Welcome back. In this video, we will get a little bit more practice using the binomial probability distribution calculation formula, and then we'll talk a little bit more about the mean and standard deviation of binomial probability distributions. In the example I have that when someone buys an airline ticket, there is a .0888 probability that the person will not show up for the flight. A certain jet can seat 11 passengers. Is it wise for the company to book 13 passengers for the flight? Because after all, there is a chance that people won't show, but is it a high enough chance? So what we're going to do here is what I'm calculating or what I'm interested in would be the probability of there not being enough room or that the flight is overbooked, meaning more people show up than what we have seats. So that would be the probability that if you only have 11 room for 11 passengers, that means the probability that 12 or 13 show up. This is the context which I'm going to approach this question. Let's find the probability that the flight gets overbooked, meaning 12 or 13 people show up. So because this is the binomial probability formula question, obviously we're going to be using the probability, binomial probability calculation formula. So what I'm going to do is to find the binomial experiment. And in my experiment, a success is somebody shows up. A success is somebody shows up. So what's the probability someone shows up? Well the probability someone doesn't show up is .0888. So the probability someone does show up is one minus that because someone shows up, someone doesn't show up their compliments. So one minus .0888. And you're actually going to get .9112. So when I go to Google Sheets to do this calculation, we use our spreadsheet as a form of technology to do this calculation for us. The number of trials in is actually going to be 13 because you're looking at out of the 13 passengers how many show up. The probability someone shows up is .9112. I found that by taking one minus the probability someone doesn't show up. And then I need to identify my lower bound and my upper bound. Well if you're interested in either 12 or 13 people showing up, that means the lower bound of people, the number of people you're interested in is 12 and the upper bound is 13. So literally I'm going to go to my Google Sheets document and type in this information. So Google Sheets will use the compute tab and will be in the binomial region. So the number of trials that we have is going to be 13. The probability someone shows up or the probability of a success is .9112, lower bound 12, upper bound 13. And we get about .6767. Your homework will tell you what to round to. So we'll do four decimal places for this one. .6767. So the probability that flight's overbooked is .6767. That means about a 67 and a half percent chance that the flight will be overbooked. So if you're an advisor to this airline company, would you advise them to book 13 passengers on an 11 passenger flight? I would say no. There is a good chance the flight will be overbooked.  And that never ends well. So let's be smart about our business decisions, right? So they asked me, is it wise to book 13 passengers so I calculated the probability that the flight would be overbooked? Meaning if 12 or 13 passengers are booked and show up. Then I got a relatively high probability. That's about 67 and a half percent. Alright so we previously in the other video we talked about the mean and standard deviation of probability distributions. Well there's good news. When the probability distributions binomial there's shortcuts we can use to find the mean and standard deviation. Literally if a random variable x has a binomial distribution we say that x is binomial with a mean mu standard deviation sigma. If you take any statistics courses after this one you might see that formal theoretical notation. But all you need to know for this class is to find the mean of a binomial distribution mu is equal to n times p, the number of trials times the probability of a success. The standard deviation is n times p times q and you take the square root of that product. And then sigma squared is just n times p times q. So remember what these variables or these values stand for. n is the number of trials, p is the probability of a success. Remember you define what the success is for each experiment and q is the probability of a failure. Really important q is always 1 minus its opposite 1 minus p. Failure is the opposite of success. So what the range rule of thumb states is that usual values lie within two standard deviations of the mean. So the maximum usual value is you take the mean add the standard deviation to it twice. It's really important that you always round down. Because when you're talking about discrete distributions, which is what a binomial distribution is, you're talking about whole number values. So if the maximum usual value is 13.7, 14 exceeds that. So that's why you round 13.7 down to 13. 13 is the most practical maximum number you could have. Minimum usual value, you'll literally take the mean and subtract the standard deviation twice or subtract two times the standard deviation. You always round this value up. So if you get a minimum usual value of like 7.2, that means seven is far too low. So eight is the first actual possible value that could be considered usual. 7.2, you got to round it up. So keep those rounding rules in mind. Please keep them handy. So McDonald's has a 95% recognition rate. Surprise. A special focus group consists of 12 randomly selected adults. For such a group, find the mean standard deviation, minimum usual value and maximum usual value. So all I need to do is identify my N, my P, my Q and I can find the mean and standard deviation. Well, my number of trials, which is number of people here would be 12. I'll go ahead and be official. A success is recognizing McDonald's. So that means what is the probability of a success? What is the probability of recognizing McDonald's? It's actually 0.95. So what's the probability of a failure of not recognizing McDonald's? That's one minus 0.95. So we've identified the key ingredients to now find the mean and the standard deviation. The mean is N times P, 12 times 0.95. And you actually end up getting 11.4.  So I have literally 12 times 0.95 times 0.05. You'll use a calculator to calculate this and then you'll take the square root of that product that the three numbers multiply together. You'll actually get about 0.755. So we've answered the first two parts of the question. Let's go ahead and find our minimum and maximum usual value now. So this is my minimum usual value. It's found by taking the mean and subtracting 2 times the standard deviation. That's 11.4 minus 2 times 0.755. So 2 times 0.755, take that result and subtract it from 11.4. You'll actually end up getting 9.89. And you will always take the minimum value. You will always round up. Always round up the minimum usual value. So 10. Alright, what about the maximum usual value? Feel free to pause and try it out if you want. The maximum usual value. Well, I literally take mute and I add the standard deviation to it twice. 11.4 plus 2 times 0.755. Perform that calculation and you'll get 12.91. So that means if something's 13, that's too high. For maximum usual value, you always round down. Besides, we can at most have only 12 people total. So another reason why you should bring the maximum usual value down to 12. Not only should you round down, but you should also never exceed your number of trials. Just a little bit of warning there. A little bit out of the box thinking. So the minimum and maximum usual value. Sometimes you'll have to put it in interval notation brackets with comma separating the numbers 10 comma 12. That may be how they ask you to do the response or they may just ask you to type in 10 type in 12 and you're done. Let's practice a little bit more. So we have unprepared students that are given a 10 question pop quiz. The quiz is multiple choice and find the mean and standard deviation for the number of answers or correct answers a student obtains. Would it be unusual for a student to pass by guessing? Passing means they get at least six of the 10 questions correct. So a student goes in to take the test. We'll say a success is getting a question correct. That being said, okay, I have 10 questions or 10 trials. The probability a student gets a question correct when there's four answer choices is one out of four, which we already said for plenty of times that's 0.25 and Q or probability of a failure is one minus P one minus 0.25. Calculate the mean in times P. So that's 10 times 0.25. And that's gonna give you 2.5. What about sigma? What about the square root of N times P times Q? What about the square root of 10 times 0.25 times 0.75? Multiply the three values together then take the square root. 1.369. We are almost there. So now we need to figure out if it's unusual for someone to get at least six correct answers, which means we need to figure out what is the range of the minimum and maximum usual value. So let's find the minimum usual value and let's find the maximum usual value. Let's see if six lies within there. So the minimum usual value is literally your mean minus 2 times 1.369. So that means you're actually going to get negative 0.238 and it does not even make sense to have a negative number of questions correct. So by default 0 is the minimum usual value. Maximum usual value we have 2.5 plus 2 times 1.369. That's 2 times the standard deviation and you actually end up getting 5.238. So that means our cutoff is at 5.238. Our cutoff is at 5 because we always round that maximum usual value down. Always always round down whether it actually does or not always round down. So we get 5. So 6 is not between or equal to 0 and 5. So that's our spread of usual values. That means 6 is not in that interval. That means 6 is unusual. So it is unusual for a student to pass by guessing. So it's not likely. So if you're one of the ones that takes a 10 question multiple choice quiz and you pass it all from guessing good for you. That means it's your lucky day. So 6 is not in the spread of usual values. Therefore it is unusual for a student to pass by guessing because passing means getting at least 6 questions correct. So that's all I have for you for now. Thanks for watching.


Welcome to In the Belly of the Beast. Once we've been basically on hiatus playing old episodes because the studio has been closed. The studio just opened up again. This is one of the first shows that they've done. You're live in the studio again. And my guest today is Frank Liccardo, the artistic director of Hudson Theater Works. And he is remote, which we will be now for probably at least another month. And even though I'm sitting in a room that's 40 feet by 60 feet by myself, the mandate is I wear a mask. So I have to wear a mask. Fortunately for Frank, he does not. He's, I believe, in his own office. Welcome, Frank. Hi, Paul. How are you? I'm good. I've known Frank off and on for over 40 years. In fact, one of the reasons why I actually became a practitioner in theater, as opposed to just a critic, which is what I was when I first met Frank, is I saw Frank do Diver Madman with Cambridge Ensemble. And it was as close to a near-perfect production, certainly of a one-man show as I've ever seen, Frank. Oh, thank you, Paul. That was excellent. I saw that in a church in Harvard Square. Can't remember what the name of the church was.  But it was part of what was going on in Cambridge at the time, actually in Boston at the time, as you know, because you ran one of those theaters. There were so many small theaters. Yeah. Joanne Green, who wrote, I think, the 98% something in theater. Handbook, I think. Yeah. She was very instrumental in the birth of those small theaters in that area. Especially in the 70s. I mean, Boston went through many different incarnations. My theater opened in 79, and it was a theater of the 80s. But the theater of the 70s, the three that I think of that I look at as the most powerful theaters in Boston in the 70s were, ironically, Boston Arts Group, which ran, I believe, it was right after the park. And they ended up existing until, I think, they lost their lease. Joanne Green's Cambridge Ensemble, which I think did most of their shows in that church. Is that right? We did all the shows in that church. All the shows in the church. And Reality Theater. Those are three theaters that I saw as kind of touch tones of that period of time. Yeah, there was one other named the Caravan Theater. Oh, right, Caravan Theater.  I think Bo Jess was around already. But those are the theaters that influenced me anyway. And then the 80s in Boston. I started my theater in 79. There was the new Oralic Theater, which became the new rep or something. There was always the Lyric stage. But the Lyric stage did virtually well-known classics. They did a lot of Oscar Wilde. They did Charles Christmas and Whales every Christmas. Joanne had a tendency of picking shows that were off of the beaten path, I think. Yeah, she very much did. I met her. I mean, I was in this when I went to Emerson College. So I was in Boston at the time. And I wound up working. There was also this other company, which was very Grotowski-like. They were called Stage One. And they were run by a gentleman named Khalil Sakakini. I remember Khalil Sakakini, too. Right, right. And yeah, I know, quite a name. And it was very Grotowski. And it was almost, it had that sort of religious air to acting. The actors were, we did a lot of physical work. And the plays were created from scratch. So that's where I started working in Boston. I left Emerson at that point because I was starting to get work. And then, I don't know if you remember Maxine Klein. She was a teacher at Boston. Maxine Klein, of course. Right, so she wrote a play called Tanya, About the Revolutionary. Che Guevara's. She often is working forever. Yes, yes. And so I got cast in that. And not a big card, but I met Joanne. It was done at Joanne's church at the Cambridge Ensemble Church. And after that production, Joanne came up to me and asked me if I would want it to work with her.  Not just the play, but also working with Joanne. She was, she loved actors. She gave me a lot of confidence as a young actor. And I think I feel very lucky in a way that I'm sure you'll agree with this, Paul. It wasn't all like Meisner or Strasburg. The idea of the physical gesture as a way to get to something emotional was just as valid. And at the Cambridge Ensemble, it was solid intellectual as a human being she was. I can see, I never worked with her because I'm not an actor, although she did direct at my theater in New York. But Joanne, if you ask Joanne any question about what she was doing, she had a litany of an answer. She really thought out everything that was going through her productions. Yeah, she was extremely smart. And for me, she was very generous. Just gave me a lot of confidence and allowed me to just take chances, like huge chances, and was very supportive of those chances. So we did a lot of work together in those years. Well, you're a force on the stage. You're not a small character on the stage. You really jump out at an audience. Well, thank you, I guess. No, it's a hell of a compliment. Well, thank you. There's actors who have this kind of rapport with an audience, and there's great actors who don't necessarily have that rapport. You're definitely an actor that audiences connected directly with. It would be hard to take my eyes off of you on stage. No, well, thank you. Thank you. I loved acting. I mean, I love to do it. I do it a lot less frequently now. But I did just do two shows. We did The Caretaker. And obviously, I played the older gentleman. And I just did 12 Angry Men Not Too Long Ago, which was a lot of fun.  We're in it. So it made it kind of fun to do. But I don't act that much anymore. Are you primarily a director at the theater now? Sorry, Paul, but was that? Are you primarily a director at your own theater? Yeah, that's what started you know. Which is too bad. I sent Frank a script specifically for him to be an actor in. So I have no idea whether he's even interested in it. But it's definitely a piece that I see you in. Well, I'll look at it that way. That's great. I hadn't thought of that. Thank you. I'll look at it that way. Now, if we could go now, you left Boston originally for Los Angeles. Is that right? Well, what happened was we did that. We brought Death Watch to New York, as you know. And it was a big hit. You know, it was showing you precarious nature of theater. We were originally at the new where the New York Theater workshop is now on East 4th Street. And if the play was good, it was a big hit in Boston. And it was the nature of the space didn't suit the production. You know, as you know, in the church, we were on the floor and the audience was sort of raised. And it was an intimate quality to it. But when we got to the New York Theater Workshop space, it had that rage stage at that point. And people weren't enjoying it. And we knew that. And we were only doing a week of previews. And one of the other actors in the piece, Paul Domano, ran into a friend of his who ran this theater right next door. And luckily, that was available. So we said goodbye to New York Theater Workshop and packed all our stuff and moved next door. And the play took off. It was a big hit. And you know, you learn things as you go along and you realize how important space can be to anything that you're doing. So that was a big hit. And we came back to Boston after that. And I continued to work at the Cambridge Ensemble. You know, we did Gulliver's Travels. I did a play called Judgment by a gentleman named Barry Collins, which was an 81-page monologue, which was Hell's the Learn. And so after that, I decided to go out to Los Angeles and see what it was like. And I didn't particularly like living in Los Angeles, although I would get work. You'd get episodic stuff in TV and things like that. But I didn't really like, I didn't like the fact that you couldn't walk down the street and see people or meet people or run into people, which I love doing in New York.  Well, nobody walks in LA anyway, right? Right, nobody. And to me, the biggest problem in Los Angeles, and I spent a fair amount of time there in the 80s myself, is the people doing theater in Los Angeles to get film and television work. That's the desire in a show. It's like, how will it expose me to that? Whereas in New York, you're hoping the show will have legs and go somewhere. Yeah, and I think in New York, the audience for plays in Los Angeles is mainly other actors. Right. And if you get casting directors down there. Yeah, exactly. In New York, you're getting all sorts of people.  So there's a wonderful melding pot in New York of artists. And I think we feed off each other. There's also a state connected in New York, right? Like I worked with people. Like I worked with somebody last year that I worked with in 1990 as well, you know, which you don't see so much in other places. Like you mentioned Paul DeMotto. He lives in New York, I still, I believe. He is a Facebook friend of mine.  Wooster, Matt? Yeah, I believe so. I believe he bought a house there. Oh, really? Have you worked with him lately? I'm not lately now. Now Paul sort of decided from what I could gather that he wasn't that interested in pursuing it any longer. So he sort of, you know, left the business really. We started, we were attempting to do a few things together, but it just never worked out. It's too bad. He was a wonderful actor to work with. We had a great communication between us. So it was a lot of fun. But Paul also, you know, he started to get movie work pretty early on after death watch. And that was taking him other places as well. So it's funny how that happens too. I think the best actor that I ever worked with in New York is a guy named Michael Santoro, who is now a doctor in New York, you know? And he played, he was my pokey and my production of pokey off Broadway. And, you know, he's been on the front lines during the pandemic and more power to him. And he's a great, great man, but I miss him on stage. Right. When you get to be our age and you look back and it's like the people that are still doing it are like more few and far between than what they had been before. And I often kind of like Marvel at the people who actually stayed in the business as opposed to the ones that didn't. Because it wasn't. Oh, me too. Yeah, it wasn't always necessarily from talent or observation or whatnot. It was, I think more like desire of what they wanted to get out of life. Well, that's funny. I was at a replay reading at Labyrinth, you know, which used to be a Philip Seymour Hoffman's theater and somebody came up to me and asked me what I was doing. This is before the pandemic. And I said, well, you know, I'm still doing stuff. I have a project I'm working on, blah, blah, blah. And she said, well, you know, that one. So I responded. I just said, well, I can't help myself. And she gave me a great answer, made me feel good in a way because I certainly spent my life hoping this was the truth that she said, well, that's how an artist responds is you can't help yourself. It's true. It's a simple line and it's true. It's like, if you can't imagine doing anything but what you're doing, continue doing it, you know? That's it. And you figure it out, you know? I mean, you figure it out as you go along this younger director asked me, how do you do, how do you continue to do what you're doing? And I just said, you figure it out, you know? You take jobs, you do what you have to do. And as you get older, you still do the same kinds of things. You know, luckily I haven't had to do that in a while, but that's what you do, you know? You're always looking for that. You know, when I moved to Canada, when I was moving to Canada, I moved there to get married to a chair of a department at a university that was tenured in Canada. What university was that? Carlton University. And when I told Israel Horowitz that I was making this move, he said to me, well, you know, your career's basically gonna be over, right? Because I'd been working in New York really for 20 years at that point. And I know what he meant, and I also know it wasn't true. Right. What I was doing really didn't matter if I was gonna get 300 people on theater row, or if I was gonna do it in front of 50 people in Ottawa. You know? Right. Because what I did, I did not for the size of the house, not ultimately for how much I was gonna make from it. You know? And that's been something. I mean, I live in Portland now, which is 100,000 people. And I do nothing but original works here, which is not the, it's not par for what Portland does. Right. No, it's hard to do that kind of thing. But it is incredibly rewarding. And it has been my entire life. And I look at what you do, and I think you're also, you're living kind of the extension of what my life, I imagine my life is, you know? Right. Right. Well, you know, I, one reason I came to New Jersey to, I mean, I moved to New Jersey when my son was born. So, but I thought I could have gone, you know, I could have kept doing showcases in New York or things of that nature. And I, what eventually happened was, you know, when I was younger, I got together with a bunch of friends.  So I had never occurred to me before. We were doing a Sam Shepard play. And so I thought, well, you know, I'll give it a shot. So I directed action and was in the play Killer's Head at the time. And I really liked directing. It was the first time that my ideas mattered, you know? It wasn't just my emotional response to things that I was searching for. The ideas I had about the play and the people in it and the play in the context of the time that we were doing it, it excited me, you know, all of that. And so I started to direct and, you know, a lot like acting, I didn't get jobs right away, but we certainly were doing showcases and stuff. We did a number of them. And then I started to get work in New Jersey of all places once I moved here. People started to offer me directing jobs and it was great, you know, some good theaters. But I got, a lot of times you're jobbing in, as you know. So I was doing some plays I wasn't particularly fond of for, you know, some I was, you know, but a lot of them I wasn't. And I wanted to be able to do the plays as I got older. I wanted to be able to do some of the stuff that interested me. So I thought I would start my own theater. So I could do that. And that's what Hudson Theater Works has become, you know, a place for me to wrestle with the authors and the ideas that these people give to me and also to do new plays. I try to do one new play a year. I don't try, we do. We do one new play a year, which is, yeah. It's a collaborative art form, right? And everybody has their job within that art form. But I look at it as a playwright has to visualize a concept. A director has a vision of that concept. And an actor's the character is the artist that gives that concept of a third dimension, you know. And if everybody's doing their job and each of the players are allowing the other artists to do their job within the project, then you have something, you know? Yeah, I think you're absolutely right. And also, I realized too that I wasn't, I was an interpretive artist. That's what my strength was, even as an actor, is finding some way to interpret what was given to me. You know, playwrights create the work, but that's not what I was particularly good at. I think I wrote two plays in my life, you know. And they're, I don't have them any longer and I don't care. But I love working with playwrights, you know. I love the idea of, well, like you said, that I love the discussions. That's what I miss most about live theater. You know, we're in the zooming period, which is really sort of intolerable. It's the best we have. But I miss being in a room with a group of people and haggling over the idea of a moment and what that moment might mean and what the actor is doing with that moment. And, you know, I really miss that. I miss that terribly. So I'm really looking forward to getting back into the room. Zoom doesn't really allow for much collaboration.  And that's it. Yeah. And I agree with you. I miss the kind of intellectual social interaction between artists. You know, that's something we, if we don't get back to, I'm just going to shrivel up. Well, yeah, I think I will too. I mean, I'm feeling the need. That's why I'm more positive about September than maybe I want to be. But I feel the need to do it again is very strong, very profound for me right now. Well, not the pandemic. And what's happened to theater? What have you been doing during this pandemic and what's your theater been doing? Well, you know, at first I would watch some Zoom stuff and I would just think not knowing how long this was actually going to last. And I thought, you know, I get stuff just so, it seems so flat to me and so uninteresting. And I was looking at some really good people, you know. And I, before that, I had seen stuff that the National Theater had done, you know, where they have 20 cameras or whatever. And that's fine. That's sort of interesting. Even though it's not live, it still gives you a feeling of what that might be. But we certainly can't afford to do that. So, and I didn't want to just do Zoom sessions. We belong to the New Jersey Theater Alliance and they have something called the Stages Festival every year. So when the pandemic hit, we were right in the point where we were doing readings of new plays, which is what we do once a year called Playworks. And I was casting a play called Bunnies, which the author used to be a playboy bunny and she wrote this play based on her experiences in 1973 at the Playboy Club. And it has very much has overtones of me too. And, you know, it was very timely. So we're in the middle of casting that when all this hit and we had just closed Hamlet, which for us was a big success. And we did our first children's show, which was, you know, sold out. It was great. So it couldn't have come at a worse time in a way. So what we decided to do, I had this idea of doing, I didn't want to do Zoom sessions. So what I thought I would do is I'd ask my playwright friends, and I'm probably gonna ask you, to just write me five minute plays. And then I would give those plays to an actor and the actor would shoot them on their phone or camera or iPad, whatever they had. So basically monologues? Is that where you're looking at? Yeah, yeah, yeah. Unless we didn't do any with couples. I tried to get a few couples to do something, but it just wasn't in the cards. So yeah, they're like five minute monologues or less. But, you know, I was able to reach out to people I know, like, you know, John Shanley and Neil LeBute and Richie Viteri and a number of other people who, Jack Canfor, I don't know if you know some of these people, but they're all really, you know, talented playwrights and stuff. And they were all extremely generous and gave me these short monologues. And I would give them to people to do. And it turned out it was great, you know, we released one a week. How many did you do? I think we did about 30, actually. Yeah, yeah. You're like pumping them out once a week. And were you sending them to your like clientele or? Well, I was sending them, we just, we would put them on YouTube is where they were. We put them on our YouTube channel and they were free. I mean, we didn't, we weren't trying to raise any, we had asked for donations that people wanted to, but we weren't charging any money for the broadcast itself. And some of them are quite remarkable. A lot of them, I would give them to actors I knew. We have an in-house company here called The Forge, which we meet virtually once a month and playwrights bring work in and actors bring work in and stuff like that. So a lot of the actors were from that. But also there were other people I knew from outside of that group who I've known for a while. And if I thought the monologue was right for them, I would pass it on to them. So we started doing that and that was great. People really responded, our audience really grew. So if people wanted to watch these, how would they do that? They would just go to YouTube and type in Hudson Theater Works and they would be able to see all of them. They're all there. It's called The Forge. Plug in on YouTube, Hudson Theater Works and they would pop up. Yeah, yeah, it's theater with an RE. It would take you to our channel. And there's some other things on there, but it's a virtual festival. It's called. So all the monologues are there. Like I said, we were very lucky to get some really good, well-known, good playwrights to write stuff for us. So there was that. And at some point, we're still doing it, although we're not doing it every Wednesday like we used to. If people have something they're interested in having done, having us do, we'd love to have them submit something. So it's much more infrequent now, but we're still doing it. And then I got, I was watching Irish Rep does these plays outside of actually filming a production like the national does or the Mint Theater also films their production. So they're releasing those, which is great. But the Irish Rep, what they do is they send an actor a camera and the actor films their part. And then they edit all these parts together with these Zoom backgrounds. Yeah, it's pretty expensive. I don't think we could afford to do that necessarily, but I had an idea. I thought that was really interesting. And I thought that, well, I had just gotten this musical called Elliot May from someone who wanted to produce it. And I said, well, look, I don't know, I was gonna do it as a reading when the theater shut down. And I said, but I had the idea that it's only a two-person musical. If you want to produce it as a filmed play, I could try and do that. So we did- Did you try to get like an acting couple or something like that? The story is about, it's about a man named Walensky who went on to write pop songs. It hits for like Michael Jackson and Fifth Dimension and people like that. And this musical is basically a tribute to him by his brother who helped collaborate on some of the songs, but really was somebody who helped. Frank, I'm being given one minute. So I want to wrap this up, but I do want to talk about a couple of quick things with you. Yeah, sure. Number one about the Irish rep, I think they've been really active actually during the pandemic. Because I see stuff on my Facebook page from them all the time. I worked with a guy named Derek Murphy. Do you know Derek? Oh, sure, yeah, Derek's- Yeah, I believe they did one of his pieces this year. His reading is going to be on the 21st on, I'll send you something, but you can watch it straight. He will send me stuff all the time. I did a reading of one of his plays last year. But just to wrap this up, if we do open up in September, are you gonna do basically what was the end of last year's production? I'm going to do, I guess, I'll do bunnies again in the fall. And then I'm gonna do a, I've always wanted to work on O'Neill. So I'm going to do two plays at once. Nick Hardin is going to do Yui. And on the main stage, I'm going to do Desire Under the Elms, which is a play that I always interested in. And then I'm either going to do ghosts, it's, and I'm sort of going through these people. I'm going to do ghosts, Lamford Wilson's translation, or I will do Martin, not Martin, Connor McPherson wrote an adaptation of the Birds, which is not the Hitchcock's, but it's based on the short story, and I'm thinking of maybe I'll do that. I'm not sure yet. Next week we have on a former actor, singer who is now becoming a rabbi, Jacqueline Grad. Thank you very much and tune in next week.


So this video is going to make a lot of my audience very very angry with me. They're gonna be very cross They're gonna be very Upset perhaps many of them will unsubscribe from my channel Which would I'd be very upset about and I apologize But I want everybody to keep in mind that I'm doing this mostly for fun and ingest But today we're gonna be talking about the five most overrated Linux distributions ever created. So I Think it should be a little fun But I want to put up some provides those out there some warning some trigger warnings out there before I actually jump in first When I say overrated, I don't mean bad I might mean bad, but I don't always mean bad a lot of the distributions on this list I actually considered to be quite good. In fact a couple of them. I would consider fantastic But they are overrated So just because I say your distribution is overrated doesn't mean that I think that it's bad a couple of them I do think it are bad, but that those aren't necessarily things that are connected in my brain So that's the first one the second thing that I want to say out there is that just because I say your Distributions overrated doesn't mean that I'm coming after you. These are not personal attacks in any way So don't take it personally. Don't get too defensive about it. It's just all in fun So let's go ahead and talk about the five most overrated Linux distributions But before we do if you drop a thumbs up on this video, I'd really appreciate it really does help the channel and It would probably move past some of the negative Thumbs down that I'm no doubt going to beginning because of the amount of vitriol that I'll hear in the comments section below So let's talk about this. So number five on the list is solis OS now solis OS is a distribution It's a dreamers distribution and when I say it's a dreamers distribution I mean is their developers are dreamers they have had many different plans over the course of their existence and many of those plans are still in development and There's no end in sight to those plans, right? They continuously change now They're changing to a different distro. Basically, they're they're moving from solis's base development tools to serpent OS base development tools They'll still be called solo so s but it's very very confusing their desktop environment was attached to their distro for a long time It's called budgie OS and or not budgie OS But budgie right and that was connected to solis for a long time and then the development team kind of split and they had They're a little, you know kerfuffle amongst the developers and budgie was split off and solis when its own direction and now They're back together again. It's like a soap opera is the way that I'd explain it The reason why I say that it's overrated isn't necessarily because it's bad But because it's hard to trust a distribution that has plans like that and constantly moves the goalposts towards what they're looking to do and You don't really know where it's going Like do we think that the serpent OS plans are going to be something that they stick with or are they going to change the Plans again in a couple years. So you really can't Say that it's a distribution that is stable in its execution of what their plans are because they move and they change all the time So solis OS is number five on the list I put it number five because I'm convinced that very few people actually use it to be honest with you I have honestly to tell you I only know one person who really likes solis OS. Well, too One of them is a developer of solis OS the other one is Josh So it was the only two that I really know that have ever used or spent a lot of time with solis I'm sure there are other solis OS users out there But I don't meet them very often. So that's number five on the list number four on the list is Elementary OS elementary OS is a distribution that I have a history of not liking So I will very be very upfront with the fact that I am biased against it But you can't deny that that distribution has Promise and has promised many to things over the course of the last many years and many of those things have not been delivered and It feels at this point that is kind of abandoned where because they have had a kerfuffle amongst their developers They the developers have gone separate ways They fought over money because everybody fights over money, which is dumb, but whatever and you know, you have I guess if the I was talking about millions of dollars or hundreds of thousands of dollars I probably want to fight about it too, but I ain't got that opportunity. So whatever that's beside the point The point is is that elementary OS has kind of fallen by the wayside despite its immense promise over the course of the last few years It was one of those distributions that even got covered in the mainstream press because it was a quote-unquote new Linux distro that offered a lot of the Cohesiveness that people were looking for in Linux It was very Mac OS like it was very structured in its UI in its approach to updates and stuff like that And since then it has fallen by the wayside and even though that's true I wouldn't say that that's the reason why it's overrated I would say that it's overrated simply because the people who really enjoy or at least enjoyed Elementary OS had such high hopes for it and prodded it along to other people But none of the promise was ever backed up with solid action So this isn't even the first time where we thought it was kind of abandon where like several years ago They also kind of fell off in terms of the updates We had no clue it was happening Eventually an update did appear and then you know they went back on what feels like a hiatus So nobody that really knows what's going on yet There's still a group of people out there who have hi-hi hopes for Elementary OS and the you know the promises that have been made whether or not those promises will ever be delivered on You know is another thing altogether So elementary OS is number four on list number three on the list is manjaro now manjaro When it first came out had a purpose now whether their stated purpose was this or not You can't deny that one of the things that it did was it made arch Linux easy to install It also had the stated goal of making arch Linux more stable and that's still a stated goal to this day It's basically arch Linux, but with a delayed Release cycle so instead of all the updates being pushed right out into the open for everybody to test Basically as a guinea pig like with arch manjaro holds it back Also manjaro has less reliance on the a you are it doesn't push the a you are nearly as much as arch itself does so the idea behind manjaro is a more stable arch Linux distribution and You could probably claim that it does deliver on that. I Don't really know how stable it actually is. I haven't used it in many years But the user base which is quite large It's probably the largest arch based distribution out there is very passionate about it yet use case isn't as Important as they seem to think that it is if you really want a stable distribution You're not going to go the arch direction at all You're gonna go to Debian or you're gonna go to Ubuntu or whatever You're not gonna look towards arch now my biggest problem with manjaro has always been That if you want to have the benefits of arch the big extra if you want to have the benefit of arch Which is the a you are for me that that the shining star of using arch has always been there you are and if you enable that on Manjaro you remove the Benefits of using manjaro. It's no longer once you've enabled the a you are and you started to use the a you are It's no longer a stable distribution therefore Manjaro is weird in that situation where it's kind of touting the benefits of arch but now giving you the main benefit of arch It's very weird in that in that regard And I've never really gotten it to be honest with you and I know a lot of people have now Now if you wanted to argue that the reason why it exists is because it made arch Easy to install during a period of time when arch was not easy to install you could argue that that was the case if That's still the case. That's kind of weird because arch is no longer hard to install So I don't know manjaro is definitely in my opinion overrated and that's number three on the list number two on the list Oh boy. Oh, it's kind of piss a lot of people off But Linux Mint is number two on the list now. I have made claims over the course of the last Three years or so since I started this channel that Linux Mint is useless. I have talked about how Linux Mint is pointless I've talked about how Linux Mint is weird I've talked about how Linux Mint and their fan base are very Touchy, which I still believe is true now. I have Of course More experience with Linux Mint now that I did when I made my Linux Mint is useless video back in 2021 or whatever it was So I have more experience with Linux Mint at this point, but all that being said the idea behind Linux Mint is what? So that's my question and has has been my question for quite a while. What is the purpose of Linux Mint? right now Previously I would argue that Linux Mint had the purpose of being Ubuntu, but with a different desktop environment and with a better and Easier more new user focused software package, right? that they offered a lot of tools and they offered a better post installation method and and setup and Documentation and all this stuff, right? They were very much a new user focused distribution and you could argue that they're still that right that they're very much Still a very new user focused distribution I would argue instead that there are protest distro now I know that that's going to make a lot of people mad because when I say protest distro what you think of you're gonna think of Dev One you're gonna think of Artix you're gonna think of distributions that are protesting system D, you know and I would argue that Linux Mint is an Ubuntu protest distro They're still based on Ubuntu, of course for their major releases. They're still very much tied to The Ubuntu release cycle all of their distribution releases are tied to an Ubuntu release cycle But they don't like the way that Ubuntu works You can tell that because of the their disinterest in snaps You can tell that by some of the things that their developers have said over the course of the last few years They're very much not happy with the direction that canonical has taken Ubuntu And therefore have they have chosen to take their distribution another direction despite still being reliant on Ubuntu as their base Right, it's one of the reasons why I've argued and one of the reasons why I argued in the Linux Mint is useless video Then instead of focus on Ubuntu they should focus on Debian But that is another argument altogether the reason why I think that they're overrated is Because they have become there's this mythos or surrounding Linux Mint that they are the premier New user distro and that may or may not be true. I won't argue either way, but that mythos has given a Legend quality that doesn't it doesn't really deserve because really at the end of the day It's just a protest distro. It's just a distribution that is Ubuntu But without all the things that make Ubuntu Ubuntu if that makes any sense. They've taken Ubuntu. They've carved out all the parts that make Ubuntu Ubuntu except for like the installer and some of the software packaging And they've made it their own which is fine. It's there's nothing wrong with it It's just it's not it doesn't automatically make it into this Fantastic distribution that every new Linux user should use now. It doesn't mean that every new you Linux users shouldn't use it also I'm not gonna argue either way with those people. I'm just saying that Linux Mint is overrated.  I just never have really cared for it All that much. I've never really seen the purpose of it If you're if you want to use Ubuntu, just go use Ubuntu, right? If Linux Mint just touted itself as Ubuntu, but with a different desktop environment, that'd be fine with me and It's fine the way it is. Of course, I don't have to approve of everything I'm not like the the grandmaster of the Linux world. I don't have to approve of everything Linux Mint is just not for me I also don't think that it is as Fantastic as everybody else thinks it is but again, that might be my bias showing so number two in the list is Linux Mint People are very passionate about Linux Mint despite the fact that the people who are very passionate about it Probably aren't using it. Now. I'm sure some of them are I don't I don't need to hear into comment section About how passionate you are about actually using Linux now. I'm sure there are many people out there who I mean It's a very popular Linux distribution. What I'm saying is that the people it seems that are the most passionate are also people who aren't actually using it They maybe they started off on it and it was their first Linux distro So they have very fond memories of it and that has led them to be very defensive of it, which is again It's it's fine, but I would just like to remind you that it's a Linux distro. It's not Jesus, okay? I'm just putting it out there.  Number one is Arch Linux now. I know what you're thinking Matt Weren't you an arch fanboy like half a second ago? Yes. Yes, I was an arch fanboy and I still maintain that the AOR is Fantastic, maybe a little overrated towards what I actually think it is and definitely not for everybody but Arch Linux is overrated and I would argue that of the ones that are on this list It's the most overrated which is number the reason why it's number one. That's usually how lists work Matt. Good job Number one on the list is Arch Linux for a reason It's number one for a reason and that reason is is that it's so overrated that their Users have become a meme and this meme isn't even a new it's been around for a very long time I use Arch Linux by the way, right? You have heard this over and over and over again and to the point where it is a meme It's not even a good meme. It's a meme that has been around for so long It's over the meme has become a meme if that makes any sense So Arch Linux and was always a thing, right? It was always something that people were proud of because it was hard to install now every time I say that people were proud of being able to install Arch Linux There's somebody in the comments section was like imagine being proud of being able to install Linux like I Understand that it's a weird thing to be proud of but there's a reason why people touted the fact that they use Arch and that Reason is because it was considered difficult to install that difficulty of installation was the primary reason why People who use it considered themselves Special if you think about it past the installation of Arch Linux what actually makes Arch special It's not the only rolling release in the world I would argue that they you are probably is the only other thing besides the installation that makes Arch special And it's the only one that remains they you are is fantastic. It's spectacular even it definitely Puts to shame many other repositories out there But the installation aspect of their argument is gone yet their error against remains it does Hasn't you know it has fallen by the wayside a little bit, of course to be replaced by the Next one on the list because there is a next one on the list It's actually an honorable mention because we'll talk about that in a minute The point is is that Arch Linux has a fan base that has memafied themselves not mummified, but memafied I don't know if memafied is actually word, but it's gonna be very very soon and they have Made it so that people look at Arch as A meme distro even though it's a fantastic distribution. It's a really good distribution And if you want a rolling release, it's one of the best out there that you can use I would argue that their development method is not so great to be honest with you that they Meander through without any real leadership and that they have no cooler vision for their distribution and that that lack of Distribution vision has caused many problems over the course of the last few months even Where things have been released out into the wild that really shouldn't have been if you asked my bud Steve You'd see you'd hear Many many words with many many expletives about the you know grub and the grub situation, right? So Arch has had many problems and yet their user base bill considers themselves very very Happy that they are Arch users when they Probably should just tone it down just a bit. So I mentioned an honorable mention now Honestly, what I should have just done was made this a six distro list, but to be honest with you I don't think that this last one deserves a place on the list not necessarily because it's not overrated It is overrated, but I don't want to give them and their users the satisfaction of actually being a number on the list It's petty of me. I know but the honorable mention is Nick's OS Okay Now I'm sure Nick's OS is a fantastic distribution. I've only used it for Probably about an hour or so and that's been ages and ages ago before it was popular And I'm sure it's a fantastic OS I know many many people who use it and tell me that it's fantastic in fact There are approximately 30 different users in my discord right now who are using Nick's OS if not many many more and all of them constantly tell me that Nick's OS is something that I have to try I have to try it now. You have to try Nick's OS. You have to try and express. I swear to God That the Nick's OS users are much more pushy about their distribution Than the Arch Linux users ever were now that is saying something because the Arch Linux guys are A meme for pushing their distribution on to other people. They are We all know that and yet I don't think I ever experienced the level of pushing this from Arch that I've Heard and seen and experienced from the Nick's OS community now again I'm sure Nick's OS is a fantastic distribution But it's definitely not a distribution that requires me to use it just because it has a configuration file And I happen to like configuration files. So therefore I should use it. I'm not exactly sure that I I get in so much trouble when I talk about Nick's OS because I I have come to the point where The users have gotten so pushy about me trying it that I've Decided not to try it. I'm being very petty about is what I'm saying But anyways, that's an honorable mention I did not want to give them the satisfaction of being number one Even though it probably is number one in my mind So that's it for this video if I haven't pissed everybody off. Let me know in the comments section I'll I'll try harder next time Maybe I'll I should maybe I should put Ubuntu on this list or I don't know I'll come up maybe Debbie and I could come up with some more to piss everybody else off I'm sure I could come up with a few more. So in the comment section below Let me know your thoughts and all this I'd really appreciate it If you haven't already and you actually did like this video I'd appreciate it if you give this video a thumbs up and really really help the channel You can follow me on masters on or Odyssey those links will be in the video description You can support me on patreon at patreon.com slash linus cast I'm also on Kofi, which is another place like patreon, but apparently a little bit better You can head on over there if you want to support me Thanks to everybody who does support me on patreon on YouTube. You guys are all absolutely amazing without you the challenges We're not be anywhere near where it is right now. So thank you so very much for your support I truly do appreciate it. You guys are all absolutely amazing without you again the challenges We're not be anywhere near where it is right now. So thank you so much. Thanks everybody for watching. I'll see you next time


All the nobody out there Once you get to the end of your lane, you'll see two green referent plates that there was four reason he was a focus right there Actually, why are you focusing on me? You want to focus out further not up close? I can't see out there. Exactly So just until you can


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