Several years ago, researchers did a study on running shoes. They gave one group of runners shoes that had firm midsoles, not a lot of padding. They gave other runners shoes with thicker, softer padding. The thinking being that the cushioning would protect the runners would result in fewer running injuries. So they tracked these runners for the course of about six months. They got to the end of the study and found absolutely no difference. And they were puzzled by this. They thought, this surely should make sense. So they brought the runners in, put them on a treadmill, video recorded them. And what they found was the runners with little padding under their feet naturally landed really softly on their feet. And the other group, the runners with the soft squishy shoes stomped hard with every step. They were doing it subconsciously. They had no idea that's what they were doing. And they totally negated any benefit that the padding was supposed to offer them. I think when we approach CSS, we do kind of the same thing. CSS is an abstract language. And it offers a nice abstraction layer between us and the browser that can make a lot of good decisions for us. But we, without really fully understanding that abstraction layer, without really fully understanding what CSS is doing for us, try to push through the abstraction layer to get to the bare metal. We try to find something concrete. And we want stability. We want to know exactly what's going to happen in the browser, rather than trusting the system to do its thing. CSS allows us to write a rule set, a set of styles that the browser will later take to take unknown content and an unknown medium and put it together in the browser. And we don't have to know whether that's going to be a smartphone or a desktop computer. We don't have to know whether that heading is going to be two short words or a long, complete sentence is going to line wrap several times. I'm Keith Grant. I come from Atlanta. I work at Intercontinental Exchange. You've never heard of us, but we own the New York Stock Exchange. I work on the website team, where I'm kind of the resident CSS guy. I also do stuff and react and node. And I'm the author of the book, CSS in Depth of Manning. It will be in print in the spring, but it is available for early access now. You can get early chapters and get updates as I write. If you want to follow along with the slides, they're up on my website. There's a link at KeithGrant.com slash talks. I'm mostly going to be talking today about M's. Who here has tried working with M's? Who here did not have a good experience? In some hands. Who here kind of had an OK experience? Who here just still uses pixels and doesn't bother thinking about it? OK, I didn't admit that. It's OK to admit that. M's are frustrating. And the reason they're frustrating is because they're part of that abstraction layer. They're a really important tool that the browser provides, but if we don't really understand what they're trying to do, they can kind of get in the way and trip us up. So an M in CSS is equal to the font size of the current element. So the box on the left here is 1M high by 1M wide. And the box on the right is 1M high by 1M wide. I put the capital letter M in there because there's kind of a myth that it's related to the width of the capital letter M, which you can see is not really the case. It maybe used to be the case with old fonts centuries ago. But where M's really get tricky is when we start using them for font size. Because an M is defined in terms of font size of current element, we surely can't define font size in terms of itself. So the browser has to do something different. It has to base the M on the inherited font size. This means if a parent element has a font size of 16 pixels and you give a child the element of font size of 1.2M, the browser has to multiply them, resulting in 19.2 pixels for that child. This means font size is different. It's kind of a special snowflake when you use M's.  And that value is used to compute 1.2M for everything else, which comes out at 23.04 pixels. This is quirky. We can live with it. It's a little weird if you're not looking for it, but what really starts to trip us up is when we put M's inside of M's inside of M's. We nest our elements deeply. If we have a container with font size of 16 pixels, a child with font size of 1.2M, the browser multiplies it. We use M again for another font size inside that. The browser multiplies that and kind of the scratch our heads a little and do a little math. And if we keep nesting it, it just gets completely out of control fast. We have no idea what an M is anymore. We totally lose track of it. You can see a similar problem where if we, I don't know if you can read the red there. That's a UL selector. It's targeting a list. We give it a font size of 0.8M. And then if we nest the list within a list, well that selector targets each and every list and each one starts shrinking because it's 80% of its parent's font size. Of course, the solution to both these problems is the REM unit. The REM is similar to an M, but it's short for root M. It is, instead of being relative to the inherited font size, it's relative to the font size of the root element of the document, the HTML element. Now, if we use a REM for our font size, a list with a 0.8 REM font size, it's always the same because it's based on the same value. So if you're just getting your feet wet with M's and REM's, if you've been using pixels and you're thinking about making a switch, this is kind of my starting recommendation. Use REM for font size because it's predictable. Use pixels for border width because usually you just want a one pixel border, you want a nice fine line and that there's some, it can get weird if you use M's for that. And then use M for everything else. Well, with one exception, line height. I didn't put it up here, don't use any units for line height. They inherit funny. If you do, if you want to see an example of that, see me afterwards, but basically you're safe with M's. So REM for font size, pixels for border width, M for everything else. And I'll show you some examples of how to really capitalize on this. Now, you've probably heard this rule that you should use relative units for your font sizes. Relative units meaning M, REM, couple of the less common ones like CH or EX. And this is an accessibility rule. It's an important rule because if the user goes into the browser settings and they need a larger font size so they can read the font better, they can bump up the default font size. If you use pixels, you cancel out their option. You override it. But if you use M and REM, the browser will make it relative to their settings. Now, you could get into a debate about whether this still matters because browsers are moving away from the default font size and they're offering the zoom feature which will zoom font size in pixels. It will zoom other things on page like images. I would argue that browsers are doing that because we're not very good at following this rule. And I would also say that browsers such as Chrome still do offer the default font size. So I think we should do the responsible thing and follow this rule. But I'm not here to talk about accessibility. This rule might be what gets you to start dipping your toe in the water of M's and REM's. It's what got me to start toying with them.  I argue and I will show you that if you favor the use of M's and REM's over pixels, and you do it consistently, you can have code that is more accurate, that is simpler and is more flexible. Which is a very good thing because it can mean your site responds appropriately.  So this is an important formula. When you're working with M's, you've probably seen it.  So M's, that's the inherited font size. REM's, that's the root font size.  If you're on a Mac, I just hit Command Space and type it right there in the spotlight and it's nice and handy and quick. If you want an 18 pixel font size and you are inheriting 14 pixel font size, you can divide 18 by 14 and get 1.2857. This gets really tedious. And if you are doing this all of the time, you are gonna start to dislike M's and you're gonna really start thinking that pixels are a more inviting thing. You need to know this formula, you need to have it on hand, but if you were to find yourself doing it all the time, I think we, because I've been in this boat, are not leveraging M's properly. We have all these tools for calculating an exact pixel amount or exact M amount to represent an exact pixel amount. There's this website where you punch in a base font size and it gives you all these M values to get all these results. We have mix-ins and SAS and less that convert our pixels for us to REM. And I have to ask why? Why is it so important that we have an 18 pixel font size for a subheader? Why is it so important that we have precisely 24 pixels for that page title? Why must the footer text be eight or 12 pixels? And I think if you dig deep enough, the answer to that question comes from this book, The Elements of Typographic Style by Robert Brinkhurst. This was published in the early 90s and it is the Bible of modern typography. And he says, when you design with type, you should use a scale. And he gives this as an example. He says, you should start with small font sizes and it should grow increasingly larger as you go up. And he gave this illustration as an example. And I think we inadvertently, as an industry, took this example and said, perfect, there's our font sizes, 16, 18, 21, 24, those are magic numbers and we implement, I'd say 90% of our designs use these numbers as if these magic numbers are what Brinkhurst was talking about. He wasn't talking about these numbers, he was talking about the relationship between them. He was saying there should be some sort of mathematical scale from one font size to the next so that larger font sizes space out more and more, smaller font sizes are a little closer together and this is how we should approach typography on the web. This website, typescale.com, in the selector here, you can choose a different, what I'll call, scalar. So in this example it's 1.414 and you multiply that up to get the next, you multiply it by 1.414 again to get the next font size, you keep multiplying it up, you divide it to go down. And you can choose a different font size and this website kind of draws parallels with the musical scale. I don't know how much credence there is to it but it sounds cool to me. I think the point is that there's a number. What I'm getting at is this is how we approach design. This is the status quo of design in our world is we, whether it was Brinkhurst back in the day or us, our designer now, take a scalar and we compute a bunch of pixel font sizes and then we go over to our CSS and we reverse back out the exact same math to get back to an M value. We don't need this middle step. It's irrelevant what the pixel font size is if we just use a scalar and stick with it and let's watch what happens here. So we'll choose a scalar of 1.25 and we'll multiply it up a few times and multiply it down a few times. Now, whatever our current font size is, if we multiply by 1.25, it gives us to the next size. If we divide by 1.25, it gives us to the next size down or you can invert that. One divided by 1.25 gets you 0.8. Instead of 14 pixels, 18 pixels, 24 pixels, being your magic numbers, these are your new magic numbers. Pick a scalar for your design. Multiply it up a few times and multiply it down a few times. I guarantee you you'll commit these 1.25 and the 0.8 to memory within the first day on the project. It's just two numbers. The next few steps, it may take a little longer to commit to memory. Stick them on a post-it note. But if we do this, the browser does the work for us. We don't have to spend time dividing and multiplying things to figure out exact pixel values because it doesn't matter what the exact pixel value is. And the amazing thing here, when I talked about the problem of nested M's, don't nest a lot of M font sizes deeply, but on this scale, you can take any one of these numbers and multiply it by any other one of these numbers and you'll still be on the scale. If you stick with these numbers, you will always have a font size that looks good in your design. So don't micromanage it. Let the browser do the work. If we just use a scalar, call that the magic number. It will take care of a lot of these problems for us. Now, I have to acknowledge the real world here for a minute. If you're in charge of everything from conception, design, and implementation, this system is pretty nice. But in the real world, you gotta work with someone else who may not be familiar with this approach. You might be, it might be a contractor, it might be someone else on your team. And it does get tricky dealing with that because you will wind up having to do some conversion and figuring out exactly what's going on. I wish I had a magic bullet answer to this. But I do think one of two approaches makes sense.  This might make sense if you're working with someone short term on a contract. If you do the conversion, what I have found is that early in the project, there's a lot of this. You'll do the math for several days, maybe even a week.  And then you'll find that the workload of that math really drops off. You won't need to do as much conversion. Or if you're working with someone long term, someone on your team, bring them on board with the strategy, sit down, hash it out early on, and just use it as your terminology on the team. Then you can forget about the pixels. So that's font size, which is kind of what got us into M's in the first place. We wanted to be accessible. Like, get us, that's our accessibility. But I think we can go beyond that. I think M's are incredibly powerful if we start using them for other properties as well. And I'll show you some tricks. There was actually an article in CSS tricks.com a couple weeks ago that's very similar to this. I'm gonna modify his method a little bit and you'll see why at the end. But consider designing pixels. This will have a tile module. I'm gonna use this max terminology, but if you're familiar with BEM, a block. And this module is padding, border radius, margin, font size, everything defines in pixels. It's got a sub element which has a smaller font size defined in pixels. And if you wanna scale this down or up, you have to get in there and you have to recalculate probably using some sort of scalar, a smaller padding, maybe a smaller border radius, smaller margin, smaller font size. And then you gotta choose each sub element and readjust their font sizes. So let's do it this way instead. Let's save some trouble. Let's take the top level element of that module and we'll establish its font size using REM. It will be our one REM declaration for that module. And having used REM, we now know what an M is locally. So if we use M's for the sub elements of that module, we know what they are. And the computation is only one level deep, two levels deep in a really complicated module, but you should really strive to avoid that. So we'll use one REM value and a bunch of M values for everything else in between. Reworking that tile module looks like this. We have a padding of M's, 0.6 and 1.2 for vertical and horizontal. We've got a border radius in M, we've got a margin in M, font size in REM for the top level element and a font size in M for the sub element. Now, to scale this, we've defined everything in this module in terms of this one REM value. So all we have to do is change that one REM value and it changes all the other values. It's kind of like reactive functional programming for CSS. Everything just responds to one value. If we want to make it large, we can make it large, everything responds. So again, we use REM to establish ourself in the global font size. And then we use M locally based on that REM. So here's that tile again, you can see a live demo. And I've got buttons here to rescale the thing. And you can see if you look here at the browser tools that I'm not cheating, that's the wrong property. It's the wrong element. There we go. If I change the REM value, everything scales cleanly. This is kind of fun to play with actually. So we'll do it again. This is a really powerful pattern. Let's do it with some other modules. Let's do it with the drop down menu. This drop down menu, I've used the border trick to draw a triangle. I've done it with the after pseudo element of the button. So it's absolutely positioned. It's positioning is an M, top one M, right one M. And the border size in this case is one M because that's what determines the size of the triangle. We see a demo here. We can make it small, we can make it medium, we can make it large. And because we used M's in our positioning, the position of the triangle is always right. The size of the triangle is always right. And again, we can just play with the value here. Even better, if we open that menu and play with the value, it still works. It scales perfectly because this element, the drawer that we've revealed has a top position of 2.1 M. 2.1 M is the size of our button. It's the line height, it's the top padding and the bottom padding. Here's a different example. This time we'll use images. The image is sized in M. We can make it small, we can make it large. And because SVG is awesome, the image always looks nice and crisp no matter what crazy size we scale it to. I can find the right element again. The other thing here I've done is the vertical alignment is in M. Now, the vertical line used to drive me crazy because I would use top and bottom and center and baseline and it was never right. Until one day I realized you can put an arbitrary length in the vertical line. If you use M for vertical line in an inline image like this and then you scale it, however you scale it, it just works. One last example, this is less of a module more of just kind of global style but I'm gonna do an effect here with links on the page. So instead of just a normal underline I'm gonna use a transition on a box shadow to make that underline when I hover the mouse over it grow and kind of emulate a background image. And of course I've used M in the inset box shadow. If we see the demo, this is what the effect is. We make it large and it just works. We can put a link now in the heading, we could put a link in a footer, we could put a link wherever we want in the page because we've defined the size of that box shadow. In terms of the font, it's always the right size. Use this pattern throughout your page. Use REM to establish yourself back into the global font size so that your font size locally is stable and predictable. Use M within that and you can nest modules within other modules and because they each reach back up to the REM value it doesn't matter where you place them they're gonna be sized predictably. Now you might be thinking that's cool, I need big and small buttons but I don't need everything in my page to scale. I don't need a large and a small version of the footer. Actually you do because if we've defined everything on our page in terms of one value, the root font size all we have to do is change that one value and the entire page will respond. Something like this. Root which is also a selector if you're not familiar with that. This targets the HTML element. We give it mobile styles. Point 8M on the root element, medium break point, font size of 1M, large break point, font size of 1.25M. Now everything on the page, here's a sample page I stole from my book. Everything here is defined in M's and REM's which is in turn, oh there there's a break point. So you can see at the break point the root font size changes and everything else changes with it. The heading gets smaller, the buttons get smaller, padding's adjust, go down to our small break point. Did I pass it? I missed it. There it is, same thing. Everything scales which is pretty slick but that break point's annoying. So let's get rid of that. We can use viewport relative units now. If you're not familiar with these, these four units are in terms not of a font size but in terms of the browser's viewport window. And specifically we want VW, percentage of the viewport width. Now we can do something like this. Throw away the media queries, we don't need them. The font size on the root element is now 2% of the viewport width. See what that looks like. Same page. Now, there are no media queries in the CSS. As I resize the page, everything resizes with it. It's pretty slick, it's fun to play with. Unfortunately, it's a little too responsive because you get down to mobile size and it's hard to read even on the big screen. And you go to very large screens and it approaches something along the lines of 24 pixel font size on a 1200 pixel screen which is obviously too much, it's more than we want. So what we need is to soften the effect and we can do that with calc. Now the root element will establish the font size as a blend of an M value and a viewport width unit. So that 0.5M serves as sort of a theoretical minimum font size for the page. Now, even if we were to impossibly shrink the browser to zero, it will be at least half of the browser default. So eight pixels minimum, add a few pixels to the actual 200, 300 pixels of a mobile device. Now, it's responsive, but it's not quite so extreme. Now it shrinks to a nice readable font size and it grows to a larger font size but still appropriate and responsive. This is a really cool pattern. We've scaled the whole page with no media queries at all. Now, is it perfect? Are you all the way to a responsive design?  We need to line break these things and you could do that with a flex box. Maybe we want the columns to stack or you could stick a few selective media queries where you want, but if you use this pattern, you'll find you don't need nearly so many media queries throughout your style sheet. You won't need to create a media query to tweak the padding a little larger on a large break viewport. You won't need one to kind of make sure that this is a little smaller on small screens. All that little fiddly stuff will kind of naturally happen and you can still come in, use some media queries and touch up the rough edges where you want. If you are still trying to figure out how many pixels this text is, you're gonna have a rough day but the whole point is it doesn't matter.  Your scale works at any scale. So what we've done is we've created a consistent hierarchy of our font sizes on the page. We have the REM value up at the top. Selectively, so the root font size at the top, selectively on modules throughout the page we use a REM font size to go back and establish ourself and then leaf nodes inside of each module are defined in terms of the module's root element. And what this allows you to do is to get in there at any one point in the tree, fiddle with the value and have its effects just automatically ripple down the tree. Nesting M's is chaos when there's no system but if you use a system like this, keep it structured, know how it's supposed to work in your design and you don't have to use my system exactly but something that you know you understand, something that you can keep control of and it gives you a very flexible design. So jump into M's. I found that trying to kind of do it halfway with some pixel values and some end values just makes a mess. They just really don't blend well because pixels don't want to change and the M's want to change. So to go for it, if you're nervous, pick a side project and just use M's everywhere and M brands, I say M's collectively but I think it provides us some really cool things that we can get out of our pages. It shortens our code. You don't have to override so many values if we just tell the browser, hey, respond to this when I ask you to respond and it will. So that's all I have. Oh, the astronaut got cut off. There's an astronaut right here. But this is my book. The book didn't cut off so that's, I guess that's good. It is, here's code right now. This is good for the next week or so. That will get you 50% off. The first three chapters are up at Manning.com. More will roll out as they go through the editing process. It should be finished in print in the spring. And I cover all sorts of stuff. So this was basically an extended version of my chapter two where I dive into M's and that sort of thing. But I also tackle fundamentals that developers typically miss. Really understanding the box model and not to set the height on things. And stuff like that. I spend a large section of the book talking about layout and then I look at code organization methods, working at scale, very large projects. And then just some more advanced stuff like introductions to animations and transitions and that sort of thing. Thank you for listening. And thanks to these people for helping out. Here's a question that came to mind for me. How do you propagate like scale or thinking throughout your teams to avoid the like three pixels here, 12 pixels here? How did you get, how do you do that? I, well I cheat. Cheat? I am the CSS guy on my team and I wrote 95% of the CSS. But I did have to work with the designer. We had the designer put together our design. And so there was just, and I hadn't, these thoughts of mine hadn't fully matured by that point. So I was still doing a lot of the division. The compute this to get this, compute this to get this. But I did find that if I just took their pixel numbers and did the math that the workload of that arithmetic really did drop off pretty quickly once things were just kind of established. So are you using like any SAS functions for it or like modular scalar tools? You're just like, I'm just gonna think this way. These are my numbers. The code is simple. I mean you can obviously, you know, you stick those scalars into a SAS variable or something like that. Then you don't have to commit it to memory. You know, just call it up one, up two, up three, down one, down two. I don't know, something like that would be helpful, yeah. That's great.  I find it gets really challenging when you have bigger teams or just that, like one thing I've had to learn is just patience. Like with our designers at first it was like, no, we don't wanna use a scale. And then now the designers are like, oh, I can't believe, like we did it any other way. I think there's just, I think there's just an awareness needs to get out there. It needs to be seen as a valid approach. I mean, I saw that TypeScale website ages ago and the ramifications of it didn't really click until much later. Well, do you think that, I mean for a designer, because most of us is front end, we're like usually getting our designs from a designer and they've done this thinking and we've come from the like measure everything. But their tools don't think scaler. Like they don't think that way, right? Do you think that is probably the disconnect? What I did on our websites is if you open up your Chrome DevTools and resize the window, it'll show you the pixel size up in the corner. And so I would make sure that my window was precisely the size of their mockup. So they gave me a mockup for a 1200 pixel viewport and I said, okay, I set it to exactly 1200 pixels and I just did the math to make it match at that size and let the rest kind of fall into place in between. Very cool. So we have some questions. So someone asked, what should we set the line height to then? You can use the unit list number. I don't think I said that, but just, I don't know if you're looking for the exact number whoever said that. I usually do 1.2 or 1.5. If you set an M or any unit really, if you say your line height of this element is 1.5M, what the browser will do is it will compute it for that element. So it'll say 16 times 1.5, which is whatever. But that computed value will then be inherited. So if you change the font size of the children, they'll still have the same line height as the parent. But if you, I don't know if that made sense. You kind of just have to play with an impressive C. But if you assign a unit list number, the unit list number will inherit. And so the line height will be recomputed for each and every child element. With the same. With the same ratio. Yeah, if that makes, I hope I explained that okay. Hopefully it makes sense. The person who asked it, if you want more details, come find Keith after. You'll be at the party, right? I'll be at the party. There we go. Another question was, how do M's and REM's work and web components? Same. Meaning I'm doing React components? Is that kind of, or? I used to tell they work. My guess would be the same, but it was awesome. Awesome. Yeah, I don't know. I'm not quite sure how to interpret that. Like in a React component, I use, so I would use my module, my CSS module, of, you know, as a base element. I would just use that as kind of the root element of the React component. So the component has self-becomes. Right, so the component should ground itself back to a REM value. So that whatever the top level element that component is, you know what the establish font size is. And then, you know, you're safe to use that. So you're not setting it on the whole document, you're setting it on a component level when you're doing it that way. That makes sense. That makes sense to me. Speaking about React and things, I was taking a peek at your blog beforehand. And you've got an article called Into the Future of CSS where you talk about this idea of like scoped CSS. And I was just wondering how, you know, just bring up some more controversy. I was curious what your thoughts, like if you could talk about that a little bit, what your thoughts on scoped CSS are and this whole. Yeah, scoped CSS is a spec that is now dead. It's a done deal. I tried to raise a big stink and Tab Adkins was like, no, it's over, give it up. The thinking was, and if you actually look at the candidate recommendation of the spec for the cascade, scope is in there. It's just that there's no way to define a scope. The only way we can actually define a scope is an inline style. If you think about the way an inline style works, it's a small scope applied to one element. And regardless of selector specificity, it will override styles out of it. So the idea with scoped CSS was that you could scope CSS to a selector and the inner scope would take presence over the outer scope regardless of specificity. So that decision would happen before specificity went into effect. The net result being that if you design for module A and you style for module A, style for module B, whichever one you put inside the other will get the correct styles. They won't receive styles from the outer element. It'll stay encapsulated. Yeah, so the way forward with that is shadow DOM. So that's really the replacement. The reason the spec is died is because shadow DOM is taking its place, so. So someone that just wrote a whole book, CSS, and it sounds like you also do work with React. Yes. Where, and just also because of your blog and these articles that you've written, where do you stand curiously on this, the fate of CSS? The fate of it? Well, like the fate, but like CSS and your views of it in this component. I think we are having important discussions in CSS right now. The whole inline styles encapsulation discussion. I think it's a really important discussion. I'm also incredibly optimistic that those things will find an answer in the spec someday. That may take a few years. But I think that libraries like CSS modules and inline styles work as a stop gap and they're a great way to experiment with possible solutions.  And then half of coffee script makes itself into the JS specification. Like it's officially JavaScript now. So you use an arrow function to do these things. I think in just the same way, these experiments are really important because they will shape the future of the spec. Absolutely, I love ending in that note. And that's really the philosophy behind the whole extensible web and the web manifesto is to create this to hopefully be that beacon and that informant to the browser. Cool. Well, thank you so much, Keith. Thank you. I really enjoyed your talk.


Rob Wenger reporting live from the Stevens University Mustang first annual awards gala of athletics here with Senior women's volleyball and beach volleyball student athlete Christian Brooks Christian welcome to the show. Thank you Rob So good to have you here So you were instrumental in the planning the putting together of this gala everything from its inception to where each chair One on the gym floor. So talk about the work you've put in for the to have this gala here tonight Well, luckily we have Melissa Button who's been incredible in all of this And I'm just really appreciative to be able to have a hand in planning something that hopefully will last forever at Stevenson And we're starting like really something that wants to be annual So we really revamped the regular sports banquet and made it so that it's a little fancier It's a little bit more about the athletes and celebrating everything that we've done this year in a gala instead of just a regular banquet Yeah, it's great to see the student athletes who you normally see walking into Rockland with their t-shirt and shorts on Get all dolled up for the event. What's it like to be able not only to celebrate the year of Stevenson athletics? But to be able to celebrate it with your closest family and friends and have them here on board to really celebrate Everything you've accomplished. Well, it's honestly amazing because and not only do I have my family here supporting me at my teammates And this whole university and the athletic department as a whole is kind of my family away from my family So being able to bring everybody together under one roof under an amazing event to celebrate My senior year and all of Stevenson athletics is kind of a dream. I'm really excited During your answer there you talked about Stevenson athletics being your family away from your family You're someone who's been extremely involved in athletics not only as a participant But as a student worker as a supporter of other athletic teams Just tell me what it means to you to have been a member of this Stevenson athletic family that you refer to Being a member means getting to meet my best friends and I met my boyfriend here And I'm meeting people that are gonna impact my life for the rest of my life So I think the fact that I've had the opportunity to be a part of the program for four years I feel like I've given a little to it and it's given the world to me Well, Kristen, it certainly sounds like you have a lot to celebrate here at the gallon night So I hope you're able to go out and enjoy yourself with not only your immediate family and friends But your extended Stevenson athletic family and friends. Thank you Rob. Rob Wenger reporting live from the Stevenson University Mustang athletic gala


Hey guys thought I would do a little bit of a follow-up video to my review for the outsider. I said in my review I did enjoy it, I enjoyed the character development, I enjoyed the writing, I enjoyed the idea of a by the book step by step police investigation of a supernatural entity, but I did say that the ending was very soft and it took far too long to get there but I didn't really go into depth as to why I thought the ending was soft and in this video I'm basically going to explain to you what happened into it and just my thoughts on the whole process.  I did realize something though just before the episode started I was like wait a minute they're in a forest they're gonna have a shootout. Last time I saw an HBO show have a shootout in the forest I was very very disappointed. Ergo talking about the end of True Detective season two and that really really bad gunfight with Colin Farrell. A lot of people at the time thought I was wrong to say that kind of universally known that season two was not well made but anyways back to the finale they have this shootout a bunch of them get killed the lawyer gets killed Holly is in love interest gets killed one of the FBI guys get shot Jack is just so losing it he is so twisted with the manipulation from the creature and the alcohol and the snake and he gets bit by the snake and he comes down he's just kill it and he blows his own brains out now all that's left is Ralph Holly Claude and the FBI guy they keep those two outside while those two go in and it was at this point that we were all a little bit skeptical as to whether they could kill this thing or not Holly does make the comment though as they're going down the stairs that even this thing needs to hold onto the bars it's afraid of falling so perhaps it's not as supernatural as we think it is and that is something that the show really never went into aside from its ability to feed off of pain I had this kind of assumption that while it could shift and change it also had the ability to mentally destroy people and we saw that with its manipulation of Jack as well as the destruction of the families that are victims to its crimes and then the few parts that we got to see of the Claude version of it eating things it had a horrifying sound it didn't even show it like they kept it in shadow they built this thing up so well and what happens when they find it it's just Claude at one point he even kind of quick flashes in front of Holly but he is far more interested in how she could accept him that he would exist as well as being able to convince other people that he existed and that refers to what she says at the end of the episode where an outsider can understand and know an outsider the only defense that the creature has is that if they shoot a gun supposedly the cave will fall in and kill them all but then what happens Claude comes in and he blasts it with a shotgun they all don't die but the creature gets a spike through its chest and they think it's dead but before he's shot we never really know much about the creature other than what we've already established he doesn't even say whether he knows if there's others like him he says that he thinks he sensed other people like him but he's not entirely sure not explaining things as a king trope he likes to leave things unanswered which admittedly sometimes that is a better narrative strategy but there's a difference between not explaining it at all and just a little bit of seasoning there's more explanation about what the clown creature is in it than there is in this about the outsider but after they shoot it and the rock falls on it they think it's dead and they start to leave but then Ralph sees the ghost so he goes back for him that it's not dead and he realizes that you know what there's no point in trying to prove anything no one's going to believe us and those who will will just take you and they're going to do experiments on you and they're going to use you as a military lab rat so just smash your face in before he does that obviously the creature changes its face and we see all these different entities that it's been in the past and then it smashes its face and that was about halfway through the episode and my dad and I were both going that's it what happens afterwards is them getting their stories straight about what they now have to say is the truth to exonerate Jason Bateman as well as put this to rest but then in the very end of the episode after you see the credits which I didn't even know that HBO was notorious for doing this they did it like three times in Westworld season two ending Holly is in the bathroom and she sees Jack as like kind of a PTSD sort of flash at least that's what I thought it was but then she's sitting on the bed and she starts to twirl her hair and stomping ground starts to play this is the song that Ralph was talking about in the previous episode having heard for the first time in 15 years to which she kind of just added it up to coincidence we're hearing the song again but I didn't notice this the first time but she actually has a scratch on her arm and not only that but the footage is going in reverse with her twirling her hair I don't know what they're trying to do with this ending think story has a pretty cool idea saying that this is the show really kind of pushing you the viewer to accept that sometimes things logically can't be explained that sometimes things have to be accepted whether they seem real or not that's been sort of the kind of the basis of the entire show but it just feels like this build up to the confrontation there was so much build up to his relationship with Jack there was so much build up to the creature itself and then it just kind of it just falls over I don't feel like it executed its ending well considering how long it took for us to get there one person had a comment saying that this was essentially a high budget really really long ex files episode and I don't disagree with him I'd like the idea of it just the execution just didn't feel right with me it didn't feel fully encompassing in its topic and its narrative material that we were given for so long I kind of feel this ending is a little bit of a cop out obviously that's the whole point is that we were accepting things that sometimes don't follow the means of logic the way that it's executed in this ending is just bizarre it's not that it doesn't make sense just doesn't fit right with what we've been shown at least in my opinion anyways those are my thoughts about the ending of the outsider what did you guys think what do you guys think of this entire ending the conclusion with the creature and as well as the story with Holly and Ralph and all that I think Ralph's story was well done I think his ending was good Holly's was a little bit odd anyways guys that's all for me if you like this review leave a like and if you're interested in more maybe subscribe otherwise see you guys next time thanks for watching the video my name is Knitz and you might remember me from the animated cult classic tv show undergrads it's been a while but I'm happy to say the click is finally getting back together in an all new movie thanks to a successful Kickstarter campaign but we are still asking for your support to see any and all updates about the upcoming undergrads movie be sure to check out and like the bring back undergrads facebook page and with any luck we'll see you guys soon


Hello Everybody I was informed that I had managed to be ahead of the Ed space dream that's and I miss some I've gone back and collected them Have a little look see at them Starting with on only plays they once had an AI script generator make a nostalgia critic review of boy in the striped pyjamas Okay The real that was I wonder if it was good it was great Imagine imagine the style to click makes a video say it. I'm gonna be replaced by AI You could never be replaced by AI not you It's too special. Yeah, can they even use AI to recreate that kind of potent cringe like this is a very specific flavor You know, I don't want to underestimate AI. I Don't want to underestimate AI or nostalgia critic Lord long bong of mueslington abbey a good chance of a Kong fap Peter Jackson's long Kong when it's going on Your movie fap for the ages. Yes. Hello wags. He's rich is what? Well, hello That's definitely a possibility. I'm thinking that could I'm thinking that could happen. We have been on the cards Crazier things have been requested of us. That's for sure I mean, it's crazy. Once you get all the things out that currently in production It's like someone made a list of all the different stories we covered. It would start to get kind of crazy that Long it's getting through, you know, main podcast or movies TV And I think long Kong is all unhappy to join that party knows when Second half of that thing about the AI Out of critic says and in it it had Doug criticizing it for being one-sided politically This is Zach lost it y'all would love Odie plays come on I don't deny at all. I'd love Odie plays. It's just that That particularly sounds hilarious. Why the striped pajamas goes one-sided politically I love to review like a tally-tubbies episode that way that would be really fun Use the powers of interpretation. I'd probably want to do it like both ends as well like as though I'm synthetic man and I don't know I can eat a sake easy at the same time This can those worlds be mixed. Yeah, like You know tinky-winky represents the strong white male and this episode he falls down the hill and that represents the end of The Patriot I know I can start getting really confused Yeah Somehow Disney got Studio Ghibli to make an animated short about Grogu and it's about as worthless as all the other Disney Star Wars stuff Really, I'm guessing that was part of the visions anthology Okay, is it just it well how much control do they have over the over the script is an interesting question when it comes to those anthologies Yeah, I I Really hope that the odd man one is awesome because they are making one for the for the next like set of shorts Oh, is it gonna be like claymation and everything? Well, it's odd man So if you figure it'll be in their signature style, which sounds really cool Conceptually, I'll be definitely be watching that one.  It's only three minutes. Oh, yeah, I mean I would be interested to see still Does make us pang Does make sense pain bring the subject Make us bang and dead space really did have its time, you know the remake, but it's like it's over now Resilio 4 is about to arrive. He's bursting into my turn Which is a good they had a decent amount of time in the spotlight And it seems to be very highly regarded. So I was thinking about yeah, it had a pretty good launch I think in a good time in the spotlight, but This resin evil for launch that could you ask for a better launch like giving out a demo that people adored and then all these 10 out of 10 scores coming in And just based on the game Extremely well. Yeah, I'm curious for records And from what I've seen which is very little it seems to be very very very much gameplay focused Yes, like proper gameplay focus not just put white dot on enemy head click seven times Hope our hope enemy is dead But this one especially from people who've completed already which parents a lot of people Have done that that this one has hyper replay ability compared to basically all the other resident evils including the remake Fucking good Because that's what I want this to do really well so that we get more stuff like this Evil something that's been pointed out already is that thus far into this year this year I mean, it's obviously we're only about three months in but all of the most anticipated Most highly regarded stuff that's come out is like dead space remake Resident Evil 4 remakes being reviewed very well metroid primary mastered everybody loves isn't interesting, isn't it? It's pretty fun. Meanwhile a lot of the new releases have kind of just like oh, yeah, all right, you know, whatever Like nobody really cares. It's all this older older games Nostalgia that's our era We're well, I mean to the point that 2000 stuff is there the nostalgic stuff That's it seems like that's the way it works once it gets to about 20 years old That's when it starts to become really nostalgic Yeah, I think it's just the ages for people You know, that's long enough a go to where it doesn't necessarily seem old to a lot of people and it's in their memory Well, it's a lot of people Originals as well A lot of adults now would have played these as kids Resident Evil 4 and metroid prime and stuff even dead space. Yeah, there might be some people Um, vampire survivors is so zen. Yes. I because I have not Don't think so I've heard it's good though old A twin stick shooter when you have one stick moves one stick shoots in all directions Yeah, that's usually like from an isometric goal like top down Kind of lying because all of the shooting is automatic. So I guess it you know, you only move really Oh, I understand a lot of people love that game including me. I find it very very fun Yeah, high five vampire survivors the uh, only plays of dead space is great They have no idea how the pc version They have no idea how the pc version is at the start hilarity in suit Oh, how that works. Is that I mean like they don't know what to expect or start Or like the controls or Don't know I finally played titanfall 2 for the first time what an experience makes me more sad that ea cancelled the supposed titanfall 3 respawn was working on Yep, but uh apex legends is more successful And titanfall 2 didn't make its money as far as I know so It's a risk I don't even know the full story of it, but I've heard people say it's about the marketing Uh titanfall 2 released between battlefield 1 and call of duty infinite warfare Like that those games were two weeks divided and uh titanfall 2 was right in the middle So it was it was doomed there was no way and apparently that was respawn's choice not ea's which is baffling Uh, no clue. Yeah, they were very Who like titanfall 2 is is uh the best of those three games Oh, yes, titanfall 2 is one of the best shooters like of recent memory Um, but it's still titanfall right it was still a relatively new franchise And especially like the single player component was like unproven at the time And the first titanfall still had a so-so reputation at the time. Yeah Like that game was great at its core, but Uh, no campaign offerings really It like titanfall 2 is a very robust complete package Um, but like it just released at the time when it's like, oh, are you going to choose between Brands and particularly the hype for like battlefield 1 was insane Um, it was the worst time to release that they should have released it Like in march or something like they did the first game. Yeah Oh, oh, and then there's also the titanfall 1 was not on playstation That was uh part of the the era of a lot of xbox pc You know like exclusivity or whatever so Yeah It's just unfortunate because it's a it's a fantastic shooter And we're never gonna get a third one. We never will it's never gonna happen Probably not A shame You see gyms takes sigh. We actually covered it Fringe big cringe Smaller, I was wrong I was among the members of chat who noticed synthetic man in chat and we were yelling at our screams and amongst ourselves to let Him on and defend himself But we were all fools he grew angry and our ignorance of the true extent of his crazy and uh, the well-founded reasons for you ignoring Him and us on behalf of that that I participated. I apologize Absolute worries. I know that chat get excited and they want particular things to happen But of course Once I had seen what I had seen in all those clips There was potential at one point to be like, yeah, you could talk to him and then I was like, oh He's doing this. No, you're like a crazy actual You're like actually one of those really bad people that you don't talk to Yeah, and it's funny how like a lot of people focus on all of that In in a sense trying to highlight that he's still honest and still good at his job and stuff And I was like, did you miss the first like three and a half hours of that video?  Yeah, you feel free to defend him if you want guys, but uh Probably not a great idea for those who still do He's the only honest reviewer laughter Don't let the brain rot that's taken over him take over you.  I remember we didn't expect it to be good.  We said that Yeah, the obvious presumption was that neil would in fact the previous story with uh an attempt to make it fit better And everyone is still trying to run with that which is just it's so funny because the big issue We're gonna take with season two now is it won't fit with season one Neil can feel otherwise, but We'll be there. We'll make sure I would Yeah, we uh, we often take positions that uh can make us look crazy to a lot of people But well because we're trying to be honest Tell you what we see Much like with ragnarok. I I didn't expect that game to be that good Yeah It was really impressive Uh, hey mola, what should I play for my first blind playthrough out of blood born? Oh ds3 or elden ring already had ds1 spoiled also high rags Hello, so if it's blood born ds3 or elden ring, um It depends if you're only gonna play one of them blood born if you're gonna play all of them I might suggest ds3 blood born then elden ring just uh Because ds3 is like a crystallized version of ds1 At least a lot of people see it that way in terms of like building on the mechanics though that the world is lesser I don't think anyone's gonna disagree with that one and then blood born is like Oh, what if it were fast and you can break away into like a side Bit of content while then you go to elden ring, which is basically open world doxel so That should probably work out, but if you could only play one Have to go with blood born beautiful game Uh death of the author exists therefore criticism is not objective. What does this even mean? How do I respond to this? I have no idea. Uh I don't you'd have to you'd have to ask them what they mean by that because that's I think that's a non-sequitur that the author doesn't exist therefore like what is what is Is a claim that like if death of the author didn't exist in all of the statements of the author were definitive Therefore you would be able to make in unassailable arguments about a story I guess so I guess they're saying if not for death of the author You would have to just go with whatever the author says in terms of what can be critical of their work or not Which is retarded. That sounds yeah, that sounds absurd to me If that's what they're saying anyway, yeah, you you need to ask them what they mean by all those words because I don't know Um keep one delete two re4 dead space one and dark souls one Seems like a pretty great remake from what I've seen high rags.  Yeah, you've played it. How'd you didn't play remember? Oh, yeah, that's right.  Um, because Yeah, resident evil 4 was massively influential and so was dark souls removing them removes a lot of like subsequent changes to the gaming world Whereas dead space not so much well Equipped infested suit before meeting Hammond at the bridge when Isaac takes off his helmet. He actually takes off his whole head Yeah, it's funny. Yeah Good stuff headless Isaac easter egg On the netflix anthology love death and robots Some episodes are simply cool concepts like a drug trip or an entire zombie apocalypse in six minutes others are entirely worthless Um I guess yeah, I think that's fair. I've seen all of season one and I got kind of I think drinker recommended me one or two from Korea and I was just like fine I would have watched all of them if I had time to burn, but I had other stuff I had Maybe it's better to get like a recommendation of all the best one Uh, I've heard I've heard it's very mixed bag too for some are good some are bad Some are genuinely good short stories overall. I recommend it No, that was it. Yeah, okay Fair enough. I just wish Nicole didn't look like a 55 year old Uh You'll have to take that up with the voice actress Tonya Clark Uh Also, just chill out Also, she's 51 and she looks damn good for 51. So I don't know what you guys want They want a young girl Like who's oh That would be weird then you'd be complaining about why Isaac is dating such a really young girl I would say that was creepy.   It's an hour and 40 minutes 48 minutes long and live now all views appreciated. Keep up the good work.  I recently started a new job and I'm looking for a new apartment Thank you for being a source of entertainment and familiarity through this turbulent and transitional time of my life Are you back? Oh, wait, well, yeah, absolutely second half is like a question about Hope that's all because that space was a little Done with that or not either way. Hope is well and uh Also, what are some examples of your favorite character arcs in media? i.e. the classic hero's journey where they learn confidence or humility Oh favorites Funnily enough i'm going for band and nails the hero's journey really well Oh, yeah Uh, some of my favorite arcs like three of them of all time are in Buffy and Angel We got Iron Man's arc in the MCU Obviously bumpy, but It's pretty damn good learning confidence or what? humility confidence or humility Supposing boots in the last week, right? Confidence or humility Yeah, humility. Yeah, it's kind of both. He learns he kind of learns both of those things at once Um, he gains true confidence essentially through recognizing his own mortality and accepting it So that is a really good example I figured the question was asking about like favorite types of um general story arcs or like story structures I thought they were asking typically four examples of hero's journey types, but Still the ones I just mentioned from Buffy wouldn't necessarily be hero's journey anyway, uh But yeah, I mean the thing is I don't have a I kind of like all arcs if they are well as long as it's good I'm yeah, I'm more or less on board Uh, we had to remove the blackface episode because keeping it would suggest that we support racism So I'm quotes from netflix about the community episode I hope that isn't actually what they said because that's started I don't understand how you can't apply that to literally anything Anything controversial. Is there anything new or is it just the same but Isaac talks now? Yeah, there's a lot of new stuff actually. There's a lot of stuff. Yeah. I mean the into uh The interconnected Ishamora On the uh, the telekinesis working properly weapon Yeah, that's based I guess you Hello gentlemen and high rags. What are your thoughts on el Camino? Personally, I quite like Um, it was it was uh, yeah, I don't know I thought it was okay I remember coming away from it thinking. I don't know. I think I Yeah, I assumed all of that happened that way Except for I guess the crazy encounter with those ourselves I mean that encounter only happens because if it didn't kind of boring wouldn't it there wouldn't be a much of a Complete film. Yeah worthwhile worth of story It would have ended fairly quickly I would like to recommend the youtuber Elvis the alien as a potential guest Um, hey if he's up for it He's made some videos recently about bloodborne Okay Anything in every Oh Oh, yeah Go massive. It's keep up the good work. Anyone who thinks Nicole looks older must be forgetting about how she looked in docs Yeah, Dead Space 2 basically just HD Nicole now I'm willing to say she looks different from the original game. I was just I don't think it's a downgrade I think it's more accurate I guess what the comment is more as pointing out is that she definitely looks older in two than she did in the first one which Considering that she would she would have been the same age right of like that mental projection It's just it. Yeah, like it was it's it's in line with one of the games. Anyway Or more in line. I don't remember people About it with Dead Space 1 or 2 And yeah, you're right. She does look If currently older in Dead Space 2 I wonder if they'll remake that one Who knows Trump voice Super mario he goes from big to small Comes from a different place and that's okay The place called Italy Okay Wonderful people in Italy. Wonderful people in Italy. It's a wonderful country great pizza Great pizza wonderful pizza After the Ragnarok I played all the God of War games and now it's one of my favorite series also high to all Yeah There is metals favorite game is Ragnarok and favorite series Not too far behind him on those Have a very special love for God of War.  I'm looking at him running around. He's a tiny little guy I missed the airplane era of spoof movies naked gun hot shots loaded weapon all great If it's not nostalgia what makes those jokes still funny you're written by very talented people They're very entertaining something that uh noticing watching our airplane Is that a lot of the jokes are visual Whereas ads has been pointed out in plenty of videos namely the uh heavy frame of painting one On edgarite a lot of what we see in like a lot of comedies now is very much just Talking and that being like the joke baked into it. But like lots of visual gags. There are a ton of those and uh in airplane Yeah, um naked gun as well There's just like a a lot of variety in terms of the jokes that are crammed into those films Same for like pink panther Same for our Awesome powers as well I'm out of good ideas guess what's left That's the quote bad ideas. Oh Uh, you must saturate the bodies so that they don't get back up rock samson samson I don't get it. Who's brock samson? He's from uh venture bros You desaturate things I don't know. I guess uh, he's talking about zombies. I haven't watched too much of the show What I've what I have seen I've liked but well, maybe he's talking about like zombies He knows how to deal with zombies. You got to like make sure that all the blood's gone or something like that On that note, that is the end of the dead Space lads and we'll do dream labs This will be about who knows could be anything. Um I've got to say this during the black adam e fat But when satan was walking around I looked at his chest and thought whoa Is that the star of david on his chest then in another shot? I realized. Oh, it's a pentagram on his chest. Never mind Imagine Don't confuse him. Oh my gosh. That'd be hilarious We terrible Um, well, we know what the people who made black adam think geez I thought the 2022 pinocchio was pretty neat overall not as good as puss in boost But still a good watch the only major problem I had with it was the scene where pinocchio kissed jepetto on the lips with a full tongue action kid It was a little strange, but I think it was really important for his character Autistic choice, you know You don't want to restrict the art by restricting artist uh Fuller and rags. I want you both to shout the n word at fringy with as much prejudice as you can. Okay. Get ready. All right Absolutely To say it as the last word of this message here it comes shout this n word at fringy and it says uh nor No No That's pretty many of you guys what Yelling at me Well yelling to you I can't tell if nicole was a good person or not They should have made that more clear in the remake by having to save a pregnant zebra on the ishimura Yeah, just a zebra roaming around on the ship I mean hopefully in the next dead space remake they can fix that I'm gonna make another one in like Well, I mean who knows what what it looks like. What if they remake resident evil again the first one They're like in the over the shoulder perspective The loss of fringy what are the moral and ethical qualms that would keep us from time traveling and killing baby hitler in his sleep Why not cap every despot? Has they a young to prevent mass suffering if one can isn't it more an ethical not to high rags? Hi The issue with going back in time and killing hitler when he was a baby is that he hasn't done anything wrong yet Um and you're operating under the assumption that he will do those things. I'm gonna kill him. Why can't we just? You know raise him probably You gotta travel back in time You know Like seek other So and then of course there's the standard time travel concern of What what are what are the uh roll knock on effects of this? Yeah, there's that too. You know, yeah Uh, would you guys address the ongoing squat genocide in lumpa land? I know more and rags of large investments in the meme plantations that the native spots have been culled to make room for So it's a conflict of interest. Maybe fringy can do it. Thanks I don't have any comments to make about lumpa land. I don't know anything about that. Yeah, this is news to me Sounds pretty bad Uh, maybe we'll look into it in the future. I don't know about this We are anti-sport, um genocide Trilse yes Say chrisby critters in your best albert wesker impression Crispy critters crispy critters That's why I wanted to remake resident five get wesker back Yeah, that's something that has about it. He said he doesn't want uh five remake because I think it was very good And it's like is that not the reason that more of a reason to do it? Yeah, you could use to remake it Because it's not like they're not aware of what people didn't like about resident five, right? I figured that they're well aware of what people's complaints are Give them a resident evil two remake isn't anything like that Surely they would have to make it go up though at least right because that's why everyone like likes about the story. Yeah Yeah Those will find out and then if they remake six, I'll be hilarious and then they remake seven just like wait This is getting weird though Uh, I've been listening to your game streams the last couple of months. Thank you Problem I do enjoy Plains of it. Yeah Began a lot more of that soon with resident So We're the twins in this game basically the lady d's from resident evil eight in a sense heavily marketed and a focal point for a lot of the casual players and non-players but in actuality only present in a small portion of the game in totality also high ranks Hello, I guess it's all about tomahawk with the robot ladies Maybe we'll be very critical of that as being like bottom of the barrel sexual marketing or whatever else All right I mean it makes sense that this guy would have robots that are you know very feminine looking You know and pleasing and they look very expensive and you know if someone said then oh, yeah But they just written it that way to just flash like okay, so who cares? Yeah, so they wrote it a certain way to make sense. Yeah, good Like you're just gonna be critical of all sex scene Wow, they only wrote it that way to have the sex Healing to the fundamental things of interest for fans is guzzdig Uh high rags if you're having computer trouble I wouldn't necessarily take computer advice from a guy who knowingly left a plug-in on his minecraft server that could upload files Through it onto his personal computer. Anyway, have some twix money Okay, I don't know anything about the minecraft stuff Um Dear molla moolinette. Will you please say a few words about jeff bridges in the Isle of Perry story the old man would be cool if you could watch it with friends This is the metal emu picking for fringy or emu but they spelled it with bonus Um Bridges for the good boy rags. Thanks for Karen by the way. Oh, no problem. Oh, yeah, Karen was fun Um, and as for the old man. Yeah, I haven't seen it. Um Regarding diminishing returns for old IPs It's because modern creatives don't understand or respect a level of work and vision that went into making these franchises The best stories they are success only inevitable in hindsight never guaranteed Uh, yeah, hence why we talk about that a quote from Uh Ian malcom in drastic park He says you didn't Experience what it was like to gain what you have right now. You just had it from other people. Yeah You didn't yeah, you didn't you made you basically you didn't earn it in a sense You didn't go through the work of getting there. You just sort of um, yeah, you just took it from the top You took advantage of someone else's you know work Which we wouldn't be saying if all of these things were really good If all these series were great If all these IP extensions were good and the people really respected where they came from And learned a lot from them. It wouldn't be having this conversation Think there are still people who did inherit and then make good things out of it. I guess I like that possible Uh, my drink is done in the freezer, so I'll be right back well You're there for you.  Well, I'm sure he'll be back I suppose I'm doing okay That's great playing any video games Yeah, I'm playing mario kart Think about switching out your main I play this game someone else Uh, well, I mean should should another game sort of arise that it provides me such readily accessible fun um, because it was it was MCC for a while Timefall was but that was a long time ago It tends to vary modern warfare. Was it for a bit? Um, not too long though And halo infinite. I was hoping would would fill that role, but uh, well No, they've added new content now after several several months of basically nothing, so I guess that's nice, but I don't know I don't know seems like that game. Nobody cares anymore. It's over Game on the Hmm nice to flash forward and just know the he's Going to drink her on what our catcher about how he was he was he seemed partially depressed about the status Star Wars about how much they droid everything Um, yeah, I understand that like at this point. I'm pretty checked out when it comes to star wars It's like I'll I'll be keeping an eye on andor, but like I don't really expect anything quality from any other production Because whenever that a circus show comes out, it's probably going to be bad Um, if they continue with like bookabogafat or they do more mando It's going to be bad. I just I don't know that new acolyte show I'm not sure why I would expect that to be Great either or if it's got like a lot of the same executive producers behind it when we had um The whole like that episode three of mando as rags dubbed it the diet and or episode because yeah, it's like It wasn't that great. It was okay, uh in a couple ways and it's like that would be a good thing to move on from in future but never gonna Especially with the reaction it's had a lot of people said like this just isn't star wars I don't know what that is anymore. What is star wars? What is star wars in 2023? Bucked it up so much that it's like we appeal into the ot the prequels or something else In general because I remember the big thing that was said about the force awakens when it came out was that it felt like star wars Yes, that's right, but how many more how many people you're gonna find standing for uh for any of those films Basically, nobody does great, uh skinwalker sort of thing where yeah, it probably Freaked everyone into thinking it felt like it and then it drove it into Thanks back I am back So last one we're discussing amazing old movies I was thinking about empire strikes back and if it's a plot contrivance that loop lands right next to yoda There is a line about life scanning, but not about that area Um, he says it's teaming with life, right? He says his life all over the place. Yeah, it's I mean that's like a I would rate that as the same problem you have on all of star wars with for some reason the Place of activity on a planet is always just the one small area Yeah, like a planet is just you know, if you're on tatooine It's always that's a dog if you're at this is that's a dog. That's that's yeah, um I don't know if there is some level of I mean from when he lands to when he meets yoda, there's still a decent chunk of time and that you can assume yoda Walking away there like it's a little bit even Even then that's a huge Convenience Something it's not much But it's the persistent star wars problem the planet is just this one small area place. Yeah It's like, you know and mando or navarro will be this or that it's like this is one city And it's not even a big one. It's like it's yeah, it's like a town on a planet It's kind of it is a town to say that it's a city would be to overstate it like it's pretty small But that's the only place on navarro basically that and the nearby Well that base got destroyed pretty much. So that's about it. I want to I want some recognition of Obquiring coordinates is a thing that you need to do. That's what a planet is Does that I remember if you play the old ratchet and clank games Like when you get coordinates and when you go into a place Like that game recognizes that there are places on planets It would say like you are going to blackwater city on rilgar Like that's where you're going not just like the planet Because yeah, you are going to the planet, but you're going to a specific place Same with like if you go to the mega court base or uh, or if you were going to um, like the capital city on mercadia Like there's it ratchet and clank cared more about this than star wars has ever done I yeah, it's like Put into perspective of we all live in our planet, you know, I think about all the places on this planet Yeah, I'm going on earth. It's like, okay. Are you going to new york? Are you going to london? Are you going to shanghai? Yeah, what what's even made? well That's the end of uh, the dream labs undead space lost super chats mini Oh, look at that 40 minutes. It's like an actual mini. It's very many kind of Thank you all for uh, for listening. Sorry we didn't get to these faster Thank you very much for sending them in of course Poodle pip here.io. Goodbye. Bye. Bye


Well guys, didn't expect this news today did we? I am Nathaniel Roblejans from Nintendo Prime and we've got a fresh rumor for you today and this rumor is coming from none other than Jeffery Grubb. Now Jeff Grubb has a long-standing history in this industry as a video game journalist working at multiple outlets. He's currently one of the main talking heads over at Giant Bomb, especially in wake of Jeff Gerstam finally leaving, I'm not sure if you guys are aware of that happened, but now Jeff Grubb is there and he does a lot of great stuff so there's a lot of different shows. He did a morning show today talking about all of the news, it's kind of like a morning news show and what's interesting is that he went over a bunch of stuff, he went over to the Nintendo Drive Mini and all this stuff and we talked about that earlier. What he also went over is a surprise holiday game this year that Nintendo is going to be announcing later this summer and that game in Metroid Prime Remake slash Remaster or however Nintendo decides to title it, he said his sources have confirmed it is coming later this year, this holiday season in particular and that Metroid Prime 2 and 3 are also going to get this exact same treatment in years to come. So it looks like we're going to get the entire Metroid Prime trilogy all the way up through the new Metroid Prime 4 eventually in HD and in all the glory of whatever visuals they plan to do with those games or with the control schemes they plan to do or support with those games. Obviously we know they did the Metroid Prime trilogy back on Wii, they brought motion controls in Metroid Prime 1 and 2 but whatever, the point is that apparently these things are coming this holiday. That's it, that's the news, that's the video, have a good day everyone, not just like you guys can head out if you want but I would encourage before you dip out the hay, we're almost 80,000 subscribers so why not subscribe to the channel, we'll be giving away a replica Breath of the Wild Master Sword, an actual steel blade master sword and we'll be giving away a Hylian Shield and a Deco Shield whenever we hit 80,000 subscribers. We're not starting to give away now but we will then so there's no way to enter it right now, how entries will begin once we get to our subscriber goal. Now I find this all to be really interesting, we know that these games have been rumored originally by Emily Rogers back in the day, she thought the trilogy might be being done and then she later said oh it looks like they're doing one at a time and Emily Rogers has really been the big one on this but Jeff Grubb having his own sources which I presume his sources are ones that work at Retro Studios which is a US company based out of Texas I believe. I think that his sources are probably correct in this one, now Jeff Grubb was wrong on some stuff with Switch Pro last year and also wrong on Zelda 35th anniversary mostly the Twilight Princess HD Wind Waker HD which he still thinks is coming this year but you know he doesn't know if and when it'll ever be announced, he thinks that Nintendo just is sitting on it but that's what he thinks, maybe not what he knows but he says he knows from his own sources that this is happening, Jeff Grubb has a long history and has been doing a lot of things in this industry and he knows a lot of stuff, he's not always right, he's not always wrong, he's a journalist just reporting what he hears and things change behind the scenes all the time but it's interesting that that's happening and Nintendo isn't doing a general direct because that would be a pretty big announcement at a general direct, it's also possible that hey just because we're getting a Nintendo Direct Mini partner showcase now doesn't mean we can't get a Nintendo Direct Mini in July or August that happens to be focused on Nintendo first party or maybe we get a general internal direct later this summer, Nintendo's gonna do whatever the hell Nintendo wants to do and that is what I have learned about Nintendo over the years is we can't control what they're gonna do, they're gonna give us the news when they want to give us the news, E3 was always something that made them feel obligated to a certain time of the year and typically February and September but not always Nintendo's going to do what they want to do so I would be really excited about that that would also add another amazing game to Nintendo's lineup so I don't know does this make you feel a little better about the Nintendo Direct Mini today? Does it make you feel a little bit better for those of you upset about it? Do you feel a little better knowing that this is a high possibility of happening later this year again? Rumor, I can't confirm it, I haven't heard anything but Jeffrey Grubb who is well connected has so hey put that one you know stick that feather in your cap get that get the get the salt throw it over your right shoulder is it left I don't know whatever they said in Dumb and Dumber and we'll catch you guys in the next video


Francis Kirk John has another masterpiece right here. Lomala Rose is a fantastic fragrance. Guys, welcome back. My name is Kevin Samus. My name is Kevin Samus with Godfather Style. And guys, in today's video, we talk about one of my favorite fragrance houses. Based on Francis Kirk John and his new creation, Lomala Rose. If you know anything about me, I love rose, amber, and ooo. When I find a good rose fragrance, it is something I am going to crawl about. And this is probably going to be one of the best warm weather rose fragrances ever created. The mastery behind this is simple. Grapefruit in her top notes, two different kind of roses, lovdanum and clary sage in the base. Guys, this is incredible. I got my hands on this luckily a little bit early and I've been testing out for the last two weeks. It's due to hit the shelves in next week or so and I have to tell you. Guys, you will want to check this one out for sure. As soon as I saw it in the store, I grabbed it and said I wanted to buy it. I blind bought it. There wasn't a test out there. And for good reason, they were not supposed to be selling it. I sprayed it on my hand. I let every people smell it. Other people in the store smelled it. I gave the sales reps a little bit to put little jars themselves so they could actually remember what it smelled like and could tell other people. But it was smelling so good that even sales reps was like, I gotta get that. I gotta get that for myself. When two women came in and I recommended this for their guy friend and both of them bought it, it is that good. It's so good is the top note of grapefruit that sparkling grapefruit comes through. And that makes this an actual nice, warm, photo realistic kind of rose with that lobbed in them and the clary sage at the base really anchor it down and give this thing some longevity. Let's get into the C3PO system. Complement factor on my skin, super. This is a great complement fragrance, but even better, it is a conversation-starting fragrance. That freshness in the top note mixes that sweetness in the dry, the sweetness in the mid and that earthiness in the dry down makes women kind of come up and say, what are you wearing? I'm rocking and wearing this, performance, a solid six to eight hours plus. This thing really goes a long time on my skin and it projects about two to three feet and it keeps pushing for about two to three hours. The sea arch is where I love this. The flavor trail on this thing is two to three feet and it continues to go for a long time. The style personality, I can see pulling this off. Guys, this is definitely going to be one of those kind of all America or even the boss frigates. This stuff is occasion signature scent worthy. It could be one any season, any reason, any climate, t-shirt to tuxedo, and that is saying something, guys. That is what's really hard to do. Find a rose that's masculine, that signature scent worthy that can be worn in any climate just up or just down. Thank you, Francis Kirk-John, for giving us this masterpiece. So do me a favor, hit me up in the comment section, let me know. Have you smelled l'homme à la rose? Did you like it? It's so cool, if not cool, but keep it cool, keep it classy. Go over to my local Neiman markers or sacks and check out my friends down in the description and tell me a Godfather sent you. Until the next time, Godfather is out.


Welcome back to Kids Fun Science. My name is Ken. Today's experiment is a laser pointer through money. As always, adult supervision is required. What you need for this experiment is a Canadian bank notes and laser. The new Canadian bank notes are made of plastic, also called polymer. The primary reason of the change in material from cotton paper to polymer is security. The security features in the new notes include many improvements. But the one I'm going to show you today is the holography, which is hidden in the frosted maple leaf. A hologram is an image appears to be three-dimensional and which can be seen by the naked eye. A holography is the science and the practice of making holograms. Typically, a hologram is a photogenic recording of a light field rather than an image that forms by a lens. So the first of three experiments, if you shine a laser pointer through the center of the maple leaf, you'll see the feature of the bank note. It'll project the image and show the value of the currency here, a dollar sign and a five. So I've got a $10 here, and if you put it in the middle, you can see the dollar sign 10. Here, shining it through the middle with a red laser, a dollar sign 20. And last, a 50, and it looks like it's the clearest image there, the dollar sign 50 right there. So for the second experiment, I used different color lasers. Now, using the green one, you can see it really reflects off the maple leaf. And you can kind of see a little bit of the $5 note, but it's very hard to read. Now, using a purple-blue laser on a $5 note, you can barely make out it's a $5. You have to get really close, but the red laser seemed to work the best overall. So for the third experiment, here I have a candle on a table, and you can see that it was reflecting through if you hold it up to your eye. Here, I'm holding the note up to my eye, and I have some Christmas tree lights. So any direct lights, that could be a street light, and you pull the maple leaf up to your eye, and you're able to see in direct light, it's a $10 bill, which is pretty impressive. So you could go to any bank and get an exchange and get Canadian dollars like I did. I found this app for US bills called iNote, and it was developed by the Bureau of Engraving and Printing for those for the invisible impaired. So you click it, and then it pops up, and then you just take any bill, and you put it in front. $20 in front, where you could do $20 back. So it helps you identify, which is pretty cool. And then $20 back. So let's see if we can do one of the older ones. And that's a $19.53.