RCA Victor, world leader in radio, first in recorded music and first in television, presents transcribe the Phil Harris Alice Faye Show.  Very often, a man will do something against his better judgment just to please his wife. Sometimes, it can prove embarrassing, like what happens to Phil tonight. More about that later. First a word from RCA Victor. You're in for a happy surprise when you buy RCA Victor Television, for you'll pay much less than you might imagine. You can actually own new RCA Victor Television for as little as $199.95. Think of it, for less than $200, you can enjoy television's finest pictures. Every RCA Victor set has wonderful advances like the new Magic Monitor. This exclusive circuit system automatically screens out interference, keeps pictures sharp and steady. It steps up power automatically, and automatically ties the best sound to the clearest pictures. Yes, RCA Victor quality means top performance, and more. Every detail of every set, from the control knob to the handsome cabinet styling, reflects the craftsmanship that has made RCA Victor the world's most owned television. So, go to your RCA Victor dealer tomorrow. See the new Brookfield console, for example. Here's big 21-inch quality television at a modest price. Buy tomorrow, and chances are you can have delivery before Christmas. Of course, America's finest television deserves America's finest service. So when you select your RCA Victor set, order an RCA Victor factory service contract for expert installation, adjustment and service by RCA trained servicemen. And remember, every year more people buy RCA Victor than any other television. And now the stars of the RCA Victor program, Alice Faye and Phil Harris. This time of the year, nearly everyone is busy with preparations for Christmas. The Harris's have practically completed theirs, except for their outdoor decoration. Phil and Alice's brother William ought to work on that now. Oh, this is a waste of money. All these decorations. Holly and Reeves. And no, it's not at all practical. Stop, Beepen. Everything looks very pretty. Well, I got the wreath up, now to get the light strong. I want to put them across the top of the house and down the sides. That's already done, Phillip. I did it while you were in the garage decorating your still. That ain't no still. It's my new hat blocking machine. Uncle Fedora sent it to me for Christmas. All right. All right. Hat blocking machine indeed. You must know, it's a pressure cooker. I was canning a few beats. Well, let's stand back and see what kind of a job you did on these lights. Let me see. I, well, you certainly used enough lights. You got them all over the front of the house. Yes. It's not only ornamental. It's practical too. I arranged the lights so that they spell something. Well, that's a cute idea. What does it say? Well, you can read it better when they're lighted. Now wait, I'll turn the switch on and show it to you. There. Hey, look at that light up. Let's see what it says. Merry Christmas from Alice Fay and husband. Why didn't you put my name up too? Well, I'm planning on using the sign again next year and there's no telling if you will still be with us. You can put my name up. I'll be here. Very well. Well, read the rest of the sign. Okay, okay. Let's see. Alice Fay and husband, stars of stage, screen and radio. Now available for television. We'll work cheap. Call Hollywood 6161 or toll free number Zenith 470. Oh, do you like it, Phillip? No. You left out half tuxedos will travel. What are you trying to do to my house? I don't want no ads up. William, this is just for Christmas. What's the matter, Phil? What are you yelling about? I'll show you what I'm yelling about. Look at the light your brother put up on the house for Christmas. Let me see, let me see. Merry Christmas from Alice Fay and husband. Stars of stage, screen and radio. Now available for television. We'll work cheap. Call Hollywood 6161 or toll free number Zenith 470. This kid reads good. Well, how could you put a sign like that up on our house? That's the most disgraceful thing I've ever seen. Take that down. The whole thing? No, just the part that says we'll work cheap. And Phil, you'd better come in now and get cleaned up. We have to leave soon. Where are we going? Oh, I forgot to tell you. The women's club is having a pre-Christmas party and play, and the husbands are all invited. Look, honey, I don't like them things. I don't feel like going. But don't argue you're going. Now hurry inside and put your Santa Claus suit on. All right, if I have to put my what on.  In the play, you have the lead, your Santa Claus. Ooh, goodie. The day I've dreamed of is finally a ribbon.  Ooh, I ain't gonna do it. Phil, it's too late to back out. Now Mrs. Stewart is in charge of entertainment, and I promise that you'd do it. But honey, that ain't the kind of role I play. I'm not the Santa Claus type. You know I'm a lover. How would I know? It's a nasty type remark. Alice, I'd like to help you, but I refuse to put... You're not refusing anything. This play is for the children, and you're not going to disappoint them. You'll find your Santa Claus outfit on the bed. Now go on in and change. All right, all right. Oh, if she didn't have money, would I tell her? And hurry up, Phil. Mrs. Stewart will be able to pick us up soon. Alice, hmm, I don't know.  Alice, hmm, did the women's club really pick Philip to play Santa Claus? Oh, don't you worry about, Phil. He'll be the head of the play. Well, are you going to be in the play too, sis? Yes, yes. I'm going to sing a few songs for the children, which reminds me I'd better rehearse one of them now. Oh, lovely! Christmas toys all over the place.  Poor Johnny has a secret, and this secret he must share. He wants to tell somebody, so he tells his teddy bear. I saw Mommy kissing Santa Claus underneath the mistletoe last night. She didn't see me creep down the stairs to have a peek. She thought that I was tucked up in my bedroom fast asleep. Then I saw Mommy tickle Santa Claus underneath his beard so snowy white.  I was so puzzled I couldn't understand why Mommy was kissing the wrong man. It's Santa, and then it was that I saw Mommy tickle Santa Claus underneath his beard so snowy white.  Merry Christmas! Ridiculous, making me dress up in a Santa Claus outfit. Well, now that I got it on, I might as well look in the mirror and see how it looks. I thought so. I looked and I... Hey, I'm cute! Oh, I love that twinkle in my eye. And the way my cherry red lips show up against that white beard. I look jolly yet distinguished. Sort of like an old Liberace. Yeah, not to go in the other room and show Alice. Hey, Alice! Hey, Alice, where are you? I'm right here, Phil! How do you like me in my Santa Claus outfit? Oh, no, Phil. Wait a minute. What are you laughing at? I think I look good. Not only that, I sound the part too. Listen to this. Ho, ho, ho! And how would you lumb glial glows? Bum, bum, grols. Well, what's the matter? The whiskers are too loose. Every time I open my mouth wide, that beard gets wild. It's due to a little big for you, too. You know, Phil, somehow you don't look right for the part. I do, too. I guarantee nobody will know it's me in this get-up. Uh-oh, that must be Elliott. I'll get it. Man, I just picture his face when Santa Claus opens the door. It's going to be a surprise. Ho, ho, ho! And how are you, lumb glial glows?  It ain't bird's nest soup. Can't you tell what it is? Chew it again. Let me listen. It won't be a while before the ball grows. No. Too quiet for shredded wheat. Oh, I know. It's cotton candy. If you're finished, I'll tell you what it is. It's a beard. Oh. What's the beard for? What's the beard for? Can't you tell by the outfit I'm wearing? Doesn't this suit look familiar to you? Let me see. Oh. Of course. That's the red Searsucker suit you bought for Easter. This ain't my Easter suit. This is the Santa Claus suit I'm going to wear for the kids. Curly, you can't play Santa Claus. Santa's a fat, jolly, nice-looking man and you don't look depart. Too sexy, huh? That ain't what I meant, Marilyn. Don't tell me I don't make a good-looking Santa Claus. The Women's Club asked me to do it because I'm perfect for the part, so just... Bill, it's not just you would arrive yet. I... Oh, hello, Elliot. Hello, Alice. I was just admiring little old Chris here.  No, Elliot. That's not nice. Bill, I think you look positive. Those are my sentiments, exactly. Abbot and Costello, huh? I guarantee that them dames will make the biggest fuss over me when I... Oh, that must be Mrs. Stewart. I'll answer it. Oh, hello, Mrs. Harris. Oh, I'm sorry I'm late, but I had trouble driving over. The traffic was something fierce. All those Christmas shoppers on the sidewalk slowed me down, something awful. You know, my husband always tells me I should drive in the street, but there's so many cars there, it's dangerous. Don't you find it that way? Where's Mr. Harris? He's standing right there. Oh, yes. Hello, Mr. Harris. Now then, Mrs. Harris will all drive down in my... How'd he get hurt? I didn't get hurt. Then how come you're bleeding? I ain't bleeding. This is the santiclaw suit that I'm going to wear for the children.  They'll think that you... Oh, well, we can always tell them you were trampled by one of your reindeer. I wasn't supposed to be such a jolly old man. I'd hang one on her. You know, you're certainly the seediest santiclaws I've ever seen. I hope you sound more convincing than you look. I sound very good. Just listen. Ho, ho, ho, and growl on the growl. For heaven's sake, now we swallow these teeth. Oh, Mrs. Harris, if I were you, I'd get a new husband. I always say husbands are just like cars. Once they start falling apart, get rid of them. It costs too much to keep them in repairs. Of course yours look like he still has a few good mildings, but I wouldn't advise you to take him on any long trips. Curly, she stopped. I suppose she needs winding. I don't see no place for a handle. Maybe it's the end of the record. Turn her over and see what's on the other side. Oh, Curly, you'll like this. Never a smile at a crocodile from the Peter Pan album. Oh, she's an RCA label. Well, let's spin her and see what... All right, all right, fellas, you're being very rude. I'm sorry, Mrs. Stewart. Oh, don't apologize. We have to make allowances for them when they get senile. You better get in the car and get going. Those children will be waiting to see santiclaws. Of course they'll be disappointed when they see you, Mr. Harris, but you can make up for it by entertaining them. After all, you're an actor and you can do some of your famous barnyard imitations. I don't do no barnyard imitations. Well, then ride your unicycle or whatever it is you do. I'm a singer and a darn good one. Ain't I, Elliot? I like you better on the unicycle. Never more. I got a great song for those kids and they'll love it. I'll sing it on the way down. Jingle bells, jingle bells, jingle all the way. Ooh, what fun it is to ride in a one-horse open sleigh. Dashing through the snow in a one-horse open sleigh. O'er the fields we go laughing all the way. Bells on Bob's hair ring, they're making spirits bright. What fun it is to ride and sing a slaying song tonight. Jingle bells, jingle bells, jingle all the way. Hey! Ooh, what fun it is to ride in a one-horse open sleigh. Hey! Jingle bells, jingle bells, jingle all the way. Ooh, what fun it is to ride in a one-horse open sleigh. A day or two ago, I thought I'd take a ride. And soon Miss Alice Faye was seated by my side. The horse was leaning length, misfortune seemed his lot. He got into a drifted bank and we regained upsot. Jingle bells, jingle bells, jingle all the way. Oh, what fun it is to ride in a one-horse open sleigh. A day or two ago, I thought I'd take a ride. And soon Miss Alice Faye was seated by my side. The horse was leaning length, misfortune seemed his lot. He got into a drifted bank and we regained upsot. Jingle bells, jingle bells, jingle all the way. Oh, what fun it is to ride in a one-horse open sleigh. Hey! Jingle bells, jingle bells, jingle all the way. Oh, what fun it is to ride in an open sleigh. Jingle bells, jingle bells, jingle all the way. Oh, what fun it is to ride in a one-horse open sleigh. One-horse open sleigh. Hey, look at all those kids over there. They're so eager and anxious to see Santa Claus. Hey, I wonder what I'm supposed to do to amuse him. Maybe I don't have to entertain him. I'll just go over and just be Santa. Look, Curly, please don't do it. Why spoil their Christmas? I keep telling you it ain't gonna spoil it. The trouble with you grown-ups is you don't know what Santa Claus is supposed to look like. But the kids do. They'll love me and I'll prove it to you.  Watch his reaction when I talk to him. Hello, little boy. I'm Santa Claus. What would you... Ow! Kick me right in the shins.  Step out in the alley with me. I'll break every... Curly, you can't fight a kid. You're supposed to be Santa Claus. I'll take my suit off.  None of them will. Oh, that kid was just a brat. I'll pick out a nice kid. There's one over there that looks like a little gentleman. Follow me. All right. Hello, son. I just came over to see you. And I'm treating you. Trick or treat. Where'd they get them kids out of cracker jackboxes? Look, son, I'm Santa Claus. And why are you wearing the disguise? It ain't no disguise. This is a real Santa Claus suit. And it was made for me by the little elves up at the North Pole. Now, if you could read, you could see this label that the little elves put in the back of the suit. You know what it says? Yeah. Abbey rents. Never mind. Rental. Three dollars per day. Beer. 35 cents extra. They got me a 35-cent beard. No wonder it don't taste good. Look, kid, pay no attention. Where'd he go? He ran away like all the other kids. Curly, you ready to give up now? No, I'm not ready to give up. Maybe I'm using the wrong approach. Maybe I've been a little too brusque. Hey, look, there's a kid bending over that tree. I'll go over and pat him on the head. Hello, son.  Stop pressuring me! Oh, I picked a humdinger this time. Julius, I didn't know you were going to be here.  What am I supposed to be? What do I look like in this red suit? Like a hundred and eighty pounds of... I'll tell you what I am. I'm Santa Claus. This is a Santa Claus. Yes, I am. And if you look closely, you'll see the resemblance, because I have a cheery smile, twinkling eyes and rosy cheeks. I like your big, fat, red nose. You do? Yeah. It's way too a mess of cottage cheese. Kid must be hungry. I keep reminding him of something to eat. Look, Julius, you shouldn't kid about a thing like this. You, you believe in Santa Claus, don't you? Oh, naturally. And I'm sorry if I offended you, Santa, dear. You come to my house this Christmas Eve, won't you? Certainly.  And what's the first thing you'll do when you wake up on Christmas morning? Weap out your ashes. My ashes? You mean... The biggest blaze you ever saw. I don't think that's nice. Especially when I was going to bring you such a lovely present. Oh, I'm sorry, Mr. Harris. What kind of present are you going to bring me? A hand grenade with a loose pin. Beat it, will you? Get out of here. Now will you take the hint, Curly? Nobody likes you as Santa Claus. Yeah, I guess you're right. All I've done is make fun of me since I got here.  I'm going to take this suit off, too. And I never want to see it again. Well, I told you you'd be a failure, Curly. All right, don't rub it in. Don't rub it in. I was trying to be nice to those kids and play Santa Claus for them and all they did was ridicule me. You'd think that they'd... Oh, mister, can any kid get into that Christmas party or... Say, are you Santa Claus? Yeah, you want to make something out of it? I don't want to hear the more cracks about how funny I look. Oh, you don't look funny, Santa. I think you look wonderful. Yeah, yeah, I know. Now get a look. I do. You really think so? Sure. I've seen those make-believe Santas in the stores, but they're not like you. You're much better looking. Well, I can't argue that point with you. Wait a minute, kid. Do you think this is the real Santa Claus? I know he is. Anybody can tell by looking at him.  Uh, look, kid, there's something I got to tell you. Quiet, John Bullybury. Now, tell me, son, what do you want me to bring you for Christmas? Didn't you get my letter? Your letter. Oh, sure. Yeah, yeah, I got it, but... Well, I just sat down to read it when suddenly the North wind came and blew it right out of my hand. Butterfingers? Quiet. Gee, you didn't read my letter. I guess that's what happened last year, too, because you never showed up. I didn't?  And look, Sonny, as long as I'm here, why don't you tell me what you want? Well, I'd like a bicycle, a pair of skates, a football, electric trains, an air rifle, a chemistry set. Wait a minute, wait a minute. That's quite a lot of things you're asking for, isn't it? Yeah, but don't forget you owe me a lot of stuff from last year. You got a point there. All right, Sonny, I'll see that you get everything you want on Christmas Eve. Oh, thanks, Santa. I'll be waiting for you. Merry Christmas. I'll be there. Merry Christmas, son. Come on, Elliot, we got work to do. Hey, you know, Curly, he really believed you're Santa. You're darn right. And that's why I'm going to the store and buy him everything he asked for. And I'm going to deliver it myself on Christmas Eve. Yeah, that's fine, except for one thing. You forgot to ask the kid where he lives. I know where he lives. 22 Elm Street, right over the grocery store. How'd you know that? Well, I... I don't know. It just came to me. Elliot, do you suppose I really am Santa Claus? All right, Curly. I better find out where the kid lives so we won't be disappointed. Hey, Son, where do you live? Grocery store. Ooh, I'm getting out of here. Wait for me. I'm going with you. Curly, how did you do that? Nothing's too hard for the real Santa. Now let's take the bus and go home. A bus for the real Santa? Nonsense. We'll go home in your sleigh. All right, Elliot. Don't argue. You get in and I'll drive. Please. Up Donner, up Litson, up Prancer, up Vixen. And away we go. Elliot, please, please. What's the matter, Santa? Stop the sleigh. I'm getting air sick. Phil will be back in just a moment. Is this what wakes you in the morning? Well, those days are gone forever when you own RCA Victor's wonderful new personal clock radio. This tiny clock radio can automatically turn on its radio at any preset time and wake you pleasantly to music. And if you oversleep, it can gently buzz to remind you of the time like this. This completely new RCA Victor set brings you all the advantages of a powerful radio plus the conveniences of an electric clock, yet it's no bigger than a clock. Choose this smartly styled clock radio for yourself or give it for Christmas. It's the gift that keeps on giving. See and try RCA Victor's tiny new personal clock radio at your dealers tomorrow. This is Phil again. You can still help in the fight against TB by purchasing Christmas seals. TB is the nation's number one infectious killer. So help the TB Association and your community. Buy your share of Christmas seals today. Thanks and a Merry Christmas everyone. Merry Christmas everybody. Included in this program transcribed were Lois Corbett, Stuffy Singer and Tommy Reddy. The part of Julius was played by Walter Tetley. Whether you're in the mood for reading or relaxing, for dancing or romancing, there's music to match it in RCA Victor's new mood music series. You'll find a choice of melodies to fit your every mood, played by outstanding artists like Hugo Winterhalter, Henry René and the Mellocrino Strings. Ask your RCA Victor record dealer tomorrow for the new mood music records on extended play and long play records by RCA Victor. Next here, Theatre Guild on the Air over NBC.


Gun Smoke. Brought to you by L&M Filters. This is it. L&M is best. Stands out from all the rest. Around Dodge City and in the territory on West, there's just one way to handle the killers and the spoilers, and that's with a U.S. Marshal and the smell of Gun Smoke. Gun Smoke, starring William Conrad. The French drug story of the violence that moved West with Young America. And the story of a man who moved with it. I'm that man. Matt Dillon, United States Marshal. The first man they look for and the last they want to meet. It's a chancey job, and it makes a man watchful. And a little lonely. And a chester on the street, Matt. He insisted I come along with him. I'm glad he did. I mailed him letters and things to depot, Mr. Dillon. Oh, good. Good, Chester. I took that circular over to Mr. Hyde Tower. He'll print some up in a couple of days. That's all you want me to do, ain't it? Yeah, yeah. I saw. Ain't nothing else you need. I mean, not right now. No. Everything you pretty well took care of, ain't it? Yeah, everything's fine. Fine, Chester, yeah.  My head? Come on, what is it, Chester? Just speak it right out. Well, the thing is, I run into this friend of mine a few minutes ago. I ain't seen him in years. I knowed him a long time ago, way back in the Army. Oh. You know how it is. Well, go on. Well, see, he stationed out at Fort Dodge, right here. Only five miles away. My, just imagine that. Chester, I got an idea. Yes, sir.  Now, you can stay a couple of days if you want. There's nothing for you to do around here. Well, you think that'd be a good idea? Well, it's my idea, isn't it? Yes, sir. It sure is. Well, I'd better get going then. No use wasting time, isn't it? Goodbye, Chester. Bye, Miss Kitty. I'll be back in a day or two, Mr. Jones. Yeah, well, you have a good time, Chester, and to leave the door open, it's awful hot in here. Yes, sir, I will. Goodbye. So that's why I wanted you here. Oh, I guess he thought of my health, but he forgot to mention something. No, what's that? This dear old friend of his has got a pretty interesting job in the Army. Is that so? He's a mess sergeant. A mess sergeant? Well, after a couple of days of that, I'll have to go after Chester with a wagon. You may never see him again. Yeah. Marshal Dillon? Ah, come on in, son. I'm looking for Doc. Well, his office is right next door. I've been there. I've been everywhere. Oh, you need him bad? I was sent to fetch him. Somebody sick? My pa told me to bring him out to our place. Well, is it your pa who's sick? He wants the Doc bad, Marshal. Well, who is your pa, son? Ben Pitcher.  My name's Jerry. Oh, Jerry, your pa must be pretty sick if he's sent for Doc. I know. He hates doctors. Don't believe in him. But he wants Doc to come, Marshal. He told me he had to find him. Now, I've looked everywhere. Well, there's a back room at the Dodge House, Jerry. Doc sometimes plays a little poker in there. Well, thank you, lady. I'll go look. If you don't find him there, come back and I'll help you, Jerry. Thanks, Marshal. Oh, and, uh, Jerry... Yes, sir? If you do find him, be sure and tell him that I want to see him before he leaves, huh? I'll tell him, Marshal. Ah, that's a surprise. Yeah. I've heard about Ben Pitcher. Oh, he hates doctors. His wife's just as bad. I remember he got caught up in a knife fight here in town sometime back and then threatened to kill Doc if he got anywhere near him. He almost bled to death as a result. You know, there's something wrong about this, kiddie. I think I'll ride out there with Doc. Good. I sure hate to see anything happen to Doc. Yeah, so would everybody. Except Pitcher. It stands out from all the rest. Miracles got everything. It's the best. Ellen Dem is best. Stands out from all the rest. Ellen Dem's got everything. Everything? Everything. Best flavor? Ellen Dem stands out for flavor. The Miracle Tip draws easy. Let you enjoy all the taste. Best filter? Ellen Dem stands out for effective filtration. No filter compares with Ellen Dem's pure white Miracle Tip for quality or effectiveness. Best tobaccos? Highest quality tobaccos. Low nicotine tobaccos. L and M tobaccos. Light and mild. Every way. Ellen Dem is best. Stands out from all the rest. How easy they draw.  Holiday weekend time is carton time. This big holiday weekend pick up a couple of cartons of Ellen Dem's when you shop. Try Ellen Dem America's best filter tip cigarette. It's sweeping the country. Make you feel important? A lot safer on a horse. You'll get used to it. I hope not. I don't see anybody around.  Well, I'd expect most anything of Ben Pitcher. A man can change, Doc. Oh, change. Not him. Not Pitcher. I will soon find out. What are you doing here, Marshal? I came along to keep Doc company, Miss Pitcher. Oh, where's the boy? Jerry said to tell you he'd be long directly. Why didn't he come with you? He said that you gave him a list of stuff to buy while he was in town. Oh, forgot. Have a wasting time. Where's Ben, Mrs. Pitcher? He's out back. He's out. In the barn. What's he doing in the barn? You ask him, Doc. I don't interfere in my husband's way of doing things. Is he sick, or isn't it? He's in the barn. You go see him. I got work to do. That woman could fairly drive me crazy, man. Maybe that's what happened to Pitcher, Doc. Between the two of them, it's a wonder the boys made out at all. Yeah, Jerry seems okay. If they have their way, they'll make a spook out of him yet. You know, you're not very charitable, Doc. Oh, charitable. You don't fool me, madame. You don't like them any better than I do. I always try to look for the good side of people, don't I? Oh, sure. Hogwash. Pretty good barn he's got, can you? Yeah. Look, I'll go in first. What's that? You follow me. Pitcher. Hey, Pitcher. He's here, Pitcher. What are you doing in there with that cow? I thought you were sick. It ain't me that's sick. Well, who is sick? Well, cow. Well, cow's got the colic or something. I've done everything I can for her. You mean you had me come all this way, way out here, to Dr. Cow. I wouldn't let you doctor no human. I thought there was something wrong about all this. Cow's, cow's different. I don't mind so much you working on a cow. Oh, you don't. No, cows are different. Humans can get well by themselves, but cows is helpless. They're kind of pitiful. Uh, listen to her. She's hurting bad, dog. I ought to kick you right in the head, Ben, Pitcher. Don't take it out on me that you doctors don't know nothing. If you're so smart, do something for my cow. Before she dies, dog. Oh, all right. Well, look at her. But you sure don't deserve it, Ben. You ain't doing it for me. You bet I'm not. Now get out of the way and let me in there. Ah, take your time, dog. I'm in no hurry. Leave him be, Ben. He'll let us know if he wants any help. How's my cow, dog? Oh, here's your knife, Ben. Did you stick her with it? I did, and she's going to feel a lot better. You can give her all the water she wants, but don't let her eat anything for a day or two. She going to live? I don't know. If she dies, I ain't going to pay you. I wouldn't take any money from you, anyway. What's wrong with my money? It's not your money. It's you. What do you mean? Hey, Pa, I'm back. I got all the stuff, Ma, wanted. You had better hope. Oh, Doc, Marshall. Jerry. Say, Doc, you missed all the excitement. Oh, that's it. Yeah, it happened just after you left. Everybody was running around looking for you. What happened, Jerry? Oh, Mrs. Hill, she was walking down the street, and I guess the sun was too much for her or something. Anyway, she fainted, and she fell against the window right there at the general store, and it cut her arm real bad. Nobody could get it stopped bleeding. They couldn't. That's why they were looking for you, Doc. I told them you'd come out here, but they wouldn't believe me. Well, what happened to Mrs. Hill, Jerry? She died, Doc. Huh? Just before I left. I'll pitch you. A woman died. If I'd been there, I could have saved her, but... But she died. Don't target me.  Oh, none of you doctors is any good. You could have done nothing. Oh, no good. Well, I'll show you. No, wait a minute, Doc. You're not. I'll show you. Nobody hits me. Pa's got a knife. No, pitch her. Put it down. Oh! He cut him. Hit her! Ripped me with a knife, Matt. You hurt bad? Well, it's bleeding. See that? He helped me in the house. We can look at it there. Yeah, sure, Doc. What about Pa? You let me know when he comes to. I'll come back and knock him out again. But it's still bleeding now. I don't care for that mess you're making on that bed, Marshall.   You do it! I don't think that knife rupts you. But a couple of those veins have to be tied off. And then it's got to be sewed up, you see? Oh? Yeah, there are needles and thread in my bag. Now, I'd do it myself. I can't reach it easy enough. You mean you want me to do it? Yeah, I'll tell you how much. What? You think I can? Oh, it's easy. Especially for a gunfighter. Yeah, that's what I was thinking. I can bleed to death this way. I won't have any trouble, Doc. Here, you hold the cloth on it, huh? I got it. I'll go get you back. Get out of here, pitcher. You hit me awful hard. He jumped me first. You saw him. I was protecting myself.  You're threatening me.  No, no. Get out of here and stay out of this house. It wasn't easy. And I felt like I had fence posts for fingers. But I finally got Doc sewed up. He'd lost an awful lot of blood, and he passed out before I finished. So all I could do was sit there and watch him. And maybe that was the hardest part. In the morning, however, he seemed better. And he insisted that I take him into dodge. So I made him a bed in Pitcher's wagon and had Jerry drive the buggy alongside him. He was in bad shape by the time we reached Tom, but I got him into his own bed and then sent for Kitty to help me out. I don't know what I'd have done without her for that next week. Yeah, Kitty, I'm coming. You know what he wants now? Oh, what? He's tired of drinking plain water. He says if we don't start cutting it with some good corn, he won't drink anymore. Well, then let him go thirsty. He won't hold out long. No public servant's going to tell me what's good for him. He'll send that lawman down for some whisky. Doc, now we've gone to a lot of trouble to keep you alive. We sure have. Oh, don't you worry about me. I'd get out of bed right now. I like being weirded on you. No, no, who's that? No, that's a dumb question. Who's that? How do I know? Well, go look. Doc, I never thought anything could make you any ornerier than you've always been, but getting stabbed, didn't it? Oh, never mind the gab. Just answer the door.  Come on in, I said. Oh, good heavens. Well, go ahead, Doc, fire me. Doc? Doc! It's Jerry. Yeah, come on in, son. Oh, Doc, Marshall. Now, what are you doing in town, Jerry? I come for Doc. What? Paul's sick.  Oh, now look, Jerry. It's the truth, Marshall. Paul made me lie last time, but he don't even know I'm here now. He doesn't know you're here. He's too sick, Doc.  He don't know nothing. What about your ma? Does she know you're here? I didn't tell her. Is she to stop me? Doc?  Now, he can't go any place. Please, Doc. Why should he risk his life for your pa? Wait a minute, Matt. Now, just wait a minute. Here.  I'm a doctor, Matt. A man's dying. It doesn't matter what man. I knew you'd come. I knew you would. You're crazy, Doc. You'll open that cup right now there. Besides, you're not strong enough. You'll be taking an awful chance. Jerry. What? How'd you come to town? I figured you'd need it, so I brought the wagon. Where are you going to help me out, Matt? Best filter. Notice the color of the miracle tip. It's white. Pure white to give you the purest and best filter. Best flavor. You get a rich, good tasting, fully satisfying smoke. And that's what every smoker wants. Best tobaccos. Highest quality tobaccos. Low nicotine tobaccos. L and M tobaccos. Light and mild. Today by L and M. It's sweeping the country because it's America's best filter tip cigarette. Be sure you have plenty of L and M's on hand for this big holiday weekend. Yes, today. Why don't you get a carton of L and M's? Because L and M's got everything. This is it. L and M filters. L and M's got everything. It's the best. He's awful weak, ain't he? Here, I'll get the door. Come on in. Ma's probably in the bedroom. It's over this way. We know who it is, Jerry. Oh, I forgot. Is that you, Jerry? It's me, Ma. Where are you been? Jerry came after me, Mrs. Pitcher. We don't want no doctors. Your husband's sick? He's terrible sick. But you can't do him no good. I can try. Jerry, I'm gonna whip you. No, Miss Pitcher. No, you're not.  It's dark, Miss Pitcher. You can tell he shouldn't be here at all, but he came. He came to help a man who tried to kill it. And nobody's gonna stop him. He looks pretty sick. Both. Give me that. No.  Go on.  No, K. Marshall. You know, Miss Pitcher, you don't deserve Doc being here. You don't deserve it at all. I've been thinking. All night I've been sitting here thinking. No.   Doc's doing everything he can for him, Miss Pitcher. Can he save him? You think he can save him? I don't know. This is Pitcher. How is he, Doc? Well, he's passed the worst. I think he'll be a... Can I see him? Can he talk? Yes, but not for long. He needs a lot of rest now. Speaking of rest, Doc, you... look like you could use some, too. Yeah, we're going back to Dodge, man. I'll sleep the whole way. Good. Doc, he wants to talk to you. Where is it, Pitcher? Ma. Ma says you was here all night. I was, yes.  Maybe I helped her. Maybe. But what I want to say is that...  I didn't ask you to, Pitcher. Pitcher, Doc saved your life. Maybe he did. But I ain't gonna pay him. It doesn't matter, but why not? Of course, my cow died. Pitcher, I'm gonna... Ma, Ma, Ma. Don't bother. Come on, let's go, let's go. Doc. Yes? He means what he says, Doc. I can't change him. It's all right now. I can't change him, but... there's something I gotta say. Yes? I'm proud to have you in my house, Doc. I'm real proud. I can't say no more. I've been paid, Ma. I think I've been paid pretty good. Now our star, William Conrad. Thank you, George. Mild and plenty quick on the draw. That's L&M for you. And the pure white miracle tip on the business end of every L&M filters out everything but the taste of the world's finest tobaccos. All you have to do is pick up a carton of L&Ms and you'll see what I mean. L&M stands out from all the rest. And by Norman McDonald, stars William Conrad as Matt Dillon, U.S. Marshal. Our story was specially written for Gunsmoke by John Mustin with music composed and conducted by Rex Corey. Sound patterns by Tom Hanley and Bill James. Featured in the cast were John Daener, Vivi Janus and Sam Edwards. Harley Bear is Chester, Howard McNeer is Doc and Georgia Ellis is Kitty. Put a smile in your smoking. Next time you'll buy cigarettes. Stop. Remember, only Chesterfield is made the modern way with AccuRay. This amazing quality detective electronically checks and controls the making of your Chesterfield. Giving a uniformity and smoking quality never possible before. For the first time, you get a perfect smoke column from end to end. From the first puff to the last puff, Chesterfield smokes smoother. Chesterfield smokes cooler. Chesterfield is best for you. Next time you buy cigarettes. Stop. Remember, Chesterfield is made the modern way with AccuRay. Put a smile in your smoking. Just give them a try. Light up a Chesterfield. They satisfy. You'll also enjoy Chesterfield's great radio show. Larry Como sings all the top tunes on CBS Radio every Monday, Wednesday and Friday. Jack Web stars in Dragnet on Tuesday nights. Check your local listings. Listen to Gunsmoke again next week. Transcribe for L&M Filters.


Hi, everyone, and welcome back to the CSS podcast, where we cover all things CSS from accessibility to ZIndex. And this season, we're answering your CSS questions and helping resolve some of those CSS frustrations. Like a nice massage to work out the kinks of your code base. And one of those frustrations that you might run into is glitchy animations. And this is especially common for 3D animations, but it might happen in other contexts, too. So we'll start by covering issues in 3D animations, and we'll talk about 2D animations and other animation glitches that you might encounter. Excellent intro, glitchy resolutions. Here we come. So if you are doing any sort of 3D transforms or even transforming a card flip, where you've got content on the front and the back, can you believe there's a back? I don't think a lot of people even know that there's a back to everything you put on the page. I mean, anyway, whatever. You might run into some glitchiness when you're kind of switching between these things. This could happen when you're doing the transform and the browser's interplating between the states, which could be like something on hover or focus. And the browser's transform style property is flat by default. And when you apply transforms, you tend to do it on a 2D plane. So if you're creating 3D animations and they're not what you want, it's probably because you have to change the transform style. The fix is transform style colon preserve dash 3D, preserve 3D, which kind of sounds like a style I'd place on a dinosaur egg or something going extinct.  Thank you. It's like cryogenically frozen. That's what we should transform style cryogenically frozen. No, that doesn't have the same ring. Anyway. Submit an issue to the working group. See if it lands. Actually, April Fools, maybe I should just go put a whole bunch of bad ones in there just to, no, I don't think that land good. If you wrote a post, yes, this plugin, it could work. Touche. I'll just make an ancient syntax for styling based on dyno language. Anyway, whatever, this is getting off track. If you use preserve 3D, it tells the browser to keep the 3D transformed elements in 3D space. I just kind of what it sounds like, but also it's kind of weird. You even have to ask for that. You're like, I'm putting them in 3D. So hey, be in 3D. And this is just so they don't get flattened out into the plane of their parent element. And so this is useful if you're running into issues with transformations in a 3D space, you're gonna want preserve 3D. And also it's like there's a video game concept in this where like a child node is trying to escape the 2D nature of its parent. You know, like I'm a 3D kid. I'm a 3D teenager, dad. You're 2D. Let me escape your 2D plane of existence. I'm ripe with these bad ones today. I'm so sorry. I'll just let you keep going. So another 3D CSS Gotcha is when you're creating something like a card where you have content on the front back and you want to flip it or a cube with content on multiple sides. So once you have set up your 3D space, sometimes you either don't get the expected side visible or it glitches during the transition if you're going from flat to something that is 3D on the transition. So if you could imagine an example of that is just that card parent with two divs, one is on the front, one is on the back and then you're flipping between them. But by default, you only see the div, the second div in reverse. And the browser is keeping it on top of the other div.  An element's back face, so it's back, is a mirror image of its front face.  And since it's second element, it goes second. So it has, it's on top of the one before it. So that's what you're seeing kind of flipping back and forth. And you're just going to see it in reverse. So you want to turn this off when you're working in this 3D space. And the fix for that is back face visibility hidden. You want to hide the back face of that element. If you hide the back face and once you flip it, you'll see the other element.  That's the key here. One gotcha with this is that back face visibility is ignored when you're applying overflow or opacity to the parent. And this is because overflow and opacity are grouping properties. They require the user agent to create a flattened representation of its child elements before they can be applied. And because of that, it forces the elements to have a flat style for Preserve 3D. So just like Adam talked about with Preserve 3D, it'll convert it to a flat style instead of the 3D style, which I just learned about all of this when preparing for this episode, but there are other grouping properties in addition to opacity and overflow. And those include clip path, filter, clips, isolation, mask image, mixed blend mode and containment. So if you're using container queries within kind of 3D transform, watch out for that too. There's also still some cross browser bugs with back face visibility, especially on mobile, but this space is a candidate for Introp 2024. So hopefully this gets accepted and finally ironed out soon. Excellent explanation. Reminded me of two things that I should have put in our notes here. One of them is, if you have two divs that are stacked on top of each other that you intend to hover and do the rotate, think about some of the glitches are because it's as if two pieces of paper are trying to exist on the same slice of paper. And so you see this tearing that can happen, right? We're like, it's seeping through because they're technically like, are they in each other or on each other? I don't know, they're like one, but not. And the browsers has a struggle, like deciding which one to show you. And so you'll see this like glitchy effect. And the other thing you reminded me too when you explained Preserve 3D is an interop issue I think it was last year it was decently recent, decently recent. Sorry, that was fun to say all out. I said you have to put Preserve 3D on stuff over and over and over again. So this is like another gotcha you're gonna have is you might just be like, all right, the viewport to my 3D world, Preserve 3D. And then you throw something in there and rotate its X to like have it look like it's in perspective in 3D and it doesn't do it. It's cause that also needs it. So I'm just remembering all my demos where I have like star selectors that put Preserve 3D on all the children so that when I rotate them they stay in 3D. Another weird thing with that example, like if you're hovering over the card you might lose your space once you start to rotate. So you might stop that animation. You need to give it a parent that you're hovering on or you're focusing, the focus doesn't give you this problem cause you're focusing on the element but if it's hover once you get to like here see how there's like a very thin space. You kind of have to make sure that you're always going to stay on that element to continue that transition.  Totally. Specifically for hover effects. Yeah, this is classic where you hover on something and slide it away and then when you're unhovered it slides it back and then it does it forever. Yeah, cause it's moving in that 3D space. So it's a very, very, very, yeah. Excellent call. All right, we also have one here. Overflow issues could also break your 3D illusions if your transformation exits the bounding box and you've hidden overflow, multiple viewport panes. It's like the browser has to look through the scroll port and the viewport and then your perspective port and all these different things. And so overflow can impact the way that this is all being rendered. Sometimes 3D animations can have very different across browser performance. And that's because of how browsers render the 3D buffer and 3D surfaces. Browsers aren't designed to be game engines even though Eric calls them 60 frames per second text scrollers or whatever, right? And it's awesome. It just sounds like a first person shooter but it's just a text scroller. Yeah. And so they're not designed to be game engines even though they can do a lot of the work. They're designed to be laid out as one thing in front of the others. So like layers, it's magic paper. I love thinking about the web, it's like magic paper. And that's why transform style is flat by default. I got magic paper, just layers of paper. And historically it wasn't very reliable, aka it was unreliable, especially on mobile to do like 3D animations. Just wasn't a lot of GPU power, but it kind of, it's gotten a lot better. Do you remember FAMO.US, about 10 years old now? Yeah, yeah. I've had one demo. And they made the coolest as all the elements from the periodic table that was swished around into a helix back into a table. And it was all in the iPad one and it was 60 frames per second, it was amazing. But the way they did it was by hacking the CSS 3D transform matrix.  That's not easy. Anyway, good news, it's gotten a lot better. There's a lot less jank. Things are, and if you find something that doesn't work, plug a bug. But I don't think you will, but I think the final tip here is just test it on mobile. That'll really help you, so. Yeah, that reminded me, just fun fact. One of the things that got me really into fine development was 3D CSS. Like it was just this really interesting mix of logic and design and just figuring out how to make those work. And at the time when these capabilities first came out, they were breaking a lot of browsers. I thought that was funny. So definitely a topic that I thought was fun. Yep, me too. So let's talk about slow animations too. You might be running into glitchy or slow animations because you're overloading your CPU and you have a lot of animations running that aren't being hard or accelerated. You might be dropping frames because of this and your user experience will suffer. So background, we talk about web page and rendering performance. In order to render a web page or re-render it upon some visual style change, the browser needs to go through four classic steps. There's style where it would calculate the styles that apply the elements that needs to be calculated first. Then there's layout step or layout stage where you generate the geometry and the position for each of those elements. Then there's paint where you fill out the pixels for each element onto layers. And then there's composite where you draw the layers onto the screen. Why do I wanna do this skit on stage at some point? I know, there should be like a little, there's many cartoons. I feel like there's a lot of articles about how to do this. There's lots of doodles, but I wanna see a person do it. You have the power and you have the equipment. Touche, I suppose I shall then expect that maybe, I don't know, I have somebody weird bad ideas. I can't go execute them all. But anyway, great explanation of those four steps. I think those are really crucial for people to know as they're like digging deeper and deeper into the front end space, as Paul said.  So like if you're also calculating styles and then you might just affect one though. So like that's the thing is knowing what you're changing can help you know if you're affecting all four of the steps which is gonna be extra slow or if you're popping in right there at the last step, the composite step. So animating something like width requires layout changes which then affect paint and then composite. And there you go. You got three little dings against your performance there. But if you use transforms like scale or opacity, those only affect the composite steps. So that's at the very end. It shows up, it goes, I'm happy to do this. I'm just gonna nudge this a little bit like this. And it's able to do it very efficiently. So try to use hardware accelerated properties, generally as best practice for all CSS animations and these include opacity and transforms. And if you can't use these optimized properties and you're seeing jank, you can use well change on your element. And this lets the browser know like ahead of time that I'm gonna change this property and you list out the properties and it will change. So also avoid saying all in there where you're like, I'm gonna change everything. The browser is like, I'm ready for all of it to change that and it'll like spoon up and ramp up and probably be overly excited for the tasks that you're doing for it. But this can allow you to sort of manually create a layer. They're called like GPU layers, that composited layer where all those steps are squashed into one and that can be moved around and scaled nice and easily. Telling something will change, it can do that work ahead of time too. So you're basically telling it to promote this layer, do as much of this work in the GPU as you can and be ready for me to change things. But the tip here is use it sparingly. You can totally overdo it. So if you've got a hundred items and you want them all to animate, don't give them all will change because then it's gonna take all of those, put them in the GPU and maybe run out of memory while I did that and then it's gonna be really bad. You can also remove the property or put it on just in time. So you can put it on to 30 of them, have them animate doing something funky that's not scale or transform or opacity and then take it off when they're done so that we can free up the memory and tell the browser, I'm all done changing those. Yeah, those are some good pro tips and some good advice, especially if they don't overdo it. I like that sort of adding it just as you need it, just in time. Jit. Jit. So another sort of along the same vein little hack is sometimes you could just hack something to force hardware acceleration like adding transform, translate 3D000. This won't actually make any transform difference but it can fix some glitchy bugs so recently with scroll driven animations there was still what it was being a work in progress in Canary. This transform, translate 3D000 thing fixed a lot of the inconsistencies and bugs while they were getting started out. It just sort of can be a kill switch sometimes if you're running into weird glitches with animations. You could do that force hardware acceleration little hack, it's a hack. It's a hack. It's a hack when CSS3 just came out, which is funny, that's a long time ago. We called that the silver bullet and then it got reduced. It was, so we would do, yeah, translate 3D000. But then we were like, if all we're trying to do is trick it in and make it a layer, why don't we just do translate Z0 and then that became the new silver bullet, slightly less to write I guess and was more pinpointed. Anyway, it was dumb. That was a lame thing for us to have to deal with but it didn't have a cool name. The silver bullet, like, oh yeah, just put this on there and watch the animation get better and you're like, hey, it worked. Kind of is the silver bullet, that's annoying. But yeah, we got better ways to promote things to the GPU now. Oh man, the jokes. I just like want a night layer, like give me a sword, but like, I'll now promote you to a layer. And it's like, yeah, I've always wanted to be one. Okay, so another thing to make note here is like sometimes a really intense easing function can cause some frame rate loss or some jank. I've got easings that are like really striking. I'm talking like they just shoot out the gate and then they slow down right at the very end. And sometimes the browser struggle with those. Like using the built-in keywords is very reliable but if you make a really intense easing on over a short amount of time, you might find you get some jank there. And also sometimes with 3D work, Z and X or translate Z can be weird and we were talking about seams and intersections with other elements on the same plane of existence. It can be really nice. I think there's even a tip in a hot tip when they were refactoring transform 3D and something like how you have to write preserve 3D and all the layers is that if you don't put something on zero, it's better. Like putting something at least on Z index one or translate Z one will help you be in the scene as opposed to like on the screen of the scene. So just things to think about that depth starts to have meaning. And then you can use that to your advantage and it might be a cause of a bug or a way to get out. Interesting, nice. So another issue you might be running into is if you're trying to animate properties that don't interpolate. And we talked about interpolation in the last episode ad nauseam. So this would be an example of if you're animating discrete properties. These are properties that don't move slowly from one value to another or interpolate from one value to another.  So example, those are blend modes, display animations, various properties that you can't have values that would solely shift. And currently in most browsers, these will switch on at the beginning of your animation. So might appear glitchy and unexpected but there are a bunch of changes that are coming to discrete property animations in Chrome 116 and 117 where you're able to now add discrete animations to be switching at the 50% point of your easing function during your animation duration. So instead of right at the beginning, they'll sort of try to switch at 50% or ease in line with the rest of your animations. This can kind of help alleviate a little bit of that. And that's for transitions. And then with animations, they're gonna be within the key frame that you're calling them for. When you are applying transitions for discrete animations, you sort of have to turn this mode on with transition behavior. So you have to set transition behavior to allow discrete. So that can be a standalone property or you can use it in the transition shorthand.  You have to have that keyword. If you're thinking about just turning this mode on for transition behavior, you're gonna have to do this after the transition shorthand. Just keep that in mind because it's a specificity issue since the transition shorthand, you could override it if you don't have that little keyword. So just be mindful of this. There are behavior changes coming to discrete properties if you turn them on and you might have like these word glitches if you're not expecting it, if you're applying properties that don't interpolate. So they don't have this ability to smoothly animate from one value to another. Just worth exploring what those values are too. Yeah, so it's like deferred, discrete. I have a question. So by default, discrete values flip immediately regardless of, this is for a transition, not keyframes because keyframes you could delay it but for transitions you can't. And so when you say allow discrete, does it just automatically go to the end? Or it goes to the 50% point of that easing function during the animation duration. So it'll put it on the animation transition timeline instead of at the beginning. Gotcha, thank you. I feel clarity after that. The shorthand thing. Sorry, that was confusing. No, it's cool. Well, you were explaining it. I kind of knew what it was and then that just popped up in my head as like, oh, can I delay it to the middle or is it only gonna delay it to the end? Anyway, so you answered that very nice. And if you are doing this for things like display or for things like visibility, that acts really smoothly, especially when you combine it with other things like opacity or a transform so that you could kind of ease it in and out. You want to combine it with other properties if you are animating display, for example, is in either a transition or an animation. You want to combine those things. Well, that's a really good way to mess with other developers that don't know what this property is. You could animate display but delay it. So they'd click a delete button and be like, hey, it's not gone. And then it goes away and they're like, what? Why is this not, by the way? But it's still in the DOM. Yeah, still in the DOM. It's still in the DOM, hold the DOM. All right, so let's talk about something like debugging. Although wait, I had like a small side thought which is this shorthand thing is getting really annoying in CSS. You know, we're like, this happened with scroll driven animations where you have to list a property after the shorthand or just not use the shorthand at all. And people have been warning against shorthands for years and it's only getting worse. It's like a festering blister inside of CSS. That's gross, sorry. I like shorthands, but we are running into these things where you wanna have global behavior and you wanna expect it to act like other global behaviors. So if you have like a star selector, you might do like box sizing, border box and you put that at the beginning of your whole code base. If you wanted to do like the global selector like star transition behavior allowed to screed or apply global behaviors for retransitions, you don't have to put that at the end of your code base instead of at the beginning so that it overrides all of the shorthands. So that I think we're starting to enter some new territory with global CSS that might not just be at the beginning of your style sheet. It might be at the end of your style sheet. Well, cool. Just some weirdness that we're running into now. It's good. I need to talk about this with someone and you're the person, you're the only nerd I get to chat about this stuff with. So thanks for being there for me. I'm always here for you. I love it. Let's talk about some debugging scenarios. So you got some animation glitches, things aren't going right. And you're like, how do I get out of this? Well, one of the cool things you can turn on is the DevTools FPS meter. It's in the rendering tab. You can also hit Command Shift P on Mac and just type FPS and it'll pop up.  Like you can scroll your huge page and see the FPS. It's a high performance animation. It will have a high percentage. So the closer to 100% the better. You can also see the actual frame rates on there and see if you're dropping below 60 or dropping below 30 or getting into the 10s of the fives. At which point you should be going, what am I doing wrong? Yeah. You can also do an audit in the performance panel and this can help you identify big layout recalculation which can then tell you to look at the DevTools FPS meter also. But if you are in the performance panel and you see a big purple bar, that means that you have style and layout recalculation or a big green bar might be a re-rasterization if it's not hardware accelerated. So those are just a couple of things to look out for with the performance panel if you're deep bugging buggy animations. Yep, excellent. This next one has saved my bacon numerous times. This is paint flashing. So you open up the rendering tab, you turn on paint flashing and it will show with a red little box that fades out what just got painted. And this is really handy because when your site's at a resting state where you're not scrolling and you're not interacting with it, there should be no paint flashing unless you have an active animation and that's kind of what you can see. So the first off you could be like, hey, what's that red thing flashing up there? And it turns out you had an infinite animation that was set to opacity zero and it's still running, it's still rotating. And you're like, well, that is wasteful and paint flashing can help you discover these things that might be mysteriously running even though you thought you stopped them or something like that. So paint flashing, check that one out, that has saved me a few times. Good call on that one. Another good one that is kind of obscure is show layer borders and the layers panel. So you can find this, I think the easiest way is just Command-Shift-P and search for layer in the little pop-up for DevTools. It's also in the rendering tab, but this lets you see your layer borders. So if you apply will change, you'll see that a new layer is created and that can be why this is helpful for debugging animations or especially 3D animations where you might have multiple layers created that might break your 3D effects. So check that out if you're still not sure why some things are kind of funky, it might be a layer. Might be a layer, yeah, that's how you don't guess it. You can go see layers and that one's also super duper nice. Last debugging tip here is isolation. So just remove all the other crud on your page, reduce the amount of work the browser has to do, isolate your little animation and your effect and see if it's still reproducing the issue. If it is, you've at least eliminated a whole bunch of potential things that can help you understand what you did or just reducing complexity in the page, but the whole app that's there can often add up to a bunch of like combined oddities and reducing it can help you. Or maybe you didn't turn on paint flashing, didn't realize you had multiple animations running infinitely while you're trying to debug this little one that's being crappy. Turns out all your memory's been consumed by invisible animations so it's a good thing to reduce. We need an isolation mode and dev tools. We do, yeah. That's all we have today. So thank you for joining us as we de-glitch your glitchy web animations. Yeah, yeah. And if you have any questions, don't tweet us because we don't love to answer them and if we don't have a hashtag, so send us no questions. If we didn't have a hashtag, what wouldn't it be? Not CSS podcast. So you can find me at the UNA or not at UNA. Yeah, don't find me, Argyle, Inc., ARG, YLE, INK. And your question, no, we do, we love them. It could help a lot of people. Send it over. Yeah, send it over because we are actively recording these so it could get answered on the show. And if you like the show, give us a review on whatever podcast app you're using or share this podcast with a friend or a coworker. Those reviews are how you can give us a high five and help other people find our show, which means that more people will get to learn about this kind of stuff and improve the quality of CSS on the platform. Thanks, y'all. Looking forward to your questions. Yeah, this is the goal. We're here for that. We'll see you. We'll see you next time.


All right, the last question is from Andrew, and he's wondering if Mike has a working theory on why supernatural occurrences haven't happened en masse since the resurrection of Jesus. Yeah, my working theory is how would we know? I mean, just think about the question a little bit. First of all, what does en masse mean? I mean, the largest miracle in the New Testament was 500 people. Okay, so is that en masse? Is it 10? Is it 500? Is it 1,000? It's hard to even quantify that. And how would we ever know whether some, another group of 500 people didn't witness a true miracle at some remote point in the Gobi Desert in the eighth century? Okay, our recorded historical resources are extraordinarily limited. There was no TV, there's no audio recording, there's no internet. In other words, how do we know? In my position, again, my theory is we don't know. Now, in this regard, I think for people who wonder about this, I would recommend, again, they're a little expensive, I don't get a kickback, you know, I'm not, I'm not, nothing like that. I would recommend Craig Keener's two volumes, a recent two-volume work on miracles. They're thick, they're dense, and Craig goes through lots and lots and lots and lots of sources that we do have, and which is an infinitesimal amount of data compared to the totality of human experience at all times and all places since the resurrection. So this is a, a minute percentage, but what's actually recorded in terms of miraculous events is a lot bigger than people think. Again, we're used to judging these sorts of things by our own life experience, by the experience of our own family, by what we might see in media that are available to us today. Again, we need to widen the net a little bit, and I would suggest reading that, getting those again, I'll admit, and Craig doesn't have anything to do with this either, I know Craig Keener, he's a wonderful guy, but his, his focus, his area of study, he's a New Testament scholar, and he's, he's does a lot with spiritual gifts and miracles and whatnot. He's a, I think I could describe him as a small sea charismatic, you know, kind of person, at least in his tradition, but he is, he's a legit bona fide scholar, might, might actually be something we could entertain to get Craig on the podcast if, if this is sort of a topic of interest, I'm sure he would do it. But there's a lot more out there as far as quote unquote evidence for this than you might think. But again, how would we really know is again, my, my working position. I just don't see any way we would, we would be able to read the question and consider it factual because there's just no way to know one way or the other.


Tehran is directly involved in helping Russia propagate this devastating war. The regime in Tehran is directly assisting in tangible demonstrable ways to Mr Putin's military capability to kill innocent Ukrainian people. John Kirby, National Security Council Coordinator for Strategic Communications said at an online briefing for foreign journalists. They are sending several hundred drones to Mr Putin and his military so that they can use those drones to target civilian infrastructure, to target homes, to target hospitals, to even hit playgrounds. There is no doubt about it. Tehran is directly involved in helping Russia propagate this devastating war on the people of Ukraine and we are going to continue to hold the regime accountable. Not only for that, but the way they are treating their own people as they continue to brutalise peaceful protesters. The United States is going to continue to hold the regime accountable for its activities. Sadly, those activities continue to destabilise not only the region but again, now the European continent. Kirby said. All of which is deeply concerning to the United States, to the region, quite frankly to the world. We have seen a deepening defence partnership between Iran and Russia with respect to the fighting in Ukraine. Make no mistake about it. The regime in Tehran is directly assisting in tangible, demonstrable ways. But what concerns us is the potential for Russia to return the favour and to provide or assist or help Iran develop even more advanced capabilities, particularly military capabilities. That would only further destabilise the region.


The Northeast Development Commission, NEDC, is working towards a master plan. This would make the commission and the six states in the region become self-sufficient and eliminate dependence on federal allocation by 2030. Speaking at a stakeholders meeting in Jalingu, the managing director of the commission, Mohamed Al-Khali, disclosed that all operational internally displaced camps in the region will be closed down by 2030. In his speech, the governor, Dairus Ishaku, promised continuous support of the state government to the activities of the NEDC. He commanded the commission for carrying the state along in its activities. The situation in the Northeast is very fluid. It is changing. And our plan is a holistic plan, but it takes into consideration the fluidity of the situation and the need to make adjustments as the needs arise. By 2030, we wouldn't want to have any IDP remaining in the whole region. In fact, as we speak now, in the preceding year, that's 2021, about four camps were closed down in Borno State, and that's why we have the concentration of IDPs. The NEDC's vision is novel, as the commission was able to enlist everyone in the master plan project, resulting in greater acceptability and buy-in. We therefore commend the harmony, collaboration and cooperation among the governments of the region and the commission's inception.