of the turf. Now run on. I'm busy. Why, of course, he will. He's always glad to see you happy. But why can't I go in the garage and pet her, Mom? A horse isn't any good if you can't ride him. I think you'd better wait till your father gets home. He knows more about horses. Oh, gee, Mom, I have to get acquainted with Flora Dora sometime. I'm sure she likes me. Uh-oh. Something fell in the garage, Mom. That was the horse. Oh, me. If we don't do something with it, she'll kick our car to pieces. Oh, here you are. I thought you folks had left home.  Junior wants to bring the horse out of the garage. Well, then why doesn't he bring her out? I was going to, but Mom said wait for your father. Oh, maybe your mother's right. What's that? Oh, I don't think the horse likes to share a quarters with your car. My car? Well, let's do something. Don't look at me. I'm not a trainer. If you'd just bring her out, Pop, I'd lead her around. Well, now, this has to stop. I won't have my car kicked to pieces. I must. Wait a minute. I'm a stranger to this horse. Maybe I hadn't better go in there right now. Wait a minute. I have an idea. I'll go get Homer Meister. He's an old horseman from the North. And anyhow, if he's laid up, he won't lose any salary. Hi, Homer. Are you busy? Why, uh, can't work, is it? No, no work. Oh, well then, come on in. Martha's home. Oh, uh, hello, Martha. Oh, I just wanted to see Homer about a horse. See him about a horse? That's a new one, ain't it? No, uh, I, uh, I don't know. We have a horse. Oh, sure now, Martha. Let Oliver talk. I can hear you anytime. Well, uh, I knew you liked horses, Homer, and I know you're familiar with them. Well, now, you're right, Oliver. Why, I read Bear Beck when I was 12 years old, hanging on but nothing but my teeth in his mane. Then I had a little pinto once. Yeah, yeah, yeah. I know. Look, before we go into the pinto, I just want to explain that the horse is in the garage. And I don't think she likes me. Oh, Shucks. You just don't know how to handle a metal. Keeping it in the garage? How about your car? I've been thinking about that, too. Well, now, Shucks, now there ain't a horse living that don't make up to me. Wait till I get my head. Oh, gee, well, if there's a horse. Mary! Can Junior walk? Well, then have him come in here. I'd like to speak to him a moment. Four days. Oh, well. Oh, well. I haven't got a friend left in the neighborhood. A fine arrangement. Oliver, what did you want? Junior, why did you allow Florida to eat up all the gunkle's imported tulip bulbs? Oh, gosh. I just let her nibble some grass in their yard. Before I knew it, she'd eaten a few of those green things. I see. Well, he's going to sue us. Oh, Oliver, he's always suing someone. Yeah, but this time he is going to, he said. Oh, gee, Pop, I've been pretty careful with her. Homer's been riding her mother. Boy, can he ride a horse. I bet he could win a race with her. You haven't said anything like that to Homer, have you? Why, Oliver, what if he did? Simply because if he did, Homer would rather talk me into letting him enter her in a race. Oh, but she's too old, Oliver. Oh, gee, Mom, if you'd see them fly down that alley. Well, maybe we should lock the horse up, Oliver, and then Homer wouldn't ride anymore. Well, I don't think we can do that. You see, I made a kind of a deal with Homer. Deal? Well, yeah, sort of a deal.  It seems to me you could have consulted Junior. It's really his horse, you know. Well, it doesn't hurt to humor Homer a bit. After all, he tamed her, didn't he, so we could pet her. Dear, I wonder who that is. Well, it's probably Gunkel one. I don't think so. Well, it's probably Gunkel wanting to check for those bulls. Howdy, Oliver. Got a minute? Yeah, come on in, I guess. Well, Pagliacci? Who? Huh? What's the Turkish wardrobe for, Homer? Turkish? Why, they ain't Turkish. Just some old racing silks that wore back home. Why, Homer, where did you ever buy silk? Oh, had them for years, Mary. Old jockey silks. Gee, just like a regular jockey, Mr. Meister. You see, Mom, but they aren't pay a little snug, Homer. Well, yes, yeah.  Keepin' my weight down. Are you havin' some pictures taken or somethin', Mr. Meister? Pictures? Nope, nope. Just gettin' down to my best bride and wait. Lost nine pounds. Been down to 120 Friday, Brigham. Friday? Yep, Oliver, let me look at that racing record book again. The page that shows Flora Dora's racing record. Oh, sit still, Oliver. I'll get it. You've seen it 50 times, Homer. Psst, did you tell her about our gear?  Well, uh, yeah. Uh, what'd she say? What do you whisperin' about, Pop? Well, uh, nothing. I'll tell you later, Junior.  It's on page 206, Mr. Meister. He even knows the page, huh? Oh, wait, that's the page, Pop. Oh, yeah, yeah, yeah. Here it is, Homer. Flora Dora, the second. Baymare by Mudhog out of Flora Dora Girl. Born 1930. Well, eggs don't make no difference to the horse, Oliver. Just like a woman. Give him a kind word and he'll knock themselves out trying to make you happy. Well, let's see, you know, third race at Pimlico, 1934. Oh, yes, here it is. This is what I want to see. Yeah, that's her racing record. Yep, yep. Um, uh, third race, one-mile track, muddy. Finish third, Oliver. Then three horses in the race. Why, she couldn't have been worse. Well, give her a chance. She was not training, maybe. Yeah, I can just see her at the post. Turning to the next horse and saying, pardon me, I'm a stranger on this track. May I follow you around? Somehow that isn't funny, Oliver. Uh, nope, it ain't, Mary. A horse has got a heart and feelings. Well, just like anyone else. Yeah, and you should see how Floridora obeys Homer. Well, he says, get going.  And with you looking over her shoulder, it probably keeps her from doing her best work. I don't see the necessity for this rigid training routine, Homer. Floridora's getting old and just a pet. Yeah, and the neighbors go across the street when I approach them. They kid me about Junior's racing stable. They're just jealous, Pop. Well, that may be true, but I'd like to have the whole thing die down. Nope, Oliver, nope. I went to the trouble of sewing up the jogging suit, starving to get down to the best weight. It's too late to quit now, Oliver. Anyhow, it's going to rain Friday, and that's where I got him. Now, look, Homer, Floridora's too old. Now get a hold of yourself. Her racing days are over. But, Pop, it's going to rain Friday. What is this rain on Friday business, young man? Well, it's a secret, Mom. You mean it was a secret? Well, regardless, I got to deal with you, Oliver. And besides, Floridora's a mother.  I'll not let you go through with this and have people laughing at me. That's too late, Oliver. Too late? Yep, I entered Floridora already in the third race at Marthorn Friday. Anderson's. Junior was rewarded with a real live race horse for riding the best essay on Why I Want a Horse. Homer Meister next door has been training the horse, Floridora the Second, for two weeks. And now it's Thursday, the day before the big race. Oliver Anderson, by this time, has most of the neighbors avoiding him, and he wishes Homer would scratch the horse. Mary and Junior are waiting at the racetrack for Oliver, who has stopped to chat on a corner with his boss. Now, see here, Anderson. You have to do something about this hat rack. Floridora running in that race. I'm losing face all over town. People will think I'm the owner. Oh, now wait, boss. It's just a phase in the life of Junior. He's thrilled to death. His horse in a real race. So you're going through with it, huh? Why, sure, there's nothing wrong with it, and you did give him the horse. Okay. Let me tell you this, Anderson. If that plug runs in that race, you and I'll have an important conference first thing Saturday morning, and you won't like what we talk about. You mean I'm being fired? It could amount to that. Thank your choice, Anderson. You can only push me so far. Oh, here, here comes Pop now, Mom. You'd think he was the one who'd been standing in the rain to see his dejected appearance. Oh, here you are. I'm sorry, I'm late. Stand back in here out of the rain, Pop. Oh, thanks. Uh, Junior, would you care very much if Floridora didn't run tomorrow? Floridora not run? Gee, Pop, you don't mean it, do you? Why, you've let Junior believe you thought it was all wrong. Never mind, all right. She'll run then. I just thought I'd ask. And the horse burns right down this way, Pop. What's wrong, Oliver? Oh, nothing. I just left Thompson and the boss. He's burned, Pop. Well, he can't say anything to me. It's my horse. Well, I wish I'd have thought of that. Oh, well come, Oliver. Let him be angry. You've gone along with Homer this far. Now you'll go all the way. Gee, Pop, Mr. Meister went to a lot of trouble. He borrowed a bridle and saddled today. Well, let's not stand here. Come on, Pop, I'll show you which store Floridora's in. Junior, don't step in the mud. I just don't know what to do, Mary. I do. Come on, you keep out of the mud. Let me in out of this rain. Gee, you certainly are locked up tight, Mr. Meister. Yep, that I am, Junior. I heard about fellas doping horses before a big race.  But, uh, couldn't someone come in the back way, Homer? Nope. No, no. Sorry, I got Martha sleeping right up in the door on a cot. Martha? Oh, I didn't know she was here. Who knows me? Yeah, yeah, yeah, I guess she does. Um, uh, Homer, won't Martha be angry? Staying here night like this? Yes, it's a wet and damp, Homer. Oh, shucks, she's a pioneer, she is, Mary. But you're soaking wet yourself. Take that boy who was down in the hall and you'll find a lounge room with a fire in it. And get dried off. That sounds good to me, Homer. Come on, Junior. Okay, Mom, I guess I'm wetter than I thought I was. I'll be with you in a minute, Mary. Oh, don't upset Homer now, Oliver. I won't, don't worry. What'd she mean, don't upset me? What's wrong, Oliver? Oh, nothing. My boss doesn't want the horse to run. Oh, fiddlesticks. My Florida daughter's raring to go. It's in the bag. I wish I could agree with you, Homer. Gosh, Oliver, I'm set to ride the race of my life. I'm down to 120 pounds in underwear and Florida daughter minds everything a teller. Then you wouldn't want to scratch her, huh? Nope, I wouldn't, Oliver. I got publicity out and everything and the paper's taking a picture of us, if we win. I see. Uh, this bridal saddle hanging there, where'd you get it? A bard. A bardit from the other stable. Yeah, a little big for Florida and then during blinkers, kept falling down over her eyes. Well, then how does she see? Oh, shucks. She don't need to see. That old girl knows her way around. Who's that you're talking to, Homer? It's Oliver, Martha. Oh, gee, I'm sorry, I woke her up in more ways than one. Oh, shucks, she ain't mad at nobody. You wantin' to be keepin' Homer up like this, Oliver? He needs his strength. Well, I was worried. I thought he might want to scratch the horse. No, don't go puttin' that notions in his head. Homer comes from good old Nebraska stock. But that track is a sea of mud, Martha. Mud ain't nothin' new to a farmer. Why, the first thing Homer said to me after we was married was, here's mud in your eye.  I can see you don't know nothin' about women, Oliver Anderson. A woman's place is alongside her husband. Martha's a good woman, Oliver.  Why, Homer, don't know what quit means. Oliver, when they blow that bazooka for the third race, you'll find Floridor and Homer awaitin' at the gate. I never saw Homer more serious than he is today, Oliver. Yeah, let's stand under this lean-to back a bit from the track. We can see the finish line from here. Homer has his race all planned, Pop. He knows how to rate a horse and save him for the stretch. He told me about it. I'm sure he does, dear. This must be the third race comin' up. I can't see 30 feet ahead of me in the rain here. Tension, ladies and gentlemen, all horses have been scratched in the third race except Blue Bonnet, Big Boy and Floridor II. This is a three-horse race. Just like her record at Pimlico. Third. Yeah, but she didn't have Homer up that time, Pop. Of course, she didn't, Junior. Homer said he'd waive to me when he went to the gate. He's lucky just to hang on. There at the gate, it's Blue Bonnet on the rail, one to four, Big Boy's second post position, one to seven, Floridora 65 to one. 65 to one? Boy, look where we went. Oliver, you didn't bet. Oh, what's $20? Homer can keep a saddle on her. He might even win. He can swimmer home. There they go. You're quiet. Two horses, Oliver. I hope Homer didn't get that bridle caught on the starting gate. There's Floridora now. It's in the bag, Oliver. Blue Bonnet by two lengths and a Big Boy by 15 lengths. Oh, Homer. Homer will never catch them now. 15 lengths. Going into the back stretch. Blue Bonnet by six lengths and a Big Boy by nine lengths. He's gaining. Come on. Let them look. They have nothing to lose. Rounding the far turn. Blue Bonnet by six lengths. Big Boy by... Big Boy by 23 lengths. Oh, Oliver, he's dropping back. He's saving her for the stretch, Pop. Mr. Meister, explain how you do it. Into the stretch.  Into the stretch. Blue Bonnet by two lengths. Big Boy by 35 lengths. Floridora's trailing. That lightning hit something. Just a minute, folks. Something has happened. Blue Bonnet through her jockey and Big Boy is down. He didn't say. I wonder if he and Floridora are still together. Let us go for him, Floridora, Pop. I don't know, Junior. I could have stopped all this, but I'm too soft. He's a horse. We are home, and everyone's happy. Here's a little toast to Homer. With coffee. And don't say here's mud in your eye, Homer. Nope, nope, I won't. It was a good race, and I'm glad to won. And so is Oliver. Did you place that little... You know what, Oliver? I sure did, Homer. All ten of yours and ten of mine, right on the nose. You mean you took my money out of that trunk and bet it on an old horse race? Why, Homer Meister, I... Oh, come now, Martha. We're visiting now, you know.  Well, I guess I am. And I'm proud of that horse, too, Mary. Gosh, I guess every kid in the neighborhood's out in the garage looking at her with Junior. Well, now that you're warm and comfortable, Homer, tell us what happened. Well, Mary, I planned the race beforehand, and I followed the plan. You followed the other horses, too, Homer. I didn't do no such thing. I just went out in front, right off the bat, and they never did catch me. Oh, wait a minute. The announcer said you were trailing. Maybe you was, Homer, but you didn't know it. Maybe you was, but I swear I didn't hear nobody go by me. Well, so I eased her up a bit on the first turn and, you know, saving her for the stretch. I think you did a wonderful job, Homer. I do, too, Mary. First thing he's done right for years. Oh, let me be. Who's telling this? How'd he made better time, too, but that there saddle kept sliding over on the G side. Yeah, I noticed that saddle. Harsh your mouth, now. Well, sir, I got off on the back stretch and pulled up some slack on the stage, and that darn saddle was just too big for old Floridora. But what I don't understand, Homer, the lightning scared the other two horses, and you didn't mind it? Well, now I'll tell you. You see, it was them borrowed blinders that darned things that kept falling down over her eyes, and I guess she didn't see the flash. Now, about this small wager, Oliver. Oh, yes. It was $20 and paid off at 65 to 1. That's $1,300 and most of it's homers. Now, wait a minute, Mary. I'm out of work, you know, starting tomorrow. And 10 of that was my money. Now, just a minute, Oliver. First stop it. Be quiet. I'll get it, Mary. Now, wait a minute, boss. I don't have to talk to you until 9 o'clock tomorrow morning. A little misunderstanding.  Give me some pointers. I may want to start a stable of my own. Okay, I'm glad I made you happy. I'll see you tomorrow, Oliver. Good evening. Good evening. Oh, boy. The boss has changed his tune. He's proud of Floridora. Well, who ain't? Yep.  Probably was hungry. Yep. A horse is a true friend. And Junior takes such an interest in her. Yeah. I guess I was wrong about our having a horse. Oh, my goodness. What's that? I like the garage. Oliver, where are you going? I'm going to stop Floridora from kicking my car to pieces. Mary, hold up Homer's winnings until I check the damage. The Anderson family is written by Howard Swart, directed by Herb Lytton and features Dick Lane as Oliver. Louise Arthur as Mary. Walter Tetley as Junior. Herbert Rawlinson as Homer. And Jackie DeWitt as Martha. Others in the cast were Paul Theodore and George Perroni. Sound effects by Ray Erlenborn and your announcer is Ken Peters. The Anderson family is a Hollywood broadcasters production transcribed in Hollywood. Thank you for watching.


Hello everyone, welcome back to another Adobe Illustrator tutorial. I'm in Adobe Illustrator CC 2019, as you can see here. And I'm going to show you how to work with clipping paths like a champ, guys. I'll show you here. I just got, for example, I just did this one up nice and quick. I'm going to show you how to use the basics to make clipping paths. I'm going to show you a little bit more advanced techniques using compound path, which is actually very frustrating if you don't know what you're looking for because it doesn't seem very intuitive to me. So without any further ado, let's just get into this. I'm going to create a new project. Let's use your words, Curtis. Come on now, buddy. We're creating a new project. So if you want to follow along, feel free to do so. I'm going to use Web Large, which is under where you would find it here. But this isn't a real big deal because anything will do. I'm just going to hit Create. Presto, boom. We've got this. Now I'm going to show you the basics of clipping masks. Then I'm going to show you the more advanced stuff. So for the basics, let's just get right into this. Let's say, and this is very simple for demonstration purposes, I am going to draw a circle. I am holding down the Shift key so that it draws symmetrically, just a pro tip in case you weren't aware of that. And then now I'm just going to move it over here and it's going to say Center and boom, we've got a circle. So if you're following along, feel free to do so. Now the next step is you want to go to File, Place. Now I am going to place an image called Stars and you guys can download an image anywhere. I just got this off pexels.com because it's free and there's no licensing voodoo bologna. So let's just go ahead and do that. When you click Place, you're going to see something like this. And now I'm just going to place the image. I'm just going to draw it out like this. And I don't know, something like that. Oh, too far. Boom. OK. Now I've dropped the image on it. All right, you still with me? Good. So we've drawn a circle. We've placed an image. I'm going to click off and you're going to see that this Stars is on top of it. I'm going to move it up a little bit just because the effect I'm going for is a little cool. So I just moved it up. Again, I'm just on the black arrow. Now the next step is I'm going to click on this here, the image. Now I'm going to right click and I'm going to go to Arrange, Send to Back. What happens is now the image is at the back in the layer stack. You'll see it over here while you won't. Yeah, you'll see it. So you'll see that the image is at the bottom and the circle is at the top. So we've sent the image to the back. Now click on this circle, click on the image, and hold down the Shift key so they're both selected, in this case. Now on the right side, you're going to see something that says Make Clipping Masks in Properties. Really, just left click on this. And that's it, guys. That's how you make a clipping mask. It's very similar to Photoshop. But I'm going to show you now the more complex that are not as straightforward because it could be quite annoying. So I'm just going to go ahead and just delete this. So we're starting fresh again. Now I'm going to do this very, very quickly. This part, I'm going to create a couple of circles. I'm going to create this circle. I'm going to go over to the black key. I'm going to hold down the Alt or the Option key. And I'm going to move to the side. I'm going to now hold down Shift. And you'll notice what I'm doing is I'm just basically duplicating. Oops, I didn't hold down Alt key before I did it. So I hold down Alt, Shift, Duplicate. No, come on, Curtis, you got this. Duplicate. Okay, let's, oh, I was duplicating. I just didn't check the stroke. Ha ha ha, guys. I know what I'm doing, I swear to God. First thing first, you caught me. All right, I'm going to go ahead and give this a fill. I was like, what am I doing? I'm doing it right. Okay, left click on the fill. Now I'm going to go ahead and create a circle. I'm going to hold down the Shift key so it's a symmetrical circle. Boom, now we got one. Now I'm going to click on it again as I just did there. I'm going to hold down the Alt or the Option key. Alt if you're on the PC. Option key on a Mac. And I'm just going to hold down the Shift key so it's straight line. And now you're going to see that I'm duplicating the correct way. Oops, so I, oops, sorry. I'm just going to hold down the Alt, start moving it, hold down the Shift key. And something like that, okay guys? Sorry about that little thing earlier. I didn't check rookie mistake. Ha ha ha, I've been doing this all day. Oops, so here we go. So I've got these three circles and now I want that picture to be clipped into these three circles. And I'm going to show you the next step is I'm going to click on each of them. So I've got all three selected. I'm going to group them. This is step one. So now they're a group. So if I move them, they move together. Okay, great. They're a group. Now, here we go. This is the frustrating part. I'm going to click on them. I'm going to hit File. I'm going to hit Place. I'm going to do the stars thing and the stars are going to go over top of them. Something like that again. Da, da, da, da, da, yeah, sure. All right, there we go. I've placed the image. I'm going to reposition it a little bit like I did earlier. Okay, so far, so good. Now we're going to right click on this bad boy and we're going to arrange and send it to the back. Now, this is all good so far, but here is the crazy part that you're not going to like because it doesn't make any sense. Now, when I'm going to select them both, I've got the group selected and I've got the image selected. And I am going to make clipping mask and here we go, frustration. It doesn't work. This is the crazy part and this is the part that's kind of mental. So what you actually need to do if you're following along with me is you click on these guys. You want to go up to Object and now where is it? It's down here. You need to make this into a compound path. This is kind of like we're working with a type and we're turning them into paths. As a group, it doesn't work. Once you make it into a path, now it will work. We can put the final touches on. I'm going to left click on the image. I'm going to left click and hold down shift and click on the three circles and now I'm going to make clipping mask and presto. It works guys. We've got the clipping mask. Now, when I hover over it, you're going to see here that this is where the picture is. So if I double click, for example, I'm in isolation mode and I can adjust where the picture goes. So look at this. This is really, really cool effect. So if it's really important that this dude's in the picture and the waterfall, for example, I click out, bang. We've made a complex path here. We made a compound path. We've got a complex clipping mask and this is how you do it the right way guys. Thanks for watching. I got a lot more stuff coming up. Be back soon.


The cinematic masterpiece known as Fast X is in theaters. It's been a couple of days. People have watched it, taken it all in, all the intricacies, all the plot details. So, bye. And I'm here to spoil it today, so hop in the car and join me as we talk about Fast X. Let's ride. Let's ride. Try to retain and regurgitate the plot of this two hour and 25 minute magnum opus is going to be a project for me. I'm not looking up anything. This is all coming off the old noggin. I have to say by the end of the film, my brain was pretty much a mush, a paste on the floor that I had to scoop into a bowl and later pour back in through the ear. It was a painful process, but watching the movie kind of can be too. Now I will say, my review of Fast X is out. I didn't really say I don't think whether I loved or hated it, and that's kind of where I stand. I don't love or hate it. I'm indifferent. It's there. I watched it. I had some enjoyment and I don't need to ever think about it again outside of this conversation we're having. I believe the movie starts up with a flashback to Fast V. And I'm not sure if it's new footage or if it's a combination of old and new or what they did, but Brian O'Connor's in the mix. Paul Walker, I don't have anything that we can fictitiously pour when out again for him. It's been a long day without you, my friend.  Everybody laughs, high fives, and we make a bunch more of these movies. But what we didn't, or they didn't know at the time, was Dante was there.  He wants revenge. He wants justice for the unjust stuff they did to him. So he's gonna spend the next four Fast and the Furious movies hatching up a plan that he can unleash in the 10th. And the plan is pain. It's suffering. He wants to bring a hellfire down on these people at all costs. And not only did he prepare a one, two, or three-step plan, he prepared a 55-step plan because he's always way ahead of these car bros.  I mean, there's only one. Maybe not in the fast world, but he also got his hands on a lot of these magnet bombs he uses. They're straight out of a video game. He'll be on his motorcycle, vroom, cars next to him, and vroom. He pulls out one of these bombs like his Willy E. Coyote. Vroom, vroom, vroom, vroom, vroom, vroom, vroom, vroom. Sticks underneath the thing. He looks over. Boom. Vroom, vroom, the car blows up. He's fine, just drives off. Has to make his way up to a hill, though, so that he can do this. Anytime something happens, he's up here. Let's ride. Let's ride. He does the cross pose 15 times in the movie, and that's really the other thing this is about. It's about faith, because these characters have faith. They wear crosses. They have nice family dinners. They pray to their car god above.  And let's ride. Staying on top of it though, after the Fast Five introduction where we see Dante and how he's very mad. He's a mad guy. We then go, I believe, to a nice little family meal, nice little picnic in the backyard, which is where all these movies begin and end. Every single one of them now. I don't know which one I'm watching based on the family dinner scene. I think Mia was there. Is that how you say her name? Mia or Maya? Brian's wife. Mia's at the family dinner. Brian's not. Guess he wasn't invited.  To my recollection, he's still on that beach, kind of just wandering around to and fro. Family's having a meal. He's just off yonder. He doesn't want to ever see these people again, apparently.  No, he's just gone. It's been a long day without you, my friend. We then have Roman, Tej, and Ramsay. They're gonna be up to all sorts of shenanigans this whole movie. Ramsay's not only a genius and a smoke show, she's also a car buff now. She's educated herself in between films. She's got knowledge about vehicles. It's kind of cool. I know nothing about vehicles. Clearly, that's why I'm not really like a huge fan of these movies.  Tej, or as I will always refer to him, Luda, he is always fighting with Roman. He's always putting him down a peg. And Roman really wants to be the dom now of the franchise in this family. He wants to take the wheel of the car and he wants to see where he can drive it.  We don't really know why they're going. It doesn't matter because it's a setup by Dante. He puts some of our people in a very precarious situation.  This thing rolls harder than Fred Durst in a limp biscuit song.  Keep rolling, rolling, rolling, rolling, rolling. Thankfully, Dom and Letty figured things out that this wasn't on the up and up. They head to Rome as well and they knew exactly where to find the team. I don't know how it doesn't matter. They probably have tracking devices where he picked up the phone and called him but they got their lickety split. Letty's on her motorcycle. Blah, blah, blah, blah, blah, blah, blah, blah.   Like, how's your steak? Oh, it's a little, oh my God! Bomb. Dominic flips it sideways, takes on the fire and then drives back down. Let's run. Michelle Rodriguez is Letty, unsure how she's gonna stop the bomb, just knows she has to be right next to it on a motorcycle.  She's driving after it, does my favorite stunt in the movie where there's a little ledge, she has the bunny hop over, goes sideways and back again. It's really cool, I liked it. I think it's CG, either way, it looked good. And I guess that's a testament to the effects in this movie but also not because nothing looks real or seems plausible so everything all has the same kind of cohesive look which is cartoon. This ball never stops rolling, it's the energizer bomb. This scene goes on for a half hour, I swear. It's pretty epic, it's pretty awesome and it's completely nonsensical. Damatello does the thing that we all know to do when there's a bomb rolling towards the Vatican.  It hits the bomb, changes the trajectory, it blows off the bridge into the water, blows up down there which triggers another event which unspools the latch, dropping it down and that's mousetrap. Dante during this whole section had gotten off his bike, climbed the tallest nearby hill and is just doing this because the bomb still blows, baby.  Dom, doing what he always does, twist the nose. Cars are flying up. It's like he's out running a tornado. That's right. And thankfully he makes it, the car's still working fine and that's good because we got a lot of movie left. I believe it's around this point where Brie Larson enters the picture along with this total Jim Bro body workout guy. This guy's huge, he's completely unnatural. Absolutely jealous by his physique and how he fits through doorways is unimaginable at this point. They're in clearly a green screen fake room. There's nothing to it, it's pretty much grays and a black floor with some lights, some neon lights are on the side like they're about to stream on Twitch and floating panels everywhere, these TV monitors that I swore was just gonna be used in the trailer, but nope, it's actually in the movie because of course it is. This futuristic room has the crystal ball equivalent of TVs set up. They can go back in time, see what happened in the past.  This was all caught on different surveillance drones and cameras, high def too at that, 4K visuals and surround, very impressive stuff. So they know what they're dealing with, they know who they're up against, this crew that Seemian Lee is on the right side of the law now but used to be on the wrong side of the tracks, might have turn coded or maybe they were flipped the whole time, they were using this shadow government known as agency, yep, these are deep films, to just get what they wanted, enrich themselves. It makes sense that Dominus team in their 80s now would keep doing this, just makes sense.   She's a girl I can get a drink with, I relate to her. Oh, I almost forgot, during the Rome scene, Leti didn't actually accomplish much of anything but she did get kidnapped and now she's being held in a maximum security prison in Antarctica. Tess shows up, whispers sweet nothings into her ear, gives her some way to get out after stabbing her in the neck. She's like, I got you boo. The reason Tess stabbed her was so that she could go to the medical ward, which is this futuristic place that her and Cypher are currently being held in. Cypher, Charlize Theron, looking great as ever. This is gonna lead to, of course, a one-on-one cat fight, a good old fashioned cat fight. But before we get to that, we have Dumb, Dumber, and Dumbest. I'm not sure where they're at anymore. They're in England, I think somewhere, Mary Old England, going to a nearby old school computer shop which is actually just the front for weapons. You can get guns, tanks, whatever you need there. This inevitably leads to a dead end after some shenanigans and some comedy takes place. I didn't find it very funny. I just thought it was kind of awkward. But they get out of there and they realize they have to turn to the one guy they really don't want to. And that's Jason Statham's Shaw. Shaw doing his punch and beg routine that for some reason contains a guy inside. That was actually kind of funny as he scampers away in front of them. He's ready for action still. But he has bad blood with Han.    But Shaw is actually not going to be in any more of this movie. He's going to drive off into a spin-off film or maybe into the Fast 11 or 12. We'll see him eventually again, maybe for Hobbs and Shaw too. Who knows? Who knows where he's gonna come back. It doesn't matter. None of these people die. And if they do, they don't stay dead. Back at the prison, we have that one-on-one fight we were hoping for. We see these two going at it until inevitably Charlize Theron gets taken down by Letty, who's gonna now escape through this giant, you know, air duct and realize she's in the middle of nowhere. Hop back down and there's Cypher with some clothes for her. Like, yeah, we gotta get a little bit warmer than this. I think I missed another scene earlier. It's actually one of the best action sequences in the film with Cypher. Reminded me of Atomic Blonde. That was a great movie, by the way. Charlize Theron is an awesome action star. She really does fit well in these films, even though she's clearly a far better actress than the rest of them. I'd say the same goes for Brie. But Brie in this movie does feel out of place. Her acting level is a bit too good. When she's communicating with these people, she needs to get dumbed down. She needs to hem it up more. Right now, she's a bit too serious in the role. But anyway, Dante infiltrates her compound, doing one of these, of course, walks in. And then he reveals that he has the upper hand here because all of her men have had their kids or loved ones captured by Dante somehow. Dante has all these different people at his disposal because he blackmails them all.  He's like Castor Troy from Face Off meets Heath Ledger's Joker. Obviously far closer on the castor side of acting prowess. There's nothing really intimidating about this guy. I suppose if you take anything in these movies to heart or have any stake in them emotionally or otherwise, you'd be like, oh man, this guy is serious. He's joking and is very flamboyant, but he's also up to no good. I just look at him like a cartoon because these movies really are cartoons and you can enjoy them and have fun with them and that's absolutely fair and fine. Sometimes I do too.  So these guys all instantly turn guns on Charlize, Ramsey tips the hat and walks off and then she goes to work on these guys. Whoosh, whoosh, whoosh. Takes out a guy's gun. Toot, toot, toot, toot, toot, toot, toot.   That's when she shows up at Dom's Place, beaten, battered, and bruised.  This is when he contacts the family and says they need to go to their super secret hideout and the rest of the movie is gonna be about them trying to get to the hideout, but always getting sidetracked because they all have ADD. Like, well, I should go over there, but it was a shiny object that way. It's at this point that his brother, Jacob, spelled J-A-K-O-B because stupid, shows up at the house to save Diesel's family. He's gonna get the kid out of there. They're gonna go into Mad Max World, where they're gonna be chased by a bunch more agency people after this, I'm sorry. This movie is so all over the place. There's no way I can keep heads or tails of any of it. Before they get to Mad Max World, they have to go to a gas station, get some new clothes, and then they're gonna hop aboard a plane while carrying a secret plane in there. I don't know how it got by the metal detector. I don't know the logistics of any of it.  There's just no reason to even try and figure this out. Like, how did they get in there? How did they travel from Rome to the States in like three hours? Why are people showing up here? How do they find each other? How did they get this plane on? It doesn't matter.  Once it's revealed they're on the run inside this plane, they then build the makeshift plane, drop out of it, and head on over to wherever the hell they're going. Meanwhile, Dom is street racing again. He went somewhere to do something for some reason. I don't remember. I don't care, but you know who does remember? You know who does care? Dante. Dante's there. He knew that's where Dominic would be. So they have a street race that ends in Kablooey because again, he's like one of the villains from the old Rocky and Bullwinkle show. And he throws one of those bombs and kills a friend of Dom's. Sacrifices who I think is supposed to be the daughter or sister or something of Gal Gadot. I missed fast whatever she was in. I don't even know which one she was in and died. Was it one of the early ones? They're so forgettable to me. And they all mix together that I just don't remember her being in them, but they always say Gal Gadot's coming back. I'm like, was she in these? I just truly don't remember. Was it fast seven or six? Who cares? I think that's, she's related to her. And Dom looks, there's like, I recognized you right away. You got her eyes.  Give me your eyes. And he rips her eyes out. No! That's how he keeps sustaining his life. Okay, maybe that's not what happens. Let's ride! Dom says goodbye to her, but before he does, she's like, I'll see you in a future movie. I'm part of this now, or maybe a Fast and the Furious TV show, which will inevitably happen. This will never end.  At the hands of Fast and the Furious. All right, at some point, Dom meets up with his brother, Jake Cub, and his son, his little Dom Cub. And they're on the highway.  Brie Larson's character shows up. Dante's there. How do you like me now?  The door comes off. Uses it as a shield. Family! Family! Family! Family! Brie Larson's character test is shot.  She's gonna be back for a future ride film. She heads off, though, for this movie. She's done. Dante's like, I'll get you next time. Let's ride. Gets in a chopper. Pfft. Woo-hoo-hoo-hoo! Ha-ha-ha-ha! Wipe out. So Jacob and his son are being pursued. Dom is driving after him. He's like, I gotta catch up. How do I catch up to them? Oh, yeah. Turns the nose. Drives over the side of a road onto another road. Helicopter's spear hook them. Choo-ching! Ugh! Choo-ching! Choo-choo! Wait! I'll do the nose again. Does the nose. Pulls the helicopter's in. Jacob has Dom's son still in the passenger seat. He's like, don't worry, Dom. I got your son.  Nothing will happen to him. You can trust me on this. Hey, Dom. Dante just stole your son. Yeah, yeah, I know. Crazy. Right out of the car. Just pulled him right out of the window. It's wild. I don't know what I was thinking on that. So the son's now with Dante. Dom has to get him back. I genuinely don't remember how he does. Truly don't remember how Dante gets taken out here and Dom gets the son back. Somehow Dom does get his son back. Oh, I think he jumps from one car to the other. These cars are going 90 miles an hour at least. And the son just jumps. And Dom's like, come on. Let's ride. Then Dom veers off course, ends up on the Hoover Dam somehow. And there's two semis already there waiting for him.  That's all he does is stand on hills and he has a remote control thing. And the semis are, he can control the semis. Let's see if you can get out of this one, Dom. I'm acting. The semis start going and closing in on Dom. Dom's like, what do I do now? Oh yeah, the Nos. The thing that gets me out of literally every situation ever. Girlfriend's gonna break up with me. Nos. I wanna get out of this parking ticket. Nos. I wanna get rid of Dwayne Johnson because he's more popular and cooler than I am. Nos. So he uses the Nos, believe it or not.  They start going down the thing and they know they're not gonna make it. This explosion is coming right behind them. But Dom's like now completely fused with this car. He puts even more Nos in. The camera does the thing he did from the old school Fast and the Furious movies. It goes inside the muffler and through the engine. And the car goes super saiyan.  This thing's like. Dom goes supersonic the hedgehog, flies up this ramp while the explosion's encapsulating them. They go underwater, hit a rock, and then they just swim out.  The whole thing's nuts. But it doesn't end there. He looks up and there's Dante. You think it was gonna be that easy? I planned this all out. I knew that you were gonna do every single thing you did which led you here. And oopsie. Click, click. He reveals that he has more of those pinky and the brain bombs hooked to every single pillar of the dam. He's like, it's showtime. Whoa, it's showtime. Sorry Dom, you're not getting out of this one. I love surprises. We cut away and the final shot to my recollection is Letty and Cypher staring off into the cold wasteland of Antarctica before a submarine comes out. Yes, of course it does. And who comes out of it? Peek-a-boo.  Let's ride. Let's ride. But not only do we have Wonder Woman, we have the man that myth the legend himself, DCU's Black Adam. In our teaser credit scene, it's revealed that Dante's not only going after Dom for some reason ignoring Brian but he's also after the man himself who's now back in action. They must have settled their beef off camera, him and Dom, him and Diesel. And so yeah, we have a full family again guys. We're eating good. That dinner table's gonna have to get expanded. And so does this movie franchise. We have two more on the way. This set up a huge cliffhanger, Deathly Hollow style. Now Dante has the elder wand known as Dom under his control.  Sadly, I could see it happening. These movies have become parodies, cartoon characters and people seem to like them. They're fine.  I mean they really are.  That's okay. This one was far more enjoyable than the last one. I thought nine was just miserable from beginning to end. The set pieces were okay, but it was so bad setting everything up and getting from point to point. This one still makes no sense. The actors seem very checked out for the most part. They really are just there to look kind of cool, which I'm not so sure Diesel does anymore, but they continue to make tons of money and people seem to like them. So there you go. My spoiler review of Fast X. Did I miss something? I absolutely did. But I think I pin pointed the big things in the film. Let me know if I'm wrong. Like this video if you had a good time. Subscribe if you haven't as I post tons of movie reviews, critiques, rants, reactions. Every single week on the channel gotta have you stick around. If you've been here, there's a notification bell. Hit it so these continue to populate in your feed. Otherwise YouTube hides them from you. It's like a secret. You're subscribed, but you're kinda not. And I would really appreciate it if you head on over to Patreon at patreon.com slash adamdoesmovies, throw a dollar to my way a month. Say Adam, I love your content. You give me hours of entertainment every week. Here's $1 a month to show my support. Or five or 30. There's a lot of different tiers. There's a lot of different perks that come with them. You can also become a member right here on YouTube. So plenty of ways to show your support and I would appreciate it. Take care.


Oh Ball please There's no way they're like 10 be wanting him look you can't even lock him over Dude oh my god. Well that genuinely terrifies singoku too One piece The whole world hears This to be the strongest


The study presents a two-stage scene reconstruction framework called brain diffuser that uses latent diffusion models to generate high-complexity images from fmi signals, outperforming previous models on the natural scenes dataset benchmark and creating compelling ROI optimal scenes consistent with neuroscientific knowledge. This article was authored by Furkan Osalik and Rufin VanRullen.


We are trying to prove the theorem that we define for a function f on a domain d in R n to R to be uniformly continuous. If for every epsilon bigger than 0, there exists delta bigger than 0 such that whenever two points are closed by a distance delta that implies the distance between f x and f y is less than epsilon and we were trying to prove theorem namely f as before d in R n to R the following are equivalent saying that f is uniformly continuous is equivalent to saying whenever we have two sequences a n b n in the domain d such that they come close to each other. So, this goes to 0 then this implies the images also come closer goes to 0. So, we had proved one way but anyway let us recall suppose f is uniformly continuous. So, we are trying to prove one implies 2. So, let f be uniformly continuous. Let us take sequences a n and b n such that the distance between a n and b n goes to 0. So, we have to show that the image sequences also have the same property as of course n goes to infinity. So, this is what we want to show. Now, to show that this goes to 0 what one is to show that given epsilon bigger than 0, there is a stage after which everything comes less than epsilon. So, let be given we want to find a stage n naught such that after that stage this distance between f of a n and f of b n will be less than epsilon. But we know that will be less than epsilon whenever by uniform continuity if a n and b n are close and that happens because this goes to 0.  That is possible because the function is uniformly continuous that is given to us. So, whenever x and y are close by a distance delta that will imply that f x and f y are close by distance epsilon. So, if a n and b n come close to delta then corresponding will be less than epsilon and that is okay. So, find n naught such that mod of a n minus mod of b n is less than delta for every n bigger than n naught. That is possible because we are given that because mod of a n minus b n goes to 0. So, given any delta we can find a stage after which they are small. So, implies a n b n is less than delta so by the equation star.  So, that is what we wanted to show that if a n and b n are close then f of a n and b n are close so that is hence two holds. So, what we have shown is f is uniformly continuous then this implies this property 2. Conversely let us show two implies so conversely to show two implies one. That means whenever two sequences a n and b n are close we want to show that f of a n and f of b n are also close that is given to me. Second we want to show f is uniformly continuous. So, suppose one does not hold so what is the meaning of saying that f is not uniformly continuous that means uniform continuity meant for every epsilon something happens. Not uniformly continuous implies whole then there exist some epsilon bigger than 0 such that for existence we had there exist a delta. So, such that for every delta bigger than 0 we can find a pair of points there exists two points x delta y delta such that the distance between x delta and y delta is less than delta but the distance between f x delta and f y delta is bigger than epsilon. That is the meaning of saying f is not uniformly continuous something similar we had done when we were trying to prove that continuity implies a n converges to a implies f of a n. So, same proof basically negation is important. So, we want a sequence now. So, in particular for delta equal to 1 over n there exists x n y n in the domain such that x n minus y n is less than 1 over n we are specializing delta to be equal to 1 over n but f of x n f of y n is bigger than or equal to 1 but that contradicts the given hypothesis 2 which says whenever sequences are so this contradicts. So, that is what was given to us 2 implies 1 and what was 2 2 was whenever a sequence is closed images must be closed. So, we found a sequence x n y n they are closed. So, this goes to 0 but f of x n minus y n the distance always remains bigger than epsilon that is a contradiction. So, hence 2 implies 1. So, uniform continuity can also be expressed as in terms of sequences namely whenever 2 sequences are closed in the domain the image sequences must be also closed. So, that is in terms of sequences. So, let us look at some applications of this or some consequences of this. So, that is normally you prove so 2 statements are equivalent not just because we want to prove mathematically something nice but also in some situations one is useful, one criteria is useful in some other situations some other criteria is useful but both are equivalent. So, for example, saying that a sequence is convergent if and only if it is Cauchy the 2 statements are equivalent a sequence is convergent is equivalent to saying a sequence is Cauchy. Sometimes if you want the limit then you have to use the first one that sequence is convergent by finding the limit of it. But if you just want to prove that a sequence is convergent you are not really interested in knowing what is the limit then proving Cauchyness is good enough elements are coming close to each other. So, for example, here let us look at some example. So, here is let us look at f of x is equal to 1 over x whatever x not equal to 0. So, look at the function f of x is equal to 1 over x. So, if you look at the graph of this function geometrically as you come closer to 0 your graph blows up is increasing at is increasing much faster. So, it looks like this is so it will 1 the value is 1. So, here it goes like this is coming closer and closer to 0. But if you see that between 0 and 1 is becoming large very fast. So, same notion of closeness near 1 will not work near 0 you require much bigger kind of thing. But if you want to look at sequences. So, let us look at let x n be equal to 1 over n and y n be equal to 1 over n plus 1. What is the difference between the two? So, what is that? So, there is 1 over n into and that goes to 0. So, in the domain I have got two sequences one is 1 over n other is this and what happens to f of x n? What is the difference between these two? So, that is n absolute value that is equal to n plus 1 minus n absolute value that is equal to 1. So, I have got a pair of sequences in the domain x n y n such that the distance between them goes to 0, but the distance between the image does not go to 0. So, that is one way of saying hence f of x equal to 1 over x is not uniformly continuous. So, that is one example of how sequences are useful in proving these kind of things. Let us look at some more examples. We had already shown that f of x is equal to say for example, that x square we showed is not for x belonging to R is not uniformly continuous. But if I restrict the domain equal to say x square between say anything between say 1 to 3, x belonging to is uniformly continuous. That we proved as example we showed that if you restrict the domain then it becomes by using epsilon delta definition. In fact, so here is a theorem.  Then, that is the kind of thing happening here in f of x is equal to x square that is continuous and the domain is a closed bounded interval 1 to 3.  So, let us see why is that. So, let us use the sequence criteria here. So, let x n in D such that in R n, I will just write absolute value meaning that in R n it is a norm. If you write, you can write norm of x n minus y n goes to 0. Everywhere, whenever we are looking R n instead of absolute value, you can think of absolute value of vector as the norm or whatever it is. Is it okay? It is a matter of notation. For a vector in R n, the norm, I sometimes call it as absolute value also of that vector. It is same as sigma i i square root that thing. So, that is the notion of distance in R n. So, this goes to 0 to show, so what we have to show? f of x n minus f of y n, we are in the real line. So, that goes to 0. So, that is to be shown. Now, look at x n. So, let us write and then probably explain why I am doing that. So, x n in D, D compact, what does that imply? It should have a convergent subsequence implies there exists x n k, a subsequence of x n such that x n k converges to something, let us call it as converges to x. Now, x n k converges. So, consider y n k, the corresponding choice of the subsequence y n k. So, what do we know? We know x n k and y n k are coming closer goes to 0, because x n, y n goes to 0. Subsequence is corresponding. We will also have the same property and x n k is converging to x. So, where does y n k converge? So, implies y n k converges to x. So, what does that imply? What is given to us? f is continuous.  So, that implies that both are converging to f of x, same limit. So, f of x n k minus f of y n k goes to 0. So, what we are showing? Are we showing what we wanted? We wanted that f of x n should and y n should converge, the difference should become. What we have shown is there is a subsequence for which that is happening. That is not good enough. That is not only shown for a subsequence. We want to show it for the original sequence. So, let us... So, this direct kind of argument does not work. So, let us go to... We want to avoid that going to a particular subsequence. So, let us assume that this statement is not true. So, let us assume that... So, not good enough. So, consider... So, we need to modify the proof. So, consider assumption, suppose minus f of y n does not go to 0. But we still have the fact that x and y n are going to 0. That is already given to us anyway. This does not go to 0. So, implies what? Something, a sequence of numbers. This sequence of numbers that does not go to 0. That means what? Negation of the statement implies there exists some epsilon bigger than 0 and subsequence x n k, y n k such that mod of x n k minus f of y n k remains bigger than or equal to epsilon for every k. Negation of the statement that does not go to 0 should remain away from 0 for at least a subsequence. Now, I can work with the subsequence. So, now consider x n k in D which is compact. D compact will imply what? Will we learn to pin the same track? x n k will get a subsequence which is convergent. So, that will be convergent. We are lending up at the same blockade in our proof, thinking a sequence proof should be good enough. But the problem will be reaching at the same place because we will get a subsequence for which this contradiction will be there. But for every y n k, that should be okay probably. For every k, I think may be okay. Let us just write and see whether that is good enough. If not, we will change the argument. D compact implies there exists, for this there is a subsequence. So, same argument as before, but for the subsequence there exists a matter of writing. There exists a subsequence x k n is already a subsequence. What would we write to write? So, let us write x k n l such that x n x n k l, not k n, but I just, this subsequence of a subsequence x n k l, x n k l converges to some x. So, let us write. So, implies, that is good enough, I think. It is greater than, that is okay. So, implies what? Implies, if I look at the corresponding subsequence y n k l, that also converges to x because x n k l minus x y n k l, that distance goes to 0. So, that subsequence is subsequence. I probably will explain again what I am saying. So, let us negation means this thing, that is okay. Saying that this does not converge to 0, that means there is at least one subsequence, where the distance remains bigger. Now, look at this sequence x n k, which is actually a subsequence of the given x n, but look at that as a sequence. That should have a convergent subsequence because d is compact as before. So, it is a matter of writing x n k l, that means it is a subsequence of x n k. So, in turn also a subsequence of x n, subsequence of a subsequence, that is a subsequence of the original also. So, let us, so that converges to x by compactness, but the corresponding y subsequence because x n's and y n's are coming closer. So, y n k also will converge to x because they are coming closer. So, that implies what?  So, that should imply what? There are two sequences, which are converging to same limit f of x. The sequences must come close to each other now. So, implies mod of x n k l minus f of y n k l, that goes to 0. The same proof as before, but only for subsequences. But now, look at this statement, call it 2 and call that earlier statement as 1, where is that? This statement as 1. So, look at, for the original subsequence x n k, the distance remains bigger than or equal to epsilon for every element. So, for the subsequence also of this sequence, the distance will remain bigger than epsilon. So, x n k and y n k are subsequences whose distance should remain bigger than or equal to epsilon by 1. But by second, it says that should go to 0. So, that is a contradiction. So, this contradicts 1. And what was that 1? So, just remind you again, because of our assumption, the distance between the corresponding elements of the subsequence must always remain bigger than epsilon. But here, we have gotten two subsequences of the given same sequence. So, either the distance goes to 0. So, that is a contradiction. So, hence, the assumption must be wrong. And that means, hence, mod x n minus y n going to, so that, so what we have proved? We assumed it is not, so suppose it is not true, then that must happen. So, that proves, so we are proving 2 implies 1. Hence, 2 implies 1 is ok. No, what is 2 implies 1? I am sorry, we are not proving 2 implies 1. We are proving, if a function is continuous on a compact domain, then it is uniformly continuous. So, hence, that was earlier one, hence f is uniformly. Let me just, because I change things too much, so let me revise this.  You want to prove that f is uniformly continuous. So, we have to prove, whenever 2 sequences x and y in a such that the distance goes to 0, the corresponding distance between the image must go to 0. So, the basic idea is, if this does not happen, I will have a sequence x n k, y n k in the domain where the distance of x n k and y n k goes to 0, but this distance does not go to 0, it remains bigger than epsilon. That is a negation. So, that is a negation we wrote to show. So, this was not the correct one here. So, suppose this does not go to 0, so given epsilon bigger than 0, there is, so this is what is the assumption. So, if this does not go to 0, then for any, there is an epsilon, so there is a subsequence, so the distance remains bigger. If it does not go to 0, there is at least one subsequence for which the distance should remain bigger than 0. That is bigger than epsilon. Now, look at this x n k in the domain. x n k and y n k are two sequences in the domain. Look at x n k. It should have a convergent subsequence. So, x n k converges to some x for some subsequence. Corresponding subsequence of y n k should also converge to x, because x n k and y n k are close to each other. That is given to me. So, I have got a subsequence of x n k. I have got a subsequence of y n k, both converging to same point x. By continuity, the image of this subsequence will also converge to same point f of x. But that means what? If two sequences are converging to same point, then they should come close to each other. So, that implies for the given sequence, I have got a subsequence y n k and so on, such that their distance goes to 0. So, that is what we got here. But that cannot happen, because corresponding terms of the original sequence always remain bigger than epsilon. So, this is a contradiction. So, that proves that every continuous function on a compact set is uniformly continuous. So, as a consequence, one could have said that in that example, this is uniformly continuous. But we proved it by using definition alone.