As dusk comes gently seeping down Raisina Hill, the masked vans move up. As the day fades away along with the fading strains of the pride-inspiring Sarejahase Acha, the area lights up, with its brilliance, with sentiment, with reverence, leaving everyone suffused with national pride. And as the enchanting ice-cape brings brilliance to your screens, the atmosphere replete with wonder and rapture. The President's bodyguard arrived to escort their Supreme Commander back to Rajapati Bhavan. The fusion of the timeless and modern melodies we heard, breathing continuity into tradition, the countless beats still gently reverberating in the surroundings, and the multi-healed lighting saying it with colors, our country is diverse, our shades are many, but we are one. The interplay of light, the playing out of ceremony and sentiment, President Ramnath Kovin capturing these images in himself. As the constitutional head of the largest democracy in the world, it's a proud day for him. A republic is a vehicle on which rides self-rule, where the people are at the centre, where governance moves from eye-empower to eye-empower. And this glow lights up the seat of power in the capital. Its luminescence radiates across the nation, carrying on its wings assurance, affirmation and a promise that we are many people, but one nation and that the future will only be brighter and better. The entire region of Vijaychok is surrounded by the important centre of the Indian people's movement.  Vijaychok is located at the top of the hill, and from there we are at the top of the hill, where both are North Block and South Block, in which the minister of the Indian government and the minister of the ministry were also present, and right in front of him is the Krashtupati Fawan from Paitiha, where she is standing. The Krashtupati ji along with her is the Shiali's Khursawar Angarakshak. Ceremony and tradition have a wonderful way of giving context to the present and setting an example for the future. Light, the dispeller of darkness showing us the way. When the moment came and asked everything to shine, we all lit up as one for getting yours and mine. And as the stars drift, these sandstone outlines brilliantly every thought in us aligns, knowing in our hearts that we all are one to do together what should be done. Seeing the light, its shine and influence is a little difficult. The music is still rolling in the ears, and the steps are still moving on the front of our eyes. In the light, the sun is shining. And now, with Vijay Chowk, the Krashtupati ji from Paitiha, Shreya M. Vikayanayidu is leaving. Light has a very silent but powerful way of making us experience events. Be it the quiet glow of a solitary oil lamp, or the high wattage glow of thousands of bulbs, both convey beyond the obvious, beyond the speakable, and beyond the describable. Prime Minister taking his leave from the venue. Supposed to national celebration, it seems to be the path that the Prime Minister invariably walks us towards the crowds, waving, greeting, smiling. And today we heard, we saw, we absorbed, and we nourished ourselves. Soul-stirring martial tunes, rhythmic drum beats, and the luminous glow of festivity and celebration, all in a session part of our beating retreat ceremony as it has taken shape today. And when those who participated in the ceremony in the form of an enthralled audience go back today, each and every one of them will carry back sounds and images that will stay with them forever. Because the most beautiful part of the ceremony is not what you see or hear, but how you experience it. And now, as the Prime Minister takes his leave from the venue, and as he always does, he immediately sits on the seat belt. Prakash gives a new feeling to the entire environment. Prakash's importance, he knows very well who are familiar with darkness, who have turned the light on in the darkness. That place, that society, that life changes when it becomes Prakash-Vaan. In search of this knowledge-like Prakash, there is a human life. Asato ma sad gamay, tamso ma jyotir gamay.


So we're looking at applying the finite difference method to the heat diffusion equation and in the last segment what we did we looked at grid generation and we looked at conversion of the heat diffusion equation using the finite difference method. So we recast the mathematical physics equation in finite difference form. The third step, the third thing that we're going to start looking at now is how to handle the boundary conditions. So remember boundary conditions pertain to what is happening on the external surface of the object that we're interested in and what we're after here we want to be able to determine the temperature distribution within an object. We said we were looking at an object with internal heat generation. It was steady state and it was two-dimensional so those were the restrictions. So what we're going to do we're going to begin with the simplest boundary condition that there is and that's where you prescribe the external temperature on the surface. So let's take a look at that one and what I'll do I'll begin by drawing the surface of the object and we'll put some nodes on it that we'll work with and so I'll use the same convention that we had before m and n for nodes and this is a surface that we know the temperature and that's why we say it's a prescribed temperature boundary condition and writing out the finite difference form of this is actually quite easy. What we say is temperature at node location capital M n plus 1 is just equal to the surface temperature and tm little n is again equal to the surface temperature and finally t capital M kind of n minus 1 again is equal to the surface temperature. So you can see that's pretty straightforward pretty easy. You could even have a temperature a surface temperature that is changing and then all you have to do is just change the temperature at each of those node locations. So that's the simplest boundary condition that that will deal with. What I'm going to do now is I'm going to start increasing the complexity and so the next one that we'll look at is a boundary condition where you have a prescribed heat flux on the external surface and again what I'll do is I will draw out the surface with nodes and I'm going to draw another node point inside of the surface and that will be node location m minus 1 n and what I'm now going to do is I'm going to draw a control surface that goes like this and the size of that control surface the vertical extent of it is delta y that's our grid spacing in the y direction and the horizontal extent of that is going to be delta x over 2 and so we're going to use that in formulating the boundary condition for this surface and the last thing that I'll do is I will draw the heat flux coming in and so we said that this was a constant heat flux surface and we will prescribe the heat flux at this node location as being q m comma n denoting that it's coming in through that nodal location. So what we're now going to do that we've drawn this picture we're going to do or perform this is our control surface we're going to perform an energy balance on the control surface and that will enable us to come up with a formulation for the boundary condition for prescribed heat flux so let's go ahead and do that on the next slide. So remember we said that we're looking at the heat diffusion equation where we can have internal generation and it is steady state so consequently when we look at the energy balance of this surface coming back here what we have is we have the heat flux coming in this direction so that is what the first term is representing in our energy balance looking here that is heat in through boundary surface. The second term we have represents conduction. Conduction going across this control surface and that could be coming in or it could be going out depending upon the conditions and so that's conduction across our control surface and that is what the second term is and the final one is rate of energy generation if it turns out that we have internal energy generation we need to be able to take that into account as well so what I'm now going to do is I'm going to write out the energy balance in finite difference form and that is what we're going to use in order to determine this boundary condition. So beginning with the heat flux in through the boundary surface looking here that's just qmn multiplied by delta y we'll assume that it's a unit depth into the plane of the page and then we have the conduction terms and for conduction we're going to have conduction on this surface conduction on this surface and conduction on this surface noting that for these surfaces the upper and the lower here they're only delta x over 2y so we'll have to account for that in our equation and for that we just use Fourier's law and remember Fourier's law was KADT by DX so the delta y here represents a and it technically should be multiplied by 1 per unit depth and the final term we have is the internal generation term and I'll multiply that by the volume and that would be multiplied by 1 for the unit depth as well and all of this has to equal 0 so that becomes the equation that we work with in terms of determining the boundary condition for prescribed heat flux and we can simplify this if we have uniform grid spacing that's where we said delta x was equal to delta y and so doing that and rearranging what we're going to do we're going to rearrange for TM comma n on the left because remember that's what we're looking for through our finite difference method okay so that is the equation that results for prescribed heat flux on the surface of a solid that we're examining and the prescribed heat flux is there and that is the internal generation there now there is one special case of heat flux on the boundary and that is the special case of an insulated boundary so let's take a look at that and for an insulated boundary we know that the heat flux on the surface is equal to 0 so all we need to do is we set 0 in the equation above and we can rewrite it and that becomes the equation for an insulated boundary and that would be how we would handle the boundary condition of an insulated boundary so that is the case of constant heat flux on the surface for the boundary conditions what we're going to do in the next segment we're going to increase the complexity a little bit we're going to take a look at the case where we have convection on the surface


Got some guys banged up, obviously some guys in and out. You know, I think you try and take a bigger snapshot look and the offense has been pretty solid.   You know, can make it tough on a given night. You mentioned guys out of the lineup. Was LeMayhew okay? We'll see. We'll see. Hopefully tomorrow, but we'll see what we got when we get back. What was the issue then? He's kind of foot-toe dealing with, it's been the last couple of days. Did DJ do something during a game? No, nothing, something similar he had earlier in the year. We think it's similar. He's kind of able to work through, but it's kind of crept up on him here these last, really the series that started to bother him. Do you want to get him back in New York? I think he probably will, yeah. We talked to you about this rough stretch that you've been in. How much tougher does it get to get out of the longer it goes on with these guys, with the injuries that you're also dealing with? I don't know. We get guys back. You know, we have everything we need. So, you know, we're confident moving forward. You know, we just got to, you know, find a way, especially in these one-run games, you know, we got to push through here and there. And confident we will. We have everything there. You know, we're, you know, get some guys hopefully back interjected into the lineup or staff and keep plugging at it. You know, obviously we're going home. It'd be good to go home. We've got a tough home stand with some obviously really good teams battling out with us. So, look forward to that. But, you know, we've got to just get overall get a little bit better. We're catching the ball well. We're starting, we've got another good start tonight. That's probably what six really good starts in a row. We're seeing some good things down in the bullpen. You know, those games we have a chance to win. We've got to be able to close out. And hopefully we can get, you know, jumpstarted a little bit too offensively. Has there been any consideration or thought to bring it up Barraza or anybody in the minors? No, I mean, we talk about things all the time. So, no, I mean, we're always talking. So, I think it's specific there. What was it about Taion that set out to you tonight? I thought he was aggressive again with his fastball, but I thought he had a little bit of everything going. You know, I thought he was really good. You know, even, you know, obviously, Pham at the top gave him some problems. You know, couldn't put him away. And even that last at bat had him 0-2 where he works back to 3-2 and gets the base hit. Really, even the Devers pitch, I thought he executed. You know, he got it to the top of the zone, got it to the corner. And, you know, Rafi put a great swing on it, but it was good to see Jame go out there and give us seven strong innings. Again, unfortunately, we just couldn't mount much offensively to support him.


It's time for the Fravel Strader. What do you got, Mike? You want to cue it up? I want to see this play, because this was a thing of beauty, the play to Traylon Berks in the first quarter. You run the ball, and then you get right on the ball. We do. We go on the ball. So it's an interesting design. And so again, the conversation goes about run, pass, this, that, and the other thing. And there's a lot of different ways to try to figure out what they're in defensively, to get yourself in the best call. This is a formation that we're in here a lot. It's a balanced formation. It's two by two. Derrick's behind the quarterback. We can run multiple ways. You can bring tight ends back. You can do different things. Or you can max protect. You can run different concepts. And in this particular case, we get the look we want, which is two high safeties. This is something that they've shown coming into the game. So we get them into two high look. You see that we're able to build a nice wall right here. Wesco does a nice job on the one on one. We brought the tight end back. We brought Rader back in case he needs some help. But you can see the wall and our ability to build a pocket around the quarterback. So again, using these concepts that we have to operate at the ball are really nice things. Trelin's running with speed. I think that's the biggest thing that you wanna see here is I would say illegal contact. But you see Trelin running with speed and snapping this thing off. And even though they've got three guys back here, they're all running for the post. And Trelin does a nice job of wrapping it in here. And Will does a great job in allowing to run after the catch as well. But it starts with the operation of getting to the ball, making sure that we see everything that we wanna see from a quarterback. Protection is always critical. And so you can see the protection. We get a wall. The quarterback's able to move a little bit off the spot, change his launch angle. We do a good job here with the tight ends. Lows the quarterback to step up. And then good ball placement here. Out in front of Trelin where he can catch and run through this thing for a few extra yards.  He's running 21 miles an hour. So we're gonna need to see more of that and try to continue to have that as a weapon. You know, the play action part of it is such an important thing in so many different facets. But it seems to me, Will Leviss is a good ball handler in that. He takes the fake out very well. Derrick sells it well. You know, and again, it is part of it. But the other part of it is allows us to do this. And these guys over here, these kitty cats are pretty good in this league and they go. And so the more that we can move and slide and show them different looks as opposed to just one-on-one pass rush, that's what I'm for.


For many searching for their dream home, the journey begins at Private Property. The website boasts a wide variety of estate property options, including some of the most sought after areas in the city of Gold. The district referred to as Fourways is the fastest developing commercial and residential hub in the north of Joberg. The suburb is built around entertainment, shopping and socializing and a prime attraction offering all these is the beautiful Fourways Farmers Market, which is located on the original Fourways Farmstead. The whole idea of the Fourways Farmers Market was to create an escape from the city. We live in Joberg, however it doesn't mean that we have to play by Joberg rules. This is a mixture of the Cape and the Natale Midlands all in one. When we started in 2013 we had 685 people on the first day and 23 vendor tables. Now we have 106 tables and we average anywhere between 3,500 and 4,500, sometimes 5,000 people on a Sunday. I think the reason that Fourways works for us and I think the reason that Fourways works for a lot of other people is because once upon a time you needed to go somewhere else because something was missing. Now Fourways is quite a complete suburb, it's a destination, it's a one stop destination. A lot of people come to the market and then go over the road to Monty. They do a breakfast here, they do a lunch here and then they go over and watch the theatre. They go over and watch the movies, they go over to the bird park. I often go to the bird park with my daughter after closer and it's a perfect way to round off a weekend. Most sought after estates such as Fairfield, Sabiti and Cedar Lakes but one of the gems of the area is Danefern Golf and Residential Estate. It boasts over 1,200 homes since its inception in 1992 and offers a secure and convenient lifestyle to its residents. Hi, my name is Anita Pundin-Stearn, I live in Danefern Lifestyle and Golf Estate. We've lived here now for 16 years, I live here with my husband and my two kids. The reason I love living in Danefern is really the peace of mind and the fact that it's a lifestyle estate with everything at your fingertips. The estate offers everything for the whole family. My husband enjoys golfing here every Saturday, I enjoy walking in Danefern, I go and I can at least walk 9 to 10 kilometres, taking in the stunning view, walking along the golf course. I also partake in the yoga classes that are offered on the estates in the mornings and on Monday evenings and summer at the pavilion inside the estate. There are many activities that are offered, there's a stunning soccer group that start from little to older and also they have tennis lessons every afternoon and on the weekends. They also offer swimming lessons in summer in the pool and my son partakes in the tap dancing lessons which is awesome, it's a small group of kids with the same interests. They don't have to travel out the estate. The whole golf estate is based on an 18-hole Gary Player Golf Course which is featured all the way around the stunning Yoxca River which runs through it. There's nature walks where you can see stunning wildlife and beautiful indigenous trees. Other than that there's great cycling paths for the children who can go out, you know they're safe when they're riding. In terms of the social aspect, Danefern offers a members bar and a family restaurant where the kids can enjoy playing while their parents are having sundowners on the deck at the end of a hard day.  Danefern is not just about a home and one, it's an all in one. I'm Brenda Gilbert from Pamgolding Properties. I have worked on this estate for 24 years and it's been a wonderful experience for me watching families grow up, even selling properties to the children that I have watched grow up on this estate. Properties will come and live here not only for the superb security that we offer but for the lifestyle. Close proximity to quality education, medical facilities, shopping, entertainment, natural areas to explore, to cycle and people really have come to our estate for that. The types of properties we offer here, cluster homes ranging from about 3 million to 5 million rand, then freestanding homes, some smaller ones which would sell in the 5 million rand range, up to large homes to about 30 million. Styles are varied according to buyers, clients' wishes, but it varies from traditional, classical, modern, farmhouse style, some Tuscan. We can satisfy most clients' requirements. I believe we are truly the rainbow nation, if not the rainbow world. We have people from almost, I would venture to say, every country on the planet. Dane Fern, Goldfinn Residential Estate offers an unparalleled lifestyle that is truly worth exploring. To find your dream home at Dane Fern, visit privateproperty.co.za. Private property, a home for everyone.


I feel like this plaque is small. I feel like we need an upgrade to a big gold one. Big, big.  I'm Rick. Big false on Instagram and Twitter. I'm just commenting. It's so juicy. You can't even tell who got it going in case. Go on. What was the one person on YouTube channel? That's right down there for you. Today we are doing a movie review. Yep. Yes. Of another Molly Yalom. Did I say it correct? That was actually correct. Ha! Molly Yalom. Ha! I hear you. Yeah, that was correct. I've been saying it for one video. Molly Yalom. Molly Yalom. A film, our second for JLP, JLP, which I guess is the, because every single time I see is middle of the night, I want to say Jose. I know. It's just how, like, anytime you see that spelling, is it JLP or LJP? Lilo or Jose? Yeah. Lilo, Josie. Yeah. Jos. Lilo, right? LJP. J-O-S-E. It's Jose. Here. In our culture. But obviously, different. And Lilo. Yeah. It would be Lilo, Jose, but it's not. It's Lijo, Josie. Josie. Yeah. Anyway. LJP. But also I wanted to let you guys know, I've made a playlist for every language of film that we've done. So there's a playlist for Hindi language movie reviews. Mali. Mali. Mali-ali. Mali-ali. Mali-ali. Mali-ali. That's it. Okay. Mali-ali. There's a playlist for that. Assamese, Telugu, whatever. There's everything except a Punjabi because we haven't gotten there yet. We will. And I guess there's a few other smaller ones too. But just letting you know, if you want to see a full playlist of those languages, they're there for you on the channel. And anybody who in recent date has been really concerned that the channel doesn't cover enough Hindi stuff, just look at the playlist, would you? Yeah. Anyways. Today we're reviewing a movie, E-E-M-A-Y-E-E-M-A-Y-A-U, yeah. Which I believe, Transfer means Rest in Peace or Mary, Joseph. Jesus Joseph of Mary. Okay. Yeah. Mary. Yeah. IMDB translates to RIP. I've seen it translated to the other one as well. Yeah. And I guess it's because those culturally what I understand is it's the Jesus Mary and Joseph thing is actually like a prayer that is said into the ear of somebody who's died culturally. I read that somewhere. So I think if somebody saw those actual Malayalam words that represent Jesus Mary and Joseph, they're going to immediately associate that with death. Gotcha. Whereas we wouldn't at all, you know, RIP. Yeah. Instantly. 100%. Yeah. But yes, this would be a hundred spin spoiler review if you haven't seen it. Go watch it. Come back. I believe it's only two hours, so give it a watch. And so Rick, your initial thoughts. I don't have a paragraph because I have paragraphs that I didn't sum up size. But I basically can say it's one of the most spectacularly boring and I mean that as a compliment movies that I've ever seen.  Does it really matter what you do with the dead? What does that all matter anyway when in the end the reality is your destination will be ushered in one of only two places and what determines where you will go. And nothing anyone dead either during your life or after your death will alter it for you, which is more important, making sure you get the funeral right or making sure you get the afterlife right. And why is it that everybody in our world seems to be far more concerned with temporal things than eternal ones and don't miss the fact that the old man with the duck on the bus at the beginning, both of them are headed to the same place, death. Only his goose is cooked. But um, I like that one. So I sum up size multiple paragraphs. That's my thoughts. What's your take on it? Yeah. And I liked it. There you go. I liked it too. Especially the second half to when they actually got and it started raining and all the chaos started. Yeah. He starts losing it. He's going to bury his dad. Yeah. But it started to get really funny to me. Yes. There's lots of, this director has lots of subtly, like subtle humor just thrown in there. Uh, and then stuff maybe you shouldn't laugh at, but I'm, yeah, I think you're still going to. I think it's hilarious. That was one of my favorite parts is, um, the second part, oh, it's, because it started with a little, I think the one of the main humors was the wife that always cried for the nonstop, but then, especially like when anybody came in, it just started up again.  Why couldn't you have been alive when they brought it to you? What? No. Can't you? Do you see it? Yes. She was hilarious. She made me laugh. And then obviously the whole thing when obviously the bottom of the casket fell out, couldn't you get a better casket? Well, you know what, it reminded me of a lot. It reminded me a lot of the last film where everything was, the humans were the weird ones and the bull was the fine one. This one, all of the living people were nuts. The dead guy was the one who was normal, right? Yeah. Then this director makes very unique films. Very unique films. Like he doesn't go by anybody's, I don't know what you would call it, like a rule book? Yeah, rule book. Yeah. He has his own rule book for how he wants to make a film. Absolutely. Like he's like okay, you make a film this way, Christopher Nolan, and I make a film this way. He's kind of stylistically, I felt this in the trailer and I felt this watching it. He reminds me, his style is definitely his own, but if he's reminiscent of anybody, he's like a blend of Francis Ford Coppola and Oliver Stone for me. Especially the maverick sense of I'm doing it the way I want to do it and I don't care what you think, is the Oliver Stone. Coppola is the aesthetic, a very particular feel, a very particular ambiance, a very particular and just straight up like, I'm going to bore you and let's see how dedicated you are to watching cinema. Let's see how much you're going to want to stick to the story and really find out what happens at the end because I'm going to do some stuff that's not going to necessarily float your boat that long. You may be sitting here, you know, looking at your watch, waiting for the next thing to happen because I'm just going to, I believe, I'm not, he, I'm not going to, tell me if I'm wrong, he likes to take really simple stories and then maybe these are just the two we've seen, obviously, a village catching a bull and makes it. That's it. Huge, right? A village catching a bull. Yeah. That's it. That's technically, technically a son burying his dad, son burying his dad. That's it. That's the whole story. Right. And so I don't know if that's all of his stuff or if he, it's just these two that are very simple stories that obviously have a lot more message behind them. Right. But I don't know. But he's also, he loves chaos. Yes, he does. He, he's freaking loves it. Yes. Like, the way, once again, this also had a bunch of amazing tracking shots. Yeah. Just like the other one. Just like the other one. And also had a bunch of night shots as well. And really not, there was one transition in the rain from the exterior to the interior that was freaking seamless. Yeah. Just everything about it. Sound lighting camera from exterior to interior was just like you walked in the door with him. Yeah. Yeah. It was, it was really impressive obviously when, when, I forget, he's easy, easy. The son? Yeah. Easy. Yeah. He was going all crazy, trying to bury his father and he was, you know, whacking people in that whole rain sequence. I think for a good, it felt like five minutes, it was almost one shot. It did. It felt like for a little while. For a while. I don't know if it was, but it, that's what it felt like. It was, felt like almost like a one shot thing that he was just doing in the rain, which I don't know if it was real rain or if it was artificially done, whatever. But it was really, really well done. And it's not easy to shoot in the rain. No. It's not, just like it's not easy to shoot at night. Right. Exactly. Very hard to shoot in the rain. But I thought it was, I thought it was really good. This one obviously had a lot more characters that you could actually care about. Yeah. And this one obviously, the Jali Taku or whatever, whatever it's called, you weren't really supposed to care about. No. Right. It was, it was, it was just the frenzy. It was this.  It was most about the frenzy and trying to keep up with it all. Sure. Everybody doing their own thing and having their own opinions about how, you know, you should be buried. You should die. You should do whatever. But he, he, I've never seen anybody who loves chaos as much as this man. Yeah. Not just chaos as far as what you're getting on screen. You mean obviously chaos as the central part of what's going on with your story. That's the insanity. And he, he very much, that's why I really would love to talk to him because I believe his intention with what he's depicting is with this film is the similar to the other one, which is absurdism. And the questioning of why we do what we do, which you and I are big addicts about that, not just as actors with people of. So why do we question, you know, why do we bury the way that we bury? Why, why, why bury versus creamy? What are the reasons behind it? Do you ever question the reasons behind that? Does it have any implications in terms of the afterlife? I love, here comes the word, the juxtaposition of the opening frame of the film and the closing frame of the film. Because that opening frame of the film is the long processional of the film, right? Which is in the trailer, which was also indicative of what the son was going to do for his dad. Like we never got there. He never got there. Which it's interesting. It almost was like his son's greatest dream with his dad. His dad wouldn't even experience.  It was dad when you're dead. I'm going to give you the best funeral. If I'm the dad, I'm like, well, thanks, but I'm not attending. Yeah. I'll be gone. Yeah. But that ending shot of him and the great digger. Yep. And dog. Yeah. And the dog. And two separate ships coming. Was that supposed to be symbolism of each of them going off or is that like one going to heaven? Yeah. I didn't know what it was. I don't know. We'd need to hear it straight from his mouth. I think it represented the differentiation between destinations that could be either considered heaven or hell, salvation or damnation. I don't know if that's what he intended. That's what came across to me visually. It reminded me a lot of the Roman ancient history of the ferryman where you have the coin to pay the ferryman and he's going to take you across. So I don't know if that's what he intended. Does he always like to do that at the end of his films? Because he had the one with the caveman in the last one. Which was far more spoon-fee. Yeah, that was far more spoon-fee. Right. But does he always like to do something like that at the end of his films? Yeah. It's almost like a, it's not really a twist. No, it's almost like a tying it up in a bow for you at the end. Yeah. Does he always like to do that? You guys can tell us because you've seen more of it stuck than we have. Well, you will see more of it stuck. No, yeah. Because he's a fantastic director. Talking about just this cinematography, obviously, I think Jalipaku was visually more beautiful. That's really what they were going for. It was just, because it was shot at night. It was, and then they had pitchforks and they had the lighting the way they did. It was just so fricking pretty. The difference between those two is that film, there's not a moment in that film you're not enjoying the sound or the visuals.  That's what I meant by the intentional boredom. Yeah. He like purposefully pulled away that visual pleasantry that you got from the other film and really made it mundane in a lot of places. Sometimes, yeah. Right? Yeah, sometimes. Like I said, towards the, when they actually got to the outside and him in the casket. And then when the other family came in. Yeah. It was the whole other family over the days. It was like, oh, I did not see that coming. Yeah. Did not see that coming. No, God's got another family. Yeah. God's got another family and they're like, oh, they killed him. It's like, okay. Yeah, I was so glad he didn't take that farther.  I love that it was just hinted at it.  Maybe they tempered with the body. You know, it was just, oh, maybe we need to investigate this. Yeah. Just panning. Some stuff I didn't, I didn't even understand because like, obviously the daughter had that boyfriend. Right. But then, and then when, when he came to see her, I think he was trying to make out with her when he was trying to consult her, which was weird. Weird, yeah. And so weird time to do that. Yeah.  It's a dead man. Exactly. Yeah. But, and then there was nothing really done after that. Then obviously the boyfriend kind of looked in the window a lot and then he wasn't the clarinetist. Was he? Because I love the clarinet. I don't think he was. Okay. But that clarinet was so fricking funny. The fact that it was just out of tune. Yes. And it kept being on. It turned. Yep. And looked, oh, it was so, that was, there was a lot of just subtly dry humor in this. Yes. I really appreciated that we didn't get in the other one just shows you how funny this director can be as well. Yes. So he's not just a one trick pony, which I'm sure obviously we know by his reputation, but it was from the last one, which didn't really to us have much humor. No. It was, this was a bit more subtle. This one, that one was far more direct, ridiculous, absurd, almost keystone cop because there's so much physical comedy at the end. This one, and both of them have this too. He's quite the mocker, you know, to the point of like insulting. Like he's an anarchist in a way. You know what he's very much give me a, give me a system of belief you've got and I'm going to put it up here and I'm going to kind of butcher it and make fun of you and let's see how you can handle that. I'm going to point out the absurdity of what you do. Do you even question why you do what you do? Yeah.  And is it based on logic or is it just based on the fact that you do it? Because you do it. You don't even think about it. I said this before, for me, he's one of the most exciting directors. There's always pros and cons to a director. So I think the con that people would think is the potentiality that it's so director-focused. And it is. He is heavy. The director is the star. Star of 100%. At least of the two we've seen so far. Yes. The director is the star of the set. And obviously, what's to say his name? The main actor? Yeah. Oh yeah. He's the technical star of the film. Shaman Vinod-Jose. Yeah. I presume. I feel like he did really, really well. I did too. And I feel like everybody in the film did well. Everybody was super natural. Yeah. Like you met them in this village. But yeah, the way at least in these two films that we've seen, the director, it's his things. Kind of like Alejandro and Yuri too. I was just going to think that as it pertains to Roma, not necessarily Revenant. Yeah. Because Revenant is definitively a star vehicle for Leo and Tom Hardy is co-star. Yeah, I guess. Roma really doesn't have that. It's very much the director's film. Well, Birdman. That too. Very much the director's film. And Keaton was... There's a lot of people in it. But obviously, the way it's directed... It's a director's film. You're impressed by how it was directed. Absolutely. But even more so with this man because... Well, and Tarantino. Every Tarantino film, even when he's got stars, it's Tarantino's film. Yeah. So yeah, he's definitely the star of at least the two we've seen. Yeah. And I don't know if that's all of his films. It'll be interesting because I think he did one film with Fahad Fasil. I think it's called Amenum. I think that's what people said. With Fahad Fasil. Wow. That'd be interesting to see. He really loves to do that. A star like that. And I don't know how early on in Fahad Fasil's career it was. But his other film, the Diaries one, is the next one people say that we need to watch. Before at least... Because he has a new one coming out. I don't know if that one got a release date yet. I don't either. But I would. That would be my next step is to see... We've seen two things that are very similar in terms of genre, feel, storytelling. I'd love to see what he does with something that's completely different. Particularly script-driven, dialogue-driven, acting heavy. I wonder if he doesn't do that. He may not. He may not be his cup of tea. Yeah. He may not float his boat in any way. So he's just going to do these kinds of films. Yeah. And certain directors do their certain type of films. Wes Anderson. Yep. Wes Anderson does Wes Anderson films. He has power to you, man. Yeah. He's like, this is how I like to make films. And here you go. If you don't like it, Tim Burton. Tim Burton makes Tim Burton films. Yep.  They don't really stray from their genre too much. And if they do, sometimes it doesn't work. Right. But I feel like this was a really, really good film. Yeah. And also a lot of Maligalum films. About two hours and under. I think Seen Fiery. I think Seen Fiery. Oh, no. I guess one of the Fahafas, the ones we saw always. Well, the ones we've seen have been mostly short. Oh, short. That length. They've been short. Interesting. Yeah. But they're newer too. That's happened in Hindi films. That has, as well. Yeah. They've started to recognize runtime for the rest of the world. Yeah. And shorten some of their films and still include their intermissions. Yeah. But, yeah, he's, like I said before, one of the more exciting directors. I have no problem at all if he stays in this wheelhouse. Because it's a strength and it's fantastic. Yeah. Well, let us know what of his films we should watch next. Let us know the next Maligalum film. We should watch it outside of his as well.  Down below. Yep, we know you will.


It's still plus politics. Now, we take you to a conversation we had yesterday, of course, about the PDP, I beg your pardon, giving the former president of Lusie Agunga-Basanjo an ultimatum to withdraw or clarify his statement concerning their presidential flag wearer at Tikua-Bubaka. Take a listen, and when we come back, we'll be saying our goodbyes. Unless former president of Lusie Agunga-Basanjo clarifies the comment he allegedly made that picking former vice president at Tikua-Bubaka as running mate in 1999 was a mistake, the People's Democratic Party has threatened to break the egg and tell the whole world and Nigerians who Abasanjo is in 48 hours. The media was awash on Monday with former president Lusie Agunga-Basanjo his quote to have said that he made a mistake while selecting Alhaji at Tikua-Bubaka as his vice president in 1999. However, chairman of the People's Democratic Party Board of Trustees, Senator Walid Gibrin said that if the former president failed to clarify the statement in 48 hours, the party will be left with no option but to expose Abasanjo to tell Nigerians who he really is. Now, Senator Gibrin who spoke to journalists explained that the PDP was high in regards and respect for the former president but it will be very disappointing if the statement credited to him is true. Well, joining us to discuss this are Biodon Choumi, a political analyst and Bola Oba who is also a political commentator. Thank you so much gentlemen for joining us. It's my pleasure. Great. It's a very interesting conversation that we have here. After that Mr. Oba, we have seen the former president Lusie Agunga-Basanjo speak and comment on several issues, especially personalities. I mean, we can even make reference to his very famous book, My Watch and some of the statements that he has made about people and his open letters, he's known also for his open letters but in the thick of the campaign season he talks about the former vice president being a mistake on his part in 1999 and what would wonder, why would he be making such a statement? Is it just one of those political statements that are made at times like this or could there be more to this? I wonder why anybody in the leadership of PDP would want to grace former president Lusie Agunga-Basanjo with the honor he does not deserve. The committing political activity in the political society if they want to engage with Lusie Agunga-Basanjo and anything that we give, that we give him relevance especially for the mistake that he has set up today. They should just leave him on his own and let him do whatever he likes because at some point, at some point the public will see as a nuisance that is just there but if they want to engage him as they have nothing to do they will be the worst for him. There are those who would be very... Not so much that I love them, not so much that I remember of the party but it would be a strategic PR error to engage Lusie Agunga-Basanjo in any form of embryo, especially on remarks and opinions that he has codified in... I wonder why they want to engage him in this... There are those who would not like the idea of you speaking of the former president in that regard calling him mischievous or saying that he does not necessarily have relevance or should not give relevance to what he has to say. This is an elder statement. This is somebody who many politicians hold in high regard. They still cut the message to him. This is for Artigo and now four years after he remembers again after the villainy that himself, that he had done Artigo at the penultimate electionary cycle four years ago he supposedly forgave him and campaigned for him and suddenly now Artigo is a villain again. So he wanted to sell us a villain four years ago if you engage such a man and don't let him again just reason the fact that this is a man who could be very inconsistent because of the mischief that I've seen, you will be giving him relevance. Okay. Mr. Shoomiya, I'd like to bring you in on this. Many have reacted to the former president's remarks. Many have wished it away as a mere political statement but then, like I said at the beginning, he's known for many of his open letters. We saw the many that he wrote under the president's administration. We have also seen his books and all of the information that's within. Why do you think that former president, Mr. Shoomiya, so hung up on his vice president and just to borrow some things that Mr. Abad just said that why would he want to mar the campaign of someone who also works with him and campaigned for him then all of a sudden he's become a bad person. Don't people change and doesn't he reserve the right to make his assertions? Honestly speaking, to be fair to the former president, this was not all the core remark. He made the remark at an award, leadership award event in Abeikuta in his presidential library. And he didn't speak particularly on former vice president's article. It was, I don't think he was a target. I'm not a spokesperson but I read the whole debate clearly. He spoke within the context of trying to share his leadership experience. And within that context he highlighted the good and also the errors he made. One of the errors which according to him was nominating article. He did not go into details. He highlighted also his regret over his refusal to eat the warning given by the then American ambassador, I think it was Campbell, Ambassador Campbell, that he should leave the country or he should move into American embassy and be granted asylum. That the decision has been granted. That Abad would arrest him. He should move in to get asylum. He regretted not doing that and he said he refused but eventually was arrested. He said he could have lost his life and not been alive. So he was making reference to errors of judgment on his own part. It was not a targeted attack on a ticket or any other person. That is the main idea. But in terms of the reactions of PDP to it, I understand this is the political people. So they're likely going to be very sensitive to it. I'm not a category member of any political party. So they will be very, very sensitive to such remarks. I don't think Abad Sojo intended to reopen the whole rooms when he actually came out against Attifu. I think this was just something out of his own leadership experience. It would be wise for the PDP leadership now to go into any triangle with them because what would they gain? Abad Sojo is not contestant. And as far as I know, he doesn't have a boss in this state. So if he doesn't have a boss in the race, why do you want to drag him in and then bring out what Abad Sojo, which it can be bestial when it comes to doing damage in this kind of situation? Just to push you forward. If the PDP is giving an ultimatum, which is a two-day ultimatum and saying that they will break the egg, what can they possibly have on the former president that would probably, in their words, break the egg? And what does this do to their campaign, to the people who they're trying to get across to? Again, like you said, the former president is not running for any office so he probably has nothing to lose. But in terms of Attifu Abubaka and what the vice president or the former president has been saying, should we be paying attention to the former president being that he has also made statements previously about certain people in government that has one way or the other may not necessarily come out plainly to say this is who this person is but he has warned and we have seen that some of those things have somewhat played out. Should Nigerians be wary of this statement by the former president? Yes. You see, what can the PDP leadership, what can they do to a man that, you know, not his membership card, you know, left the party? They didn't, they weren't going to him. The man has been saying, we saw it all. The man kept staying in his Abe Kuta board but we've seen the troops of PDP leader, past officials, all of them trooping to his house, either for an advice, for one thing or the other. It shows even outside the political party, an outside government, Opus Jo is still very, very relevant within the politics of PDP because he actually midwife many of the leadership, you know, those who are claiming he wants to deal with it, many of them are actually his followers.  Mr. Xiaomi, are you still there? I think we lost that connection. Oh, it's the idea of the talk. That's the only thing they can talk about. Every other thing is known. Is the world better? All right, I think we lost that connection there. Let me go back to... Let me go back to Mr. Abba. Mr. Xiaomi, I'm sorry. We're having connection issues with you and your audio keeps going in and out so we'll try to fix that and come back to you. But Mr. Abba, the PDP is alleging that the grouse between the former president and his vice is the fact that he refused to support his third-term agenda. Something that a lot of Nigerians said would never had sailed through even though they tried. But was that down to his vice-president? And is this an issue we should still be debating in 2022? Look, I'll go back to the point I made earlier. And that is it does not do the PDP leadership and the PDP presidential candidate any good to aside the madness that they are beckoning at this juncture. For a man who has suffered what can they throw at a passenger that can be worse than some of the things that have been alleged against him some of which I cannot even mention here even when they've been virtually alleged against him. What can be worse than that? And every time they engage in a form of PR with him, they will be getting dead here. Why would they want to do that? I think it's incumbent on candidate Atiku to call whoever wants to be his spokesperson or wants to fight his corner to tell that person to chill and walk away from this fight. This is the fight that one must learn to walk away from because you want to talk about thought time. Everybody in Nigeria who is a political observer knows that a passenger was the one power in thought time and he has consistently denied it. The book my watch some have labeled the book my lies. Did you have you? Does anybody watching this program now remember Professor Waleishon Yinka's opinion about the book? And apart from Professor Waleishon Yinka does an average Nigerian political watcher not know that a passenger was behind in Otena in Angestan and yet he has consistently denied it. When all the facts point to him nobody is saying Atiku is the same but in so much as the PDB has chosen him as their candidate on this occasion they have enough to manage with these quabbles that is ensuing as a result of Atiku choosing a vice presidential nominee. They have that to manage because there seems to be a tendency for a form of nationalisation to develop in the party. Why would they want to bring a passenger into the mess? And this is somebody who does not even like PDB giving these free advice. I wonder what they want to gain. Well unfortunately our time is up I want to say thank you gentlemen for being part of this conversation we appreciate your thoughts. Thank you very much for the opportunity. And that's the show tonight we want to thank you for being part of the conversation we will be back tomorrow same time 7pm as we talk on all the big political stories across the country. I am Mary Anna Cohen have a good evening.