So I've been active around chemical hazards for some 35 years starting a long long time ago when I was invited to go to a sort of a memorial conference in Bhopal, India, which was the place where probably the worst chemical accident we have had in the history of the world actually and while there I met the victims or make the families of some 2,500 people that died in one night from a chemical exposure and made a commitment to myself and Sort of about my life that I would really try to use this life to make a safer safer world out there and it's a pleasure to think that that is where materials matter came from materials matter turned out to be a Pretty simple book to write. I laid out a chapter 15 chapters and I started at one point and went right through I thought of is my good child. It worked really well This book was somehow much more difficult. It was I think of it as the bad child It was the child that just wouldn't settle down I think I revised this book five times in trying to write this book and the reason is because this book is much More about current affairs. It's really not just a history. Although. There's a part of it this history But it really is about the struggle that we're all going through right now as to What as to really try to move to a safer system of chemicals? Whether that's on the federal level the state level Whether it's in corporations whether it's in the nonprofit community's advocacy or whether it's just in mom and pop going to The market and trying to find something that's safe to bring home to their family In all those cases There are people out there really concerned about chemicals and trying to find a way for all of us to move to a safer system of chemicals And that inspired me to really write the book. I started the book three and a half years ago Really with the idea that I would try to inform the federal Legislation that had always been one of my big interests But it became pretty clear pretty fast that our Congress unfortunately in this country is so stalled at this point And so in unable to really move major pieces of legislation That I knew that it just wasn't going to be the place to really look for the for the drivers that would lead to safer chemicals And so instead of that I looked around at other places And that's in some ways where the book really takes office from that So the plan for the evening is I'm gonna do some reading from the book And then we're gonna have what is a really remarkable panel of people come up here And I'm gonna read little passages from the book and have them sort of kick off their ideas on it I think you'll find that this is a nice way to sort of engage some of the things here going on in California and Take a look at how Your own local Community and the people who are really active are moving on some of these very same issues So does that sound okay to you does that sound like a good way to do this that way You don't get an hour lecture from me which I can definitely do but I so Let me just start off. I'm gonna read a bit from the preface of the book and also A little from the conclusion of the book This book is about chemicals and chemical policy it starts from the premise that there is a problem with chemicals The economy that supports our lifestyle and has raised the prospects of millions of people around the world is based on hazardous chemicals People throughout the world lead richer more productive and more comfortable lives because of the products of the chemical industry However, many of these same chemicals can pose significant risks to human health and Disrupt and compromise the careful balances of natural ecosystems Over the last 50 years. We have invested heavily in regulations barriers and protections To control hazardous chemical exposures emissions and affluence However, a control strategy for chemical use is costly and it's never Never perfect and it leaves open all the points in the life cycle of chemicals Where chemicals leak and flow into air sheds water bodies and soils and where they persist Accumulate transform and reappear in different guises The problem with synthetic chemicals is similar to the problem with many other technologies We rush to develop and enjoy the fruits of novel technologies long before we fully understand Their consequences and create the systems needed to address their costs The hazardous chemical control strategy might have been a good one if there had only been a few hundred really dangerous chemicals But that did not turn out to be the case. There truly are really dangerous chemicals But there are many others that present varied types and degrees of hazard And there are also many that are safer We could spend the next 50 years trying to build better and better controls around more and more chemicals Or we could reconsider this strategy If we're going to make a big effort to address the chemicals problem It would be better if we worked to develop safer chemicals and move thoughtfully and progressively to convert our economy To safer and more sustainable chemicals In this writing I've wandered far from my original training in environmental law and policy That framework held a special place for government regulation and policy in Particular however the government that I studied and engaged with for some 40 years has now changed There is no big visions and grand gestures now We are quite far from the great society program the polo pod project the building of the National interstate highway system indeed. We have not seen a major new federal environmental statute in 30 years I'm aware of how difficult it would be in the foreseeable future to achieve major statutory changes in federal chemical policies That is why much of what I described here could be Accomplished through federal initiative or without it So it is not surprising that I looked elsewhere What I have found is hundreds of local state corporate trade union nonprofit and international initiatives That are struggling to advance a safer system of chemicals So my challenge became more like a auto mechanic picking up components here and there and Trying to assemble A new and different vehicle So the book goes on then to sort of talk about First of all kind of a history of the chemical control Legislation that has been our the general pat general structure It provides some criticism of that and shows what has not worked and builds out of that some lessons from that period from that those laws and Then moves to take a look outside the United States because while our Legislature and our Congress has not moved other nations and the European and the international Organizations have moved on chemical policy So there's some good lessons from around the world to look at and I try to incorporate that and then what I do is I sort of Step back and say okay in a big way How can we reframe the chemical problem? How can we get away from thinking the chemical problem is simply a set of really dangerous chemicals? How can we see something deeper here? Why these chemicals really are dangerous? Why is it that our chemical industries produce these chemicals? Not necessarily in a malevolent way, but simply in a business way Why does business drive on what you might consider hazardous chemicals? and why is the market full of products with hazardous chemicals and Instead of focusing simply on the chemicals themselves look at this the underlying structure of Our economy and why it would sort of beget a chemically intense hazardous chemical intense market so I Ended up with sort of six principles for thinking about what might be what might be the way to design a safer chemical Safer chemical Policy framework was what I call a policy framework, and I'll just list them for a moment first It should be comprehensive. It should cover all chemicals. It should not just cover the most hazards We should look at a policy that really goes from the most dangerous to the least dangerous So that we really get a good idea of what's out there? Second it should be transparent It should promote more promote more information, and it should disclose more so that we have more public information on What are the chemicals in products? What are the chemicals in workplaces? What are the chemicals in the waste stream and we are better able to manage it if we can actually see what's there? Third it should be participatory Right now we relied tremendously on the federal government to do almost all of the work That's just it's the budget isn't there and as we know with the restrictions that a very conservative Administrations have it means that not much work. It's done in this area It needs to be participatory so states Corporations advocacy community Professionals scientists are all engaged and really looking at developing safer chemicals It should be what I call and what I just call hazard based The risk sort of approach which we've used for the last 30 years at the federal level I believe has limited Innovation and limited the capacity of our corporations to really promote safer chemicals because it's always created a bright line Well, you don't have to be better than what the risk standard would say It needs to be transformative. It needs to move us in a kind of substitution way from Dangerous chemicals to safer chemicals and then to safer chemicals and then to safer chemicals so that we're on an evolution of Constantly looking for what is a safer way to do things our current Approach has been simply to stop when we think we've gotten to a certain point or in the process We replace one chemical with another often to be regretting what we actually replaced and lastly it should be innovative It should really promote innovation itself green chemistry all of the new uses of Science to develop alternatives Even alternatives to chemicals or as I think Debbie would say to show us that it's just not necessary to do that So and maybe I stole your line So in conclusion the book offers a way forward that recognizes current initiatives Initiatives and offer strategies to extend and better focus them rather than a single government policy The policy framework envisioned here is composed of many policies among many private and public institutions The first and most the fundamental recommendation is to reframe the chemicals problem from a focus on a small or even a large number of hazardous chemicals to a broader focus on the on the system of chemical production and Consumption the chemical industry and the chemical market The second recommendation is to address this broader definition of the chemical problem with solutions that are more comprehensive Hazard-based and systems changing Fully addressing the chemical production and consumption systems means addressing all chemicals from the most to the least of Concern and employing new instruments and tools to guide the conversion of the system from hazardous chemicals to safer alternatives The third recommendation is to recognize the multiple forces that are now Driving the development and adoption of safer chemicals and to integrate and coordinate these Strategic drivers into a more effective vehicle for change Restructuring government capacity needs to be coordinated with forces that are driving the chemical market changing the chemical and product Manufacturing industries and read that redirecting chemistry There are solutions to the chemical problem We can have a vibrant innovative and rewarding economy and it can be founded solidly on highly effective synthetic chemicals But new and different ones. We need a sustainable chemicals industry and a robust product manufacturing industry They need to be more Sorry, they need to be more broadly directed at delivering safer and safer chemicals and products There is no argument here that this transition into a safer system of chemicals is easy Transforming our economy to safer chemicals is a grand mission and it will take more than a generation But if we are ever going to create an economy that is truly safer and more sustainable We should get moving and pull together the many forces that are working to build that economy Better integrate and support them and develop the goals and plans and policies that will guide us in the future That's kind of the way the book ends So it's a book which I think is the intent is to be positive to really look at is what is there to not stumble over what we're So at this point unable to do at the federal level But really to look at all of the things that are really moving us and to try to say it's important that we bring all this together Americans have always risen to the challenges that have faced them and done well by that and I think by Tapping all of the initiative and power that we've had together. We really can solve these problems That's the mission of the book. I'm hoping you buy it. I'm hoping you look at it I hope you read it and I hope you discuss it Because it is an attempt to really move away from thinking that this is simply going to be done by individual action It is collective action that's going to take all of us through this. We need to build a movement for it So thank you very much


Hello everybody! In today's video, I'll show you how to create a Wi-Fi hotspot on a desktop computer or laptop with Windows 10 without having to use any third-party apps and how to share a VPN connection by Wi-Fi. Sometimes you may need to share an Internet connection with a VPN by Wi-Fi from your laptop or computer. And most software tools that can be used for this purpose are commercial products. But why would we download all that extra stuff if we can create a Wi-Fi hotspot using the integrated features of the operating system? All we have to do is to find a free VPN client to change the region. Why would you need it? For example, to change the region when establishing an Internet connection. One of the recent cases is when we change the region trying to reconfigure blocked TVs by Samsung or for other similar purposes. So get ready for a detailed tutorial on creating a Wi-Fi hotspot with the means of the operating system and sharing a VPN connection. So let's begin. Hello friends! If you need to recover deleted data, view or restore removed browser history. Hetman software products will help you. Follow the link in the description, download the necessary program for free, install it and analyze the disk. The utility will show you the data you can recover, so you will be able to view it or get it back. In our channel and blog you will find solutions to any problem, from installing an operating system or configuring it, to fixing possible bugs and errors or optimizing mobile gadgets. Our specialists will answer any questions you ask in your comments under the videos or articles. There are a few ways to share a VPN connection, and we've shown one of them in a recent video, so find the link in the description below. Start with creating a VPN connection. You will have to download and install a special app for your computer, a VPN client. At the moment, there are lots of them, but for our purpose, a basic reversion will be enough. I will illustrate the process with the example of Hotspot Shield VPN. You can use any other VPN client just as well, because Hotspot Shield is only used as a convenient example. Select the program, choose the free version, select available localization, get connected. Of course, you can configure VPN on the router instead, but this process is quite complicated and requires certain knowledge on this topic. In case you are interested, visit our YouTube channel for a good video about configuring a router, and I will leave the link below. As soon as you see the following notification, you can go on with the settings. Network and Internet Here is an important thing to remember. Your computer or laptop should be connected to the network with an Ethernet cable and have a Wi-Fi module, otherwise nothing will work out. Now open Mobile Hotspot. Specify the network name and password and drag the slider to enable the connection. Below, find the link Change adapter options. In the Network Connections menu, you should find a VPN network. Have a closer look at the names. The virtual connection will not have a real adapter name, such as tippling, real tech or Intel. For the virtual connection, the name should be something like this – adapter V9, V3, etc. Select it and right-click on it. Properties – Sharing Check the box for Allow other network users to connect through this computer's Internet connection. Below, in the line Home Networking Connection, select the wireless network you have just created. Okay, that's all. A hotspot with a VPN connection is ready. Now use your phone to connect to this network and check if it works properly. The hotspot works just as it should, and the Internet connection is available. Go to the website to IP and check the region. It says it's the United States. Everything works fine. Now to disable the Wi-Fi hotspot, open the settings, Network and Internet, Mobile Hotspot. Uncheck the box to Allow connection and disable VPN. If all you need is to create a Wi-Fi hotspot, configure and enable the mobile hotspot. That's all. A VPN client is only required when you need to change the region. That's your location. And that's all for now. Hopefully, this video was useful. Remember to click the Like button and subscribe to our channel. Hit the bell button to receive notifications and never miss new videos. Leave comments to ask questions. Thank you for watching. Good luck.


What's up, everybody cup hockey two box break number 18 little giveaway at the end too. Thanks everybody for getting in appreciate it Yeah, it's kind of weird right in the back of your head you sort of forget sometimes that oh, yeah That won't be probably fans at sporting events this year At least in the US I heard Bundesliga is coming back soon. That's kind of crazy Next week I'm gonna go in on Bundesliga. I need to find a team Yes, but his gold gold ballman rookie. Yeah, I like the ballman rookies too. Oh, really? I thought I saw you unless a change it today. I thought I saw they were a sure thing on the 15th To to be good, but maybe they overruled it. That's like UFC. It was like Dana White kept pushing it a few weeks ago and saying they're gonna do it and then Disney came in over the top. Well, they are doing UFC pretty soon So who who do we like in Bundesliga? Policies doesn't play there anymore, does he? All right, first one up. We got Yammer Jagger Rangers edition 90 of 249 for the New York Rangers going out to Joe We got a Travis Dermott 14 at 249 Maple Leafs Ricky Patch autograph going out to Ryan Harold 14 of 249. I like that Jamie says don't look don't root. Don't like Byron. Don't be that guy and then George says root for Byron like everyone else All right, nice patch auto rookie here 24 out of 24 a number to his jersey number Jonas Sagan taller Capitals little white in the edges, but pretty sharp card 24 out of 24 of Uh Jurgen Klopp used to coach him Yeah, I like Dortmund when they had a whatchamacallit polis it's right, but isn't there another big player playing there now? We have a TV terror vining 10 out of 12 Carolina Hurricanes that's going out to Joey. We actually have tops chrome Bundesliga Gonna be coming to our website Top's made us buy that this year, but they told us that there's a really good up-and-comer I forgot what what the player name is though. They said his cars are gonna go for a lot I like all right We got the cup quads Two out of 12 a little dent in the bottom left corner That's Mark Shifley Blake Wheeler Patrick Lyonay and Nikolai Ellers A little bit right there two out of 12 that's going out to the Winnipeg Jets Jets Jets Jets Jets that's Anthony Oh, and we have a Ryan Donato 80 out of 249 for the boss of Bruins rookie class of 2019 Yeah, this guy White guy blonde blonde hair. I think Donato that's Bruins. That's William L Yeah, Holland, that's who it is. Yeah. Yeah, you guys got it Exactly Place for like a red team red red uniform team red kit team Yeah, Holland. I guess his first cards will be in tops chrome Bundesliga and they're supposed to go nuts Yeah, I saw a killing a Bop a card From 2018 I think World Cup I think he just went for over two or three grand, right? So the soccer market is definitely picking up wait until we have the The US World Cup here North America World Cup 2026 All right final box of cup like I said might have another case here tomorrow Yeah, maybe maybe it's picture. Maybe his his cards are pictured with the Red Bull team They gave us promo cards with him To try to hype us up to sell that but yeah, I think Teddy sold a few boxes of premier I think I had that underpriced Looks like we got a booklet in this one. That's why it was tough to get out All right PK subon Nashville Predators Edition 48 at 249 going out to Nashville and Stevens moody we have an anti Suamela 71 out of 249 rookie patch autograph for the San Jose sharks Michael a Yeah, I know I'll root for the hobby guy definitely All right, we have an autograph the memento rookie patch. Look at that. That is sick Brett Howden with the whole Ian in there four of six hand numbered check that out Nasty Joe Clinton has a New York Rangers. That is a cool card four of six We have a Patrick Marlowe signature renditions for the Toronto Maple Leafs Isn't he back on the sharks now Toronto that's going out to Ryan Harold We have a rookie Braden point team candidate. I'll go by group rate checklist on this one Since there's no team affiliation Braden point sharks. I don't know Lightning and it was some type of a scary team scary mascot team Lightning that's going out to Jody there you go Yeah, here's the here's a schedule and The last one from this one is a one-on-one Isaac Lundstrom Anaheim ducks 2018-19 NHL and grained base rookies one-on-one pretty plate for the ducks will email Little one-on-one to end the break. So there you go. Appreciate it. Thanks everybody for getting in not a bad two-box break of the cup Check out the website for more tomorrow. I think we have another case coming. Thanks everybody Oh, I almost forgot The video is still running we have to do the giveaway. So if you buy two teams you are entered Let's see who we got Aaron Anthony Jack Joe Joey Jonathan Joseph Colin Michael Ryan Scott wow Solomon good good one in this one we pick up four teams get two entries. I think nobody has that nobody has more than More than one entry in this promo So let me make sure I got it Aaron. Yes Anthony. Yes Jack. Yes Joe Joey Jonathan Joseph lot of J is Colin Michael Ryan Scott Solomon Wade Good luck to you folks in this one After five times the top Name will win a free box of 1920 upper deck of peachy platinum hockey one two three Four fifth and final Wade Preston Congrats Wade you get the box. Thanks everybody for getting in that was 20 1920 upper deck the Cup Hockey two box number 18 It's actually technically 2018 19 Cup Hockey


Hey everybody and welcome back to our channel so today is the day a lot of you have been waiting for in this video we will be reacting and reviewing the top five submissions to the Artlist B-roll challenge we did it and we reviewed all the submissions and my god you guys have rocked it Artlist B-roll challenge to the Artlist B-roll challenge so many beautiful submissions so much creativity but in the end we had to choose only five winners fifth and fourth place our honorable mentions third second and first place have won some prizes but before we start hit that like button and subscribe to our youtube channel with that notification bell on to never miss another video from us now without further ado let's jump in with me is Jonathan Vardy Artlist's creative director what's up Jonathan hey Liran hey guys awesome are you excited yeah I am actually I am so I think we're gonna jump right in and we're gonna watch submission number five so let's go ahead so what do you think about it Jonathan I think first of all I think it's cool it's a great idea um you you know they found a way to make action and drama inside the house and that's very creative I think definitely yeah I like it I like it it's cool it's well shot and I really love about it that it's not the obvious B-roll sequence you were expecting to see it's super original and you know it looks like they thought about it and how they want to do it there's really funny parts in it where you see the cat and the robot which is I think terrific and I think the lighting as well is great and there's great pace in the editing yeah yeah like I said they really managed to create the drama inside it like they have the bad guy and they have the like the villain and the protagonist and it was hot well it's well done so well done Michaels of Arc beautiful video you're in our top five I think it's a great time to watch our fourth B-roll sequence let's go ahead it's really awesome you know I think again there's a lot of originality here you know playing with time and actually creating a B-roll sequence in reverse where you're like portraying how much effort is it to make a whole pizza and like in the end what we all do at home a lot of times is just make a toast so what I like about this one is that it really captures like the magic in cinema I mean it's sort of very much like you know the old black and white silence films she has this classic face and then it really goes into this magical journey I feel sometimes like I'm in space floating with the ingredients and they took me through this journey I like it it's a good job it's definitely a good job this video is by Tim Peking I hope I pronounced it right beautiful job Tim great cinematic video great lighting great camera work so now I see the title pizza time which you know tells a great story and it's a nice surprise to see how he used it so Tim definitely check his channel definitely check these behind the scenes the behind the scenes video he made for the B-roll challenge way to go Tim nice okay so our third place called daily mix let's check that out first of all I like that it's a musician and I love the usage of after effects and like the sound layers inside the camera movement the point of view you know the interesting angles the cleanliness of the frame there's not much in it so he kept it very nice and clean I love that orange light hitting the the back wall there and just the whole vibe and the rhythm again it's I think it's great definitely worth third place for me I think there is less than a story here I mean you don't go through a process of doing something or creating something or chase but it really captures this moment where you go like where you dive into your zone you know yeah I could see him do that for like at least five more minutes just watching this guy playing his job another four and a half minutes of this dude just rocking I could do that definitely uh Nicolo that's his name I think again don't kill me if I pronounced it uh incorrectly Nicolo also submitted a behind-the-scene video which you know again it's him and if it is his father and he was you know guiding him through the uh the process that's pretty amazing you know but we're just speculating right now so we can't really know but it is again just two people they're using a ladder to to get those top shots great to see the creativity around it yeah let's go ahead and uh watch our second place of the artless b-roll challenge let's check it out I loved it what do you think about it I think uh it's well first of all it's uh extremely well done it's you know I could see this as a commercial for um any brand really what I like about it is that it's uh first it's capture something very authentic in the experience we are all experiencing right now this uh in this time walking from home and it does it with a lot of humor and a lot of good vibe first of all the song choice is great I really love it it reflects the mood and the vibe that they were trying to convey and he lip syncs to the song which I think is a great use of the song so well done to I think it's a production company called Square Flare so well done to Square Flare and I don't know if you noticed Jonathan but Square Flare did a nice Easter egg to um risky business where Tom Cruise is dancing in his underpants in his living room and that shot where you have the small movement to the left and he slides in nice references I love that they used references you know going on a conference call with your underpants a lot of people these days did that probably so they posted a behind the scenes it's only two guys it looks like they didn't work with lights at all they gave some work into the behind the scenes as well and therefore everything combined and everything we've talked about they definitely deserve second place so congrats Square Flare for second place beautiful b-roll now is the time to see our first place the grand winner of the artless b-roll challenge this guy did an amazing job I think of you know creating something super funny and dynamic let's watch it genius something I haven't seen in very well structured like with the transition and great storyline good great job right great job and the fact that he did it with his dog is much more difficult you know working with animals I don't know how many of you guys ever worked with animals but working with animals is hard and it's difficult and it's like the chill dog just flowing with soon chi again soon chi I hope I've pronounced your name right with soon cheese you know drive to create a b-roll challenge is like unbelievable and it's extremely funny and yeah super creative and I love it that you know there's small gags there where he's dating a stuffed pony near the end and I think the lighting as well like just the opening shot even I like everything even the texture you brought in the texture of the video like the yeah noisy film thing which I love he worked only with like what he had available regarding like lights it looks great and it looks cinematic and all these little gags where the dog is washing his hands and you see the little paw and the dog is wearing glasses working on the computer yeah sun chi congratulations you are the winner of the art list b-roll challenge congrats great work and I've got to say guys we've got more than 250 submissions to the art list b-roll challenge and it was just beautiful seeing all of you creating from home being creative not letting the limitations hold you back like props to all of you guys we're gonna put out a blog article of these winning videos and I think we're gonna do another five honorable mentions because there were so many great submissions out there and it was really hard choosing you know the top five and Jonathan thank you for helping me reviewing our top five picks for the art list b-roll challenge great job guys great job so that's it thanks again for everybody that submitted their b-roll to the art list b-roll challenge and congratulations to the five winners we will be publishing a blog post on the art list blog with the winners and we will add another five honorable mentions because again like I said before you guys did a great job and it was really hard choosing those top five there is also another art list contest running right now called the art list show real contest we will be linking it in the description below as well as a pop-up here on the cards so make sure you check it out there's still a chance to win some prizes and keep your creativity flowing and if you like this video don't forget to hit that like button and subscribe to our youtube channel with that notification bell on until then stay creative


ly do you have the immediate economic impact of the jobs in terms of whether editing would be done in Scotland, particularly in the crew base and the sound engineers and so on, but the big economic impact comes back to where the future is. That is why the BBC Charter has to be strategic, is about how we can get better value out of exports, how we make sure that online productions and co-productions with other companies are skill based and experience. There are a lot of the companies that are conducting the lift and shift with their head quarters based in London, but that is the experience that they are not getting in Scotland and that is what we have to try to shift. I think that the point that was also made was that if we are not careful about the unintended consequences of shifting in terms of a Scottish-based or Scottish-owned company, is that you get a change in the market that sees a company bought out by a London-based company or a US company and suddenly a whole series of people who have a set of skills and are based in Scotland and feel themselves very Scottish are considered outwith whatever mechanism that you use to describe those things, so that there are real risks in tartanising that in a way that simply does not keep pace with what is happening within the marketplace. It has got to be sustainable and we have got to look at global markets absolutely, but as somebody who represents a west loading constituency that has seen NEC and Motorola come and go, if you look at the parallels of Mware Investment, it is a bit like Waterloo Road, it takes something out and then all those jobs then move because of that one programme. If you have one big network programme, perhaps as it was indicated, coming to the end of its lifespan, that is not necessarily as sustainable as homegrown and developing businesses that can be global, can be export-based, can be selling into markets. Part of that is the confidence and capability of the Scottish content to be of quality that can add into the mix. There are two things, there is the economic creative impact but it is also about the BBC being, they know the challenges in itself and indeed the consultation from the UK Government is how do you get that diversity of perspective and if your commissioners by and large have a similar mindset and a similar experience, then you are not going to get the quality and range and what is interesting in the global area and how do you plan for five, ten years, you have a charter of ten years, how do you plan for the future. The originality of content in the global market has currency and you are seeing that with the Scandinavian broadcast and a lot of production is going to be co-production in the future and we need to make sure that we have a sustainable base for that and I think that the role of the BBC is not in just in providing immediate consumption for audiences, it is about being a leader in how do we make sure that sustainability for five, ten years time and I think how it has an impact on creative industry in Scotland is absolutely critical and we haven't got that balance right yet so I'm not saying lift and shift, it was necessary perhaps at the time to get the figures and the numbers etc but it's a different type of qualitative production in Scotland that we're looking for going forward. I think that it's a brief supplementary on this then, we want to governance. Yeah, there's just a lot of the links too. Thank you for mentioning global markets, the customers, because we seem to not have discussed that this morning and while we've had numbers, you know, I think it's clear that some people are not quite on top of the numbers that they have or should have. In terms of used federalism, I'd be cautious about that a bit. I raised the question about why doesn't BBC Scotland be its own company, entity, accountable, measuring performance, productivity efficiency and creating creativity as the main product and service. Why would we not talk about that as part and it could be reported to the unitary board so that policy is set but the operation is quite clearly measurable, achievable and sustainable? Well I believe in public service broadcasting and I don't want to give any opportunity for the Conservative Government to privatise the BBC. Now I'm not saying that that's what the plans are but in terms of the structures, I think we've got to be very careful about making sure that the governance model fits in with public service broadcasting and doesn't allow an opportunity for privatisation, which I heard Mary's concerns. I'm not suggesting that the UK Government is doing that but I'm just saying that that actually is part of that process. I think that in terms of the governance arrangements and that's why the Clemente review, which is very imminent actually and I'm due to speak to him tomorrow, is very important in the governance aspect. I mean there's lots of things that need to be reviewed about the BBC governance but in particular there's the Scottish representation within that. Now I do think in terms of a board set up that can work but not in a way necessarily that leads it to a kind of marketised model. I think in terms of the accountability it can be and that's why I do think that there needs to be Scottish representation on that and I think actually if you had more accountability both to this Parliament but also to a Scottish board that fed into a federal system within the UK, that would be a very good system for checks and balances and I think it's the checks and balances because you don't want things to be overly on a marketisation for making profit because audiences, you've got to think, you know, the point about consumers or in this case audiences and they're... The board would have the policy. Exactly and I think it's that and I suspect that that is the direction we're going in and it's just what we need to make sure, again it's part of the role of this Parliament as well, is to make sure that within that set up there'd be strong representation from Scotland. Right, except for a lot but it has to be measurable and seemed to be an interdate to be measured. And that's where, you know, the separate service agreement we talked about would allow that scrutiny and accountability in many ways but I think there's an issue about where I think the board would be helpful is actually in the strategic ambition of what's happening rather than just managing things on a short-term basis. That's where I think the board could be helpful because it could take in more holistic and over, that's what I agree with. I think we have actually been fairly consensual on this. I think all of us round the table want the same thing for Scotland so I will ignore the comment about my colleagues down south. Can I just say, I was pleased that you did acknowledge and you appeared to be satisfied with the commitment to improving Scottish specific statistical information. I think that we all need that in order for the audit committee, for this committee and for yourselves going forward and also to ensure that the BBC Scotland is more accountable to Scotland financially but also in terms of service. But what really struck me was, given that there is a commitment to that information, that you've come in with a federal budget. Now, presumably a federal budget, that means a fixed sum given to Scotland every year, etc. Would that not be very difficult to negotiate at the moment given that we truly do not have enough Scottish specific statistical information? You're right that it would at this moment in time but even the movement in the last few weeks and months in terms of the publication of Scottish specific information is enabling us to have that dialogue and discussion. To what extent would you then say that in a federal structure there would be agreement that the allocation to Scotland would be x or would Scotland get all the £323 million and then be a subvention back in for some of the UK-wide roles and responsibilities. I'd like to maximise how much that is but you're absolutely right. Now we've got the basis for that discussion and although I recognise what the BBC has put forward in keeping with the information that we have but we've got a far more openness and clarity so we can genuinely have that discussion in a way that we wouldn't be able to have even six months ago. So the process of doing this has been very, very helpful. I'll give you a memorandum of understanding, given the Audit Committee and this committee, plus this information. I would just convener to be very concerned if we suddenly, in the absence of the information that we all need as parliamentarians to start looking at a federal structure, just leave it there. Okay, do you not want to ask your second question? Yes, I do, given that you asked it in the— And given that you chastised me for it, I thought you did. Pinched my second question. Well, it was really about the role of autonomy and I was quite interested and I have no doubt that you've read the BBC submission and it seems that audience appreciation for BBC channels for the weather, for sport, etc. They're very, very similar in Scotland compared to the UK. In fact, for TV overall, the figures in Scotland are just 1 per cent higher in consumption of BBC compared to UK-wide, but it was really to look at, you know, to what extent, given that we all know that devolution is moving a pace now, you know, to what extent do you feel the BBC has kept up with the changing face of Scotland in terms of devolution and how much further it should go in the future. We've spoken about the degree of autonomy in terms of budget, etc, but how much more Scottishness are you looking from BBC Scotland in future to reflect the increasing pace of devolution? It's really important, as a Government minister, that I make it quite clear that it's not my job to influence the content and the editorial decisions and all that. There has to be independence in that. I think that it's a fair comment that the BBC themselves have acknowledged that they haven't kept pace with devolution, which obviously started in 1999. They've acknowledged that themselves. The challenge that we've got in the charter, which is with 10 years, is possibly 11. I do think this merit in trying to separate out elections and charter renewal timescales. We've got to future proof for 10 years' time. We don't know where we'll be in 10 years' time, but Tony Hall himself acknowledged that the political developments in Scotland are asymmetrical, whether it's Northern Ireland, Wales, etc. In terms of the capability of Scotland to be able to make decisions operationally within the BBC, we think that they can be empowered far more than they have just now. I'm arguing that a federal structure makes sense in lots of different ways. I know that other people say that what you need is more decentralisation, which is more like devolution or enhanced devolution. It could be different in Scotland than it is in Northern Ireland and Wales, because our challenges are different. Actually, our devolution settlements are different. I think that there's a space to move on this, but we have to make sure—I agree with you—that he talked about an asymmetrical development in Scotland and that they hadn't kept up. Actually, there's the scope and capability for changes in Scotland. It's the changes that are needed. That's going back to Liam's point that you can have a percentage figure, but if it doesn't allow keeping up in pace with the cultural developments, etc. We've got a very strong cultural base. I know that a previous director general had said to me that one of his regrets in relation to the Olympic coverage is that they did not have more creative cultural content because the cultural Olympic from Scotland was so strong in Scotland that that would have added to the overall UK content. I think that there is an embeddedness of how we do things in Scotland that is of quality. It comes back to this. It's not just about platforms and it's not just about channels and it's not just about spend. It's about impact. I think that's the bit that is in Ireland. Right, convener, just a final point. I think that the audience appreciation figures illustrate that in Scotland we are very loyal to the BBC and we're certainly watching it in a great figure. All I want you to ask about your federal model, have you discussed that model with your counterpart in Wales, Northern Ireland and in England? You couldn't just have a federal structure for Scotland without having a federal structure elsewhere. Is this something that cabinet secretaries and the other nations have been discussing? I have had discussions with the culture ministers of Northern Ireland and Wales. I've also met with John Whittingdale. I plan to meet him again and he's aware of our work. I think the emphasis is on what can we achieve with the BBC. We can't do this in isolation and that's why it's got to be in discussions with them. I'm due to speak to Wales and Northern Ireland again fairly soon but I don't think that it's dependent on that. I think that we can share our views and what we can offer. It's helpful to know. The point about content, I mean the interesting thing is that Wales, because of Doctor Who and other things, we have a strong production base because a lot of our commissions are from there, whereas Northern Ireland isn't the case. Everybody's experiences are different. The challenge that the BBC has themselves from their own audience research is that they are concerned about how the BBC reflects Scotland to itself. Some of that is in use and that can be dealt with separately from the BBC Charter but also in relation to other content and to share that. I think that they'll have to decide that themselves. It's better that it will be easier to do that if commissions are from Scotland and decisions are taken from Scotland, which we can then share the great productions with the rest of the audiences across the UK. Some of the Scottish individuals that the director general mentioned are examples of Scots who have had to go away from here. It's back to your argument again about commissioning being based up here. Last week, we heard from Professor Blane in Beverage. Professor Beverage said that we should look at having an existing channel or a new television channel based here, because it was all about commissioning and it was all about how we deal with that. Professor Beverage went even further and said that BBC Two should be just moved to Pacific's Key and he believed that there was a plan that the BBC had looked at that at one point to do that. The BBC already has history in doing that anyway because Media City in Salford is an example where they move BBC Breakfast, CBC, BBC Sport and BBC Radio 5 Live to that area. In that, they are saying that over a five-year period that could be worth about a billion pounds to that regional economy. Is that not just an example of the BBC that we have already done before? Is there not a way that we can find a way for them to do something as well so that we can all—because even Tony Hawley himself said that he wants a drama in particular to be more organic and coming from the area, not necessarily with tartland shortbread on it from Scotland but a Scottish drama, a Scottish science fiction show or a show of some sort? Is that not the radical way that Professor Beverage said? Is that not the way forward for us? Well, there needs to be significant, possibly radical change to the BBC to make the impact that we really need both in the impact for creative and economic content for what the audiences want but also to help the sustainability in the long term. The issue is how do you do that? Now, we think that certainly having an additional channel, additional channel and also radio because I think that there is a challenge there for speech and also music in the same channel on how you can have opportunities to have both. I think that where there is an agreement is that there needs to be additional online platforms for Scotland. That can be a channel. That can be a channel. That can be a linear channel. You can think about—you can move into a linear channel or you can also then have in terms of radio opportunities. Nobody is seeing the status quo as satisfactory. Even the BBC, I say, everybody has acknowledged that. Therefore, what is the change and what can it be? You can try to do something internal within the BBC structure and that is why moving the BBC 2, for example, was that proposition. However, taking up the BBC 3 space where it becomes vacant with a new Scottish channel is another opportunity. It is a decision making about commission the content, which will drive that. That comes back to the point of being able to then have the quality content to put on there, which we are capable of doing. However, if you do not have the budgets to do it, and going back to Ann Balford's evidence, the budgets for decision making and commissioning in Scotland are very, very small in need. There is nowhere near the £323 million. There is nowhere near even the £123 million that Mark was referring to. If your decision making is over a very small amount, you are not going to have that influence. The consensus is that people have different views and opinions, and people who are giving evidence to you will have different views and opinions. However, the consensus opinion that has been built up over the last period of the number of engagements that we have had over a number of months has been that the change in the decentralisation of decision making and commissioning to Scotland would make a huge impact. The federal structure is the logical end game of that. However, that would depend across the UK, where, as Mary was saying, we have Northern Ireland and Wales, but regardless of any of that, you can still have more decision making made in Scotland. If we were to try and describe what we are trying to achieve with the charge of renewal, it is empowering the BBC, but it is also getting a bit of strategic thinking in there. It is the strategic part that I think really will be the win for us. It will not just benefit Scotland, it would actually benefit the rest of the UK as well. I presume, cabinet secretary, that you have seen the detail provided by matchlight in terms of commissioning and the off-com rules, which are the context for some of that. Those comments that they provided to us, they gave an example—not a real example, but a worked example—of how commissioning, which ends up being all allocated as Scotland's spend, can be as little as a single-figure percentage in terms of actual spend. What is your view of the evidence that we have received in this area, not just from matchlight but from others? What are your views of the off-com rules? One of the BBCs are voluntarily operating off-com, and there might be an issue, but what should go in the BBC's charter? I am not saying particularly that it is a 10-year charter, so you have to have some scope for flexibility in that. However, I will be firming up as to what that looks like, which is very important. In terms of the evidence that was provided by matchlight, it is very similar to the other committee, the Enterprise and Tourism Committee, in terms of economic impact. I am not saying that there is no impact because, of course, there is, and I recognise that, but it is the qualitative aspect of that. Even within the off-com rules of variations that the BBC Scotland or the network commissioners are looking at, it could be—if your talent is—you can have talent outside the M25 as their rules. I am not quite sure what the rules are in terms of Scottish residency and how they measure that and have the impact, but it is quite clear that matchlight has a point that we are not getting the same economic and creative impact or sustainability. Going back to my point, even if people have a branch office in Scotland, some of the issues where you can have the development of the industry—it is about those other aspects of global sales, it is about online aspects in relation to other companies in terms of intellectual property, where the intellectual property lies. For many of those examples, the intellectual property value does not lie in Scotland, even though they are called Scottish productions. That is the shift that we need to have.  They are not leading the industry particularly. They are having an impact, and I do not want to underestimate how important it is. The answer that you did not get from Kevin Macquarie was about how much of the decision-making for a network comes from Scotland and how much is the spend of that. That is the number of what we need to try and change. I did try. We have returned to the figure of £35 million, which I accept that the BBC itself was, in a sense, substantiating, but I am taken by a comment from Nicolle Cleman of Firecrest Film, specialising in current affairs and also working on the panorama and channel forward dispatches programme. My feeling is that the value of television production in Scotland to the Scottish economy and to the Scottish viewer is significantly more than £35 million. Another executive commenting in the same article suggested that we are using local companies and we are doing our editing here. I am employing Scottish producers, assistant producers and journalists. Does not that benefit the Scottish economy? It is bizarre. It just does not make sense. The amount, the value of productions made here for the network is so much higher than that, referring to the £35 million. I do not think that necessarily we are ever going to be able to drill down into, given the make-up of the way in which programmes are produced and commissioned. Is there a risk, to some extent, that what we are seeking to do is to create a definition of Scottishness, which does not necessarily reflect what is happening in the industry and undervalues some of what is already happening at the moment in terms of productions? You said that we may never get to resolve it. I think that that is why Mary Scanlon is quite right to say what we can do in terms of the accounting and what can be produced, because even in the last few weeks, the committee has elisted information that actually one confirms our figure that we have been using of the £35 million of original TV content, not series production for a week original TV production for Scotland. That is now acknowledged by Ann Bolford. Is it underestimating? I agree that there is more from independent producers that are maybe doing network commissions for panorama or else to spend in Scotland. I am not saying that there is not an economic impact there is. The issue there is that we are using Ann Bolford's figures, £83 million spent in Scotland including lift and shift. There is, but it is better to have a headquartered base that can grow in a longer term rather than one-off commissions. That is the difference. I am not saying that that does not matter, but if you have sound engineers and assistant producers, what you want is the people who devise the programmes. Where is the intellectual property value of that? The intellectual property value of what a lot of the lift and shift companies are contributing is not remaining in Scotland, so there has to be a better balance. Everybody is saying that there has to be a better balance. Now the issue is how do you get that better balance? Tony Hall is talking about access to commissioners. That is not necessarily going to be sufficient to get the better balance that we are trying to achieve. It is quite interesting that, since the figures that were produced by the BBC and furthermore from their evidence today, they are backing up the figures that we have been using. I do not want to have a fight about—I think that it is not necessarily going to be productive just to—I think that we are now getting to consensus even of what the figures are representing. I think that we need to get a bit more clarity and detail on it, but, by and large, we have got an understanding of what that looks like. The issue is how do you change network commissioning, budget and decision making? How do you do that for the benefit of Scotland but also within the context of the BBC and the rest of the UK that is a win-win for both? I think that we can do that. I think that there is a case for that. That is why I am very pleased that I have had constructive discussions and a number of meetings with BBC Scotland management and also with BBC UK management, and we will continue to do so. We are starting to move into a ground where the areas of difference in terms of understanding the figures are not that great. We have been talking about the creative industries. In the context of the charter, how is the Scottish Government, presumably in partnership with Creative Scotland, proposing to become engaged in setting the strategic direction for the development of broadcasting in the independent production sector? First of all, there is a memorandum of understanding. With the UK Government as partners for Scottish Parliament, the BBC is very important. One of the things that I managed to preserve the UK Government to amend was that the Scottish Government would be involved throughout the process, not just at the beginning or the end. That consultation on the BBC charter has generated 200,000 responses, which is the biggest response for any Government inquiry ever. We will engage with the UK Government on the responses to that consultation, but we can also input the content prior to the publication of the white paper. The white paper will be part of the stages of the process. That is the point about the impact on creative industries. I might be wrong, but there is a consensus with the UK Government, the BBC and ourselves, that the role of the BBC has been leaders to help to lead in terms of the sustainability of creative industries, not just for themselves but for the wider sectors. They have to be able to compete and have the opportunity to provide other areas. The BBC studios have the duaries out on that. It is something that we have to revisit from a Scottish perspective and also from a UK perspective. I agree with Tony Hall's point that there should be something in the charter about the role of the BBC to lead the creative industries. I do not think that it should be measured or understood just at a UK level. If the BBC does that, it will ignore the impact on Scotland and all the changes that we can have. It can do that in skills training, co-production, but it can do it very much by commissioning. It is the commissioning aspect that we come back to time and time again. The way to support creative industries in Scotland is to have more decision-making and commissioning in Scotland. We are likely to have more commissions in and of Scotland that we can then contribute to the UK. It is absolutely critical. Is there a danger that the BBC might be too dominant in the market in terms of too big a proportion of the creative industries in Scotland becoming dependent on the BBC? There is more business for Scotland, which might be a nice problem to have. You are absolutely right that we have strong other sectors. We have channel 4. We also have public service broadcasting provision in channel 4. That is very important. There are questions as to how channel 4 contributes to the creative industries, as well as on TV. If you have taken evidence from MGL, I think that the model of what it is doing and how it supports independent producers is really strong. There is a scalability aspect of what can be done from that for the rest of Scotland and perhaps elsewhere. The issue is that you have a diminishing resource. We think that there should be more resource to Scotland to reflect our population share. Even without an increase in resource, transfer of decision-making would have an injection of potentially £80 million or otherwise in terms of economic and creative impact. That helps the creative industries. We are in a strong place with capability, but we are under utilising our potential in terms of the creative industries of the BBC. Yes, there has to be checks and balances there. That is why some of the off-call rules about eligibility for independent producers for the BBC themselves mean that that is the movement in the shift. I think that the BBC studios have potential, but it could, as you have been warned by Janet Archer and some of the evidence, if it ends up in reinforcing the centralisation of production in the London Corridor N25, then you are just going to recreate with the BBC studios problems that we already have with the BBC as such. I cannot be definitive as to where that will be because we still have not got definition and clarity from the BBC themselves of where the BBC studios are in the competition. Cabinet Secretary, in the context of charter renewal, I wonder whether what your view is of how the Scottish Government in partnership with Creative Scotland could propose to become engaged in the whole process of setting the strategic direction of the development of broadcasting in Scotland and for the independent production in Scotland. We have already got the TV leadership group. We are also thinking in terms of strategically, film and television are becoming so high-end television is competing in many of our film screen sectors. Therefore, there is more of a connection about looking about the strategy for screen in Scotland collectively. Obviously, in terms of injection of funding, we have got development fund, production fund and different things that we as a Government are providing with the focus of the film strategy that Creative Scotland has, and in relation to the screen leadership group that has been established that brings in the independent producers so that the sector itself can help to set that. It is like any sector in which its creative industry is energy, food and drink, tourism or other areas. It is not for Government or Government agencies to set a strategy without recourse to what the industry wants. I think that we are getting far better placed in Scotland to make sure that all the players with their BBC, Scottish TV and the independent production sector are coming together to help to set that strategy. I do not know, Laura, if you can maybe want to add in on what else is happening in terms of that area. Is that sufficient for you going on? I think that that covers it in terms of the funding and the work that we do. We have also got the Scottish Creative Industries partnership and the work that we do there. Thank you very much. Is there any more questions at the moment? Cabinet Secretary, can I thank you and your officials for coming along this morning? Again, we appreciate your time in coming to the committee. As the committee has already agreed to take the next item in private, I close the meeting to the public.


Falling contest is a tag team match scheduled for one fall. Ladies and gentlemen, welcome to the club. It's bell time. Drew Kazoo here with Mark Green. And to my left, Joey Bissman is welcome back. Good to have you, my friend. Yeah, the plague is gone. As we see now, little Giants making their way ringside. Oh, they love them here at Fenway. Bullitt Joe and Robbie the Giant. All the energy in the world here. He did not love these guys. They tried panic contests. Pun intended, I assume. No, never. That's what he does, Mark. He's the pun man. But nonetheless, we are in for a treat here. Bullitt Joe impressed me so much last time. Last year, when we witnessed him, I'd never seen anything like that. That was a fantastic match. Well, actually, one of the best from last year's El Mundo. These two had a real knock-down drag-out affair. But those of you watching at home, if you are not familiar, it is Robbie with the long hair and the beard. Bullitt Joe with the trunks and the clean shaven look. And now we see Chad Epic. Who let Chad Epic in the building?  Clashiest ever, but I think he toned him down today. That is perhaps the least loud suit I've ever seen Chad Epic wear. Yeah, he really toned it down for this one. Well, he got Steven Broad and Steven Lust. I can't really hear him, but I'm guessing that they call it everybody chuds. Success they have had under Chad Epic. Oh, wait a minute. Telling the Belt Time Club faithful here that they wish they looked that good. I guess we have very different definitions of looking good. I'll tell you what does look good are those New England Tag Team Championship belts. That just puts everything over the top. But look at the contest, you might see me. Introducing in the corner to my left, the challengers at a combined height of nine feet, one inches, Bullitt Joe, Robbie Gamble, they are. Oh, look at this. Bullitt Joe. And then Steven Broad just got me, too. Look at that strength going here. Our company tuning side by their manager, Greatness himself, Mr. Chad Epic. That's out there at El Boondel, though. Wow, they're into it, man. They're in for a treat right now. 418 and three-quarter pounds. They are the current reigning and defending Elphania Promotions New England. At the end, the right stop, Steven Broad, the middle sex, X-Brand. I'll tell you what, Steven Broad looks like that creepy uncle nobody wants to invite the barbecues. Holding the gold right now, so. I think it's more silver. Yeah, you're right. I'll tell you, white gold, perhaps. There you go. This is me. Last year, Robbie the Giant Bullitt Joe really put it over the top. I mean, unbelievable.  Championship intuition. That's the tutelage of Chad Epic right there on display. Yeah. Steven Lost is just having his way with Robbie the Giant. And they sent him into opposite sides, both looking for back drops, but no. Bullitt Joe, whatever. I'll tell you what, if you have not seen the little Giants before, you are in for a treat. Absolutely. Two-time MCW Tag Team Champions, the little Giants. Got some sweet chin. Double hip toss followed by a couple of kicks. Double team elbow drop. You got it impressed. Wait, what? All before the bell was even run. Unbelievable. So now we're officially underway. I guess so. The free has got to get some control here. We've got to get somebody out of the ring. There we go. One, two. You know how hard it must be to lift the leg just to try to apply body pressure for the cover for Bullitt Joe? There's so much mass he has to cover. True. Chad Epic already up on the apron getting involved here. Oh, on Joe, Bullitt Joe gets, oh, eats a boot. That's why he's the best manager in the game.  And Robbie came in to try to help his partner with the referee kicking him out now. Look at this. And lost. Stephen lost, taking advantage of the situation. And broad on the outside, just, you know, taking advantage and now lost too. Oh, no, wait a minute. We got Chad Epic getting in on it. He's stuck in a little shut. Robbie's a giant in a bad way, though. It's hard for referees in a tag team match where there's so much going on, but we've got to get better control of this situation. Right. There's so much ground to cover in that ring, you don't realize it. Double stomp. He breaks the eyes with the boots. And Bullitt Joe looks like he's fighting demons. Stephen lost now just mocking Bullitt Joe. And tags in Stephen Braun down. A little bit of double team.  However, as you illustrated, they're former tag team champions themselves. I'm going to have to disagree with you on the mismatch. I'll tell you, Robbie the Giant is a former amateur wrestling state champion trained by Brutal Bob. And Bullitt Joe trained by Mike Bennett and Matt Taven. So these guys are top-notch competitors. And look at this. Referee lost his last one. A little bit dazed and confused. Looks like Robbie the Giant's finally come around.  Quick tags, have the ring cut in half, keep their opponents on the other side of the ring. This is textbook tag team work. Absolutely, absolutely. And unfortunately, it's the little giants who are on the receiving end of it. And slowly watching their chances of victory slip away as we see Stephen Braun now. Oh. And he spoke too soon. Oh, nice rebound there by Stephen Braun. This is why their champs, they isolate the issue and just keep on candling it. They haven't even let Bullitt Joe get anywhere near Robbie. And you see the textbook execution on that sunset flip got his feet all the way up. You know, when anyone's a champion, it's not by accident. There's reasons why. And they're displaying all of that. And Stephen Luss is about to give us a lesson. Well, the little giants will tell you they're the champions because they haven't faced them yet. So you never know. So if Bullitt Joe is as tough as they come, he's showing us right now. And this one is far, far from over. He went for that code breaker. But Stephen Luss, they were able to catch him. And now there he is on the suppose of Luss. Into the cover, has him. Wow. And Luss is upset. And Stephen Luss is beside himself. He's fired up. Chad Epic saying Robbie's a child. And we see more of that classic old school traditional tag team wrestling style at that Mark Green alluded to earlier. Bullitt Joe is tough as a 20-year-old. He has a limit. He has a limit. Come on. Joe's got to make that tag right now. Come on, Bullitt Joe. Here's his chance. There you go, hot tag. And here comes Robbie the Giant. And he's climbing the second turnbuckle on the inside. And Robbie Luss doesn't even know where he is. And perhaps the littlest man in the match is taking on both of his partners at the same time. Oh, watch out. Robbie's got an environment's carry position here. What's he going to do with him? Nice. That's going to be it. That has to be it. Robbie the Giant put many an opponent away with that Yoshi Garoshi. Yeah, I'd appreciate the core strength of Robbie the Giant. Bullitt Joe's still out on the floor as well. And is he softening him up for that short notice? There you go. Wait a minute. Rolled through with all of it, but gone enough. No, Bullitt Joe. He hit that clients were one second away from victory here at Fenway Park until Chad Epic got up on the apron.  Well, he may regret it now because they've got a hold of them. Oh, and they've got the Canes. Uh-oh, watch out here. Oh, wait. You see that? Oh, Bullitt Joe took it in the back. Watch out. Wait, look at Chad. Oh, no. Middlesex Express stole one here today, folks. Absolutely. What a hard one. Well, Chad knows what he's doing. So does his team. Got a heartbreaker of a loss here for the little Giants. I'll tell you what, the wool Giants won a lot of fans here tonight, even if they didn't win the Tag titles. But they're going to be back because they are absolutely, by all rights, they should be leaving here the Tag Team Champion. Not a question. Not a question. Tough break for them. If Chad Epic is not here, we have new champions right now. All right, well, Middlesex Express, walk away. Still in a victory. Ladies and gentlemen, thank you for watching from Mark Green and Joey Business. I'm Drew Kazoo. We will see you next time.