I think it would be cool to talk about the, kind of like the red flags, like what red flags do you find in relationships when you just start them? And how do you go about identifying those?  Like their attitude might change really quickly and they will switch back to being nice with no effort. If they think it will control you in a way that gets them what they want, like they'll be mean to control you to get what they want, but they will switch on the nice the moment they think you you're like threatening to leave or they think that they're going to lose control of you. And if you leave, they lose control of you. So they will switch on the charm and they will love bomb you until you're back in their arms metaphorically or physically. And yeah, but they will use that your autism against you. So they could, yeah, they could put you in situations of like loud noises, even though they know that you're really struggling with sensory issues and then they might blame you for the fallout or they might invalidate it or shame you. If you ever made a little mistake or misunderstanding in a social situation, they will never let you forget it. It will be brought up time and time again until fraternity. And it will just, if you needed help with something, and you know, they're really great and they're really helpful, but they are now holding it over your head. And it's now sort of not a word, not a scapegoat. They're using it as a reason to coerce you into something else. Like I did this really helpful thing for you. You should do this for me. And that's not how consent works. And it's also not very respectful of boundaries. So that's a big red flag too. I'd say that if I could add something that perhaps, you know, kind of one of the big red flags that has come up with any relationships that I've had that I haven't been too good is that they kind of give, give an air of understanding about what autism is and what you experience without actually knowing or asking what you like and what you experience. It's kind of like they feel like they've already understood the whole autism thing. They don't need to ask any questions. And it can often come across as quite like nice. You're like, Oh, hey, this person understands me. I don't have to make any effort to help them understand. But it tends to be very like stereotypical. And it tends to be very like, yeah, it's, they're not necessarily listening to, to who you are and what you experience. They understand autism in general, but they're not making any effort to understand you as an individual. And that is also a red flag. Yeah, 100%. But even, even just in general, I think, you know, if they're working like social care, if they're like a teacher or they're working with charities or they work for parents and they kind of, they feel like they've got it all sussed out. And they just, they just don't have that kind of natural curiosity in who you are. I think that's, that's definitely a red flag. So you are a risk of kind of being stereotyped by them. I think also a red flag could be when they sort of, they put you on a pedestal. And they think you're so wonderful and you're perfect in every way. And there can't be any conflicts.  So everything's perfect and we should get married next week and all of that silly stuff. But it's, you know, I think that's a red flag because, well, there's many reasons, actually, if you put on a pedestal, very much similar to what you were just saying, they have an idea of you.   And that means that they're not actually listening to you. They're not understanding you. They're not, they're not willing to admit that anything is wrong. And that also means that there's no conflict either. And I know that sounds strange, but every healthy relationship has conflict. There's always arguments. The difference is how we learn how to healthy argue and communicate in a healthy way. So like if you're pretending there's no issues and that person's on a pedestal, you're just sweeping everything under the rug, you're, you're not listening to their needs. It's not, it's not particularly healthy. And sometimes it's a defence mode. Like we're so traumatised, maybe from past experiences that we don't want to be hurt and we avoid the conflict. I mean, it makes sense. It's understandable. And some of these red flags can even be just shameless. Like some people have red flags because they don't, they haven't been taught how to handle their, their emotions and their trauma and communicating a healthy way. And that's not necessarily their fault. So I think there's red flags for unhealthy relationships, but there's also toxic, toxic red flags. So this one has hope the red flags where people actively they want to try and improve, they want and they're aware that there's a learning journey. And they need to try and listen and communicate and health, healthily learn how to improve. But this one, it's all about the intention. This one, the toxic traits. They have no intention of improving. They are literally just there to manipulate you and control you and to feeding their own ego so they can feel better about themselves. And I think it's really important to establish which one is which. I kind of feel like to a certain degree, saying that autistic people like perfect and these kind of angelic, benevolent creatures, like, I think to some degree, like, I understand that it's like a reactionary kind of approach to the ideas that that people have put up put out in the past about us being an empathic and being, you know, perhaps not understanding in social situations and stuff. But it still is to a certain degree, infantilizing. And as you said, you know, if people have this kind of pedestalized idea about what you're like, and they don't really, I guess, take on board what you what you say or aspects to your personality that are true to you. Then at some point, they're going to become like, or how do you say, annoyed at you that you don't meet this, this pedestalized expectation, it's impossible to realistically meet it. And no matter what you do, because it's real. Yeah, absolutely. Yeah. But also, I think what you said about sort of the pedestal thing, a lot of people put autistic people on a pedestal in terms of like our savant abilities or whatever. And I think, and I think that's got plays a part in it too. Because for so long, autistic people treated really badly. Hey, YouTube, hope you have enjoyed this podcast clip so far. If you want to check out the full episode, you can find it here on my YouTube channel under the podcast section, or you can go to Spotify, Apple, Google, to check it out on different podcasting streaming services. If you have enjoyed this video this far, please make sure to like, perhaps drop me subscribe if you want to see some more content from me, and drop a comment down below, even if it's something simple like an emoji or a heart. It really does help satisfy those big YouTube algorithm gods in the sky. Anyway, I'll let you go back to it. And, you know, we were dehumanized and we were invalidated. We were seen as worthless and barely even human. And that's horrific, horrific.  But they have gifts and they have quirks and they're savants and they have all of these wonderful good things about them. So humanize them. You know, they're real, they're human. And I think that has held on to a lot of people today, like they, and it's not their fault, it's just all society has taught them. But like, people also put autistic people on a pedestal, like if they're not that savant, they're not real, and they're not worthy of respect. And I think that's partly I'm going on from a bit of a tangent here, sorry. But it's partly why I see my disability as a gift. Like I'm autistic, but I don't have any of these seven abilities. I'm not the person that autistic advocates of the past would point to be like, Hey, this is, you know, I was diagnosed at two, like I didn't learn to speak until I was eight and all of this other stuff. Like I'm definitely autistic. And my disability impacts me so severely. Like I can't always walk or talk and you know, all these things. So then while that's really hard, that's the real reality. It doesn't take away my humanity. And it doesn't take away my quirks.  And I think we need to remove that pedestal because of that. Because we can still be like there's no reason aside from ableism why, in my eyes, why autism can't also be a disability and a gift. And I think people in order to learn to understand autism and autistic people better, especially in romantic relationships from school, we do need to learn to understand those hidden depths and those hardships to be like, to humanize us and validate every part of what makes us tick so that we can be like, yes, we understand how to help them without intentionally gaslighting them. And yeah, a bit of a tangent. I think the train sort of went whoa. Sorry. Sorry. I don't know if that was relevant. I think also a big big red flag is probably aspects around expectations. Because if someone does something for you, and then they expect you to be sort of amenable to what they want you to do, or they expect you to repay the favor, like every single time. And you know that I feel like that's a red flag because in in, you know, life and in relationships, you know, as you were talking about having 16 of the 106 life skills or something, I can't remember. Like there's going to be undoubtedly some things that my partner will have to do in order to help help me with with my need what my needs are. And I can I can help in in different other situations. But I think when people have done things and then expected a specific way of behaving around them or a specific outcome, that it's become difficult. In that sense, like it's almost like expected of me like I help you with this stuff. So you do what I say or you do these things. You help me with this, you know, not necessarily something that comes from me. It's very manipulative.  And that can that sort of thing, it can also like drive a wedge between like actual healthy members, good people that you know, like it can drive a wedge because they can see this, these red flags, and they try to communicate it with you. And I suppose another red flag is that the person who's toxic will try to drive that wedge and they will make it bigger between you and the healthy people. They will try to cut you off from your support network and gaslight you so that you believe that they're right, the toxic person's right and the healthy people who are trying to help you like genuinely trying to help you. They're wrong and they don't understand you and only only the toxic person understands you and that wedge gets even bigger. And especially when it's so obvious that all these red flags are happening and they're trying to help you, the wedge looks like a little ocean you can't jump. Swim back. Definitely. Now, I understand that. I think it's something that I've experienced as well. You know, I would, I'd say that perhaps another aspect to it is if the person is very over willing, almost to a point, which it's crossing your boundaries to help you with life and things like, you know, perhaps coming around and supporting you when you haven't asked it or doing certain things for you when you when you haven't asked them to.  But they've kind of taken over everything. And, you know, there's that kind of element of control on their part. And if you if you say that it's not something that you want, and something that it makes you feel bad, and you actually really want to do it yourself, it's like, Oh, well, I've been helping you out. That's ungrateful. And, you know, relating a lot. Sorry. Yeah. There's a certain amount of it's not quite but nearly learnt helplessness because they are doing everything for you all the time, like they and they're controlling all the aspects that you think you could probably do.  And I guess they do something that you didn't want them to do. Yes, they then tell you to do something that you don't want to do. Yeah, it's really weird. And you kind of just go with it because it's just, you know, all you I guess they did help me with this certain thing, I probably should do that. Do I want to know? Did I want them to help me in the first place? No, not really. And it seems very innocent. And that's the problem with red flags, because a lot of it can seem really innocent. And I suppose it's then delving into the psychological sort of the intention behind their behaviors, and sort of understanding that actions speak louder than words, like apologizing. That's not it's so difficult. But yeah, like so when you're a direct communicator, it breaks your heart, doesn't it? Just realize that people are lying to you. It's like straight to your face. Yeah. Yeah. Yay. What is it? Don't think of this. There's anything else. I think I think those those are definitely the the ones that I would put forward, because I know you can you can think of like any we can think of loads and loads of different things that are probably not good ideas and relationships. And, you know, probably could be considered not a positive sign. But I think just by the nature of our relationships, how it can always be very difficult to give those kind of definitive ideas. Because working out the intentions behind all of these little things, like it's a constant guessing game, isn't it? Like it's and it takes so long to process. Well, life's very complicated in itself. Sometimes I'm overwhelmed of like a million things going on, like, I don't know my disability or my illness or like work or like just like with everyone, like there's so much going on like the processing of healthy relationships and what's actually going on. It's sometimes it goes on the back burner because we're just trying to survive the day, which is trying to get through all of the stress and strain of general adult living because being an adult is difficult. It's never like, honestly, I wouldn't change it. But maybe that's part of it too. Because like, if you feel like you want to change your partner, maybe that's a red flag too, in the sense that maybe they're not treating you right. Yeah. Do you know what I mean? No, I do.  I think that could be something. I think I think a lot of the things that we said that I think they're very applicable to kind of the like of the autistic experience of these red flags, because I feel, you know, as I said, we could talk about a lot of the different red flags and situations like, you know, someone who just lets you monologue and lets you tell them all of your intimate details about your life, and then doesn't provide any of theirs, you know, doesn't put a boundary and say like, you know, this is not, you know, this is too much for me or, you know.


Hey, what's up guys, welcome to Training Reviews. So welcome back to another tutorial using Final Cut Pro X. Today I'm going to be talking a little bit about adjustment layers. So if you're brand new to Final Cut Pro, you need to have a little bit of a basic working knowledge. If you haven't seen some of my basic introduction tutorials to Final Cut Pro, take a look at the description below. I've got it linked down there. So today I'm going to be showcasing very quickly on how to use something called adjustment layers. Now adjustment layers is something where you can make various different adjustments, unlimited amounts to be honest, onto any of your video clips and at different segments of the video clips as well. So sometimes when you adjust the clip, it will do it for the entire clips and you have to do it for each individual clip separately. And sometimes you have to copy the same styling and updates you've made to one clip back onto the other clip. And it can be time consuming and it's a bit tedious, but there's a quicker way to do it. And adjustment layer is that solution. So let's just dive straight in. Alright guys, so I've opened up a project here in Final Cut Pro and I've got a few clips added here. So the first thing you need to do is go into the text tab there on the top left hand corner and then look for something called adjustment layer there. Now you have three options, short, medium and long. Essentially they're all the same thing, but it will drag onto the timeline a different length of adjustment layer. So it's not really any differentiation. I'm just going to go ahead and grab the medium one. Just to quickly show you an example, a long one is just a different length in time. So if you want it to do a long one, then that's fine. But you can adjust accordingly by dragging and sliding this across to whatever you want. So let me go ahead and I'll do the medium one. So now I have a layer here called the adjustment layer. Now any adjustment I make to this layer will affect the video clips below this. So for example, I have this clip here of a coffee being made. Now let's say for example on the top right hand side here, I want to zoom in a little bit and change the scale. Let's say I'll make this 150%. Now it gives me a great way to make adjustments to portions of an existing clip rather than having to slice each individual clips and make adjustments accordingly separately. So this one, I can use that to have this zoom in at 150% for just the duration of that layer and drop back down. Now this is a good way to make adjustments on not just that same video clip, but across multiple clips. Let's say I want to have this clip zoomed in at 150% and then the next clip start off at 150% as well and then zoom out there. This is a perfect way to just do various different adjustments to whatever it may be and you can also add effects to this as well. Let's say I'm going to add another adjustment layer here and it's going to cross over from the first and second clips. However, I want to make it an effect on this. So if I open up the effects panel, let's just take something simple like a blur. I will drag that on top of the adjustment layer and you can see the clip gets blurred and then the following clip is also blurred until the adjustment layer ends. So you can adjust this, make it smaller, however you want, wherever you want to place it and you can also layer multiple adjustment layers on top of each other. So this will be zoomed and blurred at the same time as well. And the best thing about this is if you want to use the same effect across your whole timeline, across your whole movie that you're editing, you just simply copy it, go into the position where you want to paste it and then hit paste and then you have that same set of effects and adjustments to any parts of your timeline that you want to. So it's very straightforward, it's very easy to do and I recommend using adjustment layers rather than having to slice up each individual clip and having the adjustments made accordingly on top of the actual video clip which becomes very messy when you want to copy and paste it on a very long and large movie that you're editing. So that's a very quick tutorial on how to use adjustment layers for beginners and obviously there's a lot of things you can do with this, it's very powerful but start playing around and if you're very new to this then try it out, let me know what you guys think in the comments below and if you have any questions, if you're stuck then also let me know and I'll try to help you out as much as I can. And also take a look down below, I'll have a link to the playlist of all of my Final Cut Pro tutorials so you'll find some good stuff in there as well and I hope you like this video, I hope you subscribe because I've got a lot more tutorials coming up and I'll catch you guys next time, take care.


Hi, good morning and welcome to today's products and focus. So yesterday brought us the ADP private payrolls that actually managed to surprise the market and coming a little bit higher than expected coming in around about 217,000 versus 190 and change expected. What that's done is cause the equity markets to kind of tail off a little bit because basically it just adds extra weight to the argument for that December rate hike which seems almost a formality at a stage but now it's all focused on the trajectory of future rate increases. Is this going to be the only increase we're going to see for quite a few months or are we going to see an acceleration as time goes on? And today also brings us the ECB decision on monetary policy. That's right about lunchtime as well and then we've got non-farm payrolls on Friday. Obviously that's going to be quite a big deal as well and then you're looking at the 16th of December for the FOMC meeting where they'll make that fruitful decision about US interest rates. Janet Yellen coming out last night saying she's looking forward to her first interest rate hike in almost a decade adding extra weight to the argument that December is in fact going to be lift off on the rate question. So 17747 is potential support on the US 30 and that also coincides with that 21 period SMA. So then jumping on to the UK 100, failure to break and close above 6415, doji formation, very volatile session in the UK markets yesterday. Still on the wrong side of there just now this is the pivot level to be aware of. So then jumping on to Japan 225, Interday charts tell me it did nothing for most of the session yesterday before it tailed off and we are still failing to break above 20,087. We're going to look quite top-heavy here. The other technicals massively flattened out that the 21 period moving average is going to be chasing up quite quickly behind those candles so that'll be interesting to have a look at. Then looking at dollar yen, dollar yen is just ever just slightly grinding higher towards 124.42. In fact the dollar managed to gain a little bit of a momentum yesterday on the back of that ADP plan of payrolls but all eyes will be on euro dollar later on in the session. Looking then on crude oil west, Texas closed above below 40 for the first time since August and obviously it's been lower but it closed lower than 40 dollars for the first time. Very negative candle right here. $37 is an exponential support fall by $35.30. We've had a modest rebound this morning but on the Interday charts it's looking like there's a lot of pressure on the price anyway and falling on from a big negative candle like this it's going to feel a little bit of pressure but the tips of the candles down here the low of the day yesterday was about $39 so that will be it's only about 60 cents away there but that's an important level as well and that gives you about an idea of what to expect. That was obviously on the back of I believe your inventories that were much higher than expected again so massive amounts of crude end storage basically and people are holding on to it which means they're not really using it they're just storing it which means the supply there's a massive supply glow and crude and those figures is out of that. You can see after the ADP private payrolls gold initially went towards what 1042 before it managed to stage a very modest comeback so if we then look at this from a weekly perspective yet again where's the next potential support level so going on you could take the tips from down here but that'd be a little bit boring that kind of almost coincides too nicely with what we have here I'm going to go for down here and actually I'm going to remove this and take this across because that's possibly going to be a more significant that's definitely going to be a more significant potential support and we're going to put this level down here as well because that could be that would obviously be a pretty punchy move if I'm completely honest but you've got to think about the fundamentals here as well so this is where we currently are redrawing the levels it looks to be that 1031 could be the next potential support level which means we're kind of in the middle of two ranges with 1072 being the next potential resistance finishing up with GB with your dollar and GBP USD so Euro dollar we're looking at one spot zero five 24 being potential support we're off the session lows yesterday we're grinding a bit lower again this morning it's going to be volatile dependent on what comes out from Janet Yellen now there could be quantitative easing they could cut rates there's a lot of different things that they could go ahead and do we just have to wait until later on in today's session to find out and that is going to be 1245 for the for the ECB rate and then Janet Yellen's got a press conference where she'll talk a little bit more about that decision and what the plans are so keep you up we've got to go on to GBP USD actually sorry if we ever look at excuse me if we ever look at where we are right now still in the middle of two ranges one spot 48 59 is the next potential support with one spot 50 27 being the next potential resistance and in fact long return you probably look at the tips of these candles probably going back to here again i'm going to draw this on if we look at this level right here one spot 4640 could be the next potential support level to keep your eyes on so it gives you a bit of an idea what to expect keep your eye on the chart forum make insights part of your layout going forward and join me again tomorrow to find that the result of that ECB meeting today and look forward to non-farm perils on friday make sure you don't miss out on our live webinar go to support live trader events and send up to colin trokensky and michael hueson's webinar will it be good they'll be discussing non-farm perils live as it happens thank you very much goodbye


Alright, we're live with the results from last week's blow art. Yes, look at it. So we got the shell all done. Here, I pulled out all the silicone and I painted it in yellow. And then I'm starting to add in the pinks here. Do you see how I really like those pinks? And a bit of orange. So I'm going to brighten that up a lot. And then this was meant to be like water swishing by, right? And then we're going to have to draw the legs, some detail on the head. Let me sketch that right now. So I like sketching with the charcoal sticks.   So I'll start kind of... I'll get a reference to figure out what a turtle snout looks like. Do they wipe off easily? Yeah, these are great because they wipe off easily. But then also, if you do it along the edges, like if you do it on the edges and then you paint, it mixes into the paint and you can get these... You can get like dark... Yeah, shadowy effect, yeah. Okay, so what do you think? It doesn't have many cells, but I like how it looks. Yeah, I think it looks good. Yeah, and once it gets resin, it's going to be great. Okay, so next is the tool. I've been doing a lot of black outlines around everything. Okay, let's see it. So this tool, it's a calligraphy pen. It's a circle and it splits in the middle. Oh, okay. And what you do, it's the best thing for doing thick black lines that I've found. Let's get some alcohol ink over here. I'll do this side of her neck, but you just soak in the ink. But once I discovered this, it just changed everything because then you can do easy thick black lines. Look at that, eh? Isn't that amazing? Yeah, it's nice and smooth. And are there different sizes? Yeah, there's all different sizes, yep. So I'm just going to do all that. I'm noticing that the ink doesn't stick to gold. Look at this. Oh, yes, interesting. And I was going to do all the line work here, but so this is gold enamel paint. I wonder if the Posca marker or something. Oh, yes, I'll try the marker. Yeah. Okay, let me just do this head here.  It looks great. Yeah. Let me just finish the head since I got this going. Soon I'm going to have pieces ready to resin. Big pieces ready. Big day. Oh, yeah. I'm going to have lots. I took out all the paintings with the ones to finish. So I'm going to have like five paintings in here. Get something done, right? Okay, so that's the idea. Calligraphy pen. Okay. The circles at the end. Now, one more thing? Yeah. Okay. So the next thing is this is a piece that I've been working on for Rebecca. Because her dad was really into pigeons. And also, so what I did here. Yeah, and I added, I don't know if you can see it, but I put a bunch of this diffraction paper. Oh, yeah. I don't know if you've ever seen like a pigeon's neck is like purple and green usually and it looks like diffraction. So on all the pigeons, I have that and I'm hoping that when I resin it. So is it like cellophane? Yeah, it's just, I don't know if you see that. Oh, yeah. So I cut it into like little slivers and glued it on to all of the pigeons' necks. That's going to look awesome. Yeah, yeah. Will you resin all of this? Oh, yeah, this is all going to be resin, yeah. So the last, I'm almost done. I think that this part's almost done. Okay. I love the gold in that picture. I know, I know. And what I did is I mixed up some paint, gray and water. I just, I want this, the bottom part here to be dark. Okay. To be this blue part. So it's going to be a combination of putting it on and taking it off and seeing how much actually stays. Okay. Oh yeah. Yeah, like I said, I don't want it to be super dark. Yeah, so all this just darken it a little bit. And I'll probably do the opposite and I'll add more light up there too. Okay. Cause that's when you go to your art galleries, you notice that things have contrast. They look amazing. So that's just paint and water? This is just acrylic paint and water. They're like a better already. Yeah, yeah. And then you just put it up on the wall and you look at it for a bit and say, okay, yeah, that needs to be heavier. And I'll probably come in with the white marker and like fix up some of this. Yeah. And make it more defined. Yeah, exactly. And then maybe going with the black marker too and a couple of bits of bright color. Cool. I don't know if I should cover in these, see those four flowers? I see those, yeah. Yeah. And I guess the idea is like this is Rebecca's dad. There's four of us in my family. Yeah. Four flowers. I just was going with fours for this one. Yeah. Okay. I'll just dip it in the white paint. That looks great, dude. Yeah. But I want to kind of take more off of the top here. Okay. And blend it in together. Just a bit. Yeah, so it's a bit more blended. And that's anything that looks a bit much. There you go. What do you think I got? I think that looks fantastic. And I like the yellow and the, yeah, I like all the different colors. Nails and blues and them. It's so close to being done. It's so close. Perfect. So look there for a bit. Do you have time for one more thing? Sure. So it's this piece I want to show you. It's on there. Okay. So this one, the stage that we're at with it is, where's that piece of charcoal? Right here. Oh, thank you. See, I just was coming in and I'm starting to add some shape. Okay. See, like it looked like her knee hits here. So we put that in and you can see that we kind of have her growing here. So just some darkness there, right? Okay. And then this is one foot. It looks okay, but I'm wondering if the other foot should be like here now. Off in the distance, you know? Yeah. I used to have it here, but it almost feels like this wasn't it. The other knee right there, right? Yeah. It looks just more spread out. That was a better and more natural. Yeah. Anything else looking weird? Like I feel like the shoulder goes here. Does she have a nose or is she looking away? I haven't decided yet. What do you think? Like it looks like the nose should be like right there. Yeah. I'm not sure. I gotta do a bit of work on the face.  It's so hard for me to look at it. You've been practicing faces. Have you not? Or body parts? Yeah. Just got to practice.  Yeah. Maybe I'll cover this up with blue. But that's the next step for that one. I love it. That's not coming in. I like this gold around the edge as well. Yeah. Should I paint the edges black or leave that part cool? No. Okay. Sweet. Yeah. Okay. I hope that was helpful. All right. It was. Yeah. Keep painting day 51, right? Day 51. Okay. Almost there.


One of the first benefits you'll see in a soil when you stop tilling is that soil hydrologic function returns and Simply put soil hydrologic function is about water going into the ground and being held there for the next crop This will be the subject of the next few videos In helping us understand soil hydrologic function. Dr.  I'm familiar with the word dirt. Yeah, it's a it's offering a no-no for a soil scientist to use but I Believe that there is such a thing as dirt But the dirt is the solid part of the soil Okay, it turns out that only 50% of a good soils volume is actually made up of solids But what does that look like? After all soils don't behave like pie charts Then to make it a functional soil one needs to really have some sort of a structure Of the soil and I like to use the analogy to a building So the building materials would be equivalent to Things like it would be equivalent to the dirt the solid part the nails the Concrete and so forth the wood and so on the building itself is more Than just those materials. It's it's put together in a certain way and that has Rooms it has closets. It's got corridors. It's got water pipes going through it's got vents and it's got doorways and and so forth those soil is analogous to that building It also has on the surface. It's got doorways and windows to the outside the makeup of that those holes That go out to the out there is very important as far as getting water into the into the into the soil and preventing water from running off or preventing soil from detaching and going away and As far as inside the soil We have to think about there's we talked about poor size distribution. So we've got macro pores We've got micro pores. We've got mezzo pores We've got all these pores of different sizes. They have different functions a macro pore will not hold water against gravity But we'll allow drainage And also allows water into the soil as long as the pores open to the atmosphere The mezzo pores basically will hold water that a plant can use a Micro pore will Will the water held in the micro pores not available to to a plant all these different What we would call poor spaces in the soil they those different sized areas have different functions and they're all interconnected It really doesn't do any good if I have a macro pore in the soil It's not connected to anything. So what we have here in terms of architecture a healthy functioning soil is like a well-designed building every space has a purpose and everything is actually interconnected can this architecture be destroyed and also a Another but thing to look at is if I take a wrecking ball to the to the building I still haven't changed any of the components of the building But I definitely changed the functionality of the building and the livability of the building Things could still live in it, but they're not the same things that are living in the building How does the wrecking ball analogy relate to a living functioning soil? We're gonna end with a few thoughts from dr. Dwayne Beck Mother Nature doesn't do tillage. I mean when Mother Nature does tillage. It's a catastrophic event It's a flood of volcano and earthquake or something. That's her form of doing tillage and so Way back whenever I used to say, you know tillage is a nature tillage of the catastrophic event What's natural about taking a big tractor and a bunch of iron that's manufactured in a Plant and taking it out and start doing things to your land and call it a natural system. That's not a natural system so Once you have that mindset, this just is not an option then you do better You do way better Join us in our next video as dr. Tom applies these basic principles and compares infiltration in three different tillage systems See you soon


Yeah, yeah, welcome to watch me work. We're the me and the title is you I'm Susan Lori Parks and we are celebrating Valentine's Day by working, working together and supporting each other we've been doing this show for 12 years, I think, pretty much. And basically what we do is we meet every week. Or as often as we possibly can during the pandemic in the beginning of the lockdown we were meeting, like every day for a while. Remember those days I know it was fun but it was also kind of awful. We're working together awful that we had to do anyway, we're here. We're working together. This is what we do we work together for 20 minutes, and then we, then I take questions about your creative process. And so it's all about you watch me work is all about you and your creative process. And so hopefully we'll get some work done today and we'll certainly have some exciting conversation. And if you have questions, Audrey will tell you how to get in touch Audrey. So that was Jeremy Adams is our managing director. So if you have any questions and you're inside of the zoom. All you need to do is click on the raise your hand button which is in the reactions tab which is likely at the bottom of your screen on a laptop or the top if you're on an icon for a tablet. You can also ask us questions via Twitter, which is at watch me work SLP with the hashtag how round h o w l r o u n d, or you can write to the public theaters Instagram or Twitter. And those are the ways. Those are the ways. These are the days. Enjoy the purple haze here we go. It's 20 minutes. Hello hello hello. All right. All right, all right, all right. It looks like we've got our first couple of questions. Good to go. Yeah, let's go to Carla. Go for it. Hello. I'm good. How are you, Susan? Great to see you again. Yeah, great to see you. I'm almost finally back. Sorry, it's very cold in my apartment. Oh, then you live in where you live in where where are you. I live in the Bronx. They control the control our heating and it's a little. That is very annoying, but you look very Valentine'sy with your beautiful sweater. You know, full on just. There you go. There we go. I'm sorry, Jim's weren't read. Yeah, I don't think I've ever seen Jim and ready there. So there you go. Yeah, we're all in the mood of Valentine's. I love it. So my question was more about. I've been writing this novel since the pandemic started. I've even been in here with it and all that. And I have an outline that's in front of me with post-its and gun. I even took a writing class and put it through it. And I know like I wrote a little bit today. I wrote like a page or something. But I feel like I still, my goal was last year. I wanted to end have my first draft by the end of the year. And I didn't make my goal. I feel like I keep, it's like, you know, when you're in a car and the car's starting and then it won't move. And it's like. And I feel that's how I feel right now with my writing. And I, like, this is the first time I've written on it for like 10 days. The last time I saw it was February 4th. Okay. And so I feel like I keep dealing like that with it. And I don't know if you have any advice on how to try and break that because it's not, I guess, a writer's block because I know exactly what I need to write. I know how everything ends. I have it. I just want to finish my first draft that I keep not doing it. And so I just don't know. Yeah. Yeah. Yeah. Wow. Hmm. I can guess like, like, do you really want to finish? Yeah, I know that's, that's what I'm thinking. I'm like, am I not enjoying it? Like I was so into it at first and now I'm like, Yeah. Because, because, because, because, because when you're finished, then you're not going to be in it like you were in it now. So if you don't, if you don't, if you prolong the process that you can stay in it longer, maybe you have maybe love it so much.   You know, you don't want it to take it to grow to the next time. You don't want it to be sad. Maybe. I don't know. There's that. That's, I mean, we're just throwing out possibilities. Yeah. So let's say like that's a possibility. We can, you can entertain, you can mull it over, you know, and see if that makes any sense to you.  I know a couple things that I know already need to be fixed, but I figured I would do that in the second draft. Okay. And I even have parts of it. Like I have it both in my computer and this notebook, but in the computer, I still have little like comments being like, okay, maybe this needs to be fixed and stuff. But I was just like, okay, just write it. It's like write that first draft. It doesn't matter if it's good or not. But then I couldn't even write it in the computer. And so that's why I bought a notebook. And I was like, I'm just going to start writing it by hand. So I just feel like doing everything right. You're doing everything completely right. Because what you're doing, what Carl is doing is she's realizing she's having a difficulty. She's trying different ways. It doesn't work on computer. I'm going to work on in a notebook. It doesn't work. You know, if I can't get there by driving, I'm going to walk.  Great. So you're trying to examine your option. Great. Okay.  You're not going to be able to improve it. You're not stopping to really do those. You're kind of putting me, give yourself a note and you keep going. That's really great. Okay. So you're doing that right now so far. So good. Hold on. We're not done yet. We have a list. Let's see. Let me see. I'm, I'm reading off my imaginary cue cards here. Let's see. So great. So how much. How much. When you were writing on it, which was the fourth of February. What did you say? The first time was that I used to notebook was February fourth. And then today I wrote a small page. Okay. Okay. So, so, so, so when you were, so look back into the distant past. No, whenever that was when you were writing kind of, and you felt when was, when were you writing and felt like, okay, I'm going along. I'm writing at a steady clip. When was that? Probably when I started writing in the notebook. Okay. I was like, when you were saying like, I'm going to finish it by the end of the year. When was that? Oh, like, I want to say, like, August of last year, September. Okay. Okay. So we'll go back to the notebook.  Oh, how, what was your writing schedule? And what was your writing like? What was. I, I promised myself I would do 20 minutes. Great. Okay. So I wouldn't do too little or too much because I felt like if I do an hour, I would like stare into space. Great. Smart. Everything so far. Everything's right. This is, this is fun. This is fun. Okay. I'm having fun. Okay. Okay. No, no, no, it's actually great. It's great. It's great because I think Carla, as you have your questions and you wonder, maybe other people have this similar question. So we're just doing diagnostics, right? We're running it through, you know, you're at the, you know, we run it through the diagnostics. Here we go. Here's another question.  Then what happened? What was the 5th of February like? It's a good question. I might even have to look back at my calendar and be like, what did I do that day? I don't even remember. That's why I'm like, Oh my God. 5th of February. Oh my God. It was a Saturday. Okay. The 4th, the 5th of February was a Saturday. 4th of February was a Friday. Friday. I was very busy being with friends. I was meeting up with all our friends to the point that I felt like my social clock died and I just sat and watched TV and I didn't really do much on that day. Oh yeah. Television. Isn't it great? Yeah. It's like an IV. You just hook yourself up to it.  Yeah. It's good drugs, baby. Yeah. So you got, you hang out with friends because of course you hadn't been doing that much probably, right? No. And you're like, I deserve to hang out with friends. And of course you do. And then you start getting like, yeah.  Interestingly enough. Yeah. Why do you do that? Why did you do that? I think it's because I remember that now that I'm looking back into it, I was like, I felt, I remember thinking, I think my social clock is like done. So I was like, I just need to like lay down and face out. Yeah. Hook up to the morphine drip. Hook up to my morphine. Exactly. And yeah. And I for, and then a few days after that, I really didn't want to see anyone. Like I was like exhausted. And I get, I remember I got even asked to go out to a dinner. And I was like, that's, and I live in the Bronx. That's in the middle of Manhattan. I don't want to take the train. I was like, we hear you. But strangely enough, none of that. I don't think has to do with your novel or maybe it does.  And then you kind of felt like, yeah. Okay. It's interesting. So, yeah. So when do you usually write? After work. After work, I finished work round four. So I tried to do afternoon. Great. So you did 20 minutes, what, when you get, you wait till you get home or you work at home? I work from home. So I try to like, you know, take a break and then come back into it. Great. Okay. So this is what we're going to, we're going to suggest. What if I said, what if I suggested right for. Two minutes a day. Okay. Is that possible? Yeah. I know. Why did you say that? Yeah. Yeah. Is it hard? Is it really hard? It's not hard. I feel like two minutes is not enough. But it's better than zero, right? Better than zero. Exactly. Okay. We love you. Yeah. Yeah. So, yeah, it's, it's, it's, we're, we're, it's, we're just lowering the bar. That's all. We're not saying you're, you're faulty or wrong or bad or lazy or anything. You're not, none of those things. We checked, we've done all the diagnostics. Yeah. You're doing everything right. And all we have to do is we just have to lower the bar. We just have to lower it to a place where great reaction you went. Two minutes. Two minutes. I know, right. Right. Great. Good. That means you can do it with no problem. Yeah. Right. And then next time I say, Hey, Carl, have you been writing every day? You'll go, yeah, I'm not going to ask you how many minutes. I'm not going to ask you how good it is. Yeah. Right. For two minutes. And that's it. That's it. Okay. And try that for. You know, at least a week. Okay. Just two minutes. That's it. And see how you feel. Check in with yourself. Yeah. Yeah. Maybe it's that I was like exhausted and I, I couldn't, because not only that, I couldn't do anything else. Right. I left my laundry. I left everything. So now that makes more sense. You know, to lower the bar, two minutes. Yeah. Just two minutes. Set the timer. You have a timer, right? I, I need to get one of yours. I need to go into Amazon. I'm using the phone. I know, I know. I would not suggest you go into Amazon for anything, but. They grow there. They grow. I don't know. Bed, bathroom, beyond maybe whatever.    We got to pay for his next trip. Right. Oh God.  Anyway, I know, right? So, so, yeah, get yourself a timer. These are great because they're not connected to my phone. So. Yeah. Two minutes. Right. And set it for like two minutes, five seconds, because the five seconds gives you time to take your hands off the timer and put them on the keyboard or on the, on the keyboard.  So two minutes, five seconds, right? For two minutes. And that's it. That's all you do. Okay. Okay. This is, this is rehab. Yeah. I love rehab. I know Amy Winehouse. Well, bless her heart.  Yeah. Okay. That makes sense. I feel like now I understood. I was like, Oh, okay. Yeah. Thank you. Thank you for your questions. Thank you. Thank you. Thank you. Thank you. Thank you. All right. Let's go to Emmanuel. Yay. Does that work? Oh no. Okay. Hold on. There you go. Try again. Yes. Yay. Hi. How are you? I'm good. How are you? I used to, not France. Yes. No. Yeah. Yeah. Still, I know why I remember that. That's horrible. Maybe, maybe my name. I don't know. Yeah. You know what? Yeah. Yeah. Hi, how are you? Hi, I'm good. So I didn't keep up with what you said last time and I felt very guilty. So I didn't clock in. I can't remember. What did I do? No, I basically set the bar way too high, which was very nice to have the last question because I was supposed to write a page a day for like 50 days. So, yeah. But it's fine. So basically I'm back to writing this musical that I started writing in 2019. And there are not holes in the plot, but I did kind of what you suggest to do is get to the end. And now there are, so I've had just one reading, but there are great plot holes. And there are a couple of things that I'm, I'm like, oh, that's a bit cheesy. So I'm not quite sure I've been avoiding getting back to it because it's as if it's constructed and that if I take a piece out, the whole thing will crumble because it's it's a construction, even if I don't like it. So I'm not quite sure how to tackle. I mean, it definitely needs to rewrite, but getting back to reworking like the basic plot. I'm not really quite sure. It feels very scary to do that. Do you know the game? Yes. No, no, no, please, please, please go ahead. Go ahead. No, no, it's just how to go ahead doing that. I don't know by which, like which angle to go into it because yes, I'm not quite sure how to do that. No, it's a, it's a great, it's a great question. You know the game Jenga. I was just thinking of the game Jenga. Yes, that's what it's like that. You know, right? Okay, great.  And you in a way are putting things in and hoping it doesn't collapse, but hmm. And taking things out. I definitely need to take things. Mm hmm. Change. But if I change some fundamental things that I don't like, it just, you know, it, you, the story, if I take one scene out that I don't like, then the rest of the story can't happen. Are you sure? No. Okay, okay. Good. I haven't tried it. It just feels, it feels, it feels like it. Yeah. Okay. So, so that's the first question. Are you, yeah. So you can, you can try to take some, I mean, because if you definitely, if there's a scene that you don't like and you don't feel it works, then you've got to at least try to take it out. Right. To see what's going to happen. And you can replace it with a better scene that works. And that you like. And that's going to serve the story more. Right. Yes. Does that, does that make sense? Yeah. There's really, you know, no other way around.  You don't want to do that. Okay. You said that you can, you know, not change a thing. Wait a minute. That was what I just said. Okay. You don't want to do that. Okay. We're just examining all the options here. Okay. You can just keep it like it is and hope no one notices. And every night that it's playing, you're going to be going like this in the audience. That's an option. You can identify the parts that don't work. And that you don't like the holes, but you can identify the parts that don't work. You can identify the parts that don't work. You've done. And you can, you can do something about it. That's the only, I mean, what did young say to you? You know, Carl, you're the only way out is through. Right. So. Like for example, it's a, it's a scene that's a bit of a crux moment that propels the character. Forward until the end. So all of the. Consequent. So all of the scenes that are based on this one. Seeing that. That I don't like. I'm like, that's a bit. Obvious cheesy, you know, right? Great. So you, so you draw a big circle. I mean, first of all, I make a, make a list of your scenes. That would help. Right. So that takes them out of the script. You know, right. And put some distance between. They're, they're in the script. Now, now you're just looking at, like you're looking at a map. Right. So you can look at a little more objectively to create just a little bit of distance. Right.  And then you can write. Maybe open a new page on your laptop or in a notebook. Why that scene doesn't work. Why you don't like it. Why it's cheesy. Hmm. And maybe 10. Really cheesy things. Stupid. Stupid. And maybe 10. Really cheesy things.  That could have happened in place of that. Like just ways that you could change it. Just that scene. Go one scene at a time. If you take apart the whole thing, sure, it's going to be hard to put back together. But if you do it piece by piece, very systematically, you know. Okay. If you want to put yourself an outline or a beat sheet or bullet. You know, whatever you want to call it outline a list of scenes. Circle the ones that don't work and then write out either long hand or in your note, you know, why they don't work to you, why they're cheesy, why you don't like them. And then what could be better. Okay. Yeah. You're really doing Jenga. You're taking something out. And you're going, there's the hole. What do I put in that place that could really accomplish all these things? Maybe it's a modest change you need to make. Maybe it's a big change. But you're preserving the structure. You're just focusing on the, the, the. The problem, if you will. Hmm. You know, yes. Yeah, it makes it less scary if it. Yeah. If they're just itemized. Yeah. I have a second question. Is that okay? Sure. Um, it's a, the main character is, um, things just keep happening to her. And I'm. Not quite sure how to develop. Again, because it's all structured around this one person. And then I feel like, again, if I change her and her personality or add. A bit more agency to her that it. Then everything else will have to change. That's. Well, so. Well, maybe everything else has to change. You know what I mean? Yeah. That's not the worst thing. I mean. You know. The power of the artist is in, you know, the rewrite, the power of the writers and the rewrites. Yes. And that's where you show your.  You know what I'm saying?  You know, um, but again, I would suggest.  Give yourself some space from the script. And write scene one. This is what she does. Or this is, no, this is what is what's done to her. Yes. You know, and how can she, it just. How could she be more active? What could she do? What does she want? You know, what does she want? So what she's got? What is she going to do to get it? Yeah. Yeah. So how can I activate her? How can I make her more active? How can I make her an active agent and what she wants? You know, I think it's because the main premise is that she is living through what she thinks. She doesn't know what she wants because things have been put on to her. And so she's going through the motions of that's what kind of the piece is about. So how to make her. Yes. Well, well, either it is that either there is a problem for you or it isn't.  She thinks we're happy to hear she didn't have enough agency. So we can do that. If you say that's what the piece is about, then, then that's what it's about.  It's your work. So. If you're feeling like she's too, you know, passive, then you can change that. But if you, but if her passivity is the story, then. Okay. Yes. You know, I will brainstorm both options. Yeah. Yeah. Yeah. And again, make lists, make lists of scenes, get some space on it, get some space on it. See it from, you know, some elevation a thousand feet away. You know what I mean? Look at it as if someone else wrote it, that will help. That's a good idea. Yes. Yeah. Pretend someone else wrote it. Okay. Cause someone else did actually. When did you write the first draft of this? 2019. Yeah. That was forever. That was like a hundred years ago. Yeah. Okay. Thank you. You're welcome. Thank you. Good to see you. Yeah. Great. All right. We've got about 14 minutes left. And we're going to go to Melania. Hey Melania. Hello. How are you? Happy Valentine's Day to you. I am so happy to be here. And what I love about this opportunity, this treasure that we have is the merciful spirit. You know, that helps me a lot because I am. A couple of weeks ago we talked about, I couldn't choose what I wanted to do. So after a while you told me that maybe I could do the, the theater play that I am trying to write. So I decided and I went for it. And I began several things trying to, to get it along flashcards. I walked in my neighborhood. I talked to myself. I pray that I love to pray. I read out loud. Good. Good. Good. I dreamed about the play. I was dreaming. So suddenly I, yes, I, I found myself with myself on trying to write what I dream. You know, when I am in. Perfect. So doing all of that. I realized, I think that what I realized is that I don't know my character. It's a one woman. Play. Oh, yes. It's for a person that I love in Argentina. And she read something. We talk about the idea. She loves it. And she, I think that what happened also is that she made so many nice comments about the situation that I got a little, I don't know if the word is scared or like frozen. But what I think is happening to me is that I don't know my character yet very well. And I know that they write the character. I am creating the character. But at the same time, I feel that the character goes beyond me. If there is a person that is going beyond me. So I would like to ask you how can I meet with my character? How can I know more? Because what I am seeing is that I have situations and ideas, but it's something that they are that I know that is happening to this character that I really don't know yet. There is something there that is, and I am stuck, but I am trying to do things. So I am stuck, but I am not because I am moving. So she's even in my dreams now. So yes. So it's perfect. Any suggestions about how to know my character better? Sure. Sure. Have you tried talking to her? No. Just interviewer. Okay. You know, just like, hey, can we talk? Okay. Yeah. Talk to me. Talk to me.  Talk to me. Talk to me. Okay. You know, what am I not understanding about you? What am I not here? Am I getting something wrong? You know, she's your friend as if she were your friend. Okay. I like it. Yeah, you know, we're going to try everything. Yeah.  Look, a lot is trying this and trying this and trying this and try this. How exciting. How thrilling. Look at you. What resilience, what fortitude, what patience. You know what I mean? It's beautiful. Look, look, look. You know, I mean that that's, that's, that's living baby. You know what I'm saying? That's, that's, that's so, it's so beautiful. And you're not alone. And we've all been there. We've created anything. We've all been there. We've all been, what is that Christopher walk and say to Leonardo DiCaprio.  That's that's that movie catch me if you can, but that, you know, that idea that you just keep, you know, sometimes we're just in water. So it's not going to turn to cream anytime soon. We just have to keep paddling, but we make some, some forward progress. And you think of all the beautiful things that were discovered, all the inventions are all the, you know, the breakthroughs happen because of effort. And sometimes they come quickly and sometimes they don't come quickly, but you know that you're on the right path. This is the life. Yeah. This is the, this is the artist way right here. That's true. Yeah. So, so talk to her. I will. I promise. I will go. Okay. That helps. Thank you. You're welcome. Thanks. All right. We've got eight minutes left. We're going to go to Richard. Richard. Oh, did you get it? Oh, no. Try one more time. Yes, there I am. There you are. Okay. So that was great. Two weeks ago, you told me to go see it, do scene by scene, go through the whole thing, running commentary. And the key to the running commentary that was so amazing was that it kept on coming up with the same problems. Then I started reading it aloud and something connected cause I'm an actor and I know all this stuff. This seems like okay, but I, it's just too polite. The conflict. Yes. I know that the conflict's there, but it's really not there. And part of the problem too is kind of having this thing in my head was that, well, it's a screenplay. So these people can't talk too much, but I kind of understand dialogue is action too. Yes. So, um, so what I've been doing now is kind of trying to go back and do, do the beginning each scene. And in a way like when I wrote out the list of what's happening in the scenes, it seems very, it seems somewhat different when I'm changing it because it needs, it just needs different things. So what am I asking? I'm just saying one, it's so important for me to just read the thing aloud. I don't have, I, as an author, I know what it is, but if I don't read it aloud, I really don't understand anything about objectives and how do I get what I want? Um, so what, I just wanted to share that stuff and maybe, um, the question is about where do I go from now? Now I'm trying, I'm thinking like maybe I should just do the same thing, which is just work day one, work on this scene and then go to scene two, then go to scene three, and then I'll have maybe another running commentary. I think that's a great method, Richard. And I think that, um, you're finding like where's the conflict, you know, and you're also saying there's another voice in your head that says don't write too many words because in, in movies, you know, screenplays, they don't talk a lot, you know, but what I'm thinking is if you need to get to the conflict or find the conflict and you need a whole two page honker of a speech to get there, right?  But it's so amazing you said that because what was 59 pages since I started to be arriving is 66. There you go. And it's a million times better. Okay. There you go. And it's all you. It's okay to read to overwrite. If you want to call it that it's okay to write long monologues for teleplays or screenplays. And if you need to, because you're searching, right?  But you won't find it if you don't dig. And sometimes you got to write too many words to find the right ones. That's okay. That's okay. I think sometimes we have difficulty because we writing and rewriting are two different activities. So you're rewriting, i.e. cutting words while you're trying to write them. You're just, just, just write the words. Write, write, write, write those, write that speech, write, find that conflict that you're, you're saying you're, you're missing, you know. And maybe I was thinking maybe it makes sense instead of just begin, maybe start with scenes, work on scene seven instead of going one, two, three, four, five, six, seven, because maybe scene seven will tell me, well, there's a big problem here. There you go. I think you're scene seven is talking to you because I came out of your mouth, bro. You know what I'm saying? You're like scene, scene seven is like, hey, can we, can we talk please? Can we? Yeah. So yes, I think it's a great idea. You don't have to always work in order. You've, you've written the, the whole thing you've gotten to the end. You've made notes. Just, just work on the things that you really feel working yet. Great. Right. On what I don't feel is working. Okay. That's my mantra. Yeah. And thank you. Thank you. Thanks. Thank you. Thank you. Thank you. Thank you. All right. We've got about two minutes to go. And it seems like we don't have any questions at the moment. So do you want to take us home? Take us. We're already home. We're home already. Except you. You're at work. Can you take me home? No, really. I just, you know, I mean. You know, let's not underestimate the value of kindness, you know, and you know, so often we take kindness for weakness. You know, we see people who are kind and, and caring of others is somehow defective. And it's better to be tough, you know, but we know better. We know better.   And also, you know, as you go along and grow in your artistic process, stepping on other people to get where you want to go is, it's not, it's not worth it. It's not important. Kindness is so important. And I use the word kindness instead of love. Love is a word like friend. I don't know quite know sometimes what it means anymore, but the kindness I know what that means. So to be kind to as many people as we can every day, even the people who are not important. You know what I mean? Not only kind to the people who are going to get us something and elevate us in some way, but the people who, who might not elevate us. It's just, it means so much to people. And there's so much as we know, because we feel it. There's so much despair right now in the world and our communities for many, many, many, many, many different reasons. But the kindness can go a long way to really just helping each of us through the day. We can all do that for each other. So, you know, that's why it's part of the reason why we're here. Yeah. It's a lot of kindness, lots of kindness in this, in this community right here. I'm very proud of all of you too. Because it's hard to do the work. It's hard to show up, but it makes everything else worthwhile, right? Yeah. Thanks. It's a clock. It's a clock. So, so next week, right, it's president's day. Another word that this is meaning has kind of been diminished but present state. The public theater is officially closed. And so we will not have watched me work on next week because we do not have, you know, the fabulousness of the public theater and how around to organize it for us. So we're going to be back on the, what's the 28th, February 28th, the 28th of February. Okay. So next week we'll just work on our own and enjoy it. Okay. And we'll be back on the 28th. You're the best SLP. We'll see you on the 28th. I love you guys. I use that word.


What is going on guys welcome back to the channel critical overlord here recently Danny McBride who co-wrote the 2018 Halloween script along with David Gordon Green he recently revealed that the upcoming sequel to that film Halloween kills Will begin production or is looking to begin production within the next three weeks So next month sometime of Halloween kills will officially in a production No official plot details has been given at the moment in regards to what will happen in the film What direction is it going is it going to pick up from that same night from the previous film? Which is something that I hope it does so it doesn't tarnish the whole intent of the last movie The film will begin production in three weeks according to McBride and That's pretty much all he had to say this was in a recent interview with polygon My thoughts on that is that I am looking forward to seeing what details start to come out when they near production Because with production set to occur in three weeks We should be getting some sort of casting information coming out because recently I think all we've heard of is the fact that Paul Rudd was contacted and Some minor references to the fact that they tried to get him back in We didn't get any concrete confirmation that that is exactly what happened, but I can't wait to see who they all have on board. I'm expecting to find out that Judy Greer Andy Maddichak and All of the other people that were involved in the first movie Technically the second movie since it was a sequel to the 1978 original We'll get word on what they're doing with the movie find out who's joining them Anyone who's expecting Daniel here is I'm pretty confident. You should cut that hope or that dream But you should just can't stop dreaming about that The only way I see Daniel here is coming back at this one is if they do a direct sequel to Halloween 4 Which I don't see them doing anytime soon But Halloween kills according to Danny McBride is going to start production in three weeks Now as we all know Halloween kills is not the only sequel that will be filming it will then lead to a film called Halloween ends which will end this Consonuity that McBride and Green have orchestrated that ties into the original film So with that being said McBride also did reveal that the script for Halloween ends isn't yet complete But of course while they're filming Halloween kills They'll be working on or doing the final touches with that script, which I'm assuming is pretty much almost done completely So there's probably just like a few minor edits that they're doing that doesn't mean when you say that a script Is a complete that doesn't mean that they haven't finished writing it all maybe they're just not done Removing what they feel is like excess or they're still just overlooking it They're doing revisions because everything could still be everything could already be written out for Halloween ends They just haven't finished doing the revising yet But of course all of that will get settled when they start production on howling kills I'm looking forward to see what other news comes out James. You Courtney. I believe is back as Michael Myers Nick Castle confirmed that a few weeks ago when it first came out that he would be Returning to participate in the project. He said he sent out a tweet saying that make no mistake about it James you Courtney would basically still be fulfilling the actual role of Michael Myers So let me know what you guys think about it down in the comment section below Are you excited for Halloween kills? What do you think is going to happen in what direction do you think it is going to go? Let me know down in the comment section below if you haven't already make sure you subscribe into our post notifications So you never miss a video in the description now I have links on my social media accounts on my Facebook tour to an Instagram You can message me there to let me know if there's any movies news or reviews You like me to cover in the future with all that in mind guys. I will see you in the next video