Testing, testing, testing, still have not fixed the mic stand. Testing, testing, testing. Somebody made a meme on Twitter, which I know you didn't see, but it was the black panther. And he said, does somebody get this man a mic stand? Because that was a line in, do you remember the line? Somebody get this man a shield? I think he was talking to the cap. And you say, does somebody get this man a shield? Riveting. So that was the joke.  I'm Captain America. There's somebody to get this man some pants or something. From Black Panther? It was Black Panther saying it. I don't know if it was in Black Panther specifically. But it was Black Panther saying it. Chadwick Boseman. For those who didn't know. Yeah, I didn't know. Oh, really? Yeah, it sounds amazing. Yeah, he is. Anyway, today we got a little kind of interview conversation between S.S. Rajamouli and the Russo brothers. Hey, that's cool. Who obviously directed many Marvel films, including Endgame and all those, and obviously the Gray Men that just came out with the news. And then S.S. Rajamouli directed one of the best action films ever. Ever in the history of the world. And the best buddy comedy of all time. That's, in my opinion, best buddy film of all time. Anyways, but yeah. I mean, you could argue there's some other ones like Butch Cassidy and the Sundance Kid, Lethal Weapon, The Odd Couple. I don't remember seeing Bonnie and Clyde. Not too, not too in any of those. Exactly. Ig. Exactly. That alone. And that opening scene when they saved the kid in the train bridge, flying hands, Indian flag. It's glorious. So it'll be interesting to see this conversation between obviously the Russo brothers who obviously are very iconic with Hollywood films in terms of Marvel and what they were able to do. Obviously one of the biggest. Seen this guy a lot. Yeah, Raji, I think his name is Rajeev. I don't even know if he does reviews anymore. I don't even see his reviews coming up. But anyways, here we go. I think this is a historical moment of sorts. On the one hand, right here, seated here, are two arguably two of the most successful, the most successful filmmaker duo in Hollywood, Anthony and Joe Russo, the men that gave us two of the highest-grossing films of all time, Avengers Endgame and of course, Avengers Infinity War. And then joining us virtually from his home in Hyderabad is arguably the most successful filmmaker across India, Mr. S.S. Rajamolley, whose last two films, RRR and Bahubali 2 shattered box office records for Indian films worldwide. So forgive me for being very excited today. We're very excited as well, by the way. Raj, it's such a pleasure to meet you, we're huge fans. Okay, thank you, Joe. Thank you, Anthony. So nice to meet you. Lovely. Gentlemen, I thought I'd start by asking you. Lovely. What's your thought? Trick-telling stories that transcend boundaries. I feel like Hollywood has done that successfully over the years. Your films travel in just English-speaking boundaries. What is the trick to telling a story to a global audience? And is that something that weighs in when you're writing? I think it does weigh in for us anyway. What we tend to do is think about things at a global level. That sort of think about what kind of experiences that we're having on a global level and that people around the world are also sharing in. What kind of anxieties, what kind of excitements, those kinds of things. And it's a layer of the storytelling. It helps us connect into how people are feeling and thinking collectively on a global level as opposed to a more local level. We look for universal truths. And I think it is- Oh, wow, it's like Rick's said that one. Wow. To use storytelling as a binding element to bring people together. That's why we have a global perspective. We're very fortunate to have worked all over the world to talk to fan bases all over the world. So I think that over time, we've had a more sophisticated understanding of the way audiences think. And care about it. And forms our storytelling and the way that we construct stories. You know, Mr. Rajamali, I'd love for you to weigh in in your last two films in Bahubali and in RRR. You actually told stories that were intrinsically Indian stories. They're rooted in mythology. They're rooted in Indian history. And yet these were films that spoke to a much larger audience than typically Indian cinema tends to reach out to. What do you attribute that to? Yeah. Me, me, sir. A story, a good story is a good story for all the people across the globe, which is our country. Yes. But to take a story to cross the boundaries, for a story to cross boundaries, to cross cultures. There are many, many hurdles, but I think the principle hurdle is being, principally, if I don't believe that I have a good enough story that transcends boundaries, then there is no way I can make the other audiences believe that I have that story. So I think principally it is the belief. If we have that, the other hurdles can be crossed. So you don't tailor your stories to speak to a global audience specifically? No. See, basically, like I was saying, an emotion is the same, a human relationship between husband and wife, a father and son, two friends, whatever it is. It is the same as in America, as in India, as in Japan. You know, it is the same. It doesn't change. But how we tell that emotion changes, the nuances will change, but the core emotion remains the same. But the way, if I don't tell my story, the way I envision it, and I keep thinking about what others are going to envision, then I think I'm not doing a justice for both the people. Right. Well said.  Clearly, you're not interested in small intimate stories. I wanna ask all of you, how do you ensure that the drama, the emotion, the humor, if you like, doesn't get weighed down by the spectacle? You have to track it through character, and I think that's something that Roger does very well. Yeah. Especially in our, this is a very profoundly emotional story. Character arcs and story, yeah. Spectacle is a backdrop, any vehicle by which that story is pulled, but at the center of it is a profoundly emotional story of brotherhood. And I think that's an essential, as he said a moment ago, that's essential mythology that can translate to any culture around the world. The same is true for the work we do as we try to find that essential theme that's important to us. Put the characters on that theme so that we have a spine, and then you build a spectacle around the goals of the characters. Great analogy. And if you're leading with spectacle, then you'll get lost. If you're leading with what the characters want, what their desires are, what they're trying to accomplish with the sacrifice of lives. You're listening to Game of Thrones? I think that is what we're looking for. You know, the spectacles... Toy Avengers is so good, yeah. That's emotional story rather than the reverse. Mr. Rajamalli, do you agree with that? Yes, a lot, but I have... Please don't put them and me on the same platform. They have had a mountain of success. I still have a small mound of success, so don't put us on the same platform. That's very sweet. I think, yes, I really agree with Joe on that aspect. And for me, I mean, it's a dazzling spectacle. We love to do that. I love to do that. But the base of it, there needs to be an emotion that drives. The emotion is the basement on which we can build this huge spectacle. If that emotional engagement is not there, then how much ever big spectacle you give the audiences will not be interested in. The other thing, of course, that you share in common is this love for action. Whether disguised as big superhero films or in the case of the gray man, a spy story, what you're doing is mounting these robust action films. It's true of you, Mr. Rajamalli, as well. Your action is clearly a genre you enjoy working in. Does action tend to travel wider than other genres? Yeah, it certainly does for me. I mean, there is a beautiful love story on one side and there is a medium kind of action film, both as an option, which I have to say, and first of all, for the action film. So it really, I am a huge action buff. So I tend to think the whole audience are like me. So yes, that is a big punch up for an action film. Yeah, yeah. Action is a universal language, you know? And it's about geography, choreography. It can be told without words. So I do think in a lot of ways that it's the most transcendent genre, the one that, the most universal genre, one that most everyone in the world can follow. And enjoys. We all understand action and movement. I think you've seen that over, you know, in the past decade or so, there's been a large movement in terms of a global audience, largely due to the internet and the connection we all have now through the internet and social media and the fact that we can communicate with one another about films together that's created more of a global audience and a global sensibility. And I think you've seen over the past decade, action films have become more popular and sort of things like comedy, some of the things that are specific to cultural sensitivity. Right, exactly. That's why we lose so much on the comedy side. At least in the Hollywood realm, they haven't sort of been as popular as they once were. And I think that speaks to the fact that action is a language that connects the global audience in a strong way. You know, I think that generally when it comes to action, it tends to be about masculinity. They're usually about the male characters that get to have all the fun, so to speak. I know that that's not, you have, of course, in the Avengers, for example, you've had some great female superheroes that have kicked ass, so to speak. And it's true of the gray man as well. You have Anadya Armas, who's excellent at doing her stunts. And Mr. Rajmoli, I know that in Bahubali, at least, you had Tamanna's character in the first film that was this rebel warrior, and she does get to do her fair share of action. But would either of you be interested in, would you be drawn ever, you think, to a female-led action film? That's absolutely good. The story's good. Makes no difference. It's a, let's take Anna's character, for instance, strong, independent, you know, not romantically linked to the lead character, has her own agenda, motivation, and in fact, continually saves Ryan Goddard. Tomb Raider was one of the first big action things for a long time in the 90s, right? Am I a crofter or what was it? She is, in a lot of ways, more competent than he is. So it was the Wonder Woman TV series of Linda Carter. It's true. More graphic. I don't know how much action was in that one. And making sure. Well, it was the 1970s action of the situation safely. We love strong, confident characters, irrespective of gender, but I think, you know, the world loves all stories, and no matter what story you tell, if you tell it well and you tell it truthfully, they're going to support it. And there's plenty of room for movies about strong female characters. Yeah, well, I would also say that it's our job as storytellers to bring new experiences to audiences. You know, that's, there's nothing better than we can do other than bring a version of a narrative to an audience that they haven't seen before. And certainly, you know, there's a lot of room to do innovative work with female characters because of the relative lack of, or the imbalance that's existed up to this point. Mr. Rajamali? I would really allow to do, not just in terms of action, but really strong female lead, leading the whole story. There are a couple of storylines that are running in my mind. We are discussing that. But like any film at the end of, I don't think too many films at a time, at the end of one film I just look at what are the exciting ideas that are around me. And because the most exciting one at that point of time, I go forward. If it's a hero film, it's a hero film, it's a hero film, it's a hero film. You don't overthink it then. No, you can't go in thinking, I've got to make a heroine film. He had a film that was a fly. Yeah. RRR, these of course, that's the ones in which Ega, that's so good. It crashes that celebration with that truck and he releases dozens of wild animals, including tigers, that wreak havoc. They're smiling, look at that, they're smiling. How do you come up with something like that?  And it also has a little bit of a work on his character. He's a tribal. Then as we are working it, we see what are- Yeah, it's an extension of him. Man being in the jungle, he will have lots of things to do with animals. Yeah, extension of his person. That kind of thinking, if he's going into a place which is not his strength, so obviously he will- Gorgeous salt and pepper hair there, says Rajmar. Absolutely agree. Animals can be a- Not so much here. That kind of thinking will lead me to that, but apart from that, I really, really like to surprise and awe the people to the maximum. Well, you do it well. You did it real well in RRR. I think certainly where the gray man is concerned- And once the fly came in an ego. That sequence, the city square in Prague, where, which is again a great idea because you've got a target- You've seen gray man yet? No, did you? No, not yet. And there's bullets and there's- Gosling wants to do an Indian film with the noosh now. They can't take him out. That'd be awesome. Yeah, he does. And he terminates in that extra- I hear it's- kind of- I want to be your shrink for a moment. Like nothing new, but it's fun. But it's fun, yeah. Can I link the kind of action that you do to the eight-year-old in you that just enjoyed blowing things up? Probably, perhaps. Although we were a bit more- We were a bit more academic when we were kids. We were sort of- You know, we weren't making movies. We weren't trying to make movies. We were more like just film geeks enjoying movies. But certainly we grew up with a bit of a- bit of a punk rock attitude toward the world. And I think that sort of tearing things up is sort of certainly appealing to us on some level. We're maximalist, semi-more entertaining access. You know, we love scale, like ambition. This was always meant to be a relentless action exercise. So, you know, with the sort of essential character elements pushing the film, but driven by action. Like the kind of movie that from frame one it doesn't let you go until it's over. Endgame should have gotten the best picture nomination. I'm really interested what's going to happen with the RRR with the Oscars. Me too. Because it's still going. People are still talking about it. Can I ask you the same question? Is the love for action linked to some sort of childhood fascination for blowing stuff up? I don't know. From child life, as young as I can remember, I loved action, whether it's in the comic books, or western films. Yeah, but most boys or male-leaning kinds of personalities, even in girls, really do love action. Fighting, blowing things up, sports. It's just in the DNA. I've always liked action. It's never been my favorite. Yeah, me too. Yeah. That's fine. They shot that within the space of five months they started in March and finished in July. That's, I think, yeah, that's pretty much what I think we're done in July. How can you do that? The trailer shows what kind of action that we are going to witness. In fact, one of the things that I hated with the interviews, I had to stop the filming between and come to this. I just started. I just started. The trailer, it was like so much of action and how could you do it in five months? Are you directly to separate units? Great, yeah, sometimes. Sometimes they bear. I was going to say absolutely they do more than two units. And then pickups can be done by somebody who's just their first AD. Yeah. And our second unit shot for 95 days. Yeah, second unit, 95 days filming. They're not even there. 40 days. So we do run multiple units because we have a big crew. And you go into post immediately now. It's not like put it in the can and then go into post. They film and go into post. You've got to get them out. That's why Black Panther 2 has a trailer out, but they're still filming. They got to get the post. And it is, you know, it's a military operation. Yeah. See the Marvel slash Disney people are under fire right now, though, because of what they do to their VFX people. Like they overwork. They do that not surprising. A crew that we need in order to pull this off in a way that it doesn't take a year and a half to shoot it. I think we also, you know, we've always spent a long time preparing. You know, we spend many, many months preparing as you may do. But because we were shooting this movie during the pandemic and we knew that once we got to production, things were going to be even more complicated than they normally are. And perhaps be more challenging than they normally are. I think we prepared even more thoroughly so that we could overcome the complications. So that might have been also a help in terms of accomplishing it. Great to know.  They are. Mr. Rajmoli, while we're on the subject, I think you'll agree with me that Indian films often get, and I know that it's critics like myself who've done that as well, you'll see a great action scene. It'll say it's great by Indian standards. And there's always a comparison to the American 10-Pole films. I want to ask you is, do you feel like, and I do feel actually that RRR and Baal Bali have changed that narrative to some degree because they do really hold up on very high standards. But I want to ask you, is budget usually the only reason? That's a big reason. That the biggest so far best action. And time. Money and time. Look as big as they would, as maybe the American films that we see. No, budget is definitely a reason, but it's not the first reason. It is.  You should have the intent. You should have a team. You should have a vision. And then comes the budget. And most of the time, if you have the first three, the budget will come in and support. Like the kind of action sequences that we did for a while when it was like the first is like in 150 crores, which is like peanuts for the kind of budget action that we did. Yeah. So you've made these big box office blockbusters for the studios. Why was Netflix the right home for the gray man? Well, look. Money. We got paid a lot. And I'm wanting to make it. They made us an offer we couldn't refuse. Construct the film that was extremely ambitious on an action level. And that was the experience for the lead characters and for the audience would be that of just running a gauntlet from the beginning of the movie to the end of the movie. So I think the scope of it, you know, Netflix was in a period of great growth. And they were wanting to be very ambitious in terms of what they could accomplish as a studio. And they just wanted to support the film in the most strong way. And that's really why it felt right with Netflix. It just seemed to, the ambition of the movie seemed to line up with their appetite for what they wanted to do as a studio. I don't know when it was Greenlit, Dio. They'd been perfect partners. My bed, it was back a couple years ago when they were going insane. Probably, yeah, when they were just point. We want to do everything. Very strong, easy, successful partnership with them established. So once we knew that they had the appetite for a movie like this, that's where it all clicked. Mr. Rajamoli, I think it's fair to say that after a very successful theatrical run, RRR was practically sort of rediscovered when it streamed on Netflix. The American critics discovered it. It became this critics darling, a whole new audience sort of. Unfortunately, on Netflix, it's in Hindi. Very serious talk of Oscar potential. Were you surprised by that? The one on Netflix is in Hindi. The tension the film was getting after it began streaming. Yeah, there are two questions in your question. One thing is like, first of all, I'm actually angry with Netflix because they took only the Hindi version. Thank you. Yeah, you shouldn't be angry.  Yes, I was surprised. Good job calling him out there, I like it. Heck, yes. With the attention from the West. Like we were discussing before. That's awful. A good story is a good story for everyone, but I didn't think I could make films for Western sensibilities. I never believed myself. So when it came out on Netflix and the people started watching it. Critics started giving out a good reviews for that. Yes, I was really, really surprised. I can't believe Netflix did that. Yes, it wouldn't have been possible without Netflix for that I have. It's on Z5, but obviously that's not as it's available. No. Have you seen anything awful? Have you seen... It's awful. It's amazing, incredible. I hope you saw it in the original language. What's so amazing about it is the level of emotion that it evokes, it's combined with the perspective. I would say that we have found that one of the advantages of digital distribution we seem to be in a position where we're always defending an agnostic approach to filmmaking because we see value in all levels of distribution whether it be theatrical or digital, but digital has endorsed and allowed for more diversity than... What in the hell's diversity? And I would say in five years it's probably done more for diversity and access to diverse and international films than Hollywood has done in 50 years. I think that's critically important. I think that it's broken down barriers for, again, for people to, on a popular level, to watch films. It's really insulting. It's been a long time, I think, since I can't remember when, theatrically, it was a popular concept to watch films. They can still change it. I think there's a real value in that. I think when you're talking about our finding a... I'm pretty sure Zee has the rights to the Telugu, but I'm betting he's saying Netflix only wanted the Hindi version is my bet. A show like Squid Games would never have worked in any other format than through digital distribution. Agreed. And it became an international phenomenon. So I think audiences are getting a window now into true Indian cinema, true Korean... Not us. I've never watched an Indian film. What about you? Maybe one. Yeah. There's great stuff coming from all over the world. Yep. There is. Yes. All movies should be seen in a movie theater. And I think, you know, the way that... I won't speak for Rajah, but I will say that I know that the way that we think that the two-hour closed narrative is a well-tread narrative. It's a form that is very difficult to... That is not the Indian form. What's the gray man runtime? Do you know? Probably right under two hours, I bet. Under two hours because of the narrative. Yeah, because their Avenger films don't hit the two-hour narrative. Which are more interested in long-form stories. Exactly. It can be more surprising. Also, you know, it's just really an amount of time that the audience spends watching something. So you kill a character after they spent an hour watching a movie, it has a certain impact on them. They watch eight hours of a story and then you kill the character and it has an even more dramatic impact on them. So there is more potential in our mind for revolutionary storytelling in long form, which is why we encourage it and push it, which is what we all call universe-building. But for us, all that means is a longer narrative than just a two-hour closed story. And that's... Welcome to Indian cinema. We're most compelled... So is gray man gonna have a sequel? Sorry, Rajah, didn't mean to jump in, but I'd love to hear your point of view on this. Absolutely. I absolutely agree with you. Just add to that. See, every storyteller, when he narrates a story, he wants his story to be heard by a larger number of audience. And he will be very greedy in that aspect. He needs more and more audiences to listen to his story. And there is no way we can have that kind of reach without a digital distribution, Netflix being at the forefront of it without having those kind of partners. We can't even imagine. I mean, the kind of reception Arara is getting now. We can't even imagine without Netflix taking it to so many countries, so many varied cultures, so many people speaking different languages. But only in Hindi. Being said that, again, my first club is always cinema. That is where I discovered my love for storytelling. And there is a kind of fear in my heart that digital distribution might completely be given to cinema. That's the scare. I know it is not true. Eventually, they will settle down. There will be cinemas, there will be a kind of film viewing experience. Digital distribution will be a different kind. Television will be a different kind of viewing experience. I think three of them will coexist. But the scare and fear is there. I'll say this. I think about the Hindi version of Arara. I'm settling down at one point. I think Hindi is a great proof that the theatrical experience will always be a unique, a wholly unique version of film going. Agreed, yeah. Absolutely. The energy that you get within the movie theater nothing like it is just like nothing else that you can experience on your own or in a smaller home environment. And that's something that we sort of love as well.  That's just, that's another experience altogether. You know, Mr. Rajamoli, I have to ask you the abiding love for the big screen movie and the big screen entertainment aside has just the experience that you've had with Arara since it dropped on Netflix? Has that sort of, is that tempting you in any way to perhaps do something straight for streaming? I mean, I have some of the ideas which I have been contemplating to take for streaming irrespective of the success of Arara. I mean, for a long time, for example, the Perthian segment which Mandarathum Sir is doing now, for a long time I had that in my mind to make it for streaming because that is the perfect way to tell that particular story. You can't tell that story easily in a film but if you have a, like if you have a web series kind of thing where it is like, now you can tell the story in eight hours or 10 hours or 15 hours or 20 hours. There are many stories that we have which a web series is a right platform like Jo was explaining a bit earlier. Yeah, I have few of the thoughts like that and that has got nothing to do with the success of Arara. I always had that thought. You know, I'm taking off from what Mr. Rajamoli said. I have to ask all of you. Can you talk about what cinema meant to you growing up? Was it a big influence and what were the films that changed your lives? Big, big, big influence, films. I mean, for me as a very young boy, there were films that I have watched particularly from Vijaya Production House, Maya Bazaar, Mr. Ma, those are the classics of Telugu cinema. They had a huge impact on me. A little later films like Ben Haar, I mean, even today I have said so many times. I think I don't use them so many times that I have watched it like hundreds of times. I mean, just the Charity Trace I would have watched and Charity Trace I would have watched a thousand times.  I get inspired so much from his near story telling. Me too. All his films had a big impact on me. Hates juice. Yeah, I mean, I can go on and on about the number of films that had. These are his words, not mine. There's audio. Yeah, I mean, we were very important to us when we were young. But so were music was very important. We were sort of into the arts in general. No, I've never seen Ben Haar. I've been into pop culture. Really? Yeah, you should. And my wife loves Ben Haar. It's a great movie. I should watch Ben Haar. Movies were central and we love them. Not the new one. We had a big appetite. We would watch sort of popcorn. Kirk Douglas. I mean, Charlton Heston. That all your friends and family were watching. And you can enjoy that together. But we were also into more obscure movies as well. Come back, Joe. We grew up near a shit-of-a-kind. It's probably been a long junket. In global cinema and global cinema. Long press tour. We got to do a lot of films that weren't sort of playing for the mainstream or playing widely. So, yeah, we had a, yeah. I mean, at the end of the day, while we would geek out on a lot of obscure stuff, we were very much into the French New Wave and Francois Truffaut and, but at the end of the day, it was those movies that everybody else was watching. It seemed to be the most fun and energizing because you could connect to other people through the movies. And so the bigger sort of Star Wars and Indiana Jones and the bigger sort of Hollywood commercial adventure films were big touchdowns for us as well. You know, I have to ask the film geek question. What do you like when you're on the set? Are you patient? Are you anxious? Depends on the day. We're going to go, what is the improvement like when you're on set? Do you yell at people like Christian Bale? Diligently, because we're a duo. So we have to collaborate. We have to talk through our process exhaustively before we get to set. But we have a crew, too, that we've worked with for many years that is part of that process now as well. So our development process is very indisciplined.  But that just seems crazy to me, too. Who gets the final say? Away from their families. What if you both have strong opinions about? Is it a give and take? But we like to keep it very light. There's lots of jokes. And I've heard Quentin runs a wonderful set. Yeah, I've heard that people, a lot of feet, a lot of feet. But I've heard people love that his set ambiance is really fun and geared towards problems. Mr. Rajamali, what are you like? I so wish I could be like them. I mean, I'm very, very patient with the actors because I can't upset them. And because ultimately, the audiences are going to see their faces.  So I can't get upset with them. I feel very, very patient with them. But I blow my top off with the rest of them. It is frustrating. I want to end by asking all three of you what is the last thing that you saw that made you go, wow, I wish I'd made that? RRR. I just finished Stranger Things Season 4. And I thought that the scale, and again, this is what I want to get into a long conversation about, long form storytelling versus two hour closed. But the scale of it was as big as anything I've seen. It had an ensemble that I cared about, all the characters. And a villain that was frightening. And I thought that the Duffer Brothers had really ascended to the ranks of biggest filmmakers in the world with that season. And I'm just more compelled by that sort of robust storytelling. I also quite liked the boys season 3 for the same reason. You've seen any of that? I've seen the first three episodes. I loved it. I just haven't had time to. I have wanted to see that.  Yeah? Yeah. I'm more compelled by longer form pieces. In fact, I'm reminding myself. So in general, I think I just just want more to. I don't have time right now. I do, too. Movies now. You know, this isn't the latest thing, but it just popped into my head when you asked the question because it was such a resonant thing for me. I remember when we saw the original Iron Man movie, the first Iron Man movie for the first time. And I think we can forget about this a lot because there ended up being so many good films in the Marvel Cinematic Universe. But that original Iron Man movie, Mind Blowing, the way they combined spectacle and character and the way they inverted the approach to the superhero in that movie, it was just never seen anything like that before. And it seemed so tonally modern. I remember having that feeling of, wow, they got that. I wish we could have done that. For you, Mr. Rajmally? Not in the recent past, like Anthony was saying. One of the films was Bajrangi Bajjan. I saw, and I so wish I could have directed it if I had applied a little bit of mind. That's the salmon one? Yeah, I think so, yeah. With Nawaz? Yeah. I didn't, I regret that. And not a film, but I used to play a game called Prince of Persia. I was really addicted to that game 15 years back, something, something, 12, 15 years back. I really, really thought it would be very nice to make that character, write a story about that character and make it to a movie. I really thought that later Disney made it. Yeah, those two I wish I could have made it. Who knows, a reboot, maybe on the card, is it? Yeah. Thank you. Thank you so much, Mr. Rajmally. Thank you, Joe and Anthony. This was really every film geek's dream. Thank you so much. This was so enjoyable. Thank you very much, amazing questions. And Raja, such a pleasure, huge fan. Thank you. Thank you so much to me too, but we should catch up. We should really catch up with all you like to meet. We look forward to that. Thank you. And yeah, thank you for putting us together in this. And for all of you. Yeah, great idea. Thank you. Thank you. Great idea to have them all together. Endings are awkward. Yeah, so I looked. I'm talking about the Hindi Netflix thing. Yeah, yeah, yeah. So they, the, when Zee and Disney Hotstar got, they got all versions. They got, it was made available. So Netflix had all the versions as well? They had the available, available to them. They had the original Telugu, dubbed, Tamil, Malayalam, Kannada and Hindi and, and Netflix just took Hindi. And I pretty sure I know why it doesn't say it in here, but I'm pretty sure I know why. Because they didn't want to split the numbers. It's the most watched Indian film of all time. They wanted one. So they could say that because Netflix needs their numbers to be up because their stock has been dropping and they want their investors to be happy. It was 100% only a decision.  You should never, ever go against the wishes of the creator of the film just because you want to make money off the film. You wouldn't have the money if it wasn't for their film. And this should have been done. If they wanted a Hindi version, they, that's fine. But the primary version is Telugu in that language. And it's offensive to the Telugu people.  And they did it because they cared more about money than they did art. And I get it in the boardroom.  Yeah. And the fact that you had access to all of them, you could have just been like combined. Do it all and say the combined views are the most, but they couldn't. So it was an easier bullet point headline, the most watched Indian film of all time. Obviously we reviewed RRR with my film club and they all loved it. It was one of their favorite films and they're recommending it to everybody they know. It's one of those things that everybody's just so passionate about how good this film is. But the people that couldn't see it, I sent them, because I have a Z5 account anytime we have to watch a movie on Z5, I sent them our login info because I was like, I need you to watch it. And it's original language if you can't make it to the theater, please. And so I would send them that version. And somebody was like, how different is the one on Netflix? I don't know. It's dubbed. It's dubbed. And so it's gonna, I mean, the stuff not to not to is nacho nacho. So you're not even gonna hear the same songs really. Anyways. You're not even gonna be getting like any dubbed thing. You're not gonna be getting the nuances of things that are happening in the moment that are captured with live filming on the spot. And what's maddening about that is the majority of people that Netflix is going to get to watch that, who speak Hindi, also the majority of those people that speak Hindi also happen to speak English. So if they had simply put English subtitles on the Telugu version, we wouldn't have had an issue. It still would have been because the movie is great. It would have been the biggest watched movie, but they didn't want to gamble with that. They thought, well- They probably know their audience as well, but like they'd know which language. I promise you their Hindi movies get watched more than their Telugu ones. So what? Make a change. Maybe this would have been the first time you actually give the Telugu audience a bigger platform and start to raise them up rather than just cater to what you know works. Yeah, really disappointing. I mean, I've known that they've did it since it went to streaming, which is so maddening. But the fact that they had access to all of them. I would love to actually talk to SS Rajamuli. If anybody knows how to get in contact, I would love to be able to talk to them. 100% I think if- And the Russo brothers, if they'd be willing to come talk to us. If I feel like if like Ego was made today, that problem that we have the first 30 minutes would be, it wouldn't be as jarring because of when that movie was made. Yeah. The style that the acting was and all that kind of, because we even said it was, I did not like the movie for 30 minutes. Yeah, no. Once starts when the fly shows up. Once the fly came in, it became one of the most entertaining films we've ever seen. So, SS Rajamuli knows how to make an entertaining film. He sure does. And even though obviously we had issues with the Bahubali's that millions of people is one of the most watched ever of Indian film. So it's clearly we're just the odd people out there. The other thing he does that I want to applaud and I hope other filmmakers in India replicate is you heard him talking about one of the things that they contemplate for their film. The Russo Brothers talked about character and story, which is the heartbeat for us of anything. Not surprisingly, he pointed out emotion. But he doesn't cater to emotion. He gets you connected emotionally through his story and his characters. But he doesn't do what we often point out and go, please stop with the over the top cliche, ridiculous stuff where you're just trying to get our emotions and that's your primary goal. He's really good at getting you connected emotionally without placating to emotions. Yeah, absolutely. Really good interview. Really enjoyed it. Enjoyed it. Please let us know what you thought about the interview, what other interviews we can react to if you know SS Rajamuli or if SS Rajamuli you're watching. Please come on the channel. Love to talk to you man. And what should be the next SS Rajamuli film that we should watch? Please let us know down below.


Poly and isopropylacrylamide, PNIPAM, hygrigils are being increasingly used as vehicles for delivering active molecules, tissue engineering, regenerative medicine, and cell encapsulation due to their unique properties such as tunable mechanical properties, temperature-dependent swelling behavior, and high water content. These properties can be further enhanced by incorporating other polymers such as poly, ethylene glycol, PG, and or poly, epsilon caprolactone, PCL. Additionally, biopolymers such as collagen and hyaluronic acid can also be used to improve the biocompatibility of these hygrigils. Finally, advancements in three-dimensional bioprinting technology will enable the development of new devices and medical tools with thermal stimulus response needs, fabricated with PNIPAM hygrigils. This article was authored by Sonia Lanzalaco and Elaine Armelin.


Hello everyone and welcome to our universe. Today we'll be answering the question, how big is the Milky Way? So we probably know by now that we live in a galaxy called the Milky Way. But the thing is, we always say that galaxies are big, but relative to what? Usually if we talk about something big on this planet, we talk about something like cars, or planes, or mountains, or mobile phones that can't quite fit in your hand because the screen is too big. Nevertheless, people don't quite understand how big our home galaxy really is. So let's first of all start off with the location of our planet. So the planet earth, and the solar system, and the sun, etc, everything like that is not located within the center. In fact, it resides in somewhat of a suburban area, around about two thirds of the way out. If you want to know that in miles, it is 165 quadrillion miles from the black hole at the Milky Way center. So our galaxy is around about 100,000 light years across, and the thickness of the galaxy ranges on depending how close you are to the center. This can be tens of thousands of light years across. Our galaxy is also part of a larger collection called the local group. Some of these galaxies in the local group tend to look quite familiar to our very own galaxy. Our biggest closest neighbor is called the Andromeda galaxy. This is quite a similar galaxy because it has a spiral shape. It is, though, rather large compared to our Milky Way, at around about 250,000 light years across. This makes the Milky Way the second largest member in the local group. The bronze medal for this goes to the Triangulum Galaxy, or Messier 33. There are about 30 members of the local group, and Andromeda seems to be the brightest in the night sky. This is basically because of its size, and because it is relatively close, at two and a half million light years. From the Earth's point of view to the Milky Way, we are actually inside of the galaxy. So therefore, when we do see the Milky Way in the night sky, we are basically seeing the Milky Way's arms. These arms consist of lighter areas and darker areas, that obscures any light from stars, galaxies, or any other bright object behind it. From the outside, the Milky Way would look completely different. It would be a barred spiral galaxy. This basically means that it has a spiral shape, with a bar running through the centre. If you are looking for the centre of the Milky Way, it is mainly located in the constellation of Sagittarius. This constellation also contains a massive radio source, known as Sagittarius A star. Astronomers using very powerful telescopes have discovered that this is a supermassive black hole, but compared to black holes around the universe, this is a rather quiet black hole. The Milky Way also has objects called globular clusters. These are basically clusters of stars, and usually reside within the halo of the central bulge of the galaxy. These can also show you the overall age of the galaxy, because these clusters themselves are nearly as old as the universe itself. Estimations show that the Milky Way's inner halo of stars are about 11.5 billion years old, and by looking at different points of the galaxy, scientists are beginning to think the different parts of the galaxy formed at different times. This could probably mean that our galaxy was probably formed from smaller galaxies merging together. They also used white dwarf stars, the burnt out remnants of sun-like stars, to make this measurement. But the main thing about the Milky Way is not what we can see, it's what we can't see. The Milky Way might be 100,000 light-years across, and might be a relatively large spiral galaxy, but estimations show that the galaxy is made up from something else. This is known as dark matter. Dark matter can only be seen indirectly. Dark matter seems to be very elusive, but we definitely know it's there because we can detect it through its gravitational effects. This means that NASA estimates that our galaxy is about 10 times the mass of what we can actually see. Dark matter makes up most of the mass in our galaxy, and therefore makes it a lot larger than we can actually see with our own eyes. So, I hope that's given you a great insight into how big is the Milky Way? Or how big is the Milky Way? Open brackets with dark matter, closed brackets. It definitely is a very mysterious thing. If you want to know any more about our Milky Way, about its size, about the studies that are going on with globular clusters and white dwarfs, and also anything about dark matter, I'll put some links in the description below. And as always, if you've enjoyed the video, click the like button, and if you want to support the channel, click subscribe. Thank you for watching.


Excellencies, esteemed colleagues, ladies and gentlemen, on the occasion of the 75th anniversary of the adoption of the United Nations Universal Declaration of Human Rights, born out of the devastation of the Second World War, the Bahamas is pleased to make the following commitments to champion human rights as part of its contribution towards advancement of the objectives of the UDHR. The beacon that must guide us as we innovate human rights-based solutions in responses to present and future challenges. Our journey begins with an acknowledgement of the pivotal role of strengthened national institutions and mechanisms for the promotion of human rights. The Commonwealth of the Bahamas pledges to strengthen and develop its national human rights mechanisms in alignment with international standards. This includes the establishment of a Parliamentary Human Rights Committee, the creation of an independent National Human Rights Institute in compliance with the Paris Principles through the Office of the Ombudsman, and the strengthening of our National Reporting Cooperation Mechanism, or a National Mechanism for Implementation, Reporting and Follow-up. Central to these efforts is the installation of the National Human Rights Recommendation Tracking Database. This will ensure our commitment to human rights is one transparent, accountable and progressive. The Bahamas also commits to strengthening cooperation with the Office of the United Nations High Commissioner for Human Rights. As host country for the proposed Regional Office of the Office of the High Commissioner for Human Rights for the Caribbean Community, the Bahamas pledges to strengthen its cooperation with the OHCHR, particularly through technical assistance and capacity building to support efforts to promote and protect human rights at national and at regional levels. My government has committed to addressing the issue of statelessness as well as ensuring equality and nationality rights. We pledge to ensure that Bahamian women can pass their citizenship to their children, regardless of their marital status, or the child's place of birth, as well as the recognition that Bahamian men, whose children are born out of wedlock in the Bahamas, to non-Bahamian women can confer that nationality at birth. Furthermore, the Bahamas is dedicated to improving the birth registration processes and ensuring all registration of all unregistered births in the country, so as to prevent statelessness and ensure that every child's right to a nationality. Before I bring this contribution to a close, I would be remiss if I did not address the undeniable global reality that poses a threat to human rights, that of climate change.  The future of our children hangs in the balance. We are therefore committed to taking concrete measures to address this existential threat. The Bahamas has signed the United Nations multi-country sustainable development cooperation framework. We've passed legislation, including the Climate Change and Carbon Market Initiatives Act, and we've established a climate change and environmental advisory unit within the Office of the Prime Minister. We pledge to take proactive and significant steps in combating climate change. These include its impact on the full enjoyment of our human rights through advocacy for global environmental protection, education, innovation, ensuring inclusivity in relevant decision-making, including from the voices of our youth, implementing sustainable practices in the Bahamas, while also participating in international climate change dialogues and adhering to our climate commitments. We are calling on each and every state to intensify efforts aimed at mitigation of climate change and the rectification of the existing negative impacts that pose a threat to all of us. Our journey today underscores the Bahamas' unwavering commitment to fortifying and promoting human rights across our archipelago. The Bahamas pledges to be an active ally in our shared pursuit of a world where human rights are upheld at the center of solutions now and for generations to come. I thank you.


We're going to move on to 2.2 while we're waiting for the board. I think. Yeah. Can you do that? Yeah. And I've been saying this to most of the chairs. I want to serve the boards in the Act 46 transition. One of the things I want to make sure is that we just have clarity and what is being asked of the central office and myself. And because of that, I would like to ask for any information requests or for any something to be done. For that to be done, I'm ready. And it can be included in the minutes. I'm not looking for that someone has to sit and write it as a chair, but that is really clearly needed. So there isn't any interpretation or judgment that I have to take because I don't want. This is a little bit of a piece of saying, let's be really clear about what the direction is like us to do. It's not that we're willing to do whatever you'd like, but I just don't want to be interpreting or having to make judgments for the boards in a point where we have some questions about Act 46. And I just ask for clarity as your employee and for the central office work. So for instance, there was an act for me to seek legal counsel or judgment for one of the boards coming out of the carousel meeting, and I didn't think that was appropriate. I was willing to bring options for legal counsel so the board can make the decision on who they wanted to work with. I'm more than willing to give you my recommendation as well. I'm always willing to give you my opinion. And for you to act on that. But I think that that's in this place where there are some questions about where in this place a forced merger I think is better to be clear about direction and what needs to be done. Once we broke out of the full board meeting, everyone went to the separate carousel meetings, other than legal counsel. Have there been other requests that individual boards have? There were requests around property division and all that. So I had to stop Laurie from doing that work and talk to Chris Winter about that. And so that. Talk about that as well. So it's, hey, Chris and Romney's had some questions and just getting those. We really need to because I've talked about where this office is right now with Washington Central. We're paying a lot of overtime to a lot of people in this office right now. It's not trying to be controlling about the commission. So I'll be controlling of the amount of work we've got within the office. So I'm trying to be really deliberate about the amount of work that everyone has to do. Thanks very much, sir. Comments. Yeah. Thanks. And most of the board chairs are. I don't think there's anyone that is a chair that we haven't had this conversation on at this point. It really came from the carousel meeting. So let's go to 2.1. So it's a small packet, but you just turn the page. You'll start to see the changes. We do this as a level service. Pledge it. And there are, as you can see in here, I'm just going to walk down through the first page. And then if you remember last year, the Supervisory Reading Board changed to an assessment model for all charges. So that really changed our next page, the page to read it. We'll go through and I'll explain that then. So that really changed from what you've seen in other years for the playoffs. Some of it looks similar, but some of it's condensed. So overall, the budget that we're presenting you, it's a 1.96% increase for $174,000. The majority of that increase is in salary increases and benefits. While you know we added Medicaid and another accountant, those came from, the Medicaid is being paid for through Medicaid revenues. And the accountant piece is being paid for for the software changes and some of the HRA. You'll see a change where we're seeing an estimated 11-20% health insurance increase cost for premiums. So that gives us the $30,000 increase. And then other benefits such as unemployment, our dental package that you approved, and others are actually reducing our cost of the other benefits. Our major increase for everything is really healthcare outside of salaries. So that gives us a total of $130,000, almost $131,000 increase. You can see we're having some decrease in state play students. And then you'll see that student transportation is going up a little bit. One of the things that you approved last year was having a case manager to do all our case management across the SU for state play students. That's with that $41,000. And can you, I'm sorry, I skipped over the $75,000. Lauren, can you help me with the $75,000 and the shared service? That's the new position as well as the BSBA dues that we are basically running through our budget and then assessing out. So there'll be a revenue below the line. It's not dollar for dollar. We're actually having more revenue than we do the spending based on what we're currently projected to run. So where it has an A and an A down below, you'll see the revenues that match up with the expenses. Yeah, we still see the C's. C's transportation. So we'll have more transportation aid from the state. And the case management is dollar for dollar. Because at servicing state play students, I have case management. And then the special aid. There's more expense than revenue because for some of that we don't get 100% reimbursement. Some of it's at 56% reimbursement and some of it's at 90%. And that's changes to what from special aid from this year to next year. That's our majority. That's one of our biggest areas. But we're all in expenditures. We have revenues increasing to offset that. Yeah. Do you want to just keep going, Bella? Do you want me to? I think we've just covered everything that's on that. If you want to stop and ask if there's any questions, you went pretty quickly. You did better more than I did with the cash revenues from below into the expenditures of the letters. So let's give people a minute to look at that. Keep doing what we're doing. Let's smidge in under 2%. Yeah. That's the overall summary of the budget. Are there any unusual variables this year outside of the normal ones? Like ATM and tax rates and all that kind of stuff. So that's all in the school side of this. So that doesn't have this part of it. Right. When we go to the next page, you know the way I'm looking at it through three lines. Special aid. But on this side of the budget, there's nothing here. Yeah. There's nothing really. So is there any new intervention on salary analysis? So that analysis that you had asked today, I put that aside because I just haven't been able to get that going. I'm just. So that's one. That one. That one. That you've seen committed fund balance. So that we have not done that project. Just frankly, don't have the capacity to get it going. Even though we're having outside consultant. Okay. So I was going to ask the same question asked this morning. Yeah. The 32 budget, which is this budget include or preclude any initiatives that would bring a significant improvement in student learning along the line. Along the lines of gold number two. I think that a piece that's in here right now is and my answer is different for this one than was for you 32 this morning. One of the things that this board has been champion is been job coaching. We have kept the job coaching level for what we currently have. We haven't tried to, you know, initially when we talked about job coaching, we talked about expanding each year job coach. This past year we did that. But we did it through consultants and retired personnel who's coming. So we are still anticipating federal grants to support one of them as we do right now. It's actually a point eight. That's on Dorsey. And then we use because of the work you 32 is doing for coaching over there because a lot of the math work is happening at the elementary schools. It is happening to 32, but predominantly elementary schools. Their work with project based learning and supporting that work. We have a partnership with grade schools partnership to come and get job embedded coaching. Two days a week to seven, eight, nine to 10 grade teams. So far it's been great. So would more money or another coach yield significant improvement? I think so this is why I want to say I think anytime you invest in your staff. You're going to get improvement. It's a delayed effect. That's just the way it is. I mean, I think it's true in education and outside of education, you have to help your staff grow and then you'll get student learning. Have we been using coaching enough and it's efficient levels to see what the delay effect is coming to the surface now? No, I don't think that we've done it in the right model because they're spread then right now. And they would tell you that. That's hard to get, you know, if you have embedded coaches at each building that can do that type of work. And we had different degrees of that across our buildings. So if I could summarize the response to Harry's questions. Yes, basically. Yes, there's some in there. Yes, we could use more, but I didn't, you know, we didn't bring anything new. This is the level of service. Yeah, I understand. It's the same service. Is that clear enough for today? That's pretty clear. I think we should consider it. I was sort of against this last year, but having seen the U32 budget, having seen this, I feel like it's a different environment. And I think we should consider it. We're currently right around 3%, with a lot of assumptions and unknowns. But I think last year we were looking at a higher, at the shift in assessment, right? Yeah. That gave U32 a 5% increase. Yeah. So personally, I'm feeling good about that. I mean, all the elementary budgets except for Calis and Worcester, all the budgets at all the schools, and East Montpeliers and the Lowe, they're under 2% right now. They'll see that at their board. Their board hasn't seen that, but I've seen what's coming out. Right around 3 or below. The piece for Calis and Worcester are the small schools grant. So there's a revenue piece coming in. And for Calis, it's another piece that they won't be able to access title dollars anymore. Their poverty's gone too low. They'll get more people. Poor people. So wouldn't another coach help? Yes, I think I always would. And let's talk about it. That's where we're trying to improve outcomes. And do you think that approach is the most effective way of doing that? Can I ask a request? Can we go through this first before we start talking about it? So we actually stick under a time. Park that for now and come back. Sure. So if you take a look at the next page, page three, the assessments are broken out into SU assessment, which is what we've always kind of thought as core operations in previous years. The transportation assessment and the special education assessment. You'll see that I'm just going to go right down to the box. It's down the bottom. The transportation SU assessment are almost flat, I would say. They're less than, I mean, transportation is $4,000 out of almost a million. The SU was out of $2 million and it's almost $14,000, which when I calculated it was like three-tenths of a percent. The special education is the place where things are changing the most. That actually is helping some buildings because there's some buildings that will actually send some big changes in special education because you decide to change the assessment methodology to how you set a fee for service. That will make the peaks and valleys a lot smoother for everybody. So then down below you would see the assessment changes based on that $174,000 increase to assessments. Laura, what did I forget? Just we're using the same equalized pupils. We don't have the first draft of that yet. So we used last year's equalized pupils. So it assumes everyone has the same percentage share of our budget at this time. When does that become final? Around December 5th is when we finalize it. The state finalizes it officially on the 15th. They give us a first draft on December 1st. That's probably like right after we do the full board meeting. Laurie and Michelle are so good with their data that we're using down to one or two kids by the middle of the next week or two. They'll be down to one or two kids. R-U-N-O-E and some other district about who owns the kids. We're literally down to that level. Very easy. Very really on the one hand. Is it us? Is it not failure? After that, you'll see the budget. One of the things, and Laura, can you talk to about how we've had to change the budget out of our outplans? Because this is a lot smaller than people used to see. I think you've heard me talk in the past about how the state has come up with a new uniform chart of accounts and they've been evolving in the last five years on what that's going to look like in the past year. We took a step forward and started implementing some of the recommended or required changes. It's required by law. That by next fiscal year we'll be up and running with the new codes. So one of the improvements was the SU assessments are all together instead of, you know, separate. So when you look at your individual budgets, it used to say like a fiscal assessment and it used to say curriculum assessment, technology. You'd have to dig throughout your entire budget to find out what the Washington Central cost was. And now that's all combined. And so having said that, I've had to spend time for every budget restating prior years so that you're looking at comparability. So the SU assessments are all added up if you look at the revenues. As far as that goes, the special ed reimbursements, you can see I've bundled the new titles and descriptions to try to match up with the new state requirements as well. As far as our budget goes, Bill, things didn't change quite as much as at the schools. I guess I'm thinking from this morning from the word point of view. From the word point of view. Carrie was there in a second. The reason Carrie this morning, the reason I caught that was like, wait a minute, I know we've changed stuff. And we hadn't changed on that report. Right. That's how I got into that conversation. Yeah. I was like, okay. Now we're all reset. So yes. So I think that kind of covers it in a nutshell. This report looks very similar to what you've seen in the past. This page. It was the assessment page. What page is this page? The page four? Page four. Page four is pretty similar. Page three is similar to this change. For us. That's my presentation of the budget, Matthew. Great. Any questions? Other questions for Bill or Lori? Are we too low on the amounts? Are we too low? Yeah. Yeah. That's three percent of 3.3. No, I think we're blind. I have no idea. We don't. We don't own anything. We don't own anything. So should it be lower? I mean, is there a reason to have the fund balance as high as it is then?  Is it all that we would want to be worried about? That's a good question. I haven't really given that deep thought, Chris. I'd like to get back to you on that. Can I just say that? I think it's a good question. I think it's a really fair question. I just haven't given it a lot of thought. I don't try it. I mean, when I think about that. Well, I don't reckon we're responsible for the upbeat development. Yeah. Right? So that is a, I mean, I could hold money for that. Well, we have a fund in the next page. Oh, for the money? Right.  Or lower. Yeah. I mean, this is like, we had this conversation the other way, because they're so small. What's the biggest risk? Yeah. And what could happen then? We can do. So I would need to go do that analysis. What's the biggest risk? That's not insured. The cost of that spends funds right away. Well, and how we would handle influx of special ed students. Now that we're in an assessment model, if we ran a deficit, would we build it back? Or would we use our fund balance? I think those are the biggest risk for me other than the building. It's the new special ed programs. Yeah. Because then we, the thing that made this budget really tough and I'm very grateful for the time you gave Laura and I and I have to say Kelly as well. Special ed has been in a real flux this year. And there was almost a rebuilding of all the special ed budget. Actually, there was rebuilding the whole special ed budget for this year because of the changing of students. There's been a lot of influx and outgoing of students. So our next meeting is on the 20th, two weeks from today. I guess you, would you like, need direction in terms of where to go next? Well, let me say two questions I heard. Sure. I have a question about the fund balance and the appropriate level. We were having a discussion around job coaching and Chris asked, is that still the place you would go? I know if I had Jen here and Principal Dem, we're actually next few days at professional development around job coaching with all the job coaches that are building base or SU base. So I think, I know that they're in support of it. I'd like to get you more into that. Yeah, the cost, I can tell you, we just use 80,000 dollars for a teacher's contract. That's our generic response. But money is only part of the equation. It's capacity to you. It's capacity, supervised, and deploy. And one of the things, that's one of the things that really came out of last year's job coaches work. And Ellen Dorsey would be the first one to say that the more we're building base, the more effective it is. And the faster the changing student outcomes. That when you have the coach around for the ad hoc, that's very powerful. You know, not the scheduled time to be there. Yeah, I think for me, for, oh, sorry, go ahead. Well, I just remember that last year, I guess that's when it was, most of the job coaching was at the high, junior senior high school. And you wanted to increase it in the elementary school because it was better to catch the kids there. You didn't have so much to fix. And so I'm guessing that you really can't see any difference yet. It hasn't been long enough. So the place where we've had job coaches in, bedded for three years or more in the school, we're seeing the change in student data. Okay. And that's primarily where people are dedicated to a part of their position to do that. If I took Berlin, the folks who have been in Berlin, are mainly interventions and not job coaching. So that's the piece that, you know, you say, wait a minute, it sounds like we've had the same people, but East Montpelier, they've been good to carve out, hey, this person is, you know, Steve, correct me if I'm wrong, but some of them are like, Christy, oh, I can't, Kathy Christy, thank you. Kathy Christy, it's two first names. I'm, like, switching my head is, Kathy Christy was, you know, she says, you know, for half of my time, I'm dedicating to job coaching the other half and dedicating to interventions. And we did that with other personnel she knows. Well, so I'm not an expert on East Montpelier, but we might also provide a good model for what effective coaching, effective amount of coaching in-house can do compared to ineffective amount when you compare our literacy and math results. Yeah. Because we were rich on our literacy and we were poor on our math and the results are dramatic. I don't think that's a question I'll have. It's dramatic. Yeah. We have the interventionist, but not coaching. And I think that's a piece of it. Yeah, that's how it's true. Yeah, because in math, they moved the needle on frame-reduced lunch to students on literacy. They made greater improvement than the other students did. Both students improved. And that was through the teaching. Yeah, through the teaching, the coaching, the coaching, and the interventions. You have to have all three. You got to have all three. And I think we're making that slight move at real end with literacy than on math. Right. And so with math, right now, there was at East Montpelier this past year and the past school year, there was about a half time of literacy coaching and a .1 of math coaching. So there's that amount you have to have. And having a building-based, you know, if we could be there, that's where I would be. I would have, I mean, I would say it right tomorrow. If I could do that, I would do that because it's, I had that same experience when I was a curriculum director. I had title funds up in Orleans Southwest and we were able to move it and we were able to put a literacy and math coach in every building because we had title funds. So when you see a building-based, someone who's always in the building. Always in the building, doing that work. So does Middlesex not have anybody in the building? They have a literacy interventionist who does a little bit of coaching and then they have an MTSS coach that's a part of time. What about Worcester? They just has a, actually through title grants, they have someone that can do some coaching and literacy and interventions. They do not have a math coach. Cal's has two folks that do interventions. They try to do some coaching on the side, but it's just, you can't be doing it on the side. You've got to have it as part of your day. And the coach's model is about a third of their time is doing their own professional development. So they're improving themselves to help improve others. To kind of go to your question earlier, Carmen, you know, does this improve? You know, I can sometimes be the stick in the mud of increasing expenditures. But outside of East Montpelier Elementary School, I think we still have a math, a need to make some significant math improvements across the issue. So in my mind, it may not even, I don't want to go there. I would still rely on the administrators to allocate where it was needed. But I would hope if we bumped coaching that it will make some impact around math. Yeah, we needed that. There's two pieces with that in the math side. It's easier to find a literacy coach than it is to find a math coach. And people that are math, very good at accomplished math coaches, they can choose where they want to work right now in the state of the month. That's the iron climate. So you have to be out early. You have to be out really early to get them. And you have to have a way that's attractive to do it. I saw six or eight math coaches that were in place in the Moio County. They all now work in Chittenden County. They get paid more. They have a more attractive job. They have more flexibility. And they have more... They have a defined... They are jumping buildings that are in one building. So I... You know, you're not going to get a lot of argument on me about hiring another, you know, teaching coach for sure. I would want to say that, you know, I think we're sort of wrestling with this larger question right now. And this is something I would say to all the boards as well as to you, Bill. You know, we're sort of looking at the big picture-wise, like we want to improve, you know, our math performance across the school system. And we're trying to look at, like, what kind of targets do we want to set? Like, is there going to be this or that or how many kids proficient or, you know, using what techniques or whatever. So there's a larger question for me. This goes to what I think Kara was asking was, is this the particular thing that is number one on the list or will move the needle the farthest or and then what are the other things also that, you know, we might consider, like, as a set. So if this is low-hanging fruit and it's like, it's just a no-brainer that, like, even if we weren't having that conversation, we'd be doing this. So the research on school performance and school, I'm going to use the word that's in the literature, school improvement, says that until you're starting to about 75 to 80 percent of your kids meeting the target you set for them, you have to provide support to improve the classroom instruction. If you want to make, if you want to, and then after that, really interventions start to do it. But you've got some sort of practice of what's called tier one instruction, which is the classroom instruction. Is that most effectively done through coaching or someone who met that through coaching? It's been the most effective way to do that. And is there a certain level of coaching where if you're not getting there, the effective... So it has to be paired. It has to be paired with the literature that I've read on it. It has to be paired with your super... You have to have everything in alignment. So your practices that you're using for instruction, your coaching, and your supervision and evaluation, all have to be looking at the same target and the same definition of what good teaching is. For either that content area or overall... Overall, I should say, not over and over. So we use a dangerous framework, and then what we say are the best practices instruction for literacy, what are the best practices for that? I just have a suggestion to, in the interest of time, make sure that you get to your answer. So we have the question about the fund balance. I think that the request, I guess, of this conversation is, we're certainly interested in seeing what investing in another instructional coaching position would look like. But I guess at least for myself, if nobody objects, I would also say... I agree with you on getting what other opportunities are there that we could...  We're interested in interventions or investments that will improve student learning outcomes. So feel free to be creative. I will tell you the next leadership team, because of what we heard back from the board at the SGU meeting, we're doing a lot of work on what are those other things we want to do. There's been some miscommunication, thinking that Nate Levinson, what he said was our model, our model's an implementation plan. Nate Levinson brought a piece of work that's part of a multi-tiered system of support. Nate Levinson is not our plan, the plan is the implementation plan. And just to remind us all, Bill's been saying over and over again, money is just one piece, actually there's a lot of thing for our buck by just changing our practices. And changing our structures within the schools. I'm not talking about changing. Which is probably quite harder in some ways. More difficult. Scheduling what people do for work? Yep. All the... More specialized. More specialized teaching. We're asking elementary teachers to do a job that's not difficult anymore. When you need to basically form master's degrees to teach more subjects. It's hard to do. I get a lot of respect for trying to do it. I think that's what's in my opinion, because I might need data to support it. But that can be part of what the math problem is. That a lot of... That's not an area of expertise that a lot of elementary school teachers bring. Right. So are we comfortable? Yep. So if there's... We have our next meeting on the 20th. Would you like me to have Jan come and talk about coaching? I think great. I'll ask her if she can do it. Yeah, it is. And thanks, Lori, for being here. It would... It would... What about the accounting software? Yeah, it's on the website. It's on the website. It's on the website. Thanks for giving us some information on the 15th. So if there's nothing else, we're adjourned at 6.


Hey it's Herman here again on Artlist and after years of using Artlist I've noticed how much faster I've been in finding my perfect song. That's why I want to share some of the tricks and tips that I learned so that you too can find your perfect song faster and even discover hidden gems along the way. Let's go! I ever felt overwhelmed by too many options. When it feels like I'm looking for a needle in a haystack, Artlist's filtering system is a lifesaver. It's usually the first place that I go when I'm starting my search. Now let's say that I need a song for my video where my cat's on this epic journey to space. Now obviously this is make believe because I don't have a cat. So I like to start off with moods over here on the left and I'll click epic and this gets me kind of in the ballpark of what I'm looking for and then clicking more filters will get me even closer so maybe exciting dramatic yeah an epic journey to space of course and then I can move over to the next filtering option which is video theme and this helps me narrow things down now it's an adventure so maybe it's travel because the cat's traveling the space next we move over to genre and because it's kind of like a sci-fi theme I can go for something that's like electronic you know cinematic because I'm going for something quite dramatic now sometimes when I really want to dial things down I'll filter by instruments now I'm a huge sucker for synths because they give this awesome cyberpunk vibe and I'm all about that so let's go into instruments and I can go down to synths and now we have some amazing options over here that we can scroll down and check out and those are the main filtering options I use before I start sifting through the song results what's what's that you have something even more specific in mind don't worry so do I and having a clear vision of what you're looking for makes such a huge difference in finding your perfect song luckily artless is like a swiss army knife with its additional sorting options so on the top over here you can see that it's sorted by staff picks but you can click it and now you have options to sort of by top downloads or newest song it's really helpful if you live on this platform now the next option is vocal and instruments that you can choose for there to be vocals or just instrumental now I usually like to have just instrumentals because I have narration on top of the time and I don't really want like the vocals to be distracting or anything like that sorry singers and rappers now right next to it we can even choose the bpm which is the speed of the song so we can put our own values or we can just pick slow song or fast song or somewhere in between but in this case I'm just gonna clear it because I'm quite flexible for what I'm looking for and next to it you can even choose the duration of the song having so many options it's always so satisfying using all these filters and it really helps with nailing the right atmosphere here's the song I landed on for my space cat adventure after applying all the filtering options usually take my time going through the music results because it's quite fun discovering new songs and just feeling the vibe music is usually the last thing that I compromise on because of how important of a role that it plays in setting the mood of your video but sometimes I'm faced with the reality of my client wanting to swap music at the very last minute this is how many times it's happened this year already high five if you're in the same boat and don't worry because we actually have a solution for when you're on a crunch keyboard shortcuts let you get through songs faster than it takes to develop a migraine from sticky client situations all you have to do is press the letter k on your keyboard to bring up all the shortcuts that you can use on artlist as you can see you can easily skip forward in the song that you're listening to or just move on to the next track you can even change the volume all where the keyboard so if I'm playing a song like this and I'm just like I'm not really feeling it maybe a different part of the song might sound better so I'm just skipping forward to the middle and it's not quite right so let's skip over to the next track just like that and all I'm doing is just clicking some keyboard shortcuts I'm not even touching the mouse so if you ever walk by me and it looks like I'm hacking into the matrix I'm probably just going through songs at 50 songs per second now here is an awesome tip if you're working with art list while you're editing so if you got two monitors like I do then you can put your project on one of the monitors and you can put art list on the other now this setup lets you browse songs while you're watching your footage and you can use keyboard shortcuts just like you would in your editing software so not only does it feel like second nature but it's also incredibly efficient give it a try now do you sometimes listen to a track and you think to yourself ah so close yet so far finding a song that's almost perfect can be quite frustrating that's where this button comes into play if I go over here and click the similar songs button it'll give me a few more options to choose from it's like having a personal music assistant by my side and let me show you just how similar the results are by first playing our original track and now one of the similar options still in the same vibe but you've got more to choose from to really nail down your perfect song now another thing I like to do is to dive deeper into the artist's work by going into the same album that the song belongs into so let's click over here and I can see all the other songs now this gives me a few more options that are still within the same vibe and I know the style is going to be consistent because it's from the same artist now spear fisher is actually one of my favorite artists in the art list catalog you remember when I said I was really into synths well this was one of the songs that I've used in a project before whenever I listen to his music it's like I'm transported into a whole new world and the cool thing is there are so many other artists on our list who make you feel the exact same way with their songs so here's another song and I want to show you that this is also a great way to find instrumental versions of the same song that you're looking for or even no lead vocals versions so you have a lot of options to play with again sorry singers and rappers now sometimes when I'm still on the fence about a song and I needed to marinate a little bit longer in my head what I'd like to do is hit the star icon next to a song so for example right over here this song I can add it to the favorites and that way I can always go to my library right over here and then go to songs and sounds for me to dig it back up again there are also times where I feel like this song is an absolute banger but it's just not right for this specific video it happens a lot and I don't want to lose the song or have to find it again in the future and that's why saving it into a collection is my favorite way to stay organized so let's say I want to save this top track over here it's going down I just go to the three dots over here go to add to collection and I've got a few collections that I've already made so far already as you can see I sort them out by like different moods different genres and this helps me save so much time by going back to them instead of searching from scratch and you can sort them by their mood or the projects they belong in saving songs into collections like this is my number one time saving tip on here now remember how I mentioned last minute music changes earlier I know I'm trying to forget about it too sometimes what I like to do is share a song to my client so I just hit the three dots and I have the option to email it directly to my client or I can copy the link of the song and if I go to my collections I can even share links to my collections as well you see it's not just about finding the perfect song for yourself but also your client they'll appreciate having a say and you'll avoid unexpected surprises now do you ever feel like you're having one of those off moments where you lack inspiration too often am I just staring at my screen drawing a blank when I should be creating so the final thing I want to go over is something I've actually started doing quite recently and it's browsing the spotlight page it's got curated music and sound effects collections that really helped me get my gears turning in my head so I just click spotlight on the left over here there's a curated weekly collection that gets updated with a different theme each week which keeps things absolutely fresh now what I really like are the collections that are inspired by tv shows or movies in this case oh we got one that's inspired by John Wick now I watched John Wick four not too long ago so let's click in and check it out what do we got over here okay oh this song makes me want to avenge my dog I don't have a dog either I'm learning how much I want a pet now so those are all the ways that I find my perfect song on artlist and by following these tips finding yours has never been easier you'll be making your best videos and your viewers will be left asking where do they find that amazing music these tips can also be applied to their sound effects footage and templates making sure that you find all the high quality assets your video deserves so check out our list for all your video creating needs and don't forget to subscribe to the channel if you want more videos that empower you as a creator otherwise I'll see you in the next one


Microalgae and high-rate algal ponds, HRAP, can convert nutrients from wastewater into biomass and bioproducts, improving sustainability of wastewater treatment. Temperature and photoperiod significantly affect biomass productivity and water treatment efficiency in wraps, with temperatures between 15 and 25 degrees Celsius resulting in high removal rates of nitrogen and phosphorus from municipal wastewater. This article was authored by Liliana Delgadillo-Mercas, Felipe Lopez, Ben Omtidey and others.