Good evening, I'm very pleased to welcome you here at Galerius, spelled H-U-S, and I'd like to thank Tristan Mumier, this is a special event for me. This is a stateless territory that we're in. Polish artists have been allowed into a French gallery and this is being streamed live to the US, so it's truly incredible. Your great French artist, Alfred Jari, said that the thing that's happening in Poland, that is to say, nowhere. The scene is set in Poland, which is the scene where... My name is Ion Naklas and I represent the Adam Mickiewicz Institute, which is a national institution that's tasked with talking and affecting others with Polish culture. I'm talking about Polish culture and affecting others with it.  Thank you very much for the welcome in this week when we're holding a retrospective of this great artist, Alfred Jari. It is a celebration to be welcomed with such understanding with the reception that I'm seeing here by the great Paris audience and we appreciate that greatly. But we need to ask ourselves what's next. Now, all of that, now, a retrospective of work by this great Polish artist being held. We need to ask ourselves what's next and who will be next. And moving on to the substance and again to quote the patron of our institution, great Polish poet Adam Mickiewicz, I ask myself, though in the dark and what comes next, what was next, the times are indeed hard. And here I would like to ask the witches of Polish theater for their succor, the young artists who might represent a slightly different approach, different aesthetics, and I'm sure it's worth listening to what they have to say. One of whom is not with us physically, we will be seeing a video recording. And I quote the one who is dancing in our institution, the great Polish poet who was writing here in Paris, all of the darkness present, all of the darkness, what will it become, what will it become? Because being in Poland is very difficult at the moment. But the times are hard. And I would like to dedicate this evening to the first president of independent Poland after World War I, who was assassinated on December 16th by a crazed artist. In a gallery, moreover, right? I will not defend myself from the names of my parents, because the title of the title of Father, Children's, or Patrician, is not as the same as the title of the title of the title of Father, Children's, or Patrician, because the title of Father, Children's, or Patrician, is not necessarily my idea, because the word was the title of the book of Father, Children's, or Patrician, which will be moderated in today's discussion, the book of Father, Children's, which is the dramaturg of the title of Warsaw, as well as the title of Father, Children's, or the title of Assassin's, if we translate the translation into French. Also, take a part in this talk, as someone who is very grateful to someone who has helped us organize this debate, coordinate and come up with the idea. I want to appreciate and thank you, Sylvia Martin Lamani, thanks for your attention and let's begin with a brief video recording. Let's talk with Veronica Stravinsky, who could not make it to Paris. I have the impression that our society has rarely undergone a crisis, actually is undergone a crisis that women have seen already, have foreseen, but women are not seen as first class or full fledged citizens. I studied at the Warsaw Academy of Drama, and it was a strange moment in the life of the academy, when a lot of women were accepted into stage directing.  Previously, classes were made up exclusively of men, or there was one woman, but now our classes had five, six women, and men, boys, were in the minority, which led to jokes. People started saying that being the stage director was no longer going to have the cachet it used to, since women are getting into it. But on the other hand, our teachers were very happy to see so many of us women. They were happy because they were surrounded, as they said, by beautiful ladies. We wanted to be treated seriously, since there were so many of us, and we didn't allow them to patronize us, but still they did treat us like little girls. They mansplained things. They said, oh, make babies, or have babies as soon as possible, otherwise you'll go crazy. Eventually, and people said that this job when done by a woman needed a lot of qualifications, and it brought a lot of preconditions, but the situation was very comfortable, great, compared to the situation of female artists ten years older than me, because back then the voices were very, it was very radical. They said a stage director is not allowed to get pregnant, or professors at Polish universities would welcome us and say hello gentlemen. Oh, I'm sorry, lady and gentlemen, and they named the only woman in the department. So I was studying in a transition period, and you saw signs of change, and you saw how much the structure wasn't adapted to us.  There were more of us, but we still encountered inappropriate comments regarding our work. When they were reviewing our work, there was always an attempt at patronizing or downplaying what we did, and there was a sense of being threatened. We felt we needed to be careful, thread cautiously, because we were women. You start working in small budgets, and you see that it is possible. My first piece, my first piece had a budget so low that I won't even mention it, but everybody, I thought it was okay, this is my debut, it's my first piece, my first production, but then I realized that with the right approach you can do something before a little money, but then the budgets go up, but you already know how to cut corners, how to save money, how to be frugal. So the first message, the first thing you're taught is that if you don't, you won't have hundreds of thousands, a six or a seven-figure budget, but you can get everything done nonetheless. But then you start thinking how that's done. You get more money, and you know what you need, and you also know what's superfluous, what's additional, but there's a double game that begins here, because the awareness that you will do a piece for a small amount of money means that in theaters they want to grant you a larger budget or a larger fee, and this does translate into gender terms, it's a gender thing, but it's also hierarchical, namely, are you running for the... Do you want to be the best Polish director? Are you taking part in the hosting of the race?  Or do you want to do huge productions that's not a dream of mine, because ideologically that was powered to a theater, to my approach to theater. I mean, yes, I do money, I do need money, because everybody needs to make a living. Everybody wants to live decently. So I'm not in favor, I'm not an advocate of lowering the prices, I'm not the more fees. I don't let anyone work for free, who's on the team, no matter. I mean, I don't ask people, friends, to do me favors, just gratuitously, you're free of charge, but you also don't need to negotiate for a higher fee, because that translates into cutting the fee for people. I mean, there is some flexibility, but this applies to three or four people who can bump up their fees to a given degree, but these are mainly men who can afford to do that. But since it is public money, if you take more, other people will get less, and that's also a message you send to the audience, meaning if you do something opulent, that's a world that we want to identify with, but I relate to the tradition of the avant-garde, where you test certain ideas, certain models, certain shapes, approaches, and for that you need a safe, good working environment, but you don't need huge money to achieve that. My topics, my topics are things that revolve around the community, around Utopia. These are things, topics that relate to the possibility of refurbishing, maybe or changing societies, groups, the community in which we live, and that goes for the piece we're working on at the moment. This will be a piece about the Paris Commune as an event, as a myth, and as an event that's very powerfully linked to our everyday life, or the present day, it's not a historical piece about the Paris Commune, but it will address, look at visions of the Paris Commune. We have very contemporary things on Division of Labor, the rule of artists, and we'll use that to talk about ourselves, to study, to explore things, questions of community, and that's a thing that we'll be working on. But the question of community was also present in a piece we did two years ago in the Terstare in Krakow called the Genius in the Turtle Neck, which applied to the myth of the great stage director Konrad Svinarski with his trademark Turtle Neck. But the question was, does a community need a master, need a barn, need a maestro, need a leader, need a virtuoso? We sometimes called it several characters in search of a master, in search of a maestro, in search of an idol. So it wasn't a show about Svinarski, but it was, as a collaborator of mine says, it was about a keystone of community. And if it's a keystone of community, it's something that we look at. We see if it's a keystone or if it's something that can be displaced, or upon the community, it assumes a slightly different shape. I always have some, I'm always reluctant to see theater as entertainment. I like shows that are funny. I try to have an element of humor in my work, but ideologically speaking, or if I were to produce an ideological statement, theater has to pick at the scabs, if you will, needs to address the difficult topics, and it's a place of difficult radical choices. So if I were to answer personally what matters to me, I see two models of theater. One which in an open way addresses social topics, issues of community, things that are engaged and involved politically. And the other extreme is theater that's radically intimate, because all in all it's the same at the end of the day. If you look at something in a very radical way, it is an experience of community to some extent. So if you look at Michał Borkszuch, Polish Young Stage Director, who manages to reject, to deny the need for a critical position, but he does somehow using his own very private perspective, be critical, so entertainment, variety and so on. I use all the means of expression because it's all around us. Entertainment is all around us in cinema, online, in video games, on TV. If anybody watches TV anymore, it's in TV series, which can be light and entertaining. So I think that an institution where you have direct contact with the audience, publicly funded, shouldn't really bother with entertainment too much and be too focused on entertainment. But we also need to be mindful of the context, what we do, the context in which we're working, because we're not pioneers, we're not landing on stage in a UFO in a flying saucer, and we find a perfect environment where we can thrive, flourish. We need a point of transition. We need a moment where audiences, viewers need to be nurtured and need to be taught a certain way of saying things. So you need shades of grey, but I'm thinking of a theatre that continuously, again, picks its tabs if the image is to be sustained. Thank you. That's... there's things up. I have to speak... I'll be speaking loud because we only have one microphone and we want the interpreter to use it. I'd like to invite our guests. On the left is Magdalena Szpech, Katarzyna Kalbac, Anna Smolar, and Anna Karaszinska. During this talk, we'll be showing stills from pieces by art by the stage directors, and I hope that their shows will be brought to Paris soon as well. But before we begin, I'm trying to say which fathers were killed by the Tecos-Potkanias theme. Patresides, no. First, I want to ask Sylvie to make the association between this meeting and the overriding topic of the Parazone, the overarching. Okay, I also try to speak loud and clear. I'm the co-director of this event, and last year, we published an issue of this periodical call called Women's Stages. It has a subtitle, and it addresses a topic that we were interested in, the position of women theater, the position of women theater generally, in France and Belgium, because we were French in Belgium, a periodical, and we let women artists, female artists from all over the world, speak about their artistic practice, think to determine whether there was a feminine way of making art or not, which is, for some people, found a stupid question, others didn't. We had a whole range, a whole gamut of women from feminists who were very... There are studies that have been made in France. And it is to be hoped that everybody understands French. Now there's a little bit of commotion occasion by the fact that the foregoing needs to be translated into Polish for the benefit of Polish audiences listening at home. Anyway, in France there are studies that are conducted by the Ministry of Culture and various institutions regarding theater, and we realized that women are more than 30% of the profession. So the edge of visibility, if you will, and it turned out that women are only 30% of the place, they are very less visible. So women are underrepresented. Consequently, we decided to use a female stage to represent the female authors. And I wanted to question, to ask these, the artists we have here today, I wanted to ask them what their thoughts are regarding a position of the place of women, women artists in our society today. What is the current situation of women in Poland today, for example, having to do with the ban on women? And what is the current situation of women in Poland today, for example, having to do with the ban on women? What is the current situation of women in Poland today, for example, having to do with the ban or attempts to step up the ban on abortion? Does that affect your work? I think it affects our work in that it distracts us from doing what we'd like to do instead. I feel that there is some sort of coercion against female artists in theater addressing issues of women and controversial matters, which are seen as controversial in public debate. So there is pressure exerted on women not to do that, but there is, of course, I mean, I can speak for myself. There is a need to perceive women's theater differently to fight another way of seeing women's theater. I don't have a particular standpoint, but I deeply appreciated the degraded body but as the other in theater. So not as a high, that was a female body that was deported, but as something as a different perspective, my different views, my upcoming, but my most recent piece was about a man who plays her instrument, skirt, and she calls sheen, and I don't want to feel forced into taking out issues of femininity in theater, but what I'm most interested in is the tension between my life, a professional life, my desire for autonomy in my private life, because I'm a mother as well, and I think that this isn't a show that's a taboo in theater, but it's used to be taboo in theater. I feel that nobody thinks about what gives any thought to women who are artists and mothers at the same time. I think that there are cases about maternity that seek to break abolish the taboo about being a woman in Poland, so I see it a little bit different, please.  And in Poland, there's a very interesting book published recently on the same subject, or similar subject by someone called Natalia Fjodorczuk, but getting back to whether it's comfortable, it's easy to work in Poland or not, and I feel comfortable working in Poland. And I felt something very positive after the last events having to do with the anti-abortion taboo. Because on October 3rd, they called a strike for all women and men in Poland. The general strike, the general civic strike of the very, very many women went out into the streets, these were in small groups of protesters, but it was mass movement and some sort of creative energy and an infectious strategy emerged. I agree, I think good things are happening, so maybe the traumatic restrictions, the traumatic circumstances and the restrictions they're trying to thrust upon us actually end up extending the scope of liberty, of furthering freedom. And another brief introduction. In the 1990s, when I referred to a group of emerging stage directors as patrociners in the title of my book or father-tellers, if you prefer, there was one woman among them and I was accused, first of all, by those who failed to mention that I didn't mention them, of neglecting them, and second, I was accused by those who had described that same concept of that, that they had nothing in common and that they really shouldn't have thrown into the same bag. And I think in their situation here we don't want to prove that there's only a group of women working together doing something in common. That's not the point. No, that's not what this is about. It's not a... ...of like-minded women. Nonetheless, the phenomenon of the world by so many young, talented female directors has emerged that and you on the cross might identify that more on is looking closely at them and just let me to understand whether there might be certain things that they have in them. I think their first shared feature, the first five of them shared, the way in which they treat a theater as something independent of literature even if dramatic literature isn't there anymore. But also, they treat theater as a certain thing of free and independent of any conventions, norms, standards, any perceived wisdom as to the purpose of theater. However, I think they remain faithful to a belief that's been around in Polish theater for a long time. And I think that theater, not life, is the place, the locus where you can find the truth or truth to the truth. And I think this is interested and relevant now that we've known these post-truth times. And I think once again, we're with the same... I'm in poker where you check what you should call somebody's bluff and that's what theater is doing. I'm in poker where you check what you should call somebody's bluff and that's what theater is doing. And another interesting thing that Verli Droschevin's commission and the recording partly, I don't know, towards the end it relates to the gender of the artists. But it's true to say that they do work a little differently and they tend to work more collectively and in a way they overthrow, they subvert to the imposition of amenity and stage directors and the all-powerful, almighty stage directors and their lower female stage directors in Polish theater. But as members of the representatives of an earlier generation they sought to supplant the step-in issues of the omnipotent director and the omniscient director and one last common trend is that they place their trust in small-scale forms because the small-scale forms are more interactive by definition, by nature and to involve the audience can engage in this is better and now a fundamental question regarding patricide since this meeting is held in an assumption junction with the portrait of Christian Lupin in my book from the 1990s I referred to Lupin as the founding father of the impolite theater So my question who are you trying to kill is that Lupin? Or have you worked with him? Have been his assistant? Or is it the omniscient and omnipotent stage director as a figure? So who are you fighting? Against? When I first learned that this talk would be called patricides I started wondering whether it was a patricide or a relay race where you had the other athlete the impotent or the... what? Of course, in athletics but we pass the relay and I think that in art as in all other areas if you want to move something forward you need to systematically to take you down new paths, new tracks new things that haven't been done before or maybe transform process of looking for an element of knowledge of looking for things that haven't been done before but if this has nothing to do with killing anyone of course it's much easier to define yourself of being able to move forward it's not necessarily to kill but to move forward to deviate the ways I think when I was studying stage director in the traditional Polish model the traditional Polish curriculum I later having done that later I realized that everything I was doing professionally went against the grain of everything I'd been taught so it's good to be in opposition to something but to realize that opposition is a continuation it's a form of continuation and that's actually not the same it doesn't select an art it only revives it and people are saying that if we do shows collectively with no strength it will blow down the walls of traditional theater undermining the heritage and that's not the way it is because there will always be people who are willing to do traditional theater and thanks to them we don't have to so we have no obligation to do traditional theater if I'm killing anybody I think it's myself I'm killing each time around I think it's a kind of struggle that I engage in whenever I approach a topic subject this need to open new doors each time around and to start from scratch that's the most difficult thing I wish I didn't have to bear this responsibility I didn't have to shoulder this responsibility I wish I didn't have to stress myself I mean I don't I wish I could have the space of total freedom where I'm not bound obliged to do anything where I'm bound to start over failing and fail better when I was a Christian group as assistant and I worked on two of his projects Persona Mariana and Persona Badi Simona I learned that Christian taught me freedom Christian taught me freedom and their conviction a belief that if you're embarking on setting down a path need to allow yourself to make mistakes and to allow four steps because otherwise that's the only way this road can lead or be creative as a process I don't have to know anyone I have also had a sense that when making theater in Poland is exciting today because we have masters but we also had a lot of inspire our people of their fields of art from other genres and we also have a lot of people who are in between generalization of the people from our generation or other generations who inspire us but also are in being somewhat familiar with French theater and it's very that's also very valuable in a Polish artistic context namely that it's less hierarchical than it would be say but closed there's a freedom and the dialogue is more fluid is easier so I think none of us I don't think there's any way to deal with some kind of parallelism so I'm not parallelized in any way but it's true I think that you need to take over the time when I live in China I don't think there's any way to deal with some kind of parallelism of course without being oblivious to us without being oblivious to us without being oblivious to us without being oblivious to us without being oblivious to us without being oblivious to the stage of blinding can be called monumental theater because I think I think I feel that in our pieces we get across the important thing that we are relevant away and the impact we are getting. But with that, with my own view, we are able to use our position as a human physician of all nations. We are trying to develop this way maybe written, written, and based on the literature. The select between maybe the monumental, the literary, and so on. The connection between the important literature and the monuments is broken up. So they tend to make sure that there is a certain danger for the religious movement on the left figure is somehow sandwiched between the two. Not only can we talk about it, we can talk about it in different ways. But we can look into it again. That is a really nice thing that And the only piece of subject in the way that's not in my mind told, a lot of it also shows the way we see those groups of art in the first place, the novels and what I'm of you.  But I'm talking about Patricide or lack of his maybe a little fellow coy and a little funny bit, a little preposterous in some way. However, I feel that if I may once again give back Christian or not, I think that you were fortunate to part. We were fortunate, in fact, in a record term, theaters in Poland for not all of them, fortunately, as much as you might have said, these repertory theaters were opening up gradually a space where you can work. And that's a relatively less new development because for a long time, repertory theaters are staged in texts, and that's what their purpose was to put the texts on stage. And the very serious question that I'd like to ask you about text and theater in France, we've all heard about the death of the Lothar in France. And I think that in your case and your work, the ashes have been scattered. And so why don't you trust texts because you clearly don't? Why do you prefer to devise your own scripts and your own scores for a long, long period of years? So that seems kind of typical, and that's what makes your work, what lends your work, it's what's her nature. And do you ever dream of staging a Hamlet when nobody's watching?  I do dream of staging a Hamlet. I do. I feel that. Why only now do I understand the Hamlet? I'd like to do it. It's a question of approaching the texts that text with that sum predict and the process is unpredictable. But I launched into the process of working without text for a number of reasons, no matter how unpredictable and fraught it can be. But that's because I believe that working with that text will tell you where work with the process does because the text is the predictable process that somebody's already gone through, somebody else's process. And I'm trying to think about work in theaters as taking into account the fact that we're in all the components of a situation that we can be with all the elements that are necessary against the text. And I, I place myself in this process again with the process and let some higher force speak through me or let some higher force speak the end. When you have a text ignoring the comfortable convenient position, that's something that's almost defined. You have something that's almost formed. But you can never be sure that it'll affect people as much as the outcome of this process that you entered again. And also that has to do with my interested theater. I mean, in fact, in the way I see theater, I'm not interested in a theater that's watchable. I'm not interested in a theater where what happens can happen without active audience participation, at least in terms of an energetic component of energy feedback. It's not a poor. No. The participation, thank you. The active participation of the public. Because I began, I started working theater because I'm interested in the reality of the inside. We're meeting here today, we are present truly. The process where a text is generated is very time consuming, very arduous. My second to last project holds very good took a year to germinate the development. My projects are made in three stages. I meet my tramitana group, my work with the artist, and I do the first text through personal with the artist. The first, we begin with the next, the following month, I want to talk about, which is still a way of getting into the text, I'm creating a structure, some sort of mathematical framework, some sort of rhythm for the text, and the third stage, it usually takes place a few months after that, and it's the time we come work on the text with the tramitana group, and when we begin rehearsals of the text, it's ready, and we check off the third stage, the text isn't ready yet, because the fascinating part is creating the world out of the texts based on the personalities of the actors, the individuality of the actors, and the improvisation, often lead to new scenes which are written by the dramaturg in rehearsal. And it's, I'd also learned that if a director and a dramaturg comes to the first rehearsal with a couple of pages that they no longer see as they thread, they're no longer intimidated or horrified by that three, four years ago when I did the first project of this type. Actors asked me, what do I have to offer? Actors wanted to know, or I have to give them on day one. For me, I want actors to contribute to the creation of this world by communicating with spectators, actors speak of their own experience in the face or vis-à-vis a given topic. I'm continuing my dramaturgical explorations. The text is a space, a vehicle of exploration to the extent that in one of my recent projects, so together with my dramaturg, Marta Sokołowska, came up with a number of versions of the text, which actors perform as spectators watch them. In fact, you never know which way a show will go a given night. I abandoned text because of two reasons for my mention. I began staging texts, a lot of French texts including the French classics, but I felt a growing sense. I had this sense when watching productions. I felt that I was pretending that the people next to me were pretending, actors were pretending and increasingly I began seeing people from outside of the theater world. So kept telling me how they hated theater, and I started wondering and that led me to connect that with my own feelings, my own. And I began saying that the problem had to do with my relationship with text or what we're trying to do with actors in rehearsal with the text. So I started taking deliveries, I started introducing more and more, and it came a time when the percentage of improvised scenes began and improvised scenes made up the majority of the production. Until I concluded that basically it's interesting when actors are co-authors and the pen, the piece, the show of the piece, is dependent on the here and now, is historically bound to the here and now. Also, it also depends on the spectator who comes to the theater on a given day, it depends on the venue, on the time of day, so it's affected by all these factors and this alters, transforms the text of the play. Besides, it's very difficult to do cert titles to these pieces and to have understudies, or to have somebody stand them in for an actor. It's different with me, I don't know how and I don't like to work with a text that I don't like to work with texts, because I don't believe in language or speech as an instrument of communication. I mean, it's sufficient, but only up to a point. It does the job, but up to a point.  I'm happy with the third sentence, because it's never what I wanted to say. And the theater is cool, because you can use all the extroverbal, extrolingual things. It's so... The theater is about things that cannot be said, used as words or a language, and it's interesting. And that's why in my pieces, I'd like to strip down a language for a minimum period of time. Now, could each of you in turn tell us what subjects interest you, what do you think is worth dealing with the theater? Could you be in with a view to your upcoming projects? That's always a difficult question. It's an awkward question and an awkward situation. I could follow up on what I said previously about collective work, working collectively. And I think that working in theater, apart from the pleasant parts, is very difficult. You need to work with a large group of people, and that in itself is a problem. And to some extent, when I begin experiencing syndrome, when I begin feeling traumatized by that, which happens occasionally, I started looking at the relation between the individual and the collective. And in my pieces, since we have a group of actors, thanks to that we're able to address the issues of... We looked at groups, so first we dealt with a group of Jewish actors. Then we looked at students in school, we looked at patients undergoing therapy, and I'm interested in observing and seeing what happens when a group begins revealing things or tries to conceal something. I think what's most important to me now is looking for truth using the vehicle of theater, which is a fiction in my most recent pieces. The starting point is always documentary, is always non-fiction. And based on this evidence, this body of evidence, that we are assembled together with actors, I mean, we're all investigators in the process, so based on that we re-enact the event on stage, or as for the benefit of spectators. But the truth of the event, the truth of the matter, cannot be determined because everybody has their own take on the situation. And this continuous search for truth, which increases the distance between ourselves and the truth, is similar to what we're dealing with in real life, when the copy is increasingly detached from the original, it peels away from the original, and reality becomes a similar thing. So I think that what interests me in theater is to create a space where spectators could, via theater, become alert, vigilant, and know how to tell how to distinguish between various types of truth. Briefly, I'm interested in the relation and people's relation with the world of nature, and the image of the outside world, the natural world, or I started a wonder, and I was wondering for a long time how come nobody does nature documentaries in theater, and that's what I'll be doing next. I never think of a subject, I don't define a subject at the outset. Instead, I try and think of the situation, I want to stage manage and create what will happen to the people I invite to take part in the situation. I'm wondering, I try to figure out what kind of situation it is where I am, who I'm dealing with, and what elements made it all up, how it's going to work. I try and figure out what experience can be achieved, what experience I'd like to evoke. I try and project that, and the subject is actually a pretext. Briefly, I'd like us to talk about something that only Krzysztofińska made explicit, mentioned the economics of theater, the economics of means of production, and about democracy and theater, because in Poland, we're living through a grave crisis of democracy as a political system, but we're also used to people saying how theater is not democratic by definition, it's not a democratic institution. At best, we've said, I received wisdom that talent is not distributed democratically, but also I want to ask about working methods towards this partnership, relevant, there's such change about others, or are there moments when you put your foot down and you say, I'm running the show, the book stops here? Personally, I find the principle very sweet, very important, because in most theaters or bases, I mean democracy is not something that will have people, democracy and partnership is rarely seen or was rarely seen, the experience of my older colleagues in my shows I never, no one's ever forced to do anything. That's our key principle and this, or, and the assumptions of the premise that we're all artists who have come together to work on something, we are all artists of that state, but that matters even more than the outcome to me and it also has to do with the thing that I'm still learning so I don't know anything and that from actors are more experienced or older than I am and that in a way, I don't feel authorized, I don't feel like to tell them what to do in a way or two. I mean it's not because I feel inferior in any way, of course, I want everyone working with me to have to enjoy a lot of freedom or as much freedom as possible so you never banged your fist on the table, you never put your foot down. I break out laughing rather than imposing my will because theater is not a serious thing after all and the community is a value. It's what's important for me is that all the components of my shoulder pieces have equal status, sound, music, text, directing, I see them as having equal status, a performance, sound, text, etc. are all at the same level for me, at the same importance. My problem is that when I fall in love with an idea I do my utmost to carry it out. So I stick with it. I agree with what I relate to what Magda said. I'm increasingly more interested in how we work. And this theater is to be a place of utopia. The question is what relations obtain between people and actually it also has to do with who actors are in the theater, what is their social sense. So I like it when actors start talking to their own name when they take responsibility for what they say, what they do for words and gestures and deeds. But I think it's not bad. The working conditions for stage directors in Poland at the moment are not bad. But I wonder what I'm not less sure about is the status of cultural institutions, even ones that profess very democratic ideals, but in their own operations they're essentially oppressive. And I think that's a challenge for all of us for stage directors. Now I put my foot down, I slam my fist onto the table, but that's because I feel I'm responsible for the process. Not the outcome but the process. And I'm the one who needs to generate the energy needed to make it happen and it has to be difficult because otherwise it's not worth the while, it's not worth it. And if it is to be worthwhile, it has to be difficult. So that's why you need someone to take the burden upon themselves because it's complicated, and it's not worth it. And if it is to be worthwhile, it has to be difficult. So that's why you need someone to take the burden upon themselves if we don't acknowledge that their conflict is inherent, that they need to overcome your limitations and whatnot that you won't get far. So that's the responsibility that I assume. I'm the person who started the... I'm not Tempest who started, who stirred things up, and who stirred things up in the first place. And as such, I'm responsible for what... for... I mean, it's my job to make sure that everybody profits as much as they can from this work of the... I don't believe that profit is... attainable if things are proved too easily. It's 6 p.m., but I see people are... some people are filing out, actually. Some people have plans to catch, including the Polish IT technician who partly made some of this possible, and he is now leaving us. Now, do you have any questions you'd like to ask or... Yes. Unfortunately, the question is practically inaudible and it's being translated silently into Polish for the benefit of the stage directors. So it remains to be hoped that some idea of the question will come out in the answers. I'll write on my own, and that's the way I want it to be. But your... do you write productions? Do you write not texts, not plays, but do you come up with texts? Do you define yourself as... It's about divisor. Do you break it, or do you adapt it? I don't break it. Okay. It's the only author... the only author whom I staged, the only play that I can read from start to finish, which I truly... Joel Pomerá is the only playwright whose pieces I can read from through and through, so I never mess with him. I'll be staging Cinderella and star it out in Krakow. I work with a dramaturge whose name is... to answer your question... I work with a dramaturge called Mihał Błyszewicz on Jewish actors. That's my piece, Jewish actors. And we also have plans for the future. I think he's a very talented writer. And I think that after what I experienced, on my own, we will start devising together again. And it seems that we will... get back to writing the devising chunks of texts that will be important parts of the production. Some of you began by staging the theater grates or some of you also used feminist literature, like Siksu, I think. So effectively, directors come, authors, and this is something we're seeing in France. But I think it's a little different owing to the significance, the import of the text, because of that text that doesn't provide you with an opening situation and this open situation, this starting point can be equally important as a movement or a question of situations. Do we have any other... Who's your favorite playwright, classical or contemporary? My name is Shakespeare. Who? I need a moment to think. Do you mean a playwright or somebody who writes for theater? No, just a writer. A favorite writer. Somebody who led you. I want to say Cortes, but not my big Cortes. A becobo is an author I'm very much into now. I want to stage the women to do this. Mainly because it's so a theatrical... It's an attempt to say something that's very difficult to express in theater. Yes, that's the... Yes, there was a movie. Albert Camus. Albert Camus. I wrote my M.A. thesis on Camus. You asked about authors who brought us to theater. It's not that Camus brought me or led me to theater. But... And his book to the first man. I'm not sure he was the one who led me, but... But recently I think I've... I'm a little lost and I generally define... My favorite author is... I don't have this compass. Moghe? It's more of an observation than a question. But what has emerged listening to all of you and it's been very, very wonderful is that you're not set up as a resistance against a father or a brother. But, I mean, thus far you've emerged young artists who are also women. But, I mean, thus far you've emerged young artists who are also women.   And all of that seems perfectly normal to me. It doesn't seem anti-feminist. So it's the pitching of the subject of women, young women artists must be inherently against men.  At least there should be for women not against men. I hate what I'm doing, but I'm not asking a question, so that's all. Okay, briefly to respond to what you said, but this is not an answer. I'm just remark on what you said. Okay, to remark on your non-question. Personally, if I can confess something, whenever I encounter another person, their gender doesn't matter in the least. So the distinction into female and male stage directors is, I think, a type of theater that's external to theater. It just wins it in the end. I mean, I know that I'm defined by virtue of my fine gender and my age, but that's not something I'm concerned myself with. Where do you sit? Or do you place yourselves? What's your position of the anti-feminine policies of the present Polish government? Do you have a position of your life and your work? Or not at all? The lady came in late and I was not aware that the subject she asked about was already covered at the beginning and it had to do with the political situation, how it affects their work as artists. Do you think it's easier for you to work with other women? I'm not, I don't mean actors, but generally people you work with. So do you seek out women to work with or is it just a matter of chance? Is it some sort of chemistry between you and your female collaborators? I mean, do you have people you work with on your recitations who are currently repeatedly? Something I really wanted to say all this time, I mean of course we, I mentioned the collaborators, we have the long standing collaborators, I mean gender doesn't matter, but now that women are in theater, we have something that actresses, not stars, but actresses in smaller Polish theaters are telling me. They're telling me that we're giving them hope that women will be given ritual or deeper roles to play if they had a heterotune previously. We're, actresses didn't bring deep for which roles their job was to offset a manager. To be what I can be, to be what I can be, and they're hoping that there'll be more of a balance or the problem will go away altogether. It depends on who I work with and I want to take care of everybody as much freedom as possible. It's important for me who I work with because if I want to give everybody freedom I need to trust them, there needs to be trust, there is a chemical balance, chemical bonds between us that is necessary. And it makes things all that much easier. And you can start further down the road to speed things up. Now, after having for some time I have a permanent group of people who work with me, the people I create productions with. When selecting collaborators gender doesn't matter. It's a question of a sensibility, it's a question of an understanding between us, but recently I'm happy to be talking to other female directors I'm happy not unhappy as and it's an enriching dialogue it's for me and it seems authentic and very sincere. And I think that's interesting and it also tells you something I guess about how we work, how we think about theater. So here I feel I mean there's a different, it's different from when I'm talking to my mail to colleagues I agree that there is a point to talking about women in a theater it's a valid fact because we do have a sense of community there is a rapport among us between us. One last question from our class. Can we do something now that would be a symbolic reflection of your work? Let's forget about the split the division into audience and speakers. Let's open the door. Let's let some fresh air in and let's thank one another informally and also let's have a drink. Answer to the question is resounding. I also wanted to say that we'd never be here if it weren't for you on in our class I would have come here if it weren't for you on in our class.


Synthetic circuits that can record in vivo signaling networks is critical in elucidating developmental process. Here, the authors describe the engineering and application of synthetic in vivo recorders with different promoters that can drive spatio-temporally specific integrase switching during lateral root initiation. This article was offered by Sarah Guisha, Cassandra J. Marinaz, Jonas Situ, and others.


Now let's move on to the next presentation. This group has developed forum for interconnectivity with handheld gadgets. Managed by Mr. Rahul Deshmukh and mentored by Mr. Santosh Shingare. A new forum concept to support video, image and text and interconnect with handheld devices. The team has here so let's start with the presentation. A very good afternoon to one and all. So the project which I was working and my teammate was working was development of forum for its interconnectivity with handed gadgets. I am Shobhisthak Sena and she is Shivangi Anidha. So what was the basic motivation behind our project? So we focused on the development of a forum which can be interconnected with the handled gadgets so that the interaction with the forum can be very easy. So when there are so many forums available in the marketplace so why particularly our forum? Because it's different from the general forums available in the market. The services can be provided in media format. We can provide the answers in videos, audio, images and text format. And most importantly we have integrated our forum with the handled gadgets through applications, Android app and SMS messaging service. We will be sharing it later. So for the development of front-end webpages we've used the Bootstrap framework and for the development that is the backend functionality we've used the Spring MVC and database we've used MySQL. So why Bootstrap? We've used Bootstrap because it is compatible with all the handled devices and it supports responsive web design and it is open source. And why Spring? We've used Spring framework because it's a very lightweight framework, loose coupling, powerful abstraction and it is very flexible in the sense like it can be integrated very easily with the other frameworks and it is entirely based on interfaces because of its reduced development complexity in the sense that testing is very easy and it is standard for enterprise Java development and it can be easily extended in future. So the flow of our development was like this. First we analyzed what's functionalities have to be developed and then we formed the database because the database here is very important because we are storing the entire media in our project. Then we did the front-end analysis and then the implementation of the desired functionalities and then apps were developed that it can be integrated with handled gadgets. So what are the basic features of our forum? Our forum as most of the forums provide we have login and one can view what has been posted, one can post on the forum any query he is having and then we have roles and permissions. For example if we have a normal user then there will be some permissions assignment and he will be able to access the forum only based on permissions. We have admin suppose then he will be having some special privileges through which he can change the entire forum accordingly. He can set the categories and accordingly he can set the settings. He can set the forum according to him. Now the posting part is basically done by, so about the Android app that can be used to post a question when we are not able to have a PC available to us. So it is a free Android app and it can be downloaded from the Google Play. It connects through the portal. We just have to select the category to which we have to put the answer. We have to then type the question and we can give our name or email id. It is optional and once we click on submit question the question will get automatically posted to the forum and once the moderator sees the question then he can provide the answer available or someone else can put the answer. The next thing that we have integrated is the messaging service. So if we are in a place we have a doubt but the internet is not available to us. So but still we want to ask a question. So we can just type the text and we can send it to this number. Once the text is being sent to this number it will get posted to the forum through the API that are being available which we have used. Then the question will be posted to the forum and the answers can be provided. Answers will come by SMS. Sir actually answers will not come by SMS because So that is in the future scope because we are using the media but so to upload directly the video it is not that easy from the mobile and handle gadgets. So it is in the future scope we will work on. Not SMS. Yes. Not MMS. I send a simple text query. Yes sir. And I have to reach a PC to get an answer. Then post the message. So we can post through handle gadgets because the basing portal. If you allow me SMS interface means in as well as out. That is the standard thing that I expect. Same with your android app. What does it do? I can only post. Yes sir. We can do one thing. Can I receive or not? Yes sir. We can receive the answers in the text format but not entirely in the video format. Right now. It is in the future scope but once we put a question in the text format then we can receive an answer in the text format available but not in the video or MP3 format. So what we have learned? We have learned new technologies like bootstrap and spring and the importance of documentation that came very handy in the end and we learned the version control part and the importance of connecting our portal with the handled gadgets because various times the net issues are there and so we are not able to post and the phone and development part. One second. Have you seen this ad? Pull one eye. Idea ad. Not seen. Don't see TV. One of the few ads which this fellow gets. Abhishek Bachchan. What does he say? On every mobile I will have internet. Then they can do it, no? Correct. Don't worry that is a current problem and I am sure that is not correct. Almost all areas of India will have internet by now. I will have mobile by now. Whether each mobile will have an internet or not is a huge opportunity going to happen. So why you are speaking? I was actually thinking whether if every mobile has got browser do I need separate apps or not? I am still confused. I think separate apps are better but do I actually need? Handled, earlier needed but now everybody will have I am sure sometime. Not correct. That is the special thing which I cannot do. So the goals were basic functionalities of the forum were developed successfully and the answers can be given in video format which was the major issue with us can be given as well and the interconnectivity was the forum successfully done because two apps were developed and the road ahead is that we want to develop the entire forum with full functionalities but due to lack of time we were unable to develop the full thing. So next we will continue with the demonstration of the project. We have the basic functionalities like if we want to register we can register from here and we have another forget password. Sir, actually it is running that is why we have prepared a video because the yes sir it is not connected. Then like so once we click that is the question we will be able to have the video and once more demonstration which we want to show is through those two apps the android app and the sms app. If net is not coming then we have integrated that future in android app as well that without net we can post through net app only through sms. That is why I was upset.  Now the next thing just before we posted a question through android app without internet connectivity and it was we refreshed it view part and it was shown there and now we are posting with internet connectivity. Sir we have a particular built in sms service provided by the cdp only. So we are cdp sir so the question through android app and it will be displayed here. It is actually very fast. Now sms service sir but it must mean text format only what we are focusing is in the media format. So that was our main motive the initial motive then we integrated with the handled gadgets. Yes sir the basic sms service applications are very common like if we want to post somewhere and we can receive the reply. You don't have to build everything from scratch. Yes sir. So have you investigated? Yes sir we have investigated and for sms only we are using the api the server has been provided to us. So do you have a comparison report of some open source available in such products? Sir we there is a third forum available on github. We have investigated it but we have not included in our presentation because it must be very long. Thank you sir.


I'll tell you my priority. Protect religious liberty, protect people of faith, and protect Americans who believe in the true meaning of marriage. I hope and pray that my colleagues will find the courage to join me in opposing this misguided and this dangerous bill, and I yield back. You just listened to Republican Congresswoman Vicki Hartzler, or as I like to call her icky vicky, cry while pleading with her colleagues to reject marriage equality. Well, unfortunately for her, she's going to be crying herself to sleep tonight because her colleagues did not listen and they voted in support of marriage equality because the motion passed 258 to 169 with even 39 Republicans supporting the bill. So sorry, Vicki, too bad. I wish that I could have seen her reaction when the bill passed, and I really want to see what she says and how she reacts more specifically when Biden signs this into law because this is entertaining to me. This is one of those instances where you just need to mind your own business, Vicki. If you don't like gay marriages, then the solution is simple.  But she's like, oh, well, you see, I know that you and your husband consent, but I don't consent to your marriage.  Move on with your life. Society has moved on and left you and your antiquated way of thinking behind. So move on. But she's not going to move on. And she's so distraught that I have a marriage that she's crying. I mean, she's crying in front of everyone, like the world is watching and she thinks that we're going to find her argument compelling. No, you're an absolute child, Vicki, throwing a temper tantrum. And I find it hilarious. So I've got to say Vicki is probably one of my new favorite members of Congress because it's evident that gay people live in her head rent-free. She recently shared a photograph of herself with Laurie Smith, who is the web designer who's suing the state of Colorado for the right as a business owner to discriminate against gay people. And Vicki has also collaborated with the Family Research Council by appearing on their podcast multiple times and sharing posts from them attacking the Respect for Marriage Act. And this is significant because a sitting member of Congress is collaborating with an organization that the Southern Poverty Law Center designates as a hate group, explaining the Family Research Council often makes false claims about the LGBTQ community based on discredited research and junk science. The intention is to denigrate LGBTQ people as the organization battles against same-sex marriage, hate crime laws, anti-bullying programs, and the repeal of the military's Don't Ask, Don't Tell policy.  They've referred to transgenderism as a cult, which is ironic given that this is an evangelical organization and they themselves are in a cult. So you'd think that they know about cults. But their goal essentially is to erase LGBTQ plus people from society. And you have a sitting member of Congress aligning with this genocidal organization out in the open, too. So you'd think that she'd have some shame, but she's shameless. And in this bill, there are explicit protections for religious liberty.  It's not like they already weren't able to do that, but they explicitly had that right now because of the Respect for Marriage Act. Their protections is enshrined into the law. And that's why the Mormon Church has come out after being vehemently homophobic and endorsed this because they see that it very clearly gives them permission to say, gays are bad and we don't want them here in our churches. We don't want to marry them. But yet she's skeptical and she doesn't think that that's going to be the case. And she thinks that even though the rights of religious people are enshrined in this same law, well, it's still bad because gays are trampling on people's rights. She'll talk about this with no example. So here's what she said on a recent podcast for, you guessed it, the Family Research Council. They act like they're being so magnanimous in this bill to protect our pastors, so not force them to carry out same-sex marriage ceremonies. And yet they trample on the freedom of everyone else in this country and the rights that are enshrined in the First Amendment. And so it's a very sad situation and it's deceiving. And people need not be deceived by this. It is a disrespect for marriage and it's going to continue to trample on the freedoms of Christians to believe and to act and live according to their faith in this country if this passes. So she admits that pastors can discriminate because of this law, but at the same time it's not good enough because gays are trampling on the rights of everyone else. So I don't even know what that means. What example are you proposing here? Well, there is no examples because what she means is gays are trampling on our rights because we exist. That's what it comes down to.  And somebody who's so hyper-focused on another group, on what other people do in the privacy of their own homes, I've got to say it. Like, I wouldn't be surprised if there was some lesbian scandal with Vicki. Like this much focus is just absurd to me. As a gay man myself, I don't think about homosexuality as much as Vicki does. So there's probably some skeletons in her closet that she's trying to hide. But either way, she wasn't the only Republican who made a fool of herself.  The bill should be called the Disrespect for Marriage Act. This bill certainly disrespects God's definition of marriage, a definition that has served His creation well for more than 5,000 years of recorded history. And His definition is the only one that really matters. This bill would codify into federal law the Supreme Court's wrongly decided Oberfeld decision and ensure that the marriage laws in the most liberal state, irrespective of how radical they might become in the future, think polygamy, bestiality, child marriage, or whatever, must be legally recognized in all states. It was wrong when the Supreme Court made law in the Oberfeld decision requiring that the marriage law in Massachusetts had to become the law of the whole country when Massachusetts approved gay marriage. This was overriding the will of the people and their elected representatives as no other state to that point had been able to pass through referendum or state legislature a gay marriage law. The fact is traditional biblical marriage is the foundation of a strong society and a strong culture. I'll say it once again, almost everything that plagues our society is a failure to follow God's design for marriage, morality, and the family. The perfect omniscient immutable God knows what He's doing. But this legislation repeals the correct definition of marriage in federal code and requires the federal government to recognize any marriage if the marriage was valid in the state where it was performed. And a deep appreciation for and commitment to following science also in the positive endeavor of continuing the human race is important. You might have missed it at the end because he was getting cut off, but he actually said that we should reject marriage equality because of science, because we have to respect science. First of all, what's your stance on vaccines? Actually, don't tell me. I'd argue that you don't respect science, but are you basically saying that gays should be forced to breed? That's why we should disallow gay marriages because they won't want to breed and procreate if they're in same-sex marriages.     And we see the same arguments from Bob Good, for example, who claimed that marriage equality is going to lead to bestiality. We've heard this argument for decades now and it still hasn't happened. And let me tell you why this isn't going to happen. It's because unlike to adults, an animal is not able to consent as Kyle Kalinsky put it best in 2014-2015. He said that Shamu can't consent if you want to stick your pecker in his blowhole, but to adults can consent to marriage. So that's why bestiality is not related here. But I don't want to just focus on the negative because yes, it is fun to laugh at these clowns, but really this is historic. This is huge to think of how far we've come. It is inspirational because we don't make a lot of progress in this country, but the progress that we've made with regard to gay marriage, it really is something to be happy about because back in 1992 or three, I'm not sure what the year was, but Bill Clinton signed the Defense of Marriage Act into law, which banned gay marriages at the federal level. And that was seen as the compromise supported by Democrats as the alternative to a constitutional amendment ban in gay marriage, essentially. But now we see them effectively repealing that and even getting some Republican support for it. That is something that makes me a little bit happy, but that's not to say that the fight is over because there are a lot of different areas where we have to fight for LGBTQ plus rights and especially fight for trans rights. But this is a huge step in the right direction and people like Vicki are going to continue to cry, but good. Her tears are delicious and her tears and her sadness over this fuels me. So yeah, keep fighting and these bigots will keep crying because that's the only thing that they're good at.


That's Mike Trout. He's one of the best regular season baseball players ever. He's on third base Rendon. He's really good He's up that pitches outside. This one's brought to you by DraftKings. Rendon gets ejected in this looking around looking at the Outfield thinking about what he wants to eat later.  Okay pitchers ready to go. Here we go I love Rendon. I love a Rendon ejection. He's basically a monk playing baseball That's a really nice slider from goody there get some swinging strike one. Look at this It's a strike. It's a strike. It drops off the face of the earth It's not a strike, but he swung so it's a strike He goes back to that same pitch again get some swinging again. Really nice. Look at the overlay here It's very similar same pitch same approach same attack strike one strike two. It's a one-two count Rendon he's just trying to move the runner over Score run extend the lead high two and two.  Maybe I don't know. That's not a strike. It doesn't get called a strike a lot Rendon looks at it doesn't even think it's gonna be a strike Then he gets rung up and he looks at the ump in his very Rendon way and just goes what? It's high Though did you forget about the part that it was high and then he waves the I'm like get out of here As he walks away and the ump says you get out of here.  Rendon never breaks stride Doesn't look back after being ejected doesn't give the ump any time of day any fight I didn't say anything all he said was it's high and waved him off And now he's gonna collect his bat and he's gonna get on his way And he's gonna leave the game and and leave the season and not see the playoffs because it's the angels This one is brought to you by draft kings If you if you want to download the app use code John boy during the regular season get trout get Rendon Use up all their stats during the playoffs You're gonna have to pivot to someone else because the angels don't do the playoffs


President Mohammed Buhari has urged African leaders to fight tirelessly to get rid of corruption. President Buhari said that the continent has remained at the far end of global development index due to the vice. The president spoke in New York in his capacity as the African Union champion on efforts to eliminate corruption in the continent on the sideline of the 77th session of the UN General Assembly. On food security in Nigeria, the president disclosed that the government has financed 2.5 million smallholder farmers to cultivate about 3.2 million hectares of farmland across the country, creating 10 million direct and indirect jobs. Common African position on asset recovery 2020 was recognized as taking a broader approach to include resources lost through any and all types of illicit financial flows. It is therefore our hope that the common African position on asset recovery can be a model for designing a global framework to address illicit financial flows. And I use this opportunity to call on the African Union to ensure effective implementation of the common African position on asset recovery in line of the vision encapsulated in the agenda 2016. A billion people went hungry in 2021.  Such developments have been made worse by increased illicit financial flows arising from combination of factors including organized violence and conflict risks, economic downturn, natural hazards and climatic risks, as well as worsening access to humanitarian assets. Tackling illicit financial flows in terms of blocking the leakages and recovery of looted assets would offer the door to releasing the much needed investments in productive sectors, inclusive of food security. In my view, if Africa's population and land space are credibly and productively harnessed, we will not only address this challenge but will be a turnaround for world economic boost and sustainable. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


This is the DC animated film based on Mark Miller's comic. It's actually one of my favorite interpretations of the character, aside from All-Star Superman, which is based on the actual Superman, but it's kind of like a one-off graphic novel. My two favorite interpretations of Superman are Red Sun and Bruce Timm's interpretation of him from Gods and Monsters. The idea of the all-American, good-hearted, free-willed Superman is cool for some people and sometimes it works in small doses. I do like his camaraderie with Batman and his view, his moral, his leadership of the Justice League, but I've never found Superman to be all that compelling in terms of just what he is. He's a super-powered, overpowered, never-can-be-beaten hero who's just doing the right thing. You add some moral complexity, some possible alternative shifts to his core, to his moral standard, you've got me interested. And Red Sun is one of my favorite one-off graphic novels. I remember going over to one of my cousin's house for a Christmas dinner and my fiancé's mom had given me the graphic novel and I know I was supposed to be interacting with the family, but I was so engrossed in the story that I don't think I ever stopped until I was done. And that same compelling nature of storytelling is still in this film. It's kind of point for point for the graphic novel as far as I can remember. I think they have shortened a few things here and there for lengthwise. I did like seeing Superman in a Soviet nation. We didn't really get to see him raised on Soviet values, but we see him enacting those as his adult self. We see the corruption, the change in power, the willingness to do evil for supposedly the right thing that he sees through Stalin, and then he himself takes over and becomes the leader himself. We see alternative versions of Lois Lane, Lex Luthor, and Brainiac, the Green Lanterns, even Russian Batman, which I actually don't like the Russian Batman in this. I feel they didn't really give enough time for his character to be given any justice. Admittedly, he's not in the comic as much either. But that being said though, I did enjoy the pacing of this. They keep a lot of the novel in the film. They do keep the pacing good. It doesn't feel bloated. You're always engaged and you're always interested in Superman's moral conundrums that he comes across. That conflict between his good-willed ingrown nature to the Russian values, the Russian hierarchy, the Russian way of life that he's been raised to believe and to follow. The animation is pretty decent.  It's not great, but it's not poop, I guess you could say. It's pretty decent, I would say, for considering that this film came out this year or last year. The voice acting's okay. I feel like everyone was voiced by the same person on the Russian side. I know that's probably not the case, but I feel like Batman and Superman were voiced by the same people. But that's just for me. I think that the voice acting's okay. It's not exceptional. I think that the guy who voices alternate Lex Luthor in this was pretty decent. I did like that. The only thing that I've always kind of found a little bit odd is just Lois Lane's willingness to stay with Lex. I understand that Lex is actually putting his commitment towards fighting Superman as a means to better humanity. This is literally if Lex was actually a good person, just the same drive, the same determination, the same ego. But Lois is just so willing to go along with it. She says she doesn't even see him for months, sometimes years. I know in the graphic novel it gets even worse. Apparently he's in space at one point, which they didn't go there in the film, if I'm correct, that does happen in the graphic novel and I was kind of hoping for that because the whole Brainiac character, I didn't like how they use Brainiac and Superman uses Brainiac. It's kind of like the flip of the tables of what we're used to from these two characters. But in the end, I think Red Sun is a pretty good adaptation. It takes away a few things, but at the same time it does keep that same moral complexity that change of the hat for the character that we all know. So I think that for those who have never read the comic, you're going to enjoy it. You're going to get pretty much the exact same thing you get from the graphic novel, but always I would suggest read the graphic novel because there's a few other things in that book that aren't in this film, particularly a little bit more about Russian Batman and a little bit more about Lex Luthor. So in the end, I think it's good. It's definitely better than some of the DC animated films that I've seen in the last while. I just have stopped keeping up with the universe, which apparently ended with Apocalypse War, which I've been told that I need to watch all of them to really understand everything, but I don't know. I didn't... I'll give it a try eventually. In the end, I'm going to give Red Sun a 4 out of 7. It's a good adaptation, but admittedly this will collect dust on my shelf. I may show it to one other person, but aside from that, I don't think I'm ever going to watch this again. Otherwise, guys, I hope you enjoyed this review. If you did, leave a like and if you're interested in more, subscribe. Tell me what you guys thought about this. What do you think? Do you think it's a worthy comparison to the graphic novel or do you feel deviated too much? Let me know. It has been a while since I've read it, so I just want to make sure if I got anything wrong, I want you guys to let me know. Anyways, that's all from me, guys. I'll see you guys next time. Thanks for watching the video. My name is Nitz and you might remember me from the animated cult classic TV show Undergrads. It's been a while, but I'm happy to say the click is finally getting back together in an all-new movie, thanks to a successful Kickstarter campaign. But we are still asking for your support. To see any and all updates about the upcoming Undergrads movie, be sure to check out and like the Bring Back Undergrads Facebook page. And with any luck, we'll see you guys soon.


Parents and members of the Students' Union government, of the abducted students of the College of Forestry Mechanisation, Afaka, in Kaduna State, are protesting at the gates of the National Assembly Complex, Abuja. The protesters are lamenting what they described as the negligence of the state and federal government in securing the release of the children. They chanted songs of solidarity and placed placards, demanding the prompt rescue of the students. On March 11th, 39 students of the Federal College of Forestry Mechanisation, Afaka, in Igabi local government area of Kaduna State, were abducted from their hostels by bandits dressed in military uniforms. Ten of the students were released in two batches of five-inch, but 29 others have remained in captivity. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


to my channel. So today I have a video for you that I've kind of taken my time to film. You're gonna notice that it's like kind of different days and stuff but I like to go about every eight weeks maybe every other month through the house and declutter and I know I've done these type of videos before and I get comments sometimes about like if you're not decluttering that much or this isn't really called decluttering well it's my version of decluttering and honestly I think it's the best way is when you have kind of a routine that you go through every couple months and go through the house and just get rid of things that you're not using that you're not loving anymore things that need replaced extra things that are just floating around that are causing more mess in your house so what I do is I just go through like closets areas that I know I kind of have had in the back of my mind like I really need to go through that I need to get rid of stuff out of there and then just kind of make a pile and take it all to Salvation Army or put it on my Poshmark account and my Poshmark account will be linked below in the description bar so even if you're going through a closet and taking out one or two things that still decluttering in my book because that means that you're maintaining your home and that you're not allowing things to just pile up and just drag on extra baggage so I don't think I have a whole lot more to say other than let's get started I started out in the girls room just kind of going through their closet a little bit they had this doll play set that was just falling apart it's a very cheap set and they get really frustrated with it because the pieces come apart so I thought we would pass it along and their birthdays are coming up so I'm thinking maybe I'll get something to replace them and then I went through all of their clothing just pulling out anything stained and also things that were too small if you guys watch my channel often you know that we give our clothes that are too small to my niece because she is smaller than Hazely and so I just had a couple closing items I had found because I recently did go through a lot of their clothes and found just a couple pieces that where I had missed and then I piled everything downstairs in our family room right now it's pretty much empty so I've been putting everything down there and it makes it so that I can see everything that I decluttered all at once then I kind of divide things out between Poshmark and the thrift store next I worked in our room in the closet Cory had went through his stuff a few days before this I just asked him to do it so since I was doing everything else and just picked out clothes that I wouldn't want for the next winter season since we're going into spring and just things that were not fitting me right or too big because I have lost some weight recently so just kind of going through everything and picking out stuff I didn't want okay then I went to the playroom and I wanted to chat with you a little bit about this piece because I get a lot of questions about it of where I got it from and it's actually a bedspring from one of the cribs that we had and I just spray painted it and we use clothes pins to put the girls art on it and I just feel like it's a great way to keep your refrigerator decluttered and you can display the art in a fun way another thing that helps cut down on clutter that I wanted to point out is I have these locks on the closet so that the girls can't just go and rip everything out of the closet and believe me if the locks are unlocked they take advantage of that and they do go in and rip a lot of stuff out so they help keep things in place and chaos a little bit dampened I just picked out a few bins in here that I wanted to go through the girls had just recently gotten some new kitchen stuff so I was just pulling out some old stuff that had pieces missing and stuff that was half broken and things like that and then I also pulled everything out of the bottom and vacuumed there was just like crumbs and stuff and I don't normally do this when I vacuumed this room so I thought well I'm in the closet I might as well take advantage of it and vacuum it and then I also had been hanging on to this baby gate just thinking maybe we would still want to use it at times but to be honest in the last few months it's just leaned against the wall and hasn't been used so off to the thrift store it goes the bathroom was next and I just kind of went through things and picked out empty bottles stuff that just needed to be mainly thrown away I didn't really like give it to anybody or anything like that and also this is a great time for me to remember to put things on my Grove order if you guys don't know what Grove is it's a company that has all-natural cleaning products it's where I get all of my cleaning products and then all-natural like personal care products so like this day I remembered to put shampoo and conditioner on my order anyways if you guys are new to Grove and have never ordered from them before I have a link in the description bar that will give you a ton of free products in your cart so definitely check that out this is our entryway closet kind of our version of a mudroom and I needed to go through it and get all of the winter stuff out and pack some of it away get rid of some of it also just kind of get the jackets out for spring and I also just got rid of like boots that weren't gonna fit and we can pass them on to somebody else reorganizing and just kind of went through the hats and the mittens and things like that and there was a lot of stuff that I knew wouldn't fit next year I decided since I was going through the coat closet that I would also go through my diaper bag super quick I feel like this is something that lands last on my list so often so I just kind of went through make sure I had enough diapers took out some things and then restocked the stacks you always need snacks when your mom next I moved into the kitchen area I let a candle in the dining room I love candles while I'm cleaning and recently I actually had gotten a new blender and an insta pot so I needed to get rid of my old blender and my crock pot because my insta pot has a slow cooker option on it and last week I decided to try it out it worked perfectly so I was like okay well I don't need my crock pot anymore since I have this and I found a way to get my insta pot to fit in my kitchen I just rearranged a couple things if you guys noticed in the clip before it was actually in the coat closet because it was so big but with moving a couple things around I made a way for it to all fit and I also made a way for the blender to fit in there as well and I wanted to show you guys this as a tip as well I do not have any other frying pans besides this griddle it is my one and only and I love it it's so like you can make so much stuff on it and I don't need a whole bunch of frying pans so that's a tip if you're wanting to get rid of some of your cookware get a stove top griddle and then this is something that's been so neglected I just keep putting my cookie sheets back in here and knew that it needed to be cleaned out so I decided that since I was doing decluttering I might as well tackle this so I just swept out crumbs and things like that and wiped it out put the things back I wanted to keep and then got rid of the stuff that I didn't want to keep next I climbed up into where our like cups are and tumblers and things like that just pulled out stuff that didn't have lids things that we haven't been using for the last few months and got rid of that stuff and then I also grabbed my vacuum cleaner and just swept out my spice cabinet since there was lots of crumbs and things in there okay so I didn't need to declutter this but I wanted to show you guys that these are areas that I do declutter so this is my coffee bar but it also doubles as where my like containers are and my ziploc bags my coffee and tea necessities are all in there and that is something that I do declutter pretty often I also declutter my cleaning products and things in my laundry room pretty often but I just did a deep clean on my laundry room not that long ago if you watch me you know that and so I didn't need to do it this day alright guys thanks a lot for joining me today and I know this wasn't like some massive huge declutter that's kind of the point like you want to get to the point where you're maintaining clutter and you're getting rid of things when you get new things and so I hope this inspired you I hope that it all makes sense to you and I hope that you hit the subscribe button if you're new to my channel don't forget to give this video a thumbs up and I'll see you in tomorrow's video


Hello, everybody. Welcome back to another AI video. In this one, we're in Photoshop. We're going to use generative fill, which is a new AI functionality built into Photoshop. Going to show you how to turn any image into a painting, an oil painting, a watercolor painting, anything. And I'm going to show you how to do it in like 90 seconds. So get your timer ready. It is wild. All right. Here we go. I'm going to delete that layer. Let's start from scratch. First step, start your timer. All right. First thing you do, load your image. Now, press the letter Q. When you do that, you're going to see it loaded into quick mask mode. This is what we want to be in. Now, go up to the top, go to Edit, Fill. And when you do that, select color here. And then when you select color, it'll give you a few options. What you want to do is you want to have the black or the B here to brightness part of me, not black, brightness to 30%. We want a gray with about 30% on it. So I'm going to go ahead and click on OK. And presto. We've gone ahead and applied a fill layer, although you won't see it yet. Now, press Q and we're now going to work. And we're going to go ahead and create the generative fill. Now, just a quick note, there is a layer here, but you don't see it, but it's there. So what we're going to do now is we're going to click on generative fill. And when I do that, I get the option to decide what I want. So I want oil painting. And I'm just going to go ahead and click on that, click on Generate, watch this. I'm going to come back when it's done. All right. Welcome back. So there we go. We've got an oil painting. It gives us one of three different options. I'll just flip through them. See what we got. That one's pretty good. That one's quite good. They're all very good. So there you go. We've turned a standard image into an oil painting image. If you want a watercolor image type painting, pardon me, watercolor painting, click on Generate. It will go through the same process. I'll come back when it's done. All right. Welcome back. So here we go. This is a watercolor style painting. That's quite nice actually. Also very good. Also very good. That's all there is to it. It's like two steps. Thanks guys for watching.


And for today's example, we'll be using the dragon type along with the ditto in order to show how efficient we can hatch these eggs as dragon types take a lot longer to hatch than other type Pokemon when we're hatching eggs. So without further ado, let us go on with the tutorial. Okay guys, to start off this tutorial, what you're gonna need to do is go over to the Pokemon daycare center in the wild area. That's where you want to go. The second thing I want you guys to do is make sure to have a Pokemon in the front of the party whose ability is going to be flame body. Now what flame body does is it contacts with the Pokemon and it may burn the attacker. So when a Pokemon hits you, it burns them. Flame body keeps Pokemon warm, right? So when you have a bunch of eggs in your party, what it's gonna do is make it hatch faster. So you're gonna need a Pokemon with this ability. This will make things go way faster, right? Okay. Now you got your Pokemon flame body. You got your eggs. Now what do you do? Oh, you got to get on your bike, right? Bikes count as steps. So I'm gonna go into the bike, right? You hit your plus or minus. And now here's the trick, okay? We're gonna go into settings, go into your options. And what you're gonna do in options is you're gonna go all the way down to horizontal camera controls, right? And you're gonna make sure to have them enabled on inverted. You need to have this on inverted for the egg hatching only, right? So I get off of that. And what you're gonna do now is you're gonna take this rubber band, actually, let's move my character over to the little bit over here so we're not in the way of Pokemons. Okay.  That's it. Take a look at that. That's all you're doing. And you're just going to keep going until Pokemon hatch. So make sure to copy that. All you need is a rubber band. And you can do this on your Joy-Cons. You can do this in any way you want to set it up. But that's the method. And we're just gonna sit back and we're gonna wait for Pokemons to hatch. That's it. I'm not touching a thing now. Hopefully you don't get in a Pokemon battle. Those Pokemons are clicking pretty close. Yeah, you could probably jolt away. They're getting curious though, running around in circles. Yeah, let's just move a little away from them. Yep, just jolt a little away. Should be no problem. Yeah, so that's it. So we just wait. Hopefully that Pikachu doesn't come close to me. Oh my gosh, it's coming really close. And then we just jolt away. If you want to get away from it, you just move your arm. Yeah, it's doing the thing. We're still good. If you see a Pokemon approaching, you obviously just hit a jolt away. But otherwise, this does the trick. There you go. This is a safe area to do it. So we wait and we watch. And there it is. There's the hatch. And this is the first time I've actually seen the egg hatch. What are we gonna get? Shiny Pokemon? Oh wow, that's a really cool. That's a really cool animation. We got Drepi. Drepi has hatched from the egg. Okay, and I have my second egg waiting. So let's see how long it's going to take for the second egg. Yes, this is the first time I got Drepi. Don't laugh at me. I have another egg in the party. So let's see. I think that might be the spot to do it right there. So you're not too close to the grass. It's nothing's changed on you. It's still just like this. All right, placing the controller down. I'm gonna wait for the next Pokemon to hatch. And again, these are dragon type egg groups. So this is the egg group that takes the longest. That's what we're doing right now. And I'm just been chilling and talking to you.  Go on Twitter. Go follow me on Twitter and Instagram at PhillyB2. Why do you wait for your eggs to hatch? But yeah, just waiting. But this is the most efficient way of doing it, guys. Without you having to really pay attention to the game and our second egg hatches. So this is a good way if you're trying to get shiny Pokemon, your mass egg hatching. You can do this as well. And there we go. That's pretty much it. So I wanted to hatch two dragons back to back with two eggs I got separately at two different times. And that's pretty much it, guys. So if you enjoyed this video, make sure to like, comment, subscribe, and let me know which Pokemon you plan on using this egg hatching method for. My name is Philly Beats you.  Professor Philly Beats you. And I'll be seeing you guys in the next video.