What is up, Marvel Squad? Welcome back to our channel. As you can see, I'm currently in my car. I'm actually driving to Panda Express. I'm gonna get some food for tonight. I'm spending the whole night in my girlfriend's house. Hopefully she doesn't catch me. I don't know where I'm gonna eat the food, but I know I'm just gonna get hungry during the night. So I have to be prepared, okay? I got water bottles, I got my bag, I got a light so you can see me if I have to go in any dark spots or anything. So this is gonna be a good video. So I hope you guys enjoy this video. Make sure right now, give it a big thumbs up. Hopefully she doesn't find me in the first 10 minutes. So obviously, if this video is posted, that means it freaking worked. So hell yeah, keep watching this because it's about to get crazy. All right, that was kind of weird, but I'm gonna give our pre-video notification shout-out and that shout-out goes to Sarah Kozlowski. I think that's how you say it, but shout-out to you, Sarah. Thank you for being a part of our channel. And give me like one sec. I'm gonna go get Panda Express and I will be right back. We're back. I got some panda food tonight. Yes, I am getting locked and loaded for this long night. Okay, don't really have a plan on sneaking into our house. Usually they keep their garage door open. So that's gonna be like my main thing, hopefully. But if need be, I'm gonna go through the back door because I know the back door is open for the dog. Right, I think I'm editing a video today. We have to get a video up Sunday and that's gonna be awesome because the video's going great.  I literally have to postpone it till tomorrow.  Like I guess that's the plan. I'm almost at our house and I'm like kind of freaking out low key, but I have a backpack full of stuff. So I think we'll be good. I got water, I got my phone, play games on. You guys obviously and some Panda Express now. And if you guys are wondering what I ordered from Panda Express, it's the orange chicken bowl with chow mein. Probably the best thing that you could get there. Let me pull over really quick so I can finish this little intro. Before I pull down our street, guys, I'm gonna go park down the street and I'm gonna have to sneak on up, walk to our house, sneak on in there and we'll go from there. So I hope you guys love this video. Make sure to be subscribed to our channel to get awesome videos just like this. So I'm gonna stop rambling. I'm rambling too much. I'm getting excited. I'm just down the street so I'm gonna have to turn the car off far down from our house so she doesn't see it. She's not leaving anywhere. So she won't see my car if it's parked four doors down. But my car's really loud. I don't know if you can hear in the video but she could usually hear it when I'm out in front of her house.  So I will see you guys probably when I'm walking up to her house or in her house because I don't know how it's all gonna go down but I will see you guys then, enjoy. All right, so I'm keeping it low key. I'm actually right outside her neighbor's house like four or five doors down. And I just wanted to show you guys something. This is how much I love you guys.  I'm sorry if you guys don't like sweat fast forward 10 seconds, but look at this. I literally have to wipe off my center council because that's all for my arm. How am I gonna do this? I need to take a shower. But okay, I'm gonna go walk over to her house. We're gonna see how this video goes. Enjoy, please. Like, God, I'm hot. Why am I still smiling? I'm so hot right now. Okay, bye. Guys, I'm in her garage right now. Her door was open obviously, but what do I do now? Just to prove that it is Mariah's garage. This is her car right here, babe. I'm touching her car. We're in. Should I take a selfie in here and be like, I'm in your car, girl? So this is like the perfect spot now. I'm in Mariah's car, as you can see. No one can hear me, because I'm in the car obviously, but oh my God, my heart is racing. I literally just ran across the lawn of like three neighbor's house. I don't know what to do now. Should I just spend like 24 hours in her car? Different video. Step one, get here. Get food. Get in her car, I guess. So now I guess the main thing is what are we gonna do about that guy? He's like, that is the door that's either gonna make or break this challenge prank thing. Okay, before I go, I just wanna tell you guys, pray for me, send prayers in the comments, because I don't know how this is gonna turn out. She usually, she's in her room. She's probably in her room. I'm going inside. I'm gonna stop thinking about it, because the more I think about it, the more I'm gonna make myself overthink that she's standing right behind that door, which would suck, but it would still be a surprise. So I will see you guys inside. Actually, I'm just gonna film. Keep going inside. My Panda Express is in here, by the way. I'm taking the leap of faith right now. This is it.  It's squeaky. Go upstairs, guys. I show the toilet flush. Check it back in. She has no idea I'm in a freaking house right now. Oh my God. Holy crap, this is kind of creepy. What do I do now? What is up, guys? I'm eating some Mariah's house. What is up, guys? I am in Mariah's house. You know, I'm just chilling. She doesn't even know I'm here. I just felt like, this is actually possible. This is awkward. I don't wanna be in here because I feel like it's wrong, but at the same time, it's like, this is working out so good right now. I gotta keep going. I gotta eat right now. Hold on. She's probably gonna be outside for a while, actually. She's tanning. We've actually filmed a lot of videos right in the spot.  If she comes in, kinda screwed right now, I have so much to do. I wanna eat, but I also wanna find a spot to hide. I'm kinda hoping her closet's empty. I think it is empty, actually. It is not empty. All right, so I'm going to hide in there. Should I hide in there? I'm gonna be stuck in there if I hide in there. Should I go back downstairs? I don't know. It's getting late though. Sunset's in like 10 minutes. It's like, it sounds gonna be gone. What time is it? She's been texting me. I haven't even texted her back. What are you up to? How's editing going? Text her back really quick so she doesn't think anything's up. All right, we're good. She's not suspecting anything right now, which is kinda crazy because I'm in her house. I actually made it in her house.  By now, I'm literally, if this video ends in the next 10 minutes, I'm still gonna post it because I made it in her house. Without her even knowing, she's outside. I could be doing anything. Should I clean her room right now? Wouldn't that be funny?  I don't have enough time for that, I need to eat. My goal is to make it till morning. If I can make it in the morning and wake her up, that's what I'm gonna do. If I make it till the morning, which I don't really think I will because I don't know where to go. I don't know what to do. I'm gonna be stuck in a closet in one wrong move when she's gonna find me. I just lock her doors because Mariah's gonna be fricking on padlocks after I'm done tonight. I don't know why she's tanning right now. Maybe she's not tanning, but she's in her bathing suit. I'm so confused because it's literally supposed to get dark in less than a half hour. I'm talking about like 20, 25 minutes. I'm gonna go do my thing. Anyways, yeah, so I'll see you in a minute. God, she literally just like been straight chilling in here. It's not that bad. I'm actually kinda comfy, but like, got my backpack over there. My shoes are supposed to kind of pace myself so I don't have to go to the bathroom, but it's gonna get crazy. I will be back hopefully soon when she moves. She has to be going to the bathroom or brushing her teeth or something soon. Hopefully I'm just gonna keep playing on my phone, doing my thing, and I will see you guys in a little bit. Sorry if this is bright, but guys, she walked out of her room finally. It is literally 9.50. She's in the bathroom, I think. Wish me luck, guys.  I'm gonna come back in hopefully, but if I don't make it, I don't make it. I'm just snagging me one of these. I'm so hungry right now. So I put the chair in the other room. Hopefully she makes a good reaction. All right, she's still in the bathroom. I thought she was walking over here. I feel like I'm on that like survival show closet. Billy's holing up. He has water, he has light, technology.  Honestly, like, I don't know how much more I could do. She's in a room, and I think I'm stuck here for the night, so hopefully I don't know when I'm sleeping. I'm gonna sleep closer to the wall because that's the last thing I want to do. I'm gonna get ready for her freaking reaction, give it a thumbs up for her reaction. Get ready. A few minutes later. I have good news, guys, because I've been holding this in since I had that Panda Express. Bathroom, I'll be right back. As you can see, I'm really tired, and I'll see you guys in the morning. Stomach ache in the world. I don't know if I can do this. I can't wake her up now because her dad's home now, and she'd probably scream. I need to tough this one out. I'm literally dying.   I'll see you in the morning sometime. I just wanted to get on here and tell you guys I've been up for the past half. Not feeling good, so thank you, stomach, for giving me this night, guys. What's up, guys? It is currently 8.30 in the morning. I had a rough night, but I'm excited to get out of this closet, and I'm excited to say that we've made it to the morning. Are you guys ready to wake Mariah up? I am so ready because she's not even gonna know I slept here overnight. All right, let's go. Morning. Good morning. Let's scare you.  Wow, you woke up quick. I think you're about to wake up. No, because I felt someone laying on me.  What are you doing? Good morning, Mariah. And it'll wake you guys, no more. No, you... Your front door was on the line. Maybe my front door was on the line. I just walked right in. No, you didn't. Yes, I did. No, you didn't. Yeah, I think your dad left it on the line. Because I wanted a film, a vlog. Okay. She doesn't want me to show her face. Mariah. Mariah. Wake up, silly goober. No, I look so bad. Wake up. Oh, you look good. No. Pete Mariah's haughtiness. No. That's a word. What are you doing? Huh? I am tired. Okay. Yeah. And I came here to film. I'm waking you up in the morning because I've been here all night. Do you even know? No, that's f***ing weird. Why would you sleep in my house? Watch your mouth. I've been in your closet literally all night. Ew. I swear to God. Do you not know I was there? No. Oh my God. Yeah, I was right here the whole night and it was so uncomfortable. And I had a stomachache. Why did you just come sleep next to me? Why did you have to sleep through the whole night? Because that was the challenge. It was staying in my girlfriend's house without her knowing. Yeah.  You look fire. Oh, to stay next to me. I know. I know. I was telling this today that I was like, oh, I just want to go lay next to her. But I was like, I can't. I can't. I got to finish this video. So I literally slept in your damn closet for like eight hours or something. Why would you just go downstairs? Why would you sleep in the closet? Because I've been weird. Your dad would have woken up and been like, why is it built upstairs? You could have just told me what was going on, dawg. You just totally messed up the system. No? Yeah, you could have just told me what was going on. How did you even get here? I know damn well the door is right on lock. Do you even know what time I got here? No, what time did you get here? I got here like seven years ago. Ew, no you didn't. Yeah, I saw you tanning. How? I saw you tanning. I got into your garage. Your garage was open. I went and we saw you... It wasn't really tanning. I was just sitting outside. I was wondering because I was like, the sun is not even like... The UV index, I know this, guys, was not even that good. And I saw you tanning. I went in your room. I was eating Pan Express in your room. That's creepy. Wait, look at her eyes. Ew, no, don't. Oh my gosh, she's like... We gotta end this video now, babe. Are you surprised? Like you're not acting as surprised as I thought. Because I look ratchet. You can get my reaction after. She's more concerned about how she looks rather than what that...  Just wait until she processes what I did later because she's gonna be like freaking out then. I am freaking out. I know you're freaking out now, but like... That's messed up. That's weird. That's not right. That's not right. Look at little... Alright guys, so now is the time we give our post notification shout out. This post notification shout out goes to Devin Andrews at Devin230 on my Twitter. So thank you for being a part of our channel. I love you. Yeah, what she said. Thank you for being a part of our channel. I can't even talk right now. Okay, I need to go to bed. I need to get out of here. So, I need to go to bed.  Okay, so... Two plus two is four, guys. Okay, I will see you guys in the next video. But until then, peace. Don't show me. No.


This is a presentation that I've been using in some events to teach people about GTK and usually the presentation is made an hour long. So, I was requested by the deaf organizers to try to make it shorter because in times of pandemic everybody is tired of long presentations. So it's going to be a little bit of a speech run because it's a longer presentation. I put in these lines and also links to the resources I have. And he also has a video of a longer version of this presentation that I presented in another conference. If you want to see me going through more details and all the things that I'm going to be mentioning. So, yeah, before I get to that, I'm working in GNOME for about 10 years now. I work for Red Hat in the last six years in the desktop team. I'm mostly developing GNOME and Fedori. I work in GNOME Boxes, which is our visualization front end. So I am not touching a lot of GTK applications and I've been committed to the newcomers initiative in GNOME that tries to bring new people to the project. And one of the initiatives that we do is to teach people how to contribute to existing projects. And another one is how to write applications from scratch because the Linux ecosystem unfortunately still lacks a lot of applications in comparison to other ecosystems. And a lot of folks don't develop making applications for documentation and things like this. And I admit that GTK doesn't have a documentation that is as good as the other two kits, let's say. But we are progressing on that and this presentation is another step towards making GTK more approachable. Usually I would have one slide for each one of those bullet points and then I'll go in detail and everything, but since the time constraint here, I'm actually going to just talk a bit about it and then get into demo time where I'm going to be writing a GTK application and just trying to talk at the same time and trying to communicate these concepts while I do so. And yeah, demo presentations are everything that can go wrong, right? So let's hope it's going to work. But to start with, who is using GTK? If you're using the GNOME desktop or if you're using a desktop that is basing in on, you're likely using GTK applications. XFC and MATE and all the ship GTK applications. I also know that Firefox draws its chrome, like the window decorations and all, using GTK on Linux. Steam uses it. We have spoken to some folks at Konami that we are using GTK internally, but for the mention of proprietary software, they cannot tell us specifically why they are using it, but GTK is widely used on desktop land. Unfortunately, our multi-platform storage is not as concrete as other two kits. So if you were to develop something that you expect to run in a phone or in an embedded device and Windows and macOS, maybe GTK might not be for you, but there is being a constant improvement on our Windows bindings and macOS bindings. So the story is changing and GTK is catching up. And when it comes to desktop applications, it's very delightful to develop applications with GTK. So if you get experience with that, you're going to see the clear advantages. The key concepts that GTK is designed on is the idea that a widget, a UI element, can either be a final widget or a container that packs other widgets. So we are basically adding boxes and adding items to boxes and organizing things like this. And this is going to be much more visible to you once we get to the practice part. GTK introspection is another topic that is important to cover here, is that what allows us to write applications in Python, JavaScript, VALA, various other programming languages that GTK has bindings to. And this allows us to write GTK in Cs, and GTK is developed in C, and concern is throughout these programming languages. So thanks to geodec introspection, the example that I write today is written in Python and is going to be called in GTK widgets that have been written in C. The pros and cons is exactly what I mentioned about the widget platform story. The animations are also kind of lacking in the past, but now in GTK4 there is nearly released. The animation API has improved significantly. Another part that I want to cover here is the clean. So the IDE that you can use and debugging another clean that you can use while developing GTK applications and the distributing aspect that nowadays we have this feature of technology that is able to run applications on flatback containers. And it's groundbreaking for us and not just for internal testing and things like this, but also for distributing applications to end users across distribution boundaries. But anyway, let's get to the practice because as far as I can tell, I don't have much time. Also, you have some issues with the sound quality. Let me try to change the microphone to the camera. I wonder if this improves the situation. I'm going to hope it does. Okay, I'm going to continue forward. Please let me know if things aren't working. So our IDE is GNOME Builder, and GNOME Builder can bootstrap projects for you. So this saves us a lot of time once you are learning a platform you don't want to actually have to learn a whole picture before you get to do something easily with it. And I like to be able to start from somebody or play a project, evolve from it, and then later on just clarify this concept. In the presentation that I linked, I actually go through bootstrapping a project and describe the files one by one. But here, since we are constrained with time, I want to simply just start an application as fast as possible. The application is going to be a web browser. I think a web browser is useful for showing how we can use GTK, also linking to WebKit GTK, which is the web engine that we are going to be using, so how we can create a real practically useful applications. I'm just going to go check the checks a bit because I don't have a comment. So I hope the audio continues. So the project name you describe in builder, it's basically the typical project name that you're going to see like Firefox, Nautilus. And then the application ID is a reverse DNS name that meets your application need. This is going to be used for the divorce activation for AppStream data. So for instance, for your application to show up on AppStores. This is also used for desktop files. So the files that describe how the application launchers look on wireless launchers. So we don't show the type of Firefox, but describe the icon name, the human readable name, and things like this. So yeah, we're going to just create an order in Nautilus browser because it's not being creative today. And pick the language as flight. Here in the bottom, there are templates. There's just a basic, you know, application. So by creating a project, you know, the builder is going to bootstrap the project with the initial files that we need. Here in the very top where you can control the build and everything and see also that it's building against the runtime and it has version of a runtime. So I'm just going to go into the details about it very quickly. So this is specifically a whole flatback. So the application is going to write this manifest that describes how the application should be built.  So the manifest describes the app ID that we entered before, the runtime. So the runtime is everything that your application is going to depend on. That is genome-specific. So the org.genome.plotform is the genome runtime. KDE has its own runtime, so you can link against the KDE-specific libraries. And the way run-times in flatback are implemented is that they inherit from other run-times. So there's the free-to-stop run-time that has this very elementary building blocks that both genome and KDE run-times use. Same thing about the SDKs. So these are libraries and headers and things that you need to propose your application. And then here we come to the finish arts, which in the flatback manifest describes the permissions your application have. These are not portal permissions. So these are not the permissions you see, like application wants to have access to your camera, authorized. These are run-time permissions. These are hardware static permissions. So these are hardware permission that your application cannot function without. So basically, our application needs network access, ITC, so we can access the divorce, and these sockets for the display servers for both X and Y and Y. Since our application is a user-facing application, there's no point in keeping the files that get extracted into this pass. So there is a thing of common here that suggests to detail. The important part is this module's list that you can bundle applications and libraries. So for instance, I will be able to add here another JSON entry and just bundle another library that doesn't belong to that type. So my application can use and link things that are distributed in run-time, but can also bundle its own internal libraries and dependencies. So this is very convenient to distribute an application like this and once for all, solve the latest implementation problem, let's say. So one of the modules that is described is the very own application. So here we have the name of the application, the build system, and the sources. So the user changes it to this local path, and the version of my application, this could be a parbole or could be the digital repository online. So for everybody who's building a flatback to be able to obtain the sources. So yeah, before we progress, I want to check the chat again. Okay, so. Okay, so it seems that it's working. So the nissan file describes the very basic things and unfortunately, you don't have time to get into the details about everything. Let's progress to the code part. One interesting thing about a modern application development in DTK is that we are able to separate the graphic template part from the logic. So you'll see here in the side that we have this UI file, window.UI, that describes the widgets in this XML format. And then you have the window.py file that has been already bootstrapped that is just the vital logic that is connected to that. So you imagine about a model viewer controller type of paradigm that you see in others text. So this is something that DTK kind of has it. So what Builder is doing here is pretty much just binding this browser window class to the template that is defined on that file. So I can access the widgets defined on that file and their properties and such. So let's run things. Once I press play here on the very top, Builder is going to use the flagpack manifest to run the application. And hopefully it's going to work. Yes. So this is the basic model plate that we get. So it's a DTK window and there is these labels. So first thing we're going to do is we're going to change the label. Why not? So here we have the description on that label on the XML file that's the text from the label property. This might be a good moment for us also to look at the documentation. So let's just rapidly modify here and see the changes. And let's get going. We are building a web browser and this web browser is going to be using WebTGTK as a web engine. The reason is because WebTGTK is record of the web engine that can be used in GTK. So that's how we are embedding and WebEngine is responsible for rendering the web pages. So when you see in a regular browser we have the rendering area that is provided by WebEngine and then we have the Chrome as the browser. So we are going to be doing a Chrome to control existing WebEngine. So I'm going to work here with WebTGT tool library and on my UI file I'm going to turn the first challenge that is a label that we saw into a box so I can place that inside of it. So boxes don't have labels, I'm getting rid of it and these attributes are also label-specific attributes. So just a plain box. And then here when it comes to the code I am just going to rename the label into the code. So let's create the WebView. I'll create a WebView instance and then I'm going to pack it in that box. So the GTKbox and GTK3 has this tag start that allows to put that widget inside of the container. This is going away in GTK4 but this is actually a GTK3. So I'm going to edit and you will see these three other parameters. So let's actually get to the dots so I can show you exactly where the parameters are coming from. So this is the page you see with the IntimizedLives and everything here. So the GTK object reference here will be able to tell us that the GTK box has a method and it's tag start and receives firstly the GTK widget with the child and then some properties on the widget whether they should spend should fill the container and some padding so the business the margin on the space between the whole space of the widget and you don't want to have a margin. With that done I guess we can just tell our widget our application window to just show all the widgets that are contained on it. So this should already do some. Actually we should tell the WebView to load a web page. And then look at the WebView documentation and look for the loadURI method. I'm just browsing of the API specifically because that's how a newcomer would approach it. You don't necessarily know the name of the items on the API and they're just browsing the API reference material and figuring out. So loadURI receives a string and this string is just a classic WebURI. So let's do a loadURI and we're going to load DevConf.season So we're time to run our application. But once it's not defined it's itself. Right, so now we have a dummy browser that opens just one website. It's here we can browse everything but there's not much I can do if I need to always review the source code to get to get to any other address, right, other than this point it's maybe a fun exercise to try to escape the website and get elsewhere. But anyhow what you're usually expecting a browser is an entry for you to type an address, right, so that's the next step we're going to do it. Here in the top we have a GTK header bar. The header bar is this typical GNOME bar in the top that can have widgets. You see here where my cursor is going in a typical web browser you also have all these controls embedded. So it's the very same principle we're going to use in our application. I am not a designer so I'm going to make a browser that looks like the other browsers. I'm not going to get creative about it.  The header bar is a container as well. We can see that on the API browser as well. In this GTK entry I'm going to give it ID so I can reference this in my idle and I'm going to follow it to my ID entry because naming things is one of the hardest things in computer science. And I'm going to set the property of the widget to visible. This is basically how I set properties of a widget. I set the property name and the value of the property. So let's get ready in our application. Yes. So you see that there's this entry bar here in the top. It's quite dummy. It doesn't do anything. I can type and press enter. I'm not going to do anything because we haven't connected just yet. Another thing I noticed about it is that it's kind of on the left because the header bar is a special type of container that has a child type that allows it to face on the center here, which is what usually the title of the application is. So I'm going to pass a property here to this child type and the type is type. So running again the application as it's centered. So at this moment one of the tools that are very useful for GCA development is the inspector. In the link I put it there, I have some documentation about how to activate an inspector and how to set up the shortcut for it. I already have it on my system that when I press Ctrl Shift I, I have the GCA inspector pop up. So it has a message here in case somebody triggers this by accident. And this is simply just, it is inspired by these inspectors that you see on the WebView, right? The WebKit, if you press Ctrl Shift something, you also get this WebView that you can pick an element on the Web page and change it's CSS and properties, you can do whatever you want. And this is very nice for interactive development. And GTK has it as well. So I can click on the speaker and select part of the widget on the application. So I'm going to click the GTK entry that we just added. Here I can see the name of it. Various properties of it in terms of size allocation and accessible rows. I would go into details about the other tabs here if I have more time. But this is usually very useful for us to test an application with other teams, like high contrast teams, important for people with accessibility needs, the wind temperature, just the dark variant. So this is very useful. But what I wanted to click here on this GTK entry is actually to have it fill the whole content horizontally. So when I check its properties, I can just toggle them for instance. The property visible that we just set here before can be easily toggled. They are in alphabetical part here. So I can turn false and true and the widget reacts live. So that's very nice. What I wanted to expand horizontally, so H expand set into true, expands the whole. That's nice as a restart. So I would just go here and make it official by expressing it on the widget description. So from now on, these are connected. Since I'm showing you the inspector, another thing you might have noticed is the CSS tab. GTK style sheets are CSS which means that if you want to tweak the way your application looks, you can use CSS and it's very powerful. So I could for one start by let's say set in the background of everything to read. So all the containers are read now. I could use a specific container selected. Just say only the boxes are read. Let's say the entry. So only the entry is read. And this is very powerful. I could go to extent of defining keyframes for animation. So let's say I want to do a siren, like a police siren animation, and I could define it as a transition from background read to side to the truth from background blue to background red. And then I am going to just make it for the whole set of widgets, define animation the name of that animation how long it should repeat and the frequency of it. So now you can see that I can have a transition from one to another in one second and slow it down or anything. Various things on your desktops are made like this. If you go to the user accounts and you know it's something that was personally involved in the development, this error that follows your user account is also defined by keyframes in CSS. You can define here for instance the linear transition or if you want it not to be linear you can specify other functions for the transition. So it's very powerful. But anyways we are not here to make funny applications. I want to actually be able to type addresses on the top bar and get the page to go elsewhere. So if I go to a GTK entry I can see that it has a signal called activate. The activate signal is emitted but the user hits the enter key. This is exactly what we need here. So I am going to connect that signal by doing signal name activate and the handler is going to be the callback that I am going to execute as soon as that signal gets emitted. So this is an event oriented programming so user clicks a button and the signal is emitted and something reacts to that. So that's how things are all plugged in together. So I am going to call my method on your I entry callback. Again creative and naming things is not an SQI have. So here we need to write to the function. One last minute. Ok, so I am going to do really fast. So if I were to define the name of the function here in a Python reference to it I could just get the URI from that entry so I could say entry get text and then pass it to this function that we saw here above that loads the page. So you are selling load to our I with that as a fact. I also need to indicate that this is a callback so there is an annotation that connects and I am going to run and hope it gets in a minute.  We didn't connect the progress bar or anything but it seems to be working. So I am going to be able to enter the presentation link so you can go forward and backwards and everything because I also added back and forth buttons, reload buttons, homepage buttons but these are things that are easy to implement and you can see on that. So yeah, basically that was it. In this link you will have more information if you want to follow along. You can also join us on IRC and ask for help over there.


Yes, Roma Wines taste better, because only Roma selects from the world's greatest wine reserves for your pleasure. And now, Roma Wines, R-O-M-A, Roma Wine Company of Fresno, California, present... Suspense! The night Roma Wines bring you Miss June Havoc in stand-in, a suspense play produced, edited and directed for Schenle by William Spear. Suspense! Radio's outstanding theatre of thrills is presented for your enjoyment by Roma Wines. That's R-O-M-A. Roma Wines, those better tasting California wines enjoyed by more Americans than any other wine in the world. And thanks to this tremendous popularity, you can now serve Roma wine more often. Roma prices have been reduced to save you money on every bottle you and your friends enjoy. We'll tell you more about this money-saving opportunity later on. And now, Roma Wines bring you Miss June Havoc in a remarkable tale of... Suspense! She's here, Diana. Get W-S-C. Tell him, will you? And Jensen? Yes.  Here comes the bride. Very good, sir. And everybody take it easy now. Keep calm. What do you want to do? Give her a nervous breakdown? Drive this way, boys. Hello! I'm home again. Away with Madame. A grand entrance for her and utter confusion for everybody else. She was rotten spoiled. But what could you do? On the screen she looked like an angel. And she was the top box office door of the biggest studio in Hollywood. Everybody heard the story by now. Of course, that is the nine-day wonders version that the newspapers carried. But there are only two people in the world who know the real story. And I'm one of them. You see, I was her stand-in.  And she suddenly decided she simply couldn't bear to be making only $10,000 for a whole week's work and took off for Florida. Nobody heard her word ever for two months except in the newspapers. Little things like she'd married her fifth husband and lost $40,000 in one night at Roulette and bought an old Spanish monastery and was going to bring it back to Hollywood stone by stone. And then all of a sudden she was coming back. That very day, with husband and monastery and everything, and everybody had to jump. Loretta knew it'd been waiting all afternoon and going not so quietly crazy, particularly Mike Foss, her publicity agent and me. I was having a whole duplicate set of dresses fitted so we could start the picture the minute she got back. She swept in and I took a look at the new husband. And the minute I saw him I knew there was going to be trouble because he wasn't taking it well. He wasn't taking it at all well. Madame, for the love of Pete, where have you been? W.C. has been blowing his top all day in the newspaper. Oh, now, Michael, darling, everything's been taken care of. I sent W.C. a big box of orchids from the airport. And I brought a few of the newspaper boys along with me. You did! Hello, Polko, darling. I want to talk to you first. I wanted to give you... Oh, by the way, everybody, this is my new husband, Dennis O'Brien. He flew me out. We've bottled him four cedars. Isn't he gorgeous? Gorgeous. Such an improvement on Romana, doesn't it? Say hello to the folks, Danny, huh? Hello? Say, how about a couple of nice pictures of the bride and groom? Oh, darling, I think that's his splendid idea. Come on, Dennis.  Leading over perhaps. That's right. Not too far into the picture. Anywhere you say. There. Now, isn't that about right, boys? Ah, that's fine. Not one of you alone, Madame. Oh, certainly. You can go now, Dennis. I'll join you a little later, darling. Just look around the house. Make yourself at home. Thanks. Hold it, Madame. Thank you. Good-bye. Madame, I was wondering about your hair. Are you going to wear it up in the cathedral? Oh, I am Trey Beach. Lawrence and our minus party was Boku. Madame, I was wondering... Oh, Diana, darling, I hardly noticed you. How are the new dresses coming? That one you have on looks lovely, dear. You look lovely, too. Well, thanks, Madame. I was wondering... Please, will you go? Diana, dear, I shall have to go and have that awful ordeal with W.C. and the Schwartzers will be your... Well, certainly. Good night, Madame. Do you see what I mean? I won't say I didn't hate her because I did. But I was used to it by now. It was a living and better than pounding a typewriter or getting mauled in a modeling agency. I made my way back to the big gloomy house to the study where I left my things. As I opened the door, I saw her husband, Dennis. He was standing with his back to me in the semi-darkness, looking out the big French windows that lead to the formal gardens.  But even from where I stood, I could see that his big shoulders were bunched into knots. I could kill you when you liked that, Maggie. What do you think I am, one of your great Danes that you're going to haul around on a leash and put through parlor tricks? But I... I'm not listening now, Maggie. I'm telling you. I'll cut it out. Cut it out or so help me some night I'll murder you. Well, I'm sorry, Mr. O'Brien. I didn't mean... Huh? Oh, I thought it was Maggie. So I gather. Excuse me. Oh, that's all right. Forget it. I know you didn't mean it. No. That's what you're wrong, sister. Oh. I meant every word of it. I looked at him. Handsome, weak and violent. And I think I... I saw it all right then. For one split second of flash of intuition, the future lit up in front of me like a marquee sign. A sign in big bread letters that said, murder. A suspense, Roma Wines are bringing you June Havoc in stand-in. Roma Wines' presentation tonight in Radio's Outstanding Theatre of Thrill's Suspense. In the acts of suspense, this is Truman Bradley for Roma Wines. Earlier in this program, we told you that more Americans enjoy Roma than any other wine. Common sense will tell you there must be a reason for this preference, and there is. It's because only Roma selects from the world's greatest reserves of fine wines to bring you more enjoyment for your money. You enjoy fuller bouquet, richer body, and better taste in every satisfying sip of this premium quality wine. Today, America's preference for Roma means lower prices for you. Yes, you can now enjoy the extra goodness of better tasting Roma California wine at savings up to 20%. Now, whenever you serve Roma wine, your money goes further whether you serve it with everyday meals or serve it when friends drop in. Here is your chance to lay in a supply of Roma sherry, port, or your favorite table wine and save yourself some real cash. Here is your perfect opportunity to learn why Roma, that's R-O-M-A. Roma wine is your best buy in good taste. And now Roma Wines bring back to our Hollywood soundstage June Havoc as Diana Burke with Elliot Lewis as Dennis O'Brien in stand-in. A tale well calculated to keep you in suspense. I don't have the right face for the screen, but I've got everything else. And Denny knew it. I didn't keep it a secret from him either. Not that I had to flaunt it at him. He was married to a slightly sagging movie queen, at least ten years older than I was. And he was only human. Not that I said anything either. For a week I hardly spoke to him. First because it was smart. And then being madame stand-in because I was busy. There was all the flurry of getting the picture started, costumes and tests and so on and finally the Academy Award dinner. Perhaps the less said about that the better. It was Olivia D'Hadland who got the award, of course, not madame. And she found out about it just before the dinner and threw off wing-ding. But we got her out of there and brought her home before she caused too much damage. And Mike called a doctor and he gave her a sedative. Then Denny and I were alone for the first time. All alone in that big rambling mausoleum of a house. Diane? Yes? Come over here, won't you? I'm all right here. Then I'll come over there. I'm not used to these big spaces. But keep a little space, huh Denny? I'm not used to no spaces. I know. I've got no business even looking at you. But? But what? For a week now I've been watching you. Thinking about you. I know. Do you? Did you? Well, those things don't usually happen to just one person, Denny. It takes two. Diane? Oh, wait a minute Denny. Why? Well, there are a couple of things we'd better get straight. All right.  Why did you have to marry her? Well, things look a little different sometimes from where you are. They do when you get there. And where were you? I was a lifeguard. Just as simple as that. And you thought this looked even easier? Well, there wasn't anyone else and I thought, well, Hollywood, glamour, luxury. I might even get a break myself funny things have happened. Now you know. Yeah. Now I know. But you still want those things that you married her for, don't you? Sure, I suppose so. But I want something else now. Me? Yeah. Sure, you got what you want, but I haven't. And I'm not settling for anything less.  I want a swimming pool too. Well, maybe there's a way we can have it together. Sure. There is a way. What way are you thinking about? A way that people like us would never want to take. Hmm. But suppose we did. That would be different. Is that a deal? Sure. That's a deal. Casual. The light touch. But it was there just the same. We never spoke about it after that. Things went along and, well, I'm only human too. But there was always that understanding between us. All that time we were just waiting, I guess. For what they call in the crime stories, the opportunity. And then on the last week of the shooting schedule on Madame's new picture, it came. There was only one more take before we knocked off that day, so I was free to go home. But everybody else was jumpy and irritable as usual, particularly Madame. And then I saw Denny walking down the stage.  You're the director. I'm not. Well, please, Madame. I'll be ready any time you say. Make it ten minutes. Well, really. Okay, fellas. Move in. Put it a close-up. Oh, hello there, Maggie. Oh, it's you. Yeah, when are you quitting? Oh, Dennis, how do I know? I'm not the director. I'm merely the star. All right, all right. Let him wait. Yeah, but yesterday you said that you weren't... Oh, yesterday, yesterday I said one thing. Today I am working.  Don't talk to me that way, Maggie. What? I'm your husband, remember? Yes. And I've had about all of that. I can stand, too. Now you get out of here. Do you hear me? Get out of here. Okay, Maggie. And you might start looking for a good divorce lawyer. I think you're going to need one. Hello. Oh, hello, Dennis. Let's take a little stroll out of the gate, shall we? I could use some fresh air. Come on. Let's get out the big-stage door here. Okay. Well, it doesn't look like I have much longer, does it? Not much. Now or never. I'm not quite sure. I know what you're talking about, Dennis. Let's quit kidding ourselves. You know what I'm talking about. If she divorces me, we're finished. You're finished. All right, I'm finished. So if we are ever going to do anything, it's got to be now. All right, let's quit kidding ourselves. Are we going to do anything? I would, if I knew how. Shh. Good evening, Mr. O'Brien. Mr. Burke. Madame, can I please have your autograph? I'm afraid you got the wrong gal, Sonny. I'm not Madame. You can't fool me, Madame. You're shooting that picture, Carmelita. I've even seen you in the same dress. Lots of time. Oh, sure. They fix me up to look like Madame, but I'm not. I'm only your stand-in. Stand-in? Come on, Diane. Wait a minute. Look, Sonny. They've got to have somebody standing in there so they can focus everything just right. And that's me. Then when they're ready to shoot the scene, Madame comes out all fresh and pretty and plays. You see now? Oh, you sure look like her, though. Well, that's what they pay me for. Diane, that's it. That's the how right there. The what? The how. The kid just told us just now. Don't you get it? The how? How do you... Sure. Out of the mouths of babes. How to murder your wife. The whole thing would take about 20 minutes. But it had to be timed and planned for the split second. We planned it for the last day and the last shot of the picture. When everybody lets down and gets sort of half hysterical at the idea that the thing is finally over. The shooting schedule was made for us. The last shot with Madame was on an enormous set of a cathedral interior with the camera pulling back half the length of the stage. The shot's silent. There was no dialogue and no sound. We figured the shot for about 10.30 at night and we were almost right on the nose. They finished the close-up and the sound men had shoved their mics and things over to one side of the set and the director and the cameraman were lining up for the long shot. You'll be ready in about 20 minutes, Madame. Well, I'll be in my dressing room call, may be, please. No, what a relief.  It's almost done. Oh, Madame. Yes, my dear. You won't need me anymore, will you? Oh, no. No, my dear. Run along. Run along and enjoy yourself and thank heaven you're not a star. Thanks. Good night, Madame. Good night, dear. Well, well, well, Dennis. Hello, Maggie. I've been beastly to you lately, Dennis, really. Come along to my dressing room. We'll have a little talk. As I was leaving the stage, Jenny was taking her back to her dressing room. It was 10.40 and I knew exactly how he'd look at her and what he'd say and what he'd do. Close the door, Dennis. There, that's it. Do sit down. Make yourself comfortable. No, thanks. No, don't be silly. There's just one more take. You're not going to make it, though, Maggie. What do you mean?  Through. Dennis, you're... You think I was, Dennis? Yeah, I got my order. She said to call her when you're ready. Okay. My then. My. Seven minutes. Seven minutes were gone. Now he'd be passing the guard at the stage door. Good night, Mr. O'Brien. Night. And now he'd be walking down the studio street and turning the corner at the other end of stage one and strolling over the guard at the main gate. Oh, hello, Mr. O'Brien. Going home now. I wish I knew. You married man? I know what you mean. Well, I got my orders. All I can do is carry him out. Ours not to question why, eh? Yeah, that's right. You're waiting for Madame? Yep. She told me to wait until exactly 11 o'clock and if she wasn't out here to go on home. So I got 10 or 15 minutes to kill. Oh, a cigarette? Oh, thanks. I don't mind if I do. He'd stay there now. He'd stay there until it was time. It was 10-49. Just five minutes before, I had passed that same guard at the stage door. Good night, Miss Burke. Good night. And I had walked down the same studio street and passed the same guard at the main gate. Finally knocking off, eh, Miss Burke? That's right. Good night. Good night, Miss Burke. Good night. I had walked straight ahead, as though I was going to the bus line. And then, when I was out of sight of the main gate, I ducked up a little side street that runs along the west end of the lot. I kept in the shadows now, watching every move. About 100 feet from the corner, there's another gate. It's usually locked and never used. But they'd been shooting in exterior and they'd taken the gate off the hinges. There were barricades across the entrance and a watchman who'd passed about every 15 minutes and then rounded the corner, was passing now. I waited in the shadows. Now, now was the time. I took a quick look around. There was no one in sight. I dashed at the gate and was over the barricades an instant in running as softly as I could toward the back of stage one. The big door at the back there, where they moved in the scenery and the flats, was open about a foot, we'd seen to that. And I squeezed in and I made my way behind the scenes to Madame's dressing room. I opened the door and I closed it behind me. And then I knew for sure that Denny had been there and done his part.  She was dead. It was 10.57. I had on the costume with available my face. There was nothing to do but wait. Wait there, shot up in a little room with a dead woman, for them to call her and for me to play her part. I tried not to look at her lying there. Finally, I waited for the steps to die away. Then, I opened the door. As Denny had said, it was now or never. I walked out and took my place on the set. I nodded my head. Roller! Out of the corner of my eye, I caught the camera on the big boom, slowly beginning to pull back. It seemed a million miles away. I began walking down the aisle of the cathedral. There was no sound, so I was getting direction all the way. That's it, Madame. Slowly now. And now you kneel. Clasp your hands together. Now you cast your eyes upward. That's it. Perfect. Now hold it. A little longer. Just a little longer. Cut. That's all boys, put it in the car. I had to keep myself from running as I started back to the dressing room. But when I got there, I sprinted. Around the corner and out the big door, Denny's car was there all right, but the back door opened and I slipped into it and lay down on the floor of the back seat. It was eleven o'clock. Looks like my time's up. Guess not. Well, orders is orders, huh? Yeah, that's right, Mr. Jokers. I could hear his steps coming over to the car and then getting in and then we were starting off. You back there, Diane? Yes. I'm here. Well, we made it, baby. We made it. We knew they probably wouldn't find it until the next day. Even a director wouldn't dare disturb her if he got no answer at the dressing room door. And that's what happened. We got the news about mid-morning and of course everybody in the lot was griefs for him. And that afternoon, everybody who'd been on the Carmelita set or had anything to do with Madame was called into projection room A. That's when we first met Lieutenant Malone. Well, I know you folks all feel bad about this, but we might as well lay it on the line. The lady's dead and someone who is on that set is the one who killed her.  That's right. Well, you know how we work these things, motive and opportunity. And just offhand, Mr. O'Brien, you practically got a corner on the motive market. I suppose I have. But Lieutenant, a dozen people saw Mr. O'Brien leave the set before she was killed, before she made the last shot and he was out talking to the guard the whole time after that and then he went straight home. How could he have done it? Yeah, I know it's a good alibi. Awful good. How do you know some stranger didn't kill her? Maybe she fell asleep in the dressing room after the shot and some prowler came in. It just doesn't feel right. You got the film of that last shot you made. Oh yeah, we got it here. Let's see it, huh? Will you run that last Camelita take again, please? Well, here we go. What was that? That's me giving directions. It was supposed to be silent shot, of course. That won't be used. There'll be music over there. Well, let's hear it anyway. Whatever you say. That's all there is to it. Yeah, not much there. Why, Lieutenant, nobody in the studio would have touched a hair on Madame's head. Yeah, you better learn a little more about the picture business before you start throwing wild accusations around. I think you've got something there, Mike. Maybe I'll do that. Maybe I'll just do that little thing. Well, a month went by. Of course, Denny and I didn't dare see much of each other, but things were going along. I'd even had a couple of small parts on the strength of all the publicity about Madame. Somebody discovered that maybe I did have the right face. For the screen. And then one day we got a call to go to projection room A. And there was Lieutenant Malone again. And I just make yourselves comfortable, folks. I've got something to show you. I hope it's more than you had the last time. Yeah, Mike, yeah. I've been learning the picture business, like you said. I learned a lot, too. All about silent shots and sound shots and wild track and dubbing and the stand-ins. Well, what?  Yes, I was. Uh-huh. You look quite a lot like her, too. Well, a little, I guess.  Well, I've been fooling around down in the cutting rooms. I never realized before how much stuff got thrown away. I even made a little collection of it. I want to show it to you. That is a wild soundtrack. You make that separate and mix it in after you've made your film, right? You can make sound without pictures, just the same as you can make pictures without sound, right? Now, that day you folks were making that last shot of Carmelita, the sound engineers were sort of slap-acky, it being the last day and all, and so they just pushed their microphones out of the way. But, they forgot to turn off the sound. And they pushed that mic right up against Madame's dressing room before the last shot. And the cameraman was running some test film. And here's what he got. I, uh, found this in a cutting room trash bin. Do sit down, make yourself comfortable. No, thanks. Well, that'll be silly, there's just one more take and then we'll...  What do you mean?  Through. Dennis, Dennis! Well, I guess that's it. Huh, Mr. O'Brien? Miss Burke? Yes. Yes, I guess that's it. I haven't seen Denny since the trial. I wonder if I'll see him afterwards. If what the preachers say is right, I suppose I will. And of course, Madame will be down there too. I can't think of any worse punishment than being her stand-in through all eternity. So I suppose that's what I'll get. Suspense. Presented by Roma Wines, R-O-M-A, Roma. America's favorite wines. In a moment, we'll hear again from June Havoc, star of tonight's suspense play. Meanwhile, this is Truman Bradley with a suggestion that you try Roma Wines and discover for yourself the important difference, the extra taste luxury that makes Roma America's most preferred wine. You'll find that Roma Wines taste better because Roma alone selects from the world's greatest reserves of fine wines. You will also find that you now pay less for Roma's premium quality that you actually save up to 20% on these better tasting wines. Tomorrow, by a supply of Roma California Sherry, the perfect appetizer before dinner, the gracious gesture when friends drop in. This is June Havoc. Suspense is one of my favorite programs and I got a real thrill appearing on it tonight. I'm going to be listening to next week's suspense show when Elliot Reed will be the star. Thanks a lot and good night. June Havoc will soon be seen opposite George Raft in the United Artists' production Intrigue. Tonight's suspense play was by Robert Richards from an original story by Pamela Wilcox. Next Thursday, same time, you will hear Mr. Elliot Reed as star of Suspense. You can stand directed by William Spear for the Roma Wine Company of Fresno, California. In the coming weeks, suspense will present such stars as Eva Legalia, Alan Baxter, Gloria Swanson and others. Make it a point to listen each Thursday to suspense, radio's outstanding theatre of thrills. Stay tuned for the thrilling adventures of the FBI in peace and war, following immediately over most of these stations. For a rare taste experience, the name to remember is C-R-E-S-T-A B-L-A-N-C-A Cresta Blanca Cresta Blanca When you serve Cresta Blanca, California burgundy or sautern at dinner, you pay the highest compliment to your guests. For the best, serve Cresta Blanca from the finest of the vines. You can now buy famous Cresta Blanca quality at unusual savings. Stock up now with America's most distinguished wines. Shanley's Cresta Blanca Wine Company, Livermore, California. Listen to suspense next week, same time, same station. This is CBS The Columbia Broadcasting System.


Welcome to the 1878 FM podcast. The boys of the band is back. The boys are all back together and what a day for it. It is a bad episode 17. Happy New Year to everybody. Happy New Year. What a start. If we just rewound 12 months, we'd lost the Brighton then as well the first game. Can we go back like a few weeks when the well cut was on and it was just the greatest time of my life. It was just beautiful. It was just the great time. But here's the thing though. If it weren't for last night is that we ended what was an awful 2022 and we all said this last time. 2022 was dreadful in most of our lives for various different things. But we actually ended on a positive and that much unexpected draw that we got against City. And I thought maybe this is a new door. Maybe a change is coming. It's going to be 2023. We're going to see more of Bush so to speak. That came out wrong but you know what I mean. And then also results would go better and then suddenly just... You know after the City game I had this feeling and I don't have back Frank. I have. He makes some horrific decisions at times and all that. But I had the feeling after the City game. You know when you're just thinking about games and you're going where did that come from? Can we get momentum and then it just does. Remember us getting a draw of Chelsea last December and thinking. Right okay, David doing well and we went there and we dug in and we got a point. We played the kids as well didn't we? We didn't expect to get anything and put the kids out and actually they did really well. And then we had Brighton at home in the next game he lost. You just go out. How can 12 months in a period in which I think we got 35 points in a calendar year which is utterly atrocious. You know but back where we are and I don't want to lay this all on Frank Lampard. He got it wrong last night. He made a decision making last night was shocking for me. To change it. To change from a back three that had done so well at Man City. To go to that side that he put out last night. I get he had to change on on and we know that. He was suspended but to change the team the way he did. And then to not even address it a half time. I think it was awful by Frank Lampard. But let's have this right Andy Bush. This isn't all on Frank Lampard though is it? You know what someone on Twitter a fellow of Atonian on Twitter this morning described it eloquently as a triangle of shite. Everton's a triangle of shite. No no no no no. I copyrighted circle of shite many years ago. This is but see Baz knows you'll give me the plaudits. You can't have international copyright ownership rights over. No it's not. It only goes as far as Ronco. It's just everton. It's just an everton circle of shite. I said this. It's what happens all the time. Manager comes in. He's not very good because he's appointed by awful people. He buys dreadful people because of the people in the background. We get beat. He gets sacked. It goes again. Bats the circle of shite. Trade mark 2015. Thank you very much. Back to you Mr Bush. Unless you're going to get a protractor out or a compass and start quoting other geometrical stuff. I don't argue with the circle of shite. That is a thing. The triangle of shite as far as the Evertonian circle of shite is the three sides. It's the board who are culpable. Frank, let's be honest. We love him. He's a lovely guy. Tactically he's not quite there. And then the players need to have a proper look at themselves as well. You look at the three sides. It's not one particular cure for this. There's three things contributing to the triangle of shite. I think that fuels the circle of shite copyright. That's fair. Dave, there is something in that. We've had seven or beyond our eighth permanent manager since Meshiri coming. Or certainly since he bought the club. This is always included. Has everyone of them been wrong? Have you just not done things correctly? Is it anyone's surprise that we can't score goals? We did all city when the window shut and said we needed another striker. Did we not describe? Was the analogy not the boxing day scenario? Whereby they're literally stood outside the door of the for sale shop for a striker. Knowing exactly what they're after in the same way that if I'm going to the next sale on boxing day, which I never do by the way, but I know people that do, I've got better things to do, right? But they know exactly that they want to go in and they want to get that jacket in a medium, whatever, you know, long. And they've got it all sorted out. They've been in there the day before. They know exactly. They're straight in. They get it and they're straight out again. That's what we needed to do with the transfer window. We all said that, you know?  Was this was this in many ways a statement, you know, to everybody, the fact that he needs help and he needs backup? And actually, I thought Isaac Price did all right when he came on last night. But is it not sort of saying the fact that he desperately needs reinforcements? Because and already here we are at the time of recording. It's what the fourth of Jan. We've already missed days where we should have actually been spending money. We could have actually done our business already. He could have literally been a case of actually having the whole deal done subject to bloody checking out your basket on New Year's Day. And then we're done. But here you know what's going to happen is that we're going to get to the end of January and we'll have absolutely nothing again. And we're going to go into what is undoubtedly going to be a worse situation than we found ourselves in last season, which we only just managed to escape by the skin of our teeth. And the reason being that actually our squad and our team is actually weaker now than it was this time last year without a doubt. 100%. I mean, like we said it before, like if you can if you can have a scare like last season, which we had a traumatic effect on all of us, and then you don't take steps to make sure that that never happens again. And then you find yourself in the same situation that you've only got yourself to blame. And that's why I feel quite differently about the malaise compared to last last year was like a real shock.  Now I just think I don't think fucking, but I just think no, you got yourself to blame. Do you know what I mean? No, you're right. And I mean, I'll be honest. I don't think like that. I felt like this for like four years. Like every year for four years, I felt like we were going to get relegated. It just felt like it was inevitable for me. I don't know why it just it just did. And maybe because I'm I am a pessimist, but it just feels like that it feels like if you don't change something, but I don't think it really matters this year. I don't think it doesn't matter who we buy or what we change. As far as I'm concerned, the people who run the football club will get it wrong again. They'll bring some Janie Man striker in or some kid in too late. Like, like almost like last season with not bringing it up. I mean, last season we had we had two weeks. We fluffed about for a couple of days. It's time to get partners, which was never going to happen. And no one wanted them. Then we waited two weeks. Then we brought Frank Lampard in, who quite frankly, I thought was very unqualified for the job, for what we actually needed in terms of where we were. And then we again, deadline day, bringing in people like Deli Alley and Donnie van der Beik. I mean, because they're really the kind of people you need in a fight, aren't they? Donnie van der Beik, for God's sake.  I mean, I'm not. It's in all in hindsight, but they're not exactly plays that you go. They're going to do an amazing job for us and save Evan. We got out. We got out by the scruff of our neck, you know, when. What happened? Nothing. Everyone just sort of sat there smiling and went, oh, this is good, wasn't it? I'll be honest with you lads, every time I see someone on Twitter replay, put the video off the Crystal Palace game, a little bit of me dies inside. It's like, why? Why are you all glorifying this? Absolutely horrendous night where the club once again survived and you're making it out like it was amazing. For years, we've been the brunt of like so much laughter because of, you know, DVDs of the great escape and all that kind of thing. Wimbledon, it's like, why have we got such low expectations and why have we accepted it for so long? It's been conditioned. We've been conditioned. We've managed our expectations. To go back to Bas, to your question before in so much as have all these managers been wrong or have all these managers, you know, that they can't all have got it completely wrong. You know, and we're talking about a lot of very qualified people, you know, some you may prefer style wise tactically, et cetera, et cetera to others. But ultimately, we're talking about a lot of people who are very qualified in the game, right? And not one of them has been able to make it work. And so therefore, you know, you would have to, you would have to side with, with, with, you know, what is clearly saying and what many people are clearly saying that actually the root problem goes far beyond the 10 year of manager who happens to be in any particular point in time, you know, for his given 18 months or a year or whatever, whatever that period of time is, which is a very small period of time on the whole grand scheme of things. But all that considered, and otherwise we perpetuate the circle of shite or the triangle of shite or whatever we want to want to call it. Because in my opinion, and it may be unpopular, but in my opinion personally, I think that the worst thing we could possibly do now is chop Frank Lampard. Genuinely. I don't know. I think he's I think he's done Dave. I don't think they're not playing for him. I get that Andy. But personally, you know, and this, and you know, listen, this is this is what these these these discussions are all about. We're not intended to.  That's so that it's more interesting. Give us a call and you know, text in and let us know what you think. That's bollocks. We genuinely haven't discussed this before we come on. This is my own personal opinion. I think that the last the last thing we should do is get rid of Frank Lampard at this moment in time. Because as we all agree, the problems go far beyond him. They're historic. And I think the issue is, what is the alternative? And that's my question to you, Andy, is that if I felt that there was a viable and decent and better alternative out there waiting in the wings who could swoop in and could save us because ultimately, Premier League survival is the only is the only thing that's actually important here. Right. That's the only thing. At this period in time. Forget about playing nice football or whatever or what we're going to look like. Those days are behind us, I think. For now. For now. Those days are noble for now. Just about survival for now. But I can't see anybody who's actually going to give us a better situation within the whole rotten framework that exists at the moment. And that is my issue. I agree with you. I love Frank Lampard. And I am eternally grateful for him. He did save us last season. And I agree with Ped. It's embarrassing when people put up the videos and stuff of the palace game. Because we need to be moving on from that. That should be like a close call. That's like having a video of nearly getting taken out by a train on a level crossing. Absolutely. It's not something you post about, is it? Not at all. But the thing that's changed for me just a little bit with Frank is I just feel like he doesn't quite have a clear grasp of how to get out of this situation. I just worry that they've given up playing for him a little bit as well. And I just feel like something has just changed a little bit in it. And I don't know what that is. And that's why I feel like I do today. No, I think Andy, I think you're right. I mean, I sort of agree with both of you. I agree with Dave because ultimately, again, it's just you're pointing the finger almost at the wrong person completely. No, no, I agree. You know what I mean? But I agree with you, Andy. Well, the only thing that does matter is surviving. But I've had this argument before in the past where last season at the Arsenal game where the fans were doing protest and stuff like that. And people were like, you can't leave your seat because it's about winning this game.  It's like, it's not about one game and it might even be about relegation this year. Because ultimately there's a bigger problem. But Andy, I agree with what you've just said because Frank Lampard's got it into his head at some point at the beginning of the season. That actually what we did at the end of last season is the wrong way to play. And the way he wants to play, it can't be done with these players. And I think we saw that last night. We saw last night a very well coached side come to Gullison, not get out of second gear, by the way. He just rolled round Gullison last night. And that's what really pissed people off. And you saw this evidence team that just didn't have a clue how to play. And they've been playing that way all season and have had six weeks off to try and get some out of it. And on Saturday we showed how we played. That's evidence for me under Frank Lampard. That's a battle in society. That's why you've got Connor Cody. That's why you've got James Tarkowski. That's why you have Ben Godfrey for the intensity to wind people up. You have Damari Gray. His skill set is playing on the counter attack, not stuck out on the wing. And he changes it within two days. And he puts in Dros, like Mac Neil, and Bess and Tom Davis, who I think maybe should just go into skateboard now full time. It's not to me. What I would say is I agree with both of it. And I know exactly what Andy's saying as well. That's what I'm trying to say with. And I always remember Chris actually, when I've said this before from the red men, and we were talking about it. I think it might have been Marko Silver, who I... Lo love? And still love? I do still love me. You've got the tattoo? No, but I think Marko...  I think Marko's a good coach and he's doing very well. But I remember having a chat with Chris and he was like, the problem is, there's backing your manager and saying we're not sucking him. And there's also leaving the wrong manager in place just because you like him. And it was like, you know, I think the truth is somewhere in between there. I do like Frank. I think he tries to get us. I think he wants to do well. Put those decisions making, that decision making. If he'd have just gone in the summer, we play four, three, three, and this is how we play. And we play it every week. And we can all sit there and go, this is how he plays. Like Martinis. I was done with Martinis after the bar 18 months. I hated Everton under Martinis. They were terrible to watch for me. Right? But I could sit there and go, this is Roberto Martinis'r team. If someone said to me, how do Everton play under Martinis? I could say, well, that easy. We have 800 passes. Do you knock it around the back? I think we only lost a possession about four times under Martinis. But we never won. But if someone said to me, how do Everton play under Frank Llanparg? I honestly couldn't tell you what we're trying to do. And I don't know whether that's all on him or it's the mismanagement of the football club by the board. Or if it's just the chain of average players that Everton have managed to buy. It's probably going back to the triangle of shite, all of it mixed together. But I want the manager to go, this is what we do. On Saturday, five at the back, three at the back, five at the back, sound. He played against one of the best teams in Welsh football and limited them to three attempts at goal, really, three proper genuine attempts at goal. And he changes it a couple of days later against Brighton at Godduson. Brighton had a good side, but he'd lost two games less than Everton before last night. Two. And where Satie is saying, where terrible, they'd lost six, we'd lost eight. And yet he changes the whole thing, Dave. But I go back to something you said before in so much as you mentioned getting rid of the wrong man, or the wrong manager, or however you phrased it. I said, keeping the wrong man in place too long. Keeping the wrong man in place, there you go. If I'm going to quote you, I should at least get it right. Do you think all I got there was wrong person? And I'm not saying Frank Lampard is definitely the wrong person. No, and I'm not. But here in lies the absurdity with the situation that we find ourselves in under machinery is that, you know, you get rid of what might be the wrong man in charge and bring in someone else, right? Who then turns out to be the wrong man in charge. So then we bring someone else in who's completely different. Who then turns out to be the wrong man in charge. And so on, and so on, and so on, right? Because ultimately it's like one of those things. You know when you've got like two mirrors sort of against each other and it's just this never-ending corridor of shite, right? That's what we're talking about here. Head actually came up with corridor of shite back into town. I'll be honest, I didn't do that. That's not one of mine. That sounds like something out of the matrix, doesn't it? Corridor of shite. Yeah, to be fair, yeah. He was supported by Tiny Temper. Tiny Temper.  On the way to Scunthorpe.  Whereby it's becoming a thankless task. It's becoming an absolute thankless task. But Dave, right. And your gentlemen's opinion on this, like nada, than me and Peth, but we've seen a team last night that cost around the same amount of money as what Alex of Obie. I'm not saying that Alex of Obie has been good on the lamp. I just mean that team has put together for roughly the same amount of money as what Alex of Obie was. And yeah, as Pett said before, they strolled around and threw. They decided at four it was done. If they'd just gone, now we're carrying on. They would have scored seven or eight. They needed it for the gold difference, they could have got it. They could have, right. But that is a result of planning. They lost Graham Potter in September who had built that thing with Graham Barber and some other really good people at Brighton. They built this thing. They buy players from all over the world. They don't go. As he played 20 games in the Premier League, they just buy them. Casido, five million quid, strolled around the pitch last night. Five million quid, strolled. They had an 18-year-old off-front who bullied us, a kid. He looked great. Didn't he? There was loads of them. Matome, four million quid. The kid off the left scored the first goal. Right. And they, what they did. They should have scored before that as well. They should have. But they lost Potter and they went right. What manatee plays a similar attack on way as Graham Potter. So he got the sassu olo fel a ddezebi. And he comes in and he goes, oh, this is exactly like I play anyway. So this just carries on. So now it looks like he's been the manatee of Brighton for five years. But what I'm saying to you guys is there's no evidence of that or evidence that there's no one through line. There's no we play four, three, three with fast wingers and you get goals. That's like, you know Richie, the guard is the show with on absolutely is an Arsenal fan. They've got a target way of playing football process that Artheta kept going on about. And that's the way they play. So even if Artheta got sacked, the vision is instated by that's the way they want to play. And they're bringing a manager that plays that kind of football. And then you're all heading towards one way and that will go back to alleviating the problem that Dave was talking about where you get someone in, manager, different way of playing, new back room staff, new host of shit, get rid of him, different way of playing. And we've talked about this before on the podcast. So it's like, why can't we, why can't we have that? I mean, I remember when we first got Marco Silva, I remember being excited about all I've ever wanted Everton to be post the Moys era, he's going back to being kind of fast, powerful, counter attacking, not soft to shy like we are at the moment. Teams terrified of playing us, not particularly extravagant, but just get the job done. And I thought getting them silver in from Hull would bring a bit of the way Hull used to play under him. He's not managed to get anything like that since. Going back to the point on that is that when Silva was sacked, and this is probably where it started, when Silva was sacked, he wasn't sacked by Marcel Brands. Marcel Brands wanted to keep him, he was sacked again by the hierarchy. And that's what's going to be interesting with the Frank Lampard situation is that if he gets sacked, who sacks him? Does a fellow who doesn't ever come to a game sack him?  Does, or does, Kevin Thelwell, the director of football sack him and then be allowed to bring in whoever he wants to be? This is the problem. Do you remember there was that clip that somebody had off a phone in the main stand by the director's box? And basically you had Marcel Brands, and he was getting pilliried by the fans, and he just turned around and he goes, do you think it's just me? Do you think it's me? And that was the biggest one, wasn't it? That was so telling, wasn't it? We've had them today, Alan Stubbs, former Everton defender, having to go to the club and has had to go to German and said he stops giving me tickets now because I've criticised the football club. He won't let me go to games and blah, blah, blah. We've had other ex-players in the past at the greatest goalkeeper we've ever had. The greatest goal he's ever seen, buying tickets to go to game because Everton don't give them. The fellow should have a statue, a bleeding lounge named after him because he'd pay every time he wants to come to Goulderson. But he doesn't, he pays for his match stick and he sits in the park with Evertonians because he did question our football club. And therefore, for me, I don't understand in 2023 how you can operate like that. I think if you're... What I would say, very quickly, and I'll ask you guys for this as well, but what I would say is if any other part of our football club was performing the way our board and owner have, would it still be in place at Everton after seven years? No, not at all. Well, I mean, in most normal situations, no. I mean, knowing Everton then it could have been. But we've had eight managers, so someone took the blame.  The goal last night with the back pass from Andrissa Gay, the entire sequence of play tells you everything you need to know about this team at the moment.  It's just awful and it's embarrassing. We're going back to how we were last season. We're turning into our laughing stock again.  It'll get worse because Pickford will go in this window. He may well do. Pickford will go in this window, especially given last night where he's there. I felt sorry. I'm not his biggest fan. I had to go goalie, but I felt sorry for him last night because he just left them exposed. Absolutely, but you can see his expression. He's like, what do you want me to do with this, lads? I'll do my best. I mean, but he's kind of like apologised. He was like that at the end. I think it gets worse. On a side issue, the one thing that baffles me with all of this, which I always saw as being a real strength with Frank, is the fact that with Paul Clements as well, I always felt that we've effectively got two managers. We've got two. Well, I know Frank's not a hugely experienced manager, but with Clements behind who's done big things at big places, I thought, we've got two footballing brains here. So, you know, and that's on top of the other coaching staff. What worries me about him is that you don't hear anything from him ever. It doesn't really worry me. No, but what I mean is sometimes he, for me, Frank, he should be shittin. Frank doesn't want anyone to be seen as manager. And I've got no problem with that at all, by the way. Frank is very much his own manager. He had a message from someone the other day about Paul Clements. No, and I watch, and I... Isn't very complimentary about him. I see all the, you know, I watch all the press conferences afterwards, the ones that, you know, we get all the press conferences that are for the press, not necessarily for the TV. And I watch his demeanour and he comes across it. And he's always very relaxed and he always talks very well. And he is very much, takes all the responsibility. And it just recently started to talk a little bit like Martinis. And he started to get a little bit defensive. And I understand why. But I still... But you mean the kind of thing where you feel like you've not seen the same game as him? Yes. And I said, I interviewed him in November and said, one of the things I have kind of admired about your tenure is, in general, you've talked about the game the same way as we've seen it.  And I heard them say, Wolves, we were great. I heard them say last night the first half was sad. I don't want to have a go at him as such. And it must be really, really difficult to watch the press conference. He's raw at his knee as well. And he was asked a couple of times about the chance to act aboard. He just doesn't have an answer for it. And I know there's nothing he can say. But then it's really sad. No, I know it's not really sad. And it's really a difficult one. But I always find it... I always find like he's really... It's a weird one to how to get this across. It's almost like he's really, really made up. That he's been given this opportunity. And wouldn't dare question the people who give me. He's grateful because I think he wants this job. And he wants it still. Frank Lampard, no matter whether people like him or don't like him and think he's great or do you think he's terrible, the fella is desperate to succeed. I understand that. I would never have a personal goer and flow that. We've won. The one thing I would say against everything else that I say, and I like him and have to... We've won three games of football and we've played 18 matches. And this isn't him just taking over in the summer. And going, and gone, lads. Let's let this develop. Do you want to hear it? At no point we've been on... It's an element of control. At no point under Lampard, highs and lows. We've never been... Even the palace game we've talked about a couple of times in this episode. We were all over the place in that game. We were staring down deaf store at halftime. But at no point has it been like a controlled, measured performance or sequence of results. It's always been chaotic. One performance following the other and the two don't seem to be from the same team. I still would say that the problems are not just... No, no, no. We're not here because of Lampard. I think this is one thing we've, with all this talk, ultimately we are an absolutely terrible football team. Like what you see on the pitch is dreadful. A team, by the way, is not underperforming. No, I disagree. It is dreadful. No, no, listen. When you've got plays like Dwight MacNeill, Tom Davis, Decore, I don't think Alex O'Walby is actually that good. He just shouldn't be anywhere near that contract. Dominic Arrhenlun, who obviously is coming back from an injury, is replacement O'Walful. We've got two of the slowest centre backs in the league. No, no, but just listen. And we're trying to play a style that actually affects... That's more of the issue. No, I know, but that's what I'm saying. We are fundamentally a rally poster. This is one thing where I think in all the years where you go, we'll get out of this because we've got him, him, him and him. Even if you go back to 1998, you look at the team and you go, it had Don Utchinson, it had Nick Barby in it, it had Duncan Fagus in it. It was an underperforming team. I honestly look at this team and go, it's as bad as anything in the Premier League. I think it's the only thing that gives me any kind of thing. I think we overhyped our plays so much. Mate, I'm not, honestly. I look at it in a go Saturday. If you play that way, I think you'll be all right. And I also look and see Forrest and I see West Ham and I see Southampton and I see what. They're all terrible footballers. But I look at some of West Ham and I go, they massively underperform. They massively underperform. They'll get beat by Leeds tonight and they're gone. He'll be gone and then we'll see. Shall we knock this on the head and support Man City? Possibly. Brexit. I'd rather just have no footy. Life with that. It was good wasn't it? Just have an us for it having shat about it. I want to, Dave has got, let's move from footy, because we've got to finish it because Dave is busy. He's got socks on the radio. I always think socks. Can I just say this podcast is sure. Because of Ned. It is because of... No more needs to be said. Sorry, I hadn't realised. But you're right. I do have socks drying on the radio. My brother-in-law Dr Mike, he'll get it out with a pair of tweezers because that's what you learn in medical school so go over there and I sit in their kitchen and a kid do you know what I see in the corner? It's black, it's shiny, it's got lights on it, it's making a weird noise and it looks really impressive. Do you know what it was, Ped? It was an air fryer. My brother-in-law got an air fryer for Christmas but not just this. Do you know what I learned last night? It doesn't just fry. Apparently it's the best way of cooking sausages. Who knew, right? It doesn't just fry. He was doing rice in there. He's got water in there. He's got a steam setting. Mate, I've told you. I've told you. I've told you. To be fair, me mum's got all that. When I was in New York, I took a picture every night. There was a person and they were on the subway and they bought an air fryer. I just felt like a little burst of energy hit me. Someone told me the other day that they do toast in an air fryer. Do you toast in an air fryer? I will bring it in soon. I will bring it in. You need to come in and demonstrate the versatility. I want this to be a bit like one of those late night shopping channels. Air fryer fan TV. That could be better than football. Yeah, let's do that. I'm happy to do that. Just ditch the football thing. Forget about Everton. Let's just do products. Let's do it. One of the other things before we finish is just off the back of Dave's shock radiator shopping.  You've contemplated coming into the studio today. Commander. Out of necessity. It was got no bills because they're not dry. You can't put the tumble dryer on. We're not made of money. We had ESL podcast rich. They were on Dublin. Homes under a hammer. They were being washed. They were taking a little bit of time to dry. I needed them. I threw them in the microwave for two minutes. Your microwaved bills. I don't really use my microwave for anything else because of my air fryer now. You microwaved your own underpants. I threw them in and it's double bubble because they were dry. That was all warm and toasty down below. This was during the cold snap. It was just double bubble. Do you think that's more efficient than a tumble dryer? Much more efficient. Two minutes. It's the equivalent of the air fryer because you throw things in there in the oven setting and you'll get them cooked in like chips in like five minutes rather than 15. It's the same with the boxy shorter instead of going on a tumble dryer for maybe half an hour or whatever magic it works. I don't understand tumble dryer. You throw them in the microwave. You get the ding.  The nice and toasty. Double bubble. Everyone's a winner. Except for those big companies who are trying to take their money off us. If you're going to microwave your bills to dry them, just be careful that they're not too hot. You wouldn't want to get. Now you get a warm ding then, wouldn't you? You wouldn't get a warm ding David. Don't put your tea in straight after that. No, no. Let it play out. That story over Christmas, don't have anyone seen this very quickly. It was that story of some family realising that the sick bowl was also the bowl that the family used to make cakes and bread and stuff. And it was like this realisation and it went a little bit viral this story.  People weren't sick because they were thrown up in it just a quick wash. You were getting the extra antibodies you were surviving. Everything sterile now. So what you're saying is my bowl because you'll never get sick? Hey, listen, can I just leave you with something which might be a merchandising idea? Because obviously I know that toffee TV is branched into, you know, t-shirt, merchandise, whatever. We sported some of it on there. It's tremendous quality and tremendous value as well. I'm happy to say. If you brought out some toffee TV microwavable underpants, right? You could call them like ding dong bills, right? Because they go in there, you get the ding, stick them on there, warm ding dong. You know, happy days. That very seasonal day, but I like that. That is a way to finish the part. That's a way to finish it. Ding dong bills, happy bollocks, everyone is your winner. Are we going happy bollocks? That's a better name. Happy bollocks. There you go. We're throwing them all out here. Incredible, listen, gentlemen. Absolutely superb as normal. Let's hope. Well, listen, next week we can talk about Everton's Winner Old Trafford. Now the world is a much better. Three weekend now. But if we go out, the three weekend. And if we go out, we've got another three weekend at the end of the month. Two free Saturdays and Sundays in January. Incredible. Boys, lovely to speak to you. Take care. Have a good week being such. See you later boys. Bye bye. There you go. Make sure you give the video a thumbs up. Subscribe if you haven't. If you want to join Toffee TV Premier. The link is in the description. And the QR code is on the screen now. It's not much good to you if you're listening on a podcast. But you can still find those links. Thanks for listening. See you later. Bye bye.