Welcome to Adam Does Movies Live for Tuesday the 19th. Just days away from the, oh, it's like a fly in here. Came out of nowhere, shot out of a cannon, a fly attacked me. As I was saying, we're only mere days away from the Christmas celebration. If you celebrate that, Hanukkah maybe started already. I really don't know. I barely know the day that Christmas is on. I just wake up and my wife starts chucking presents at me to give to the kids that she of course purchased. I just sit idly by and watch my money dwindle away, such as life for middle income families. Hope you guys are having a good time. Couple pieces of housekeeping before we get to the movie news which is gonna be the topic of tonight's sesh, short for session. Number one, there are two movie roasts up on the channel, Adam Does Movies. We have one for Frosty the snowman and how he kind of sucks as a protagonist and two is Rudolph the Redo's reindeer and how all the adults are trash. These are fun, silly, lighthearted. They're not meant to like hurt your feelings or anything. They're just kind of fun observational humors that I had after re-watching these 1960s classics that I'm not sure the story even, I think the story was a bit aged even when they came out in the 60s. I don't remember parents being like that, at least mine weren't.  Somewhere of course, but that's just bad parenting all around. Outside of those, I have two more movie roasts to edge out the year. One of them is in the making right now and that is Star Wars, The Last Jedi. This is gonna be a beefy roast. It's a long movie, it's gonna be a long rant, but we gotta do it right. We gotta go big or we're gonna go home. So Last Jedi, I'm still trying to get done for hopefully later this week, probably Friday because again, script writing's taking a while. The other one next week is gonna be Matrix Four, Matrix Resurrections. I think it's, I don't even remember the name. I tried to block that movie from memory, but it always comes back and haunts me later. Last piece of news, I was on Cody Leach's channel two nights ago, I believe, with Sean Chandler and Cody. We had a couple-hour discussion about the state of movies and where we see it going in the future and it went into a bunch of different realms. It was a great conversation. I talked with them for another hour after it was done, off-stream. We really all kind of hit it off, got together really well. They've been on my channel a couple times. It was my first time really joining over there in their pool, fantastic. Thank you to anyone who subscribed from Cody's channel. Thank you for coming over. I welcome you with open arms. We have something in the works for early next year. I can't say what it is yet because who knows, it could fall through at any time and it's very early talks. But I hope that early next year, I can say, hey, this is gonna happen in a month or so, join me. And that would be awesome. It'll be the first time I ever did something like this. I'm gonna keep it bagged because I'm trying to keep my hopes down. Okay, I think that's it, 19th again. So Friday's live stream, I'm not sure what we'll be doing yet but next week, Tuesdays and Fridays will be best movies of 2023, worst movies of 2023. That'll be the Tuesday and Friday of next week. Let's get to movie news. I have one, two, three, four, five, six pieces to, yeah, six pieces of news that I've found scouring the internet. And then one observational note that I wanna bring up that's a little, oh, it's not spicy really. It's just something that's perplexing to me. We'll get to that at the end. One more note before I begin. The only time I'm gonna bring it up until the end, super chats are always appreciated. If you throw one my way, I will read it off. I'll put it up on the screen. It can be a movie question. It can be a personal question. It doesn't matter. Be a piece of movie news you want me to react to. And I'll put it up there and react if I can. Okay, let's begin. I'm gonna share this tab. Pop it up. Okay, look at this guy. Christopher Nolan, if you're watching the video and not listening on Spotify or Apple or whatever, because these do go up on the podcast as well. Christopher Nolan feels great about the state of the movie business after Oppenheimer's success. Maybe he should have talked with Cody and Sean and I because we were feeling a little less thrilled about the movie industry. Okay, let's see what he has to say. Christopher Nolan is looking back at his banner year in Hollywood thanks to Oppenheimer as well as the current state of the cinema landscape. The summer box office saw a much needed resurgence following COVID. Oppenheimer has gone on to gross 952 million. Oppenheimer, of course, part of that Bob and Heimer, Oppenbarbie, Barbieheimer thing. That was the Barbie Oppenheimer double feature that you could do that a lot of people did. It was an insane marketing tactic that worked. I think it was grassroots. Supposedly no marketing agency was taking responsibility, truly impressive. I'm sure next year and in 2025 though, we're gonna see agencies attempt to a sorry attempt to recapture this kind of magic again. All right, Nolan goes on to say, I've just made a three hour film about Robert Oppenheimer, which is R rated in half in black and white and it made a billion dollars. Of course, I think films are doing great. The crazy thing is that it's literally the most successful film I've ever made. I've been doing this for 20 years and in the United Kingdom, it's my highest grossing film. So I feel great about the state of the movie business based on my own experience, but also based on seeing other movies break out, seeing audiences come back.  The anecdotal evidence he's using as himself. If we look at the year overall, it wasn't great for movies. Disney dropped the ball on a lot of films that bombed at the box office. Elemental, I think climbed into a profitable range, but it wasn't impressive for Pixar, which I don't think is gonna make back what it needs to. The Marvelous was a complete failure. Ant-Man and the Wasp, Quantum Shittia was a disaster. What else? DCEU, DCEU has been embarrassing this year. The Flash bombed, Blue Beetle bombed, Aquaman too, probably gonna bomb, we'll see. And that's just Disney and DCEU. There's a lot of other ones that just did not do well at all this year. So Christopher Nolan, I think kind of being a little too humble, he's Christopher Nolan. And as he stated, it's been 20 years for him. He has built up a very dedicated audience. He has a pedigree about him of kind of being a top tier director this guy did. No, I was gonna start with Tenor. That's probably his worst movie. He's got The Dark Knight trilogy, that little nugget, that little chestnut. He's got Inception, Interstellar, which I absolutely love. Well, I love Inception as well, but Interstellar, a little underrated, I think. Tenet, everybody slips up a little bit. But even that movie, I don't think it's bad. And yeah, I just, fantastic flawless basically director. So I don't think using his own success is really a great benchmark to go off of the industry as a whole. We'll see what 2024 brings though. Onto the next topic. Everything we know about alien Romulus. Spoiler, not much, but we do have a release date. August of 2024, baby. After the surprise success of Prey on Hulu slash Disney Plus, that came out on Disney Plus too at the same time. I know Hulu and Disney, like Disney owns Hulu. Disney owns like everything though. So I mean, whatever. 20th century studios in Disney have wasted no time and are developing more predator and alien projects for both cinemas and TV. Up next is alien Romulus. Tentative title from Evil Dead 2013 director. Oof. I didn't watch Evil Dead 2013, I only saw parts of it. The acting seemed really schlocky. My wife hated that film. Not the best sign, but maybe he's done some other stuff. Word on the street is that the movie was originally set to be released on Hulu, but studio executives were so impressed by the production. That is so depressing to even hear. It's getting a theatrical release, but that's so sad to hear that a freaking alien movie was gonna get shot out on Hulu. I was already really sad that Prey was shot out on Hulu. That was a good movie. Prey's not amazing, but it was a good ass movie and it's sad that I didn't get to see that on the big screen because it would have been fantastic. Meanwhile, Noah Hawley, Fargo Legion director, has been developing the first ever alien TV show for FX slash Hulu. As far as we know, there's no narrative tissue connecting the projects besides the fact that they both happened to be in the same universe. Okay, so we got some alien stuff coming out in 2024, TV series and a movie, Alien Romulus. We have a photo down here. Look, that looks like a practical effect of a xenomorph, which is solid. Oh, is there more info? After the original plan to release the movie, no, that's not, that's the same stuff, same stuff. Same stuff, no, we don't know anything else. It's coming out next year, folks, and I'm excited about that prospect. Up next, we have December box office, Wonka takes over weekend with chocolates for everyone. Oh, what a cute title collider, thank you. How did Wonka do? As was expected, one of the biggest releases of the year didn't disappoint when it came to its performance with an early release in other countries. Wonka has already managed to snag over 100 million at the international box office. Timothy Shala May, the dreamy catch of all as Willy Wonka, he's really bringing in the bucks. And we have 40 million for, what do we have for, is that domestic with a total of gross of 150 million worldwide. This suggests that the movie may earn a spot in the top 20 most watched films of the year. Okay, for the third week in a row, The Hunger Games, ballad of songbirds and snakes secured the number two spot. Yeah, that movie's doing well. That movie's doing, and that's impressive because Hunger Games, the prequel story, first off, it's a prequel story. I'm amazed that it was actually decent.  It's been a long time. You have new characters. Again, I was kind of pleasantly surprised because I did read the book and I did not like the book. I thought the movie was better. Too long, of course, like most films. Also, Wonka, was only surprised with Wonka too. Maybe it's the fact that enough years have passed since the Gene Wilder film and I just don't care anymore. Gene Wilder will always be my Willy Wonka, but Tim D. Schell made a different performance. I liked it. Again, didn't love it, but I thought it was a solid family flick and I'm excited to watch it with my family when it hits streaming.  Good for Wonka though, you know? I bet we'll see more Wonka movies because it is a prequel and there's plenty of room in between these films that they can do more. And I don't think this is gonna lead into the Wilder original. That's just my guess. This is gonna be its own thing. All right, the topic of the night in between a few other news articles, Jonathan Majors fired at Marvel, found guilty of harassment and assault. Not a good situation. All right, the actor Jonathan Majors has been dropped at Disney and Marvel as a result of his ongoing legal issues following his arrest earlier this year on domestic battery charges against his partner. Okay, confirms THR. Majors was taken into custody by the New York police department in March, 2023. Following response to a 9-11 call, a 9-1-1 call, 9-11, never forget, never forget. A 9-1-1 call from a manhandle apartment. Following a two week trial on December 18th, the actor was found guilty of two misdemeanor counts of harassment and assault and acquitted of one count of intent, what is it, intentional assault in the third degree. An aggravated harassment in the second degree. There's a lot of degrees going on. Disney and Marvel still intend to move forward with their upcoming slate of films, but it appears that it will be undergoing a series overhaul with Loki writer Michael Waldron who recently hired to pen a new drought. Yeah, cause I think they fired the hacks that did Ant-Man and the Wasp.  That's not happening anymore. Majors at the time was appearing in both Creed III and Ant-Man and the Wasp. Yeah, listen, he plays Kang the Conqueror. People were praising his performance. I did not have any impression of greatness from that performance. I was like, okay, this guy's kind of lame. That's my takeaway.   Not quite the first impression you wanna leave people. Usually you want your villain to be villainous, to be threatening, to be evil, to be dominating. And he was none of those things for me.  He was arrested, he was found guilty. You can think whatever you want. I don't have anything to say as far as his guilt or wrongdoing or whatnot.  I'm a lame single, I'm single. I'm a lame married man for like 15 years. I don't go out to bars, I don't go clubbing.  I know virtually nothing about this man other than the fact that he's now been found guilty and will be in prison for a year. And that's really sad for the fact that he had his whole career ahead of him.  It's a good lesson for everyone to learn.   I just, I can't understand. Like being a major actor in a huge movie like this is winning the lottery. There are hundreds of thousands of hungry actors out there clamoring for a role like this.  And he's not the only one. Look at people that have had a rich acting history. Like Kevin Spacey, destroyed. Look at Joss Whedon, what happened to Joss Whedon? He was like the nerd director go-to.  It's gonna be sweet. He knows comic books. He knows how to put on the big screen. Is the Avengers director gone? Completely washed from the face of the earth. No one talks about Joss Whedon anymore. I don't even know what that guy did. Like I don't keep up. I said this on, when I was talking with the guys the other night, I said, I don't follow actors.  And I just post the YouTube shorts there. You can follow me. I don't have anything provocative to say. I just put in the work and put it out there.  That's what happens, Jonathan Majors. Like you asked for this. I don't know Jonathan Majors. I don't really want to know Jonathan Majors.  And of course they are in their own bubbles, just like we're in our own bubbles. We think a certain way. We hear things from other people that we think are fact. Maybe they are. Maybe we have beliefs that they don't.  We're all going to die. And it's not going to mean anything.  I just, I don't care.  I only want to watch them in movies. That's it. I don't follow the chef at the restaurant down the street on Facebook and see what he says about January 6th or something. I don't even remember the date. Is that the date, January 6th? I don't care what he has to say. As long as he's a good chef and he's making my meal, I appreciate him. Thank you for that. You can continue. You can be a bozo outside of it. That's fine. And that's just my stance. I know there's a lot of people that really get invested in this stuff and they'll say like, oh, this actor's woke and I'm going to boycott this movie because this guy's a Scientologist or this person is a deep state person or this person's like far left. Everybody's something, you know? Let them be that. You watch the character on the screen. This is a movie channel. We're talking movies.  Disney's going to drop you like a bad habit. Let's talk about the fallout and what is next. I think Disney should just scrap the Kang and the Conquer thing altogether.  I say walk away. Kang the Conquer can just be a background character that was defeated by Ant-Man and the Wasp. Maybe since you've introduced this terrible multiverse, you just burn this one to the ground. Some cataclysmic event happens and just wipes it out or you just move away from it. Maybe the Kang's are all defeated somehow by a real big threat or maybe there's a Kang the Conquer who looks different than the other ones. He's the rogue Kang the Conquer. Jonathan the Conquer. Oh, that's too close to Jonathan Majors. Baxter the Conquer and he wipes out all the other ones and now he's the head one. I don't know. There's lots of things you can do or just quietly maybe reboot the whole thing. Maybe do the James Gunn DCEU approach now and say, you know what, it was good run. We maybe went a little too far with things with the She-Hulk TV show and the Marvels and all these other like spin-offs and movies that don't quite gel together as one.  That's possible. Maybe they just do that. Maybe they just say, okay, end game was the end. We screwed around for a while with the cherry on the top but between the Eternals and all those characters never showing up again, maybe they will. And between Thor, Love and Thunder being just awful and Anne Fan and the Wasp being a miserable wreck and the Marvels not being watched by anyone and bombing at the box office and She-Hulk being a complete joke that somehow also progresses the storyline of the Hulk and gives him a son. Like there's just too much baggage here. It's too much to round up.  I don't care. I think a lot of people are burnt out and don't really care either but maybe you take a beat, take a pause, take a year off like DCU is. They're not putting out a new movie in 2024 according to James Gunn. And James Gunn says this is healthy. This is a good thing. This is what we need. And I agree with them. Jonathan Majors is gone and I suppose that's a fitting end to what was inevitably gonna be probably a disastrous set of films anyways. Okay, another piece of news. Jason Momoa shares a somber update on his Aquaman future. It's not looking too good. That's Jason Momoa's voice. I want a little deeper and bro-ish. Jason Momoa or Jason Momosa, if you will is one of the hottest properties in Hollywood. He is, okay, we'll keep going. But as he prepares to make what seems to be his last appearance as DC hero Aquaman, there is a definite question hanging over his future. This is something the actor addresses head on in an interview. Let's go to his, where is his quote? Here we go, this is Jason. I don't necessarily want it to be the end. Jason's also what I do for the rock impression. It's just a little more bro-ish sounding deeper. Oh, he says, but I don't think it's really like a choice. The truth of it is, I mean, if the audience loves it, then there's a possibility. But right now I'm like, it's not looking too good. I love this character and I would want to play it for a long time. I kind of see where I want it to go. And even in the next 10 years or so, like there's a lot of cool things they can do. And I do enjoy the role and the world. So I mean, it just comes down to if people love it. Yeah, he's out.    There is more up top here that kind of solidifies all of this. Let's go up, I kept this one above. Where's it at? Where is it? He had a quote about his other character that he's probably gonna play Lobo. Here we go. So Lobo, I used to collect comics and I don't do so much anymore, but he was always my favorite. And I've always wanted to play Lobo because I'm like, hello, it's pretty perfect. It's the perfect role.   But I mean, that's a guarantee. So you don't have to worry about that. But I haven't received the call. So I don't want to put any fake news out there. But if they ever call me and ask me to play or ask me to audition, I'm there. Yeah, very eloquently stated from the most sought after talent in Hollywood apparently. Thank you, Jason Mamosa. It is looking like he's gonna play Lobo. I don't know what Lobo is. I assume that's a character, a villain or something. We'll see.  Look at this guy up top, just a beast of a man. Yeah, there's definitely, I can see it.  They both have long hair. They're both pretty jacked out. I like it. And I think it's the right call for Aquaman to be sunset. We have our first super chat of the night. It's quiet on the super chat front. Perm for $100, a Christmas miracle. Merry Christmas. Also glad you finally saw a point break. Yes, Perm, I saw a point break. Matt Sclero was not happy with me. He said our friendship was on the line. He said he's a $10 myth roll and he threatened to cancel. If I didn't, I guess watch that movie. I was also supposed to watch a Princess Bride. And I didn't really care so much about him canceling the membership, but the friendship, that was kind of a, I was a deal breaker. And any friend that's willing to cancel some support on you over not watching a film, that's a friend you wanna hang onto. So you can thank Matthew for that.  Yeah, thank you, Perm so much. We're gonna put this up one more time. Look at that beautiful $100 super chat. That's amazing and point break was awesome. Again, I thought it was gonna be cringe. It's old. Sometimes those movies don't hold up today, but it was like awesome cringe.  I don't know what they did.   Keanu Reeves is fantastic. Whole thing is, it was a great time. I loved it. All right, let's get on to, we have, God, there we go. I didn't even put this in the, this came in late. Rebel Moon, this is never gonna end, is it? Let me enhance. Can I enhance the text? Thanks to the long drawn out process of bringing Zack Snyder's Justice League to the screen, people are now obsessed with the idea of Zack Snyder doing director's cuts of his films. So even before anyone saw one frame of his new film, Rebel Moon, part one, A Child of Fire, there was already extensive discussion about his R-rated director's cut. But according to Snyder, you shouldn't look at this as pure director's cut or extended cut. His R-rated version of Rebel Moon is an entirely different beast, of course it is. Oh, God. Speaking to the AP, Zack Snyder teased what people can expect with his upcoming director's cut of Rebel Moon. And no, it's not just an excuse for him to include a ton of gore and even more slo-mo. Instead, it appears the idea of going into this filmmaking experience, knowing that he was going to have the freedom to do completely different cuts of the film, created a situation unlike anything he's ever experienced. This is insane. What? So at my real job, I'm a, this is not my real job, believe it or not. This is a passion project, a hobby and a side income. It's really a full-time second job. My real job is I'm a full front-end UX UI, graphic designer and front-end developer. Full stack, they sometimes say in the tech industry.  Lately I've been doing that. It's not by choice, it's by company request. So I will have to do three versions of a single thing. I always try to put my best foot forward, my heart, my energy, my creativity into one concept. Telling me to do two or three concepts instantly takes me down a peg and it makes me get a little sad and go, oh God, I don't wanna do two or three different concepts. I have a vision, dammit, and it's perfect. So when I see this, that Zack Snyder has two different versions out of the gates that he's thinking about doing. That doesn't fly for me. That flies in my face actually as a creator.  And he's got all these different pieces and he's like, oh, I'm gonna use some of this over here. But then I'm gonna smash this onto this one and I'm gonna build these two different things. I just don't see that working out well. Early reviews, I haven't seen this movie yet, not looking great. As we all know though, I'm the outlier. I like to be different and shake things up. Reviews and attention, not really, not really. I thought the trailer for Rebel Moon looked pretty awesome but I also have a very love-hate relationship with Snyder. I think Early Snyder's really good.  I don't like his writing and that's becoming a problem with his films for me. I will watch this movie in a couple of days when it releases, I'll have a review of course and we'll see. But this troubles me. I don't like this and I also hate the idea that Snyder has this cult following of people that adore his stuff. And it's almost like he's playing to that bass now so that they can yell, yes, new cut, new release this cut or it's almost a cop out ahead of time where he's basically planting the seeds in people's minds of, listen, what you're getting on Netflix? You can take this off, I don't need that on. What you're getting on Netflix is only half the movie. Okay, this is not the superior cut. I have in the vault over here the actual film, the R-rated movie with the blood and the guts and it's gonna be awesome. So he's priming his audience to already think going in. All right, this is probably not gonna be the best version. So we'll just stand by for the masterpiece that's gonna come out in the future. I hate that. I don't really need to read anymore of this because I've already glanced over this and it's basically just him saying that he's got this vision and he sees it be an R from the beginning but Netflix wanted it at PG-13.  Oh, we do, you know what? I poked the bear and here he is. Super chat from Matt Sklaro for 9.99. Thank you, Matt. When are you going to watch The Princess Bride? Oof, I hit a nerve. And now he's... Oh, Matt. Princess Bride is on the docket. It's somewhere on the agenda but I got roast to get done, you know? So you have to, you have the choice here, I guess, sir. Do I get these roasts done for last Judd and the Matrix or do I watch The Princess Bride solely for you and then not talk about it on the channel? I mean, it's up to you, sir but I have responsibilities to the Mithril members on this channel. Thank you for the 9.99, Matt, and for the friendship. Hope all is well. This is the last piece of news. So if you do have Superchats like Furman Matt did or Matthew, if you will, sometimes I call him Matthew, please put them in now because after this little tangent I'm gonna go on, I will read the Superchats and I will go over to twitch.tv slash Adam Does Movies where I will be streaming, hang on to something because this is wild. I will be playing Mario 1 for the Nintendo and I will be attempting to beat this game from beginning to end without using any warp pipes. Something I may never have done before in my life. I beat the game very easily, of course, with the warps but going beginning to end, I just don't think I've ever really done it before. I don't even know how long it takes for a seasoned veteran to do, let alone someone in my position that maybe at one point could have been considered good at the game.  Okay, let's get to this last piece of news. If I can just bring that up, that'd be great. I could just bring that up, that would be fantastic. There it is. So there's a site that's been around for 20 years. It's called ScreenRant, it's a YouTube channel. It's actually a YouTube channel I've made content for for a year, I made two documentaries that are about 15 to 20 minutes each, one on James Cameron and one on Black Panther. These were documentaries I was told to make but I found myself really enjoying them. I did all the research, I wrote all the scripts, I did the audio recording, found all the footage. I'm very proud of them, you can check them out. One is on Avatar, one is on Black Panther. I then had a show over there because I kind of pitched it and they liked the idea and that's called Real Rivalries. There's I think around 20 to 30 episodes, there's I think 30 episodes or something like that. There's a Real Rivalries tab on ScreenRant where you can actually watch those as well.  Oh, I have this off, I can actually go to it, look. Let's see if they have me on here still. Oh, there I am. So Real Rivalries right here. I'm Adam and this is Real Rivalries. There are, oh God, there's actually more than I thought. This is not me, I don't think. So I think around 42 episodes. We'll say 40 to be safe because the ScreenRant playlists are terrible. There's doubles in here and yeah, we're gonna say 40. Regardless, I was fired from them, I was canceled from them along with two or three of their other new shows that they tried out. Even though the numbers were actually good on my show and they said that I was probably gonna be in it for a long time. A week after we had that discussion, they booted me and these other new shows because ScreenRant was having some financial woes, woes, hoes, hoes. And they made the executive decision poorly to move Ryan Howard's show, the super popular, super easy, barely an inconvenience show pitch meetings. Where is pitch meetings? It's down here somewhere right here. Super easy, yeah, ScreenRant's pitch meetings. They decided to give him his own channel on YouTube which was the stupidest thing they could ever have done from a business standpoint. Now, of course their audience loved this. Clapping, cheering, shouting from the top of the roofs. They've been wanting this for years.  Great for the viewers because a lot of them only watched Ryan Howard, Ryan George. I say Ryan Howard, Ryan George. They only watched Ryan George pitch meetings. They didn't watch all the other trash that's on the channel which to be honest, a lot of it was pretty bad but it wasn't embarrassing bad like it is today. Because after Ryan George was giving his own channel there was a massive dip in views. This channel would get anywhere from a few hundred thousand views to millions.  I don't know what has happened. This is honestly a huge mystery to me. So this video is 82,000 three weeks ago. This one's 57,000, 44,000, 24,000, 6.6,000, 9.9,000 folks. This channel has 8.5 million viewers. What happened? I know someone that actually works there. Joey C. does freelance for these guys and he said that, actually I shouldn't say anything bad. Well, Joey C. works for me. He said what happened is new management took over.  Two minutes long and they look like they're built with AI and to make more puzzling news, three weeks ago was the last time they uploaded a video. These guys would upload like five videos daily. They had over 300 independent contractors that would do their stuff. They had people internally that would have to peer review everything they put out. It was a well-oiled machine. I knew a half a dozen people over there. They were awesome. At some point, some company took over in the last two or three years or something changed because it's gone, it's done. More bizarre is just three weeks ago they put out a 20 year birthday celebration featuring Dwayne The Rock, Johnson, Kevin Hart, Emma Stone. Like a whole bunch of people were randomly filmed off phones or whatever saying like, happy birthday screen rant. Like they really did this and then crickets. It's insane. I don't understand what happened. Three weeks ago, this channel's dead. Screen rant is dead. And there was no video, there's no video, there's no community post or anything saying what happened. Let's go to the community post. Two weeks ago was the last community post. Wild stuff. I just thought that was crazy. I checked in on them periodically because I'm just curious as to what they're doing. Sometimes it's good to check in on what other movie creators and big channels are doing to like look at it and think, okay, what can I be doing differently? How can I use inspiration from what they're doing? On my channel, there's nothing inspiring about what's happening over there. I'm pretty sure it's AI driven at this point and they tried it for a few months and it didn't work out. And so they just pulled the towel, or they threw the towel, they pulled the plug, all the other innuendos or metaphors or whatever the hell you wanna say.  And I think I'm done. All right, that's the movie news. If you have any final super chats, questions, comments, put them in now for ever hold your peace. We do have one from Perm again. Perm the unsung hero tonight.  What? You have not seen Princess Bride? You must watch. Don't let the title make you think it's some girl movie, a classic. Go watch now. I mean, it didn't make me think it was a girl movie. And even if it did, I liked girl movies too. I would imagine Devil Wears Pratt as a girl movie. I freaking love that film. Granted I celebrate Meryl Streep's entire catalog. Fried green tomatoes. Yeah, sure, throw it on. I'll watch it. I'll watch it. I don't care for pretty woman though. I never cared for pretty woman. I'm not a big Julia Roberts stan. I never really thought there was, I never thought much of her. I think Anne Hathaway was always kind of the, the modified better version of Julia Roberts. They both have kind of big facial features. Very pretty women, pretty women. But I thought Anne Hathaway had a lot more range. I don't know why I'm talking about this. I don't know where I'm going with anything anymore. Okay, thank you guys for watching. That's the live show. Tune in Friday night at 9.30 p.m. tentatively. Maybe it'll be at 10.30. You know, my Friday nights kind of vary depending on my daughter's social life. She has a few friends that they get together and do fun things every Friday, whether it's bowling, whether it's going to a coffee shop and hanging out. And I have to chauffeur.  So sometimes that runs a little later. So my stream goes later. That's why. It's not because I'm like tinkering and toiling with different things for the show. Okay, I will see you guys later. Join me on Twitch at twitch.tv slash Adam Does Movies. Become a subscriber there. Follow and subscribe. You get a free one from Jeff Bezos. You have Bezos bucks. If you're an Amazon Prime member, don't let it go to waste. All right, that's the show. Thanks, I'll see you next time.


Hello and welcome to a summary of all you need to know about one 27 hours between a rock and hard place which is an extract taken from the book with the same name written by Aaron Ralston. Now I'm going to be reading through and explaining the extract as it appears in the Pearson-Edexcel International GCSE anthology and I will explain the meaning related to this text as well as language devices that Aaron Ralston uses that you need to be aware of as well as other factors that you need to understand when and if you're writing an exam or a coursework piece related to this extract. So let's get started. Now of course remember that this is an extract and an excerpt from his actual novel with the same name and this novel is an autobiographical account taken from Aaron Ralston's life. So in this first-hand account he describes how a boulder essentially crushed his right hand whilst he was climbing and hiking in a canyon and he'd not really informed anyone of his hiking plan so there's a lot of tension. Now I will go through the extract however I'm going to go through it in sections. So I will begin by reading the first three paragraphs as you can see here and then I'll highlight important techniques that you need to be aware of and then I'll do so as we go through the extract. So let's begin. I came to another drop-off. This one is maybe 11 or 12 feet high, a foot higher and of a different geometry than the overhang I descended 10 minutes ago. Another refrigerator chockstone is wedged between the walls 10 feet downstream from and at the same height as the ledge. It gives a space below the drop-off, the claustrophobic feel of a short tunnel. Instead of the walls widening after the drop-off or opening into a wall at the bottom of the canyon, here the slot narrows to a consistent three feet across the lip of the drop-off and continues at that width for 50 feet down the canyon. Sometimes in narrow passages like this one it's possible for me to stem my body across the slot with my feet and back pushing out in the opposite directions against the walls. Controlling the counter pressure by switching my hands and feet on the opposing walls, I can move up or down the shoulder width crevice fairly easily as long as a friction contact stays solid between the walls and my hands feet and back. This technique is known as stemming or chimneying. You can imagine using it to come up the inside of a chimney. Just below the ledge where I'm standing is a chockstone, the size of a large bust higher, stuck fast in the channel between the walls. A few feet up from the lip. If I can step onto it then I'll have a nine foot high to descend, less than that or the first overhang. I'll dangle off the chockstone then take a short fall onto the rounded rocks piled on the canyon floor. So now how this extract opens is essentially describing in very minute details how he's basically inching his way across this massive canyon and of course across these different boulders and we're getting a lot of detail about this. So this extract begins with this simple sentence and essentially this sentence puts us right in the middle of the action. We are in this very stiff kind of cliff area with lots of boulders and essentially this really pricks up our interest as readers. Then this demonstrative pronoun this really engages us. We feel as if we're really there. We can see exactly what he's pointing to and of course what he's pointing to is really vast and this is quite intriguing for us especially for those of us who don't necessarily have an experience of climbing these very steep places which can be quite dangerous. Furthermore he highlights the refrigerator, chockstone, ledge and the drop-off and essentially the language that he uses belongs in the semantic field of mountaineering. Again as I've mentioned this is really interesting for those of us who don't necessarily mountaineer. However also this language really shows us that the author Raulston knows his stuff. He's an expert in this therefore he uses jargon related to mountaineering. Furthermore he uses alliteration to describe and to give us lots of detail about how close these chockstones are wedged and walls. Essentially this really emphasises the proximity. Furthermore he uses personification to really give a very detailed account of how the canyon looks. He describes the lip at the drop-off which again gives us a really good visual imagery especially for those of us who haven't actually climbed a canyon or been to a canyon. Furthermore he talks about stemming across the slot and so he uses language which is rich in sibilant sounds using the S sounds which show and reflect how deftly he himself is slithering through these different areas and it shows his agility. Furthermore the antonyms up and down this kind of shows how he has to really manoeuvre in a very complex way this place that he's in this canyon that he's really climbing through. Furthermore he uses the adjective shoulder width to show just how narrow these borders are. This is a really skilled kind of work and of course this is showing his talent as a mountaineer. Moreover he uses the rule of three hands feet and back to talk about how his body is adeptly moving and he's being very deft with his movement and his bodily language as he's going through this canyon. Also he uses a lot of jargon related to the field of mountaineering and of course the present continuous verb stemming and chiming which he explains as a technique ties in again to the work that he does and again what this does is it makes us realise that he knows what he's doing he's an expert in this. So we feel somewhat confident that he's going to really scale this canyon and he's going to do it in a really expert way. He then mentions how it's like climbing up the inside of a chimney. Now this is interesting because he's using domestic imagery relating to the house just a chimney but what this does is it shows that he is aware that there are some readers who don't necessarily mountaineer so he uses domestic imagery that's quite vivid and relatable to really describe the sensation of climbing this canyon. Also he uses a syndetine or a syndetic listing to really speed up the pace of the text and to show how he's really moving across quite deftly. He states just below the ledge where I'm standing as a chalkstone the size of a large bus tire stuck fast in the channel between the walls a few feet out from the lip so it's a syndetine now starts showing that he's really deftly moving. Furthermore again he's still using some relatable language a large bus tire so this again makes us have a clear image of what he can see before him. So let's carry on through the passage. Steaming across the canyon at the lip of the drop off with one foot and one hand on each of the walls I traverse out to the chalkstone. I press my back against the south wall and lock my left knee which pushes my foot tight against the north wall. With my right foot I kick at the boulder to test how stuck it is. It's jammed tightly enough to hold my weight. I lower myself from the chimney position and step onto the chalkstone. It supports me but teeters slightly. After confirming that I don't want to chimney down from the chalkstone's height I squat and grip the rear of the lodged boulder turning to face back up canyon. Sliding my belly over the front edge I can lower myself and hang from my fully exited arms akin to climbing down from the roof of a house. As I dangle I feel the stone responded to my adjusting grip with a scraping quake as my body's weight applies enough torque to disturb it from its position. Instantly I know this is trouble and instinctively I let go of the rotating border to land on the round rocks below. When I look up the backlit chalkstone falling toward my head consumes the sky. Fair shoots my hands up over my head. I can't move backward or I'll fall over on a small ledge. My only hope is to push off the falling rock and get my weight in my head out of its way. The next three seconds play out at a tenth of the normal speed. Time dilates as if I'm dreaming and my reactions decelerate. In slow motion the rock smashes my left hand against the south wall. My eyes register the collision and I yank my left arm back as the rock ricochets. The boulder then crushes my right hand and then snares my right arm at the wrist, palm and thumb up. Fingers extended, the rock slides another foot down there. So I'll stop there and then I'll carry on. So of course, essentially now this is a turning point of the text. So he's climbing, he's definitely moving, moving, moving, and then suddenly he makes a mistake and a boulder comes and essentially crushes his hands and he's trapped. So essentially in the paragraph between lines 20 to 28, as you can see here, he uses language related to the body parts hand, knee, foot, belly. And this is semantic field of body parts. Essentially what he's doing here by showing us each of his movements in every part of his body is it's giving us a very vivid image of his movement and how it's shifting around. Furthermore, when he states I press my back against the south wall and lock my left knee, which pushes my foot tight against the north wall, this declarative sentence initially reassures us we realize okay, he's really understanding how to go, you know, cross this boulder and he has a good grip. However, the verb and the adverb tita slightly starts to create some tension. At first we felt reassured but now we're not quite sure. Furthermore, he then personifies the stone which responds to his adjusting grip. Now this personification makes us feel a little bit afraid. The stone is not supposed to respond. It's not supposed to move when he's moving. It's supposed to stay still. So has he picked the wrong place? Furthermore, he then talks about how there's a scraping quake and this verb increases our sense of tension. We feel like something bad might happen. Moreover, the adverb instantly shifts completely the pace of the text. Arguably this is Volta, the turning point of the text because we now realize something bad is going to happen and then the declarative sentence this is trouble and of course this in trouble is alliteration. This makes us realize he is in danger. This is not another routine mountaineering exercise. Something bad is going to happen. Again, the adverb instinctively coupled with instantly shows us that he's moving really quickly. He's reacting really rapidly but this time he might not be lucky. Furthermore, his mention of the round rocks. This alliteration shows just how treacherous this place is. Also, when he talks when he looks up he sees the stone falling toward my head which consumes the sky. So now this complex sentence essentially slows down the pace of this bolder. It feels like everything is happening in slow motion as we read this and we can see this bolder and we're terrified to see what's going to happen next. Furthermore, the passive sentence fair shoots my hands over my head. So of course, fear is the thing that's been given the power. It shows just how instinctive his fear is and how it basically takes hold of his body. He doesn't necessarily have the practice movements that maybe his rational mindset would force him to do. So maybe there's a different way to respond to a falling bolder but actually now he's just acting on instinct and of course when you act on instinct sometimes that's when you make the worst mistakes. Also, he then uses temporal language. He mentions three seconds, a tenth, and what this does is it actually slows down the pace. Everything is happening but in slow motion and we're watching in horror wondering what's going to happen next and of course we're not only watching, we're reading this but we're feeling utter horror. Furthermore, when he mentions the idea of speed decelerate, decelerate meaning something slows down, this again slows down the pace. Furthermore, when he says time dilates, basically again this slow pace means that time feels like it's stretching as we're reading this. Everything is slowing down much like how he would probably feel that everything slowed down around him as the rock and the bolder is heading towards him. Then the simile, as if I'm dreaming, shows that he's almost now in like a trance-like state and we feel a lot of tension. We're wondering right now what's going to happen to him. Nobody knows where he is. Might he die? Also the violent verbs smashes and the yank basically shows just how this rock has really damaged his body. Furthermore, when he states the bolder then crushes my right hand and ensnares, basically the bolder is personified and it traps him so he is entrapped, he's ensnared. Also that when he states the wrist, palm in, thumbs up, fingers extended, this is a syndetic listing a syndetine and what this does is it really builds up a gruesome image. So let's carry on.  Then silence. My disbelief paralyzes me temporarily as I stare at the sight of my arm vanishing into an implausibly small gap between the fallen bolder and the canyon wall. Within moments my nervous system's pain response overcomes initial shock. Good god my hand. The flaring agony throws me into a panic, a grimace and growl. My mind commands my body. Get your hand out of there. I yank my arm three times in a naive attempt to pull it out but I'm stuck. Anxiety has my brain tweaking. Searing hot pain shoots from my wrist up my arm. I'm frantic and I cry out.  I'd give it even odds that it's made up but I do know for certain that right now while my body's chemicals are raging a full blood is the best chance I'll have to free myself of brute force. I shove against the bolt a large boulder, healing against it, pushing with my left hand, lifting with my knees pressed under the rock.  Standing on that I brace my thighs under the boulder and thrust upward repeatedly grunting. Come on move. Nothing. So when he states then silence. This is a minor sentence because a minor sentence is basically a sentence which doesn't have a verb. So of course in this case this sentence shows that everything in the world is freezing. So before this sentence everything was fast lower temporal shift as I've mentioned really slowed down the pace but now it's slowed down and it's frozen. Also when he states that his disbelief paralyzes him now this paralysis is a real contrast as early energetic activity as we were scaling the canyon going across the boulder and so on and then when he mentions how he watches the sight of my arm vanishing this seems almost like a magic conjuration. It's unreal that his arm which moments before was really powerful now has disappeared into the boulder. There's kind of this magic experience. It feels almost like he's having this outer body experience watching his body being stuck in this boulder. Also when he states good god my hand now essentially this internal monologue he he's almost using a mild expletive. Expeetive is like a swear word. It's when he says good god my hand this internal monologue shows that he's really shocked and he doesn't know what to do next. Also when he describes the agony as flaring it seems like a flame of pain which again makes us feel a lot of pain as readers. This is also coupled with when he uses alliteration grimace and growl and this also shows some animalistic language. Now he's only responding instinctively almost like an animal and this is now his animal instincts capturing him and he's trying his utmost to try and get out because really now it's a fight for his life. Also the adjective naive shows that he's in denial. He just wants to get free and he doesn't accept that he might be stuck. Furthermore the onomatopoeia cry makes us feel really desperately sorry for him. We realize that he's completely by himself and no one might hear his cries. Also he then uses more language that we associate with magic because he talks about his desperate brain how it conjures up a story and this language related to magic just shows how desperate and fanciful his wishes are to just escape.  Also the italics right now shows just how frantic his thinking is and when he mentions that he wants to use brute force again he's reverting back to his instinct because this is essentially animalistic language he just is now simply thinking in terms of survival. Also there's an interesting contrast and pronouns he talks about I I show against the large boulder and then this contrast with heaving against it and essentially this contrast and pronoun I and it creates this David and Goliath scenario so he's the David and he's fighting against this vast Goliath force which is the boulder. Also he then speaks to it almost willing it to leave and the explanatory sentence come on move shows he's really pleading and willing the rock to move and of course the minor sentence nothing highlights how futile his attempts are so by this stage we as readers feel a lot of tension we're really terrified or wonder whether he's actually going to escape and we're really on tenterhooks as we're reading this that's all want to come to understanding this passage as it appears in the person at excel international gcc anthology if you found this video useful do make sure you visit our website which is www.firstreadcheaters.com there you will find plenty of revision resources to help you on your journey through learning english thank you so much for listening


What do you have? You got to watch. No. This is Stanton Friedman. I'm a nuclear physicist with a very strong interest in flying saucers. I'm in Kansas City, Missouri, on July 24th, 1991. I'm here to do an interview with Gerald Anderson, a very important witness with regard to the recovery of a crashed flying saucer in New Mexico in July 1947. We have just had a visit with a polygraph examiner who says he has seen no evidence of deception. This is after spending several hours with myself and Gerald. I'll sleep with Gerald. A full report will be forthcoming. So with that, we will talk to Gerald Anderson. Can you state your name, please? My name is Gerald Anderson. Where were you born and when? I was born October 4th, 1941 in Annapolis, Indiana. Okay. And give me a summary of what happened in 1947 with regard to a crashed flying saucer in New Mexico. Well, we had just moved to Albuquerque, New Mexico, on July 4th, 1947. This was a proximal lady that was the day before we, my cousin Victor, my father, my brother Glenn and myself, we drove down to the Plains of San Augusto, which is west of Socorro, New Mexico, in the Magdalena Dattel area. And we were down there looking for bandit in Moss Aged, which, according to my uncle Ted and my cousin Victor, was probably in the area. My brother being an amateur rockhound and wanted to get some of this. And there was a way of showing us around the area. And they had relatives down in Magdalena that they wanted to introduce us to. So we had gone down there and we got down in the horse springs area and had driven off onto the Plains down an old rutted road for a mile or so. And it seemed like a long ways. We parked the car, got out of the car and walked down a hillside in the semi forest. I guess you could say it had pineal trees and scrub oak and stuff like that. And we'd walked, well, that scrub oak into the cedar. And walked down the hillside into an arroyo, a dry wash. And then walked south down a dry wash toward where the agates were supposed to be at. And as we came around to abandon the arroyo that had pineal and cedar trees growing on them, we were able to see farther ahead down the arroyo. And on the next ridgeline, there was a large silver disc-shaped object embedded in the side of the ridgeline. And there was debris and wreckage and stuff string about the area. But mainly this thing was intact. I would estimate its size from an adult perspective to be something like 35 feet in diameter. I've heard other people who were there say they thought it was like 50 feet, but as an adult I would say about 35 feet in diameter, quite large. When we got up to it, there were four bodies there, not human. There were two of them who were obviously dead. One of them was obviously very badly injured. And one of them apparently suffered no ill effects or didn't appear to be injured and was ambulatory, was mobile. I was just sitting there next to the one that was still alive and appeared to be dead. Were they right next to the vehicle? Right next to it, right under the edge of it. And this craft had apparently come in from the east, bounced off one ridgeline, plowing through this royal area and it crashed into the ridgeline and embedded itself. And they were sitting back under the edge. It was kind of tilted up like this and they were sitting back under the edge here. And I'm assuming that this one creature that was all right had laid this material on the ground, but it looked like unrolled tinfoil that these other three creatures were laying on. Like it was trying to, like you do a person in shock and put them on a blanket, kind of thing. And apparently it had some boxes there around it and had apparently been trying to get first aid or help these other creatures when we first got there. And as we approached the creature, if you're back like this, like it was in fear of us, like we were going to hurt it, and it wasn't very long, you know, trying to communicate with the adults where it seemed to calm down and just sat there and kind of looked back and forth, watching them apparently trying to figure out what was going on. What did it look like a little bit more? These creatures, all of them were all about four foot tall, four and a half feet tall. They had very large heads that were shaped larger on the top and they kind of tapered down. Not to a real sharp point, but just tapered down where they were thin. And they had very large, very large oval shaped or almond shaped, I guess you could say, black eyes that had, they were so shiny they had almost a bluish tint to them when the light reflected on them. Their skin coloration, I think the best way I could describe that is kind of a bluish tinted milky white. It looked like someone in shock. And the ones that were laying on the ground really, really looked more that way, more blue. How about ears, nose?  How about nose? The nose was very, very small, almost imperceptible and just like two holes straight in. And the lips were just a straight line. It was like a cut and you couldn't see any visible lips like we had. It was just a slit. What hair color? I never made a sound. Pardon? What hair color? There was no hair. They were completely bald. And no sounds? I never heard a sound of one out of any of the creatures, including the one that was... Did you see fingers? Yeah, they had fingers like this. They didn't have a little finger. They just had the thumb, had three extra digits except the center digit was longer and the other two were about the same size. They were very long and slender. I looked very delicate and I've made the statement before and I'll make it again. I think it would have made an excellent violinist because of the structure of their hands. There were wearing one piece suits. All of them were dressed exactly the same. It was sort of a real shiny silvery gray color. No zippers, buttons? No, I saw no zippers, no buttons. Insignia? No, no insignias. The only thing that was different, you know, they all had this, but the only thing that was different from me, the silvery gray thing suit, was that down, like the seam on it, like it was a seam on the shoulder and around the car, it was trimmed in what appeared to be maroon, like courty. Then the suits were continuous with their foot gear. You could see right about this area down, it seemed to be less pliable than it was up here. Like this was a stripper area, like it would boots or shoes or something. But they were all dressed exactly the same. Okay, so you and your family are talking back and forth, wondering what was going on. What did your family say? Well, yeah, my brother, one of the first remarks I heard he made was, that's a goddamn spaceship. There was bodies up there, and I was told not to go up there, which I did. How old was your brother at the time? He was in his early 20s, I think, 20, 20 months. He was a lot older than you were? Oh, yes, considerably. When we got out there, I kind of meandered off to one side. This thing was cocked up, and I was standing here. The bodies were here, and everybody else was kind of down here, except my cousin Victor was over here playing, looking at his gaping hole on the side of this disc, and it shaped just like a discus, except for a round dome that was up on top and there was this big gaping gash in here where you could see inside and it looked like a double hole. How big length? The gash? Well, it covered a greater majority from the center of the craft now.  And most of that one side was ripped open like that, and you could see inside, and you could see another double hole like in there, and there was these rows of components that was on there, and there was lights that flashed on, some of them were steady, some were flashing. There was a lot of debris and stuff hanging out of the hole. There was evidence that there had apparently been fire. It looked like it had been burnt along the edge there, the gash. This wasn't a gash that could have been caused by the thing coming into the ground. It wasn't at the leading edge of the vehicle. No, no, this was in the side like it almost appeared, it was elliptical. It almost appeared as if something the same shape as the disc we were looking at had hit that same, you know, had hit the disc and left an imprint that pretty closely approximated the outside diameter of the disc itself. And it appeared to be caved inward, and kind of hit it like this and just crumpled and caved in and ripped it open. Okay, so you're there, you take all this and everybody's mystified. What were the circumstances outside? Hot, cold? Very, very hot, and well to me, being the first time in New Mexico and coming from back east, that dry heat was just like being inside of it. And it was unbelievable to me. And that was the odd part about this thing, the closer you got to it, the cooler it was. And standing under it in the shade there, next to these creature's bodies it was like refrigerated air conditioning. Did you feel air coming out of this thing? No, it was just like it was ambedian. And I remember reaching up and putting my hand on the side of it and I think I was afraid it was going to hit my head because there was enough room for me as a small child, you know. I was approximately the same size of these creatures to walk up under there and stand in it, but I kind of did like that, put my hand up against this thing. What did it feel like? It was ice cold, it felt like it just came out of a freezer. Was it smooth? Was it right? It was very smooth. It had a very smooth texture to it. It was obviously made out of metal, it was very solid and was very cold. Ice cold. And there was a smell in the area. It smelled volatile, acreage like acetone. And that seemed to be coming out of that gash, that smell. But the closer you got to this thing, the cooler it was. So I kind of remained there and I guess they were over here, my father and my uncle Ted and my brother. And uncle Ted was trying to talk to this thing in Spanish and of course it didn't understand what he said. And dad tried to talk to it and then they tried sign language and that didn't work. And I don't know for some reason, I just, I reached down and touched it, this one that was laying next to me. And when I touched it, I realized, you know, I jumped back. It scared me and startled me because I suddenly realized that these weren't dolls. I thought they were plastic dolls. And I, you know, I was still in my mind that these are moving dolls until I touched it.  I'd seen dead relatives before and I unfortunately had made a mistake one time touching their relative who was in a casket and I just knew this is a dead thing. And it scared me and I ran around behind my father and my uncle. And the thing was sitting there on the ground and it kept looking back and forth and it just had its hands like a sense of life and it just kept looking back and forth between the three of them and like it was trying to understand. And all of a sudden it just turned and looked right straight at me between my uncle Ted and myself.  It just suddenly burst into my mind. And I don't know if that meant that it was communicating with me and I was the only one there to communicate with because I was a kid. I don't know. I turned and ran and I ran across the Aroya and up on the area that had bounced off of during the crash. And I was just standing there looking down at the scene, you know, and my family and off in the distance I could see cattle grazing. I could see a windmill and I could see dust trails out on the plains out there. And oh, I was there for a while and then I came back down. I guess we were there, you know, Victor was in, when I got back down there, Victor was up in the crack and Ted yelled at him to get out there and Glenn went over and grabbed him by the belt and jerked him off. That's your brother. Yeah. And jerked him off and said, get out of there.  And of course he went prowling around in there. I was kind of standing off to one side looking. That's why I knew that there was, I could look off these rocks that I was standing on right into this thing. That's why I knew, you know, about the lights and the components and stuff. And then I don't know, I heard other people talking and I turned and it was a group of people coming up the Arroia from out on the plains from the south. They had come up there and of course they walked up and was talking and How many? There was an older man and five younger students. Boys, girls? There was three boys and two girls. And they were all, you know, introducing, talking to my father and my uncle and my brother. What did the older one look like? The leader of this group of men. He was wearing a pith helmet when he first came up. One of those kind of explorer helmets. And he was bald.  He was a bawling man. And he had a round face. He was very ready-complected. He was a big man. And he apparently was a doctor because they kept calling him doctor. And as I understand it was an archaeological group that was out there on some kind of summer thing. And they talked and he apparently was able to speak several foreign languages. And he tried to talk to this creature several times in different languages again to no avail. How did that happen to be there? Had he seen the thing? Well, they said they saw this thing come down the night before. A flame, you know. And they thought it was a meteorite. And they had talked about, well in the morning, you know, we'll go over there and see this where this meteor came down. That's what they thought it was. And when the sun came up the next morning, you know, and they got about their business and got up and somebody looked over and said, you know, they saw all the shiny metal and stuff across the planes there. And they realized it wasn't a meteorite.  They had driven on? No, they walked over, apparently. The way I understand it. And it's quite a ways across that plane. So it hadn't taken a very long time to do this. Or they may have had a vehicle, I don't know. That's an assumption, I think, on my part. Right, so they're around with the family. But they came across the planes, none the less. I'm not sure if they drove or not. I didn't hear any calls. And then somebody else showed up. Yeah, they were down there just, oh, 15, maybe 20 minutes tops, you know, and they were picking up things, some of the students, and this doctor, Buzz Curtin, that they called him, this one girl went up and said, look, doctor, wouldn't this make a beautiful ring? And she was holding one. It looked like a red rod or a red tube of some kind of a silvery red. And he kind of snapped at her, you know, and put that down, Agnes, you don't know what that is. I think it hurt. She said, don't pick this stuff up. And she kind of said, well, yeah, okay, doctor. And then he went back to what he was doing and she walked away and put it in her pocket. And a lot of them were doing this, sort of picking up things and feeling things. I was picking up things and feeling things. It was all kinds of material, metal and stuff laying around. Then we heard it. I heard it anyway. Well, we all heard it. A sound of a motor coming like a truck. And I went back up the incline there to the ridge line and I could see out there and there was a truck coming up. It was an old pickup truck. It was sort of a beige color or a tan color thing. And it had a whip and a tan on it. And it stopped and this guy got out and he's wearing brown clothes.  And he had wire rim glasses. He was a big man. And he looked exactly like Harry Truman to me. I had seen it in the movie Tone News. He was president then. Yeah, I was well aware of who Harry Truman was. So everybody was. He was kind of a hero. And this guy looked like him except bigger. And he didn't look as old either. His hair was kind of light gray. And he walked over there and they got to talking with everybody and he told them that he worked out on the planes out there and that he made maps. And he had seen the wreckage from out there on the planes and he saw the people and he thought it was a plane wreck and something was going on and he came over there to see. And he hadn't been there for very, very few minutes when we heard all kinds of motors and engine straining and stuff. And here comes a military car with a big white star on the side of it followed by a six-by, which is a military truck with a kind of canvas wagon type of canvas thing as full of soldiers that got guns. And right behind that was what we call a four-by, which is like a medium-sized Jeep truck situation and it had two big high whip antennas, all kinds of radio gear in the back and a guy back there with earphones and stuff on and he's working these radios and they all pulled up and stopped. Which direction had they come from? They came from the north, from the horse-springs area. So they could have come off the highway there? Oh yeah, I'm sure that's exactly how they got there. They came off the highway the same way we did. Well, in the meantime, when it stopped, this black soldier, the sergeant, and the reason I know he was the sergeant my brother told me he was, and he got out of this car and then a guy got out on the other side and he was, Glenn said he was a captain. He told me later he was a captain. And this guy had orange-red hair and all the soldiers of them were running over there, pointing guns at people and telling them, get away, get away, get away, you know? And when this creature saw these people, the military, he went nuts. He went into an absolute panic, worse than what he did when he saw us. Did he move around or just his eyes? He just, he just... Crazy. Yeah, like he was looking for a place to run and hide. But he never got up? Never got up. He never left the one injured one next to him. And this red-headed officer, this guy was a real butthole. He made all the threats. He threatened to have people shot if they didn't move away. To everybody? Get away, get away, you know? Well, shoot, get away from there. You know, just screaming and hollering. And he told my uncle and my father that if they didn't want to spend the rest of their life in prison, they would never say anything about what they saw there. If they ever wanted to see us kids again, they'd take the kids away and they'd never see the kids. You know, meaning me and Victor, that we'd better keep our mouths shut. If we did not, this is what was going to happen. They were threatening people and pushing people. The students as well? Yeah, they were hustling everybody. And one of the soldiers pushed my uncle. He had a rifle, I guess, and he shoved him back like that. Well, that was something he didn't do to my uncle, Ted. Ted had a violent temper. And he grabbed the rifle and reached over the top and smacked this guy and dropped him right there. And Ted had fought and dropped the hat. This guy is a cowboy. He'll hit you in a minute. And of course, when he did that, there was bolts opened, and I guess cocking your rifles, pointed guns at people, and everybody, Busker and Glenn and Dad, grabbed him, you know, pulled him back and got him away. Don't tell them, man, they're going to shoot. Don't do that, you know, trying to stop this. I think we came very close to having someone shot. Then it really started threatening, you know, and made the interview. Did the redhead do all the talking pretty much too? Pretty much. Except once in a while the sergeant would, you know, would chime in and make statements like that to other people in response to the redhead. Mainly it was the redhead. Was there a name tag? Yes, there was. His name was Armstrong. And I'm not sure if I know that from having read it or know that from remembering it and now being able to read it. In my memory or someone said that to me. His name was Armstrong. He was right here on his uniform. Now they chased you guys away pretty quick. Yeah, they did. And they hurted us up on cattle. And they moved us up to the Arroyo back in the direction we'd come from. Over the protests of this Dr. Busker, we said, no, no, we've got to go the other way.  And they ran us up to the Arroyo. And so you'd get to your car. Right. Now they take us up to the Arroyo and just below the hill that we came down, they broke us off and moved us up the hill.  No one has ever checked our pockets to see if we picked up any of this material. And this girl, Agnes, still has that stuff in her pocket and some of the other students had stuff. To my knowledge, up to that point, they had not been searched. Whether they did so afterward, I don't know. They never searched us ever. They run us back up the hill. And when we got to where the car was parked, where Daddy parked the car up there, there's a jeep with a guy sitting in the back and there's a machine gun in the back of this jeep and all these soldiers. The jeep pulls out. We're told to get in the car. We follow the jeep and the soldiers go with us all the way back out to the highway. When we get back out to the highway, they set us right there. They wouldn't let us out of the car. They wouldn't let us move forward. I don't know whether they're making a decision or what. When we got out to the highway, this place was absolutely full of military personnel, military equipment. There was airplanes sitting out there that they had landed on the highway. Did you see any airplanes when you were back at the site? Yeah. There was airplanes in the sky, but nobody thought much about it. I didn't think anything about it. I was used to airplanes being in the sky, having been raised in Indianapolis, Indiana, the home of the Nordam bomb site. The sky was always full of military aircraft. I never thought much about it. When we get back out to the highway, there's observation aircraft, high-winged aircraft, and there's one, what I know now, to be a C-47 settler and how we didn't hear that lands beyond me, and how you land. Well, of course, I guess you could land if you were a good pilot out there. There was no telephone poles right there. They had tore the fence down on the north side of that highway, and all this equipment was setting back up there. That plane was up there. They were taking stuff out of the plane. There was military ambulances, and there was trucks with, like, wreckers, cranes on them, and there was tankers, like maybe had fuel or water in them. It was just everywhere you looked, there was military. A major recovery operation. Yeah, it looked like an invasion force. It really did. And they were all wearing these light, light khaki uniforms. They didn't look like, you know, Oli draps. They were light khaki, and they all had the same patch over there. That kind of blue, funny patch with the circles on it, was on their shoulder. And a lot of... Did you have any clue as to where they came from? Did your brother or your... No, I don't know where they came from. I don't think anybody ever ascertained that. There were a lot of them had MP patches, and some of them were wearing nightsticks off of these webbed utility belts. They had nightsticks, and they had 45s in the holsters, you know, the automatics, and the full roaster. And these were the people who were given most of the orders.  Oh, no, no, you can't go through there.    They're relatively intent. And so as we drove away, I was looking out the back window, and I could see Dr. Busker and these kids, and that guy that got out of the pickup was standing there, and this Dr. Busker was doing just like this in his redheaded officer's face, and he kept pointing back behind him.  And that's pretty much the last, I saw the whole situation. I don't know what happened after that because we just kept going. Did you get home before dark? Oh, yeah, yeah, it was before dark. Of course, it was in the summertime, so you didn't get dark until way late. And we stopped in Magdalena very briefly, you know, and then just kept going. And the adults were really funny, you know, they were really scared. And I had very rarely, you know, of course I didn't know him that well, but over the years I knew that Ted was not much of a disciplinary, and he really didn't discipline the kids that much. But he really knocked the fire out of old Victor. Victor will want to talk about what we just saw, just saw Ted get telling him, shut up, don't talk about it. Nobody's talking about this.  Did Ted work at San Diego then? Yes, he did. He was, he did something out there with the technical area. Had a clearance? Yes. And... Later your dad worked out at San Diego? Yes, he did at Security Day. He worked there for years until he returned. Until he returned. And dad had some very high clearances. Okay. When we got home, Mom was over at Uncle Ted's house and Mom perceived instantly that something was wrong and so what's wrong with him. They decided to tell him, they did, and of course Isabel, oh my God, you saw demons, you saw the devil. Isabel was Ted's wife. She developed the religious Catholic person who thinks anything that isn't a vision, let's say the Virgin Mary or Jesus is quote-unquote demons and that's what we saw.  And we really never talked about it much in the family because of the reaction it got. And my dad was really afraid and so was Ted. Glenn especially, because Glenn made the statement about when he first saw the military, he told my father, he said, and Ted and everybody there, don't let them, some bitches know I'm a Marine. Don't let them know.  And they never checked. They just assumed, I guess, that we were right. Did they ask your names? Oh yeah, they took our names. They got all that from my dad and my brother just very cursory wouldn't, you know, just hardly talk to him at all. He let dad and Ted do most of the circumstances. And of course they never really asked me any questions at all. You were just a kid? Yeah, I was just a kid. Well, you first went public with this. Now, let's first square away. All the other four that you were with or did? Yes. That's been some time. My brother died of a heart attack in Mexico City. My dad died of a heart attack in 1978. And Ted and Victor were killed in a automobile accident in the mid-60s and I assume I was 65. Right, now there's a strange diary that's turned up. How did that happen? Well, when I went to my father's funeral in 1978 a lot of dad's belongings were personal belongings were given to us boys. You didn't live in the area? Oh no, I lived in the military. Yeah, I've been in the military and subsequently turned to the military and moved to Colorado immediately. And... Your dad had remarried a couple of times. Oh yeah, this was... So dad was on his third wife. And his personal belongings and stuff, you know, were kind of given to my two brothers and myself. My cousin, Valley Jean, was there at the funeral? That's Ted's daughter. Yes. And she came up and was talking to me and she said, here you were there, you need to have this too. And she handed me these photocopies. And at first, you know, I thought, well, you know, what is this dad's diary? She said, no, it's my dad's diary. But you were there, you need to have this. And then at dawn of the point I was looking at because I read a little bit of it. And so I said, yeah, okay, you know, and I didn't want to talk about it at the funeral because Roz's side of the family, God bless her. That's your dad's third wife. God bless her. I loved her. They were very religious and they would have viewed this exactly the same way as Isabella had as evil. And I really didn't want to have any problems with them. You know, we were kind of on shaky terms. We didn't see eye to eye religiously so we were not quite good. You're active in religion now, aren't you? Yes.  Right. Okay, that means you actively participated in church. Well, yeah, I let you Christian ministry. Okay. So I, yes, I actively participate. I serve on the altar. What do you do for a living now? I'm a security officer in the state of Missouri.  Oh, yes, yes. About nine years, although... And you also are going to college to be a nurse and you've already got a couple of associate degrees from community college. You're right. Yes. I'm one associate of science and one associate of general studies and I'm working toward my bachelor's of nursing and roughly two years I will have my bachelor's of nursing. I'll be a licensed... Now to be a security officer you have to be licensed by the state of Missouri? Yes, you have to be a certified law enforcement officer which means that you have to have gone to the state academy, the department of public safety. So that's not just a pickup thing? Oh, no, no. You have to... It's a profession. Yes, it's definite. Okay. And you have to work for the state under these conditions. You have to have a prior law enforcement experience. Now, when we get back to the diary for just a minute when you were hypnotized by John Carpenter a psychiatric social worker and he was asking you questions about the diary apparently you've been told that there were a number of copies of that around? Uh, yeah. Something buried out maybe there too? Yeah, as I understood. Well, in fact in conversations with Valley Jean after the fact after I got involved in his thing through the Unsolved Mysteries thing I was told that that wasn't the only diary that what I had was a copy what was a photocopy. Okay. And that there were a lot of these copies around and apparently Uncle Ted or someone had put these out through different people in the family and friends and stuff for reasons I don't know to keep them from getting lost or something like that. Okay. Now, when I asked you for the original you contacted who? Well, yeah, Valley Jean. That was Valley Jean. Okay. She was in a convent. Right. And she was reluctant to do anything. You had a call a number of times. That's correct. And you talked to the bishop? Somebody talked to him. Yeah, I talked to a bishop. And he convinced her to send the stuff to me. Yes, apparently. Okay. Because I got it directly from Colorado with a cover letter that strongly indicated that she didn't want any more to do with this. That was part of the agreement. But she considered this the work of the devil or it was to that effect anyway. I think she's in the same opinion. Okay. So the work of the devil. See, all I ever had of this was the photographic copies that I had showed you originally. And as I understand it, you received the original copy. The original from which those have been made. They were partly burnt. She mentioned she had intended to burn them. But because of your persistence and with the agreement that I never contacted her, she would send them to me. And as you know, when I had forensic analysis done, it showed that the ink dated from the early 70s. The paper could have been available in 47. So it was clearly not an original. But it was also done before there was any publicity about this case. Anyway. Because I know I was the first one to get involved. Exactly. Now, as you know, we have discovered, not I, but you had identity sketches done by a police artist of the various people involved in this. Right. And as you know, there is a picture, several pictures that seem to indicate that Dr. Buskirk was Dr. Winford Buskirk, who had received his PhD at University of New Mexico. And you would describe him as in his late 30s, early 40s. It turns out he was 39 in 1947. He was bald and bald most of his life, even up to then. Did, was there other contact between you and Hay at that time, as far as you know? Your family and him or? I don't know. Not to your knowledge? I don't, not to my knowledge. I don't, I don't believe my dad had ever contacted him. There's a possibility that Ted may have and I'm not sure why I, I think Valigene had alluded to the fact that Ted had been in contact with him and that they had corresponded and this kind of thing. But as far as the personal knowledge of it, no. Okay, now you didn't tell your story really until the Unsolved Mysteries program was rerun in January of 1990? That's right. That's when you contacted them, got my address, wrote me, where they love to set that the program wasn't quite accurate. Well yeah, that was the whole thing. It started off as a fluke to begin with because everything that I saw didn't jive with what I had seen personally. I guess I was kind of missed.  And you got it wrong. That's, you know, I just impulsively called a number and told the lady, wait a minute, you know, no, the thing was wrong. Well, how do you know that, sir? And I said, well, because I was there, that's why, and boy, that really apparently pulled somebody's string. Yeah, and the key thing that was wrong, of course, there were a few mistakes in the program was that they had that, the Barney Barnett, the civil engineer story over near Corona, and you knew that it was over in the plains. Right. There's a lot more. Well, yeah, and then the fact that the thing looked like a tent flat or a tent top hat and it didn't, it was this shape and the Barney Barnett or whoever the guy in the truck was did not drive right up to it on a road. It wasn't parked conveniently next to a thoroughfare, you know, and it was just things like that, and I don't know, I just, for some reason I thought, well, you know, chief, look. It's already public. Yeah, it's stories out, and let's get it right, you know. Of course, I didn't, I don't think I realized at the time, you know, how involved this was going to be, but... What kind of response? You let it learn. Now, I got you together with John Carpenter, the psychiatric social worker, and you guys had several sessions and then we flew out to the site. You're reasonably convinced now that the second time around out there we did find the exact location? Yeah, the first time in, I, you know, it was like 43 years. And we're a helicopter. Yeah, I was in the air this time and the last time I was underground and so, you know, the landmarks were a little confusing. I was positive I was in the right place, but until we actually got underground John and I retraced the route in there that we had come in in the car. I wasn't absolutely sure. There was two ridgelines there and I wasn't really sure of which one it was. And I had the feeling that the first one that I had pointed out was the correct one, but once I went in on the ground on foot with John, I knew instantly that it wasn't that one, it was the other one, and I absolutely puzzled that that's where I was at. There's no question in my mind. And you will recall that you described the woman who sold you the pop on the way in. Right. And we found the older woman there who said that was exactly what she looked like. That's right. And I'll never forget that lady because I had it with he. I'm telling you. Backseat of that 40 Plymouth down those dirty old roads and stuff. And for mile after mile, of course, my dad was one of these kind of people. When he got in the car, it was point A to point B nonstop. I don't know why. He just never stopped to smell the roses or on the way. And so, you know, I was pretty sad at shape. And I remember that lady quite well. What kind of response have you had? You went public. I mean, John talked to a newsman. You both talked. He called me in the Springfield newspaper. People carried a very straight, very large article. And that got spread around by lots of people.  What kind of reaction from the people who knew you on campus where you worked, your friends? Very, very few negativists. There's the noisy negativists, you know. We have those. But in general... Generally supportive. 99% of the people were incredibly supportive. Only one professor at the university was of the negativist type who was vocal about it. Everybody else just 100% supported. The majority of these people are absolutely convinced, even without this story, that extraterrestrial life forms exist and that the people are flying around out there and moving between systems and stuff. And it was just an unbelievable amount of support. You didn't lose your job. Oh, no. Your boss didn't give you a hard time. Absolutely not. In fact, I think I can publicly say that my boss was extremely supportive because he is an avid ufologist himself. He is fascinated by the subject and you won't have any problem convincing him either. And my boss has a master's degree. He's not someone that's untrained observer that's given to hallucination. Most of the people who are the most supportive of me are people with very high educations, very solid educations, very solid, upstanding degree people given to hallucination. You attended a UFO conference with John Carpenter and he gave a paper, I guess, and introduced you. And you've got a response from that audience, too. Yeah, 100% supportive. I was really, quite relieved and made very, very welcome. Well, you've been interviewed by a number of other people, Linda Howe, working on a documentary and so forth, seems to have brought the story out. How much contact did you have with Kevin Randall? A very brief telephone call. I came home from work one day and there was a message on my answering machine and as you well know, I have a tendency to be hard to get a hold of sometimes. And he'd left his number and, of course, I had his address and yours and I had sent cards to both of you and something to the effect if you want to know what really happened after he called me. And he had called and I wasn't there and he had left his number, so I returned his call.  I don't feel comfortable with people who call other people liars and charlatans and phonies and say that they rigged their research to make it come out the way they want. And when someone starts telling me this kind of thing, then the first thing I want to do is I want to get away from him and this is exactly what he did. Now, I understand that this man claims that I talked to him for two hours and that he has a two hour tape of one contradiction after another of me and that's not quite true. Okay, there's been no other contact with him. No other contact. I won't give the man a time of day. And has any other investigator, any of the noisy negativists approached you during that? No, none at all. The only other investigator is you yourself and I'm Berliner and Bob Bigelow and John Carpenter. And you're quite familiar with our involvement. And you agree that on that first trip to the Plains it was you, I, Bob Bigelow, and a pilot in the helicopter? Yeah, Joe Channing, the pilot, was in the front seat on the left side. I was in the front seat on the right side. You were directly behind me? No. You were directly behind the pilot on the left side and Bob Bigelow was directly behind me on the passenger side. And then we met up with, eventually, with Don Berliner and John Carpenter. They spent the next three days together. They drove the jeeps and stuff to Dattel and were waiting for us at Dattel when we landed in the highway island down there. And as you recall, where did we refuel the helicopter? Springerdale, Arizona. It's not far at Arizona, that's the problem. No, it was just a matter of a few minutes, actually. 25 minutes, maybe, at the max west of where we were located. All right, I think we may pick this up another time, but I think that'll do us for now. We really appreciate the time and trouble and effort and all the rest of that and on the bigger and better things.


Alrighty let's play this in full, there's no sound, cool, super boom, couple things right off the bat, what I would do is just either do like a perspective grid on it, not like the grid that's in Maya, but just couple lines, or if you want just a couple cubes, or if you're going to go crazy, you know, whatever fits environment, some trees and some rocks or something, why just because this must be the slide that the feet are doing, they're just fine, but then you see this how you just kind of start to move around, that is the camera moving through here, through all of this, and whenever you do something like that I would add something so we understand what the camera is doing, otherwise it could be a bit confusing, I think a few, it's not like it's super confusing, but it's just, you watch this, it's cool, and then oh okay I guess the camera moved, and I think we kind of need to just show that, because I mean you have to move the camera because you're already this close, yeah, other than that, let's watch this again here, which I thought your head is not too cataline, head IK, whatever, world follower, there's a lot of upper body movement, you can see how that head, there's a slight rotation like that, that I would push, maybe even a slight downward move, or rotation, it feels like it's a bit too separate from the chest, like this gimbal thing, but the head stays put, I would definitely stabilize this given the weight, there's a lot of movement and jitter, and you can see some pops in here, and given that he's so heavy, I would weight with any type of rotations on the feet, to me this would be throwing something like this when he pushes, where that can happen, but I'll be careful, it's a bit soft there during all of this, all the weight from the creatures on this leg, and I would also probably move over a bit more so that you can almost lean over a bit more, so that leg has somewhere to go, and you have a bigger change in the spine there, it's a bit too simple, and again that head stays a bit too horizontal, like this point, if you rotate it over and up a bit, just mechanically I would watch out, and I wonder if you could just bring out that arm more this way, so that you have a nice silhouette, so it's not covering, you have all those overlapping shapes there, leading with the shoulder which is cool, careful this feels like your foot as you roll off, and you're staying in this pose for quite some time, and then even coming into the plant here on that rolled up foot, and then just kind of foot rolled down, to me it feels like you want to go up, you know like I said lean over with a bit more relaxed foot, and almost make that more of a stomp, it's almost like a sneak, let me not be too loud, and then pa-pa, and it's almost like to me if you bring up an arm like this, almost swing back a bit more, this feels a bit too like I don't want to be too loud, let's do a hammer versus bringing those arms out, you know so you can get really get into this, what is he doing is just then I'm probably go through with this, almost leaning a bit more over that leg with an extended maybe even slight peel off here on that leg, so what's happening there too is now, A you're doing a foot roll, you're just activating the foot roll that goes this way, while the knee is pointing this way, and the body is this way, this was very broken, like your foot roll goes towards there, so it's going to be with a slight peel off on that roll like I said over there, but what happens is that all you're doing is a foot roll, and then your root goes over, but I feel like you're moving this almost a bit too soon, and we're gonna bring that knee down, turn your foot for proper pointed foot roll, and wait a bit and then bring that foot up, there's a lot of just kind of moving and sliding on the ground, then you lift this up, that's cool, I'm use the other hands, but I feel like you can go here, you know there's just the lifting of the handle with all the weight pivoting off of here, but then to me, I mean I know this arm comes in to help, but I wonder if there's a moment where you can kind of, you know frames, but push it a little bit where it's almost like you're a bit more up with this pulling and then using this arm, it feels like it's just kind of like this, and lifting with the arms versus going in there and lifting it up and then with the arms for that swing, and then watch out, so he's doing a feels like with that much momentum, such a swing, this being so heavy, it feels like it swings and then stops goes down, it feels like this will continue swinging until or I reach reaches the ground where this would be a bit more sideways, like to the side of him, I know which causes the problem for this though, but so maybe maybe instead of a swing where it's so horizontal and flat since you want to hit this, maybe you can do something where it would be, I don't know if you do down and up, something where it starts that turn from momentum, that's something I feel like you could go down and then you bring it back up so that this actually ends up being here, so it's more of a boom, so then it can hit here, so then you can keep this animation where he brings it back up, watch out there, so again some wiggly stuff, you start to kind of work on the weight and how it's connecting with the ground, but at least here you're leaning back and then taking that arm and then moving over and then moving forwards of that weight, hey that's cool, I would just tighten those, bring those fingers together, tighten the thumb, tighten the thumb really to get that grip going, but it's kind of that, yeah, so these are kind of my impressions of that, thank you. Either way, a like and subscribe would be awesome, all right, thank you.


Well, spring practice is right around the corner for BSU football, so finally get our first look at the squad for the 2018 season. But first things first, pro days for the players from last year's team, including a big one Wednesday morning, former Beaver offensive lineman Jake Krause, participate in the University of Minnesota's pro day March 28th at 8 a.m. at the program's new indoor practice facility at Athlete's Village. The Medina native was to several postseason teams in 2017, including being the third student athlete in the football program's history. He was named a D2Football.com All-American. Krause was the first, was a team captain this past season, starting in all 11 games. Here's a look at some of the offensive numbers for the Beavers. 35 points, 202 yards rushing, 396 yards of total offense per outing. He's also finished his BSU career with an impressive 33 game consecutive start streak. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.