Podcasts about AIST

Aistė Krušinskaitė, patyrusi sunkią stuburo traumą ir atsisėdusi į neįgaliojo vežimėlį suprato, kad atėjo metas išlaisvinti ir įgalinti save iš naujo – todėl ėmė atvirai kalbėti apie savo identiteto paieškas ir homoseksualumą. Kad ši tema išeitų iš uždarų ratų, turėjo praeiti dešimt metų. Šiandien Aistė apie homoseksualumą bei savo negalią kalba laisvai ir daug juokaudama.Ved. Lavija Šurnaitė

Nederland en Japan hebben de banden aangehaald en gaan nauwer samenwerken in de innovatiehoek, op het gebied van halfgeleiders, kwantumcomputers en 6G-technologie. Joe van Burik vertelt erover in deze Tech Update. Dat is het resultaat van een bezoek dat zeventig ondernemingen uit Nederland hebben gebracht aan Japan, onder leiding van minister Beljaarts (Economische Zaken) en koning Willem-Alexander. Bijvoorbeeld vanuit TNO, met een Japanse organisatie in mobiele technologie, dat gaat over de ontwikkeling van 5G en 6G. Fujitsu gaat de onderzoeksafdelingen naar kwantumcomputers in Delft uitbreiden en de Japanse tegenhanger van TNO, die heet AIST, gaat samenwerken met Quantum Delta, de Nederlandse koepelbeweging in dat kader. Verder in deze Tech Update: Spotify zegt nu al te merken hoe Apple onder druk wordt gezegd door de Amerikaanse rechter Apple laat een documentaire over filmmaker Martin Scorsese maken voor Apple TV+ See omnystudio.com/listener for privacy information.

The National Institute of Advanced Industrial Science and Technology, or AIST, showed Japan's meter and kilogram prototypes to the press on Monday, ahead of the 150th anniversary later this month of the conclusion of the Meter Convention in 1875.

メートル条約締結１５０年を前に、産業技術総合研究所で公開された日本のキログラム原器、１２日午後、茨城県つくば市産業技術総合研究所は１２日、度量衡の単位を国際的に統一したメートル条約の締結から１５０年を迎えるのを前に、日本国内の「１キログラム」や「１メートル」の基準となっていた「キログラム原器」と「メートル原器」を報道陣向けに公開した。 The National Institute of Advanced Industrial Science and Technology, or AIST, showed Japan's meter and kilogram prototypes to the press on Monday, ahead of the 150th anniversary later this month of the conclusion of the Meter Convention in 1875.

Jungtinių Valstijų karių tragedija Lietuvoje buvo rimtas išbandymas ne tik kariams, gelbėtojams, bet ir komunikacijai. Iš pradžių pasipylė kritikos lavina dėl nesuderintų žinučių, vėliau sekė pagyros dėl sklandžios komunikacijos. Ko turėtume pasimokyti iš šios tragedijos?Laidoje dalyvauja buvęs Lietuvos kariuomenės vadas Arvydas Pocius, komunikacijos ekspertas Arūnas Armalis, 15min.lt žurnalistė Aistė Čiučiurkaitė, LRT RADIJO žurnalistas Edvinas Kučinskas.Ved. Jurgita Čeponytė.

Many women in the Millerite Movement had eagerly hoped for Christ to come on October 22, 1844.  They had dedicated their time, energy and resources to spread the good news of Christ's soon return through print and by mouth. But what happened after Christ didn't return on October 22, 1844? Did women return home to be the “angels of the household”? Or did they play a role in the formation of the churches that came out of the Millerite Movement, shaping the landscape of American Christianity forever? Guests: Dr. Cindy Tutsch, Author and retired Associate Director of the Ellen White Estate. Dr. Michael Campbell, Director of Archives, Statistics and Research at the North American Division of Seventh-day Adventists. Celeste Ryan Blyden is the Executive Secretary for the Columbia Union.  Explore More Article | Annie Rebekah Smith - https://encyclopedia.adventist.org/article?id=AA69  Article | Adelia Patton Van Horn - https://encyclopedia.adventist.org/article?id=AIST&highlight=conference  Article | Maude Boyd - https://encyclopedia.adventist.org/article?id=AAZ0  Article | Only Eyes Were Lost: The Life of Ai Araki - https://am.adventistmission.org/v4n3-20  Book | Ellen White on Leadership by Cindy Tustch - https://www.adventsource.org/store/items-by-author?value=Cindy%20Tusch  Books by Michael Campbell | https://www.adventsource.org/store/items-by?value=Michael%20Campbell This episode mentions Mary Frances Maxon, Annie Rebekah Smith,  Adelia Patton Van Horn, Minnie Sipe, Sarah Lindsey,  Martha Byington Amadon,  Maude Sisely Boyd,  Ai Araki, and Ellen White.  

Kaip Lietuvoje gyvena atvykusios arba čia gimusios įvairių tautų moterys? Su kokiais socialiniais, ekonominiais ir kultūriniais iššūkiais jos susiduria? Apie šiandien vyksiančią diskusiją kalbėsime su organizacijos „Padėk pritapti“ vadove Inga Kreivėnaite.Daugiau kaip pusę amžiaus Miunchene vyksta tarptautinė amatų mugė. Pirmą kartą specialiąją juvelyrikos meno parodą „Schmuck“ kuruoja Lietuvos atstovė. Tai menotyrininkė, tarptautinių parodų kuratorė Jurgita Ludavičienė. Pokalbis tiesiogiai iš Miuncheno.Panevėžio „Pragiedrulių“ kūrybiškumo centre atidaroma astrofotografo Aido Vodeikio paroda „Ko nemato akys“. Dar vaikystėje kosmosu susižavėjęs panevėžietis dabar fiksuoja tolimas Visatos platybes iš savo paties sukonstruotos observatorijos. Joje lankėsi Evelina Povilavičiūtė.Ąžuolyno bibliotekoje Kaune pristatyta Vytauto Didžiojo universiteto profesorės Aistės Morkūnaitės-Lazauskienės knyga „Kauno miesto valdantysis elitas 1918–1940 m.“. Autorė šioje knygoje parodo itin margą kolektyvinį miesto valdžios portretą, atskleidžia įvairius savivaldos funkcionavimo laikinojoje sostinėje aspektus ir pokyčius per tuos dvidešimt metų, kai Kaunas buvo laikinąja sostine. Pasakoja Skirmantė Javaitytė.„Lietuvoje liaudies yra daugiau negu tautos“, – sako aktorius, skaitovas, kalinių ir apleistų vaikų organizacijų įkūrėjas Česlovas Stonys, kurio gyvenime, kaip ir Lietuvos istorijoje, yra įvairių epizodų. Apie praėjusį laiką ir gyvenimą – prieštaringą, sudėtingą, apie prasmės paieškas ir padorumo sąvoką šiandien – pokalbis rubrikoje „Be kaukių“.Ved. Jolanta Kryževičienė

Kaip paaugliams išgyventi kaltę ir neleisti jai tapti našta visam gyvenimui? Šis klausimas svarbus kiekvienam, kas augina paauglius, juos moko, ar pats yra paauglys. Ar kaltė gali tapti augimo dalimi, ar ji tik skaudina? Ką daryti, jei atrodo, kad niekas nesupranta?Ir ar paauglių maištas visada reiškia prieštaravimą, ar tai tiesiog neišgirsto žmogaus balsas? Kaip mokytojai gali padėti mokiniams susidoroti su savo emocijomis? Ir ar literatūra gali būti pagalbos priemone, padedančia susivokti savyje?Lietuvos radijo švietimo laidoje dalyvauja naujos knygos paaugliams „(Ne)kaltas" rašytojai: Aistė Šopa ir jos paauglys sūnus Leonardas Šopa, kuris yra knygos iliustruotojas ir paauglių kalbos redaktorius.Ved. Jonė Kučinskaitė

Parašiusi savo pirmąją knygą „Svoriomanija“, rašytoja Aistė Simėnaitė teigia, jog daugelis galvoja, kad tai knyga apie tai, kaip numesti svorio, tačiau, autorės įsitikinimu, būtent žmonėms, kurie siekia tobulo kūno, ir yra jos aprašyta istorija, kaip nekartoti klaidų, privedusių ją prie valgymo sutrikimų. Aistė savo vingiuotus ir ne visada linksmuosius kalnelius apibūdina kaip kelionę iki 100 kilogramų ir atgal.Kaip svorio ir grožio kultas nutiesia kelią valgymo sutrikimams?Pokalbis su rašytoja, komunikacijos specialiste Aiste Simėnaite.Ved. Ignas Klėjus

The Japanese government-affiliated National Institute of Advanced Industrial Science and Technology, or AIST, has signed a memorandum of understanding with U.S. semiconductor giant Intel Corp. to collaborate on the research and development of next-generation quantum computing technology.

据极目新闻报道，2月4日晚，河南一网友发视频称，K774次列车途经一车站时，因车厢人员较多，无奈拒绝部分旅客乘车，“有票也不让上”。2月5日，当事车站的工作人员回应称，因为车内有很多人“买短乘长”，到原票站点不下车，导致人越来越多。12306客服表示，“暂未接到相关信息，关于“买短乘长”可能导致超员的问题，要看现场工作人员如何处理。”据界面新闻报道，近日，有网友发视频称，从胖东来购买的红色内裤出现掉色、过敏的情况。胖东来2月4日发布情况说明称，公司已组建专项调查小组针对事件详情进行严格的调查落实，待调查清楚后，会将事件结果第一时间通过官方平台进行公示。为了确保安全品质，调查结果出来前先对此品牌系列产品下架处理。据央视财经报道，从国家发展改革委了解到，2月6日24时新一轮成品油调价窗口开启。据国家发展改革委价格监测中心监测，本轮成品油调价周期内，国际油价震荡下降。按现行国内成品油价格机制测算，调价金额每吨不足50元，本次汽、柴油价格不作调整，未调金额纳入下次调价时累加或冲抵。据界面新闻援引彭博社消息，一知情人士称，日产汽车准备结束与本田汽车组建一家联合控股公司的谈判，正在寻找新的合作伙伴，日产想找一个最好来自科技行业且总部在美国的合作伙伴，因为北美是日产最重要的市场。本田提出了收购日产并成为其母公司的想法，但在日产内部遭到了强烈反对。据财联社援引日经新闻消息，日本国立产业技术综合研究所（AIST）正与英特尔合作，利用后者的先进芯片开发下一代量子计算机，预计开发成本达数百亿日元。

FM99 laidos „10 Geriausių” viešnia – dainininkė Aistė, kuri 2025-uosius pradėjo su dideliu įvykiu kiekvienam muzikiniame pasaulyje kuriančiam žmogui – nauju albumu: „išleidžiu savo pirmąjį lietuvišką albumą ‘Soul Lituanica' kartu su jo singlu ‘Kerai'.”

Ar turite išvykimo krepšį? Tai klausimas, kurį karts nuo karto tenka išgirsti jau beveik trejus metus tęsiantis Rusijos karui Ukrainoje. Kol vieni tokį krepšį yra susikrovę patys, kiti ieško jų jau sukomplektuotų internetinėse parduotvuėse. Vytauto Didžiojo universiteto mokslininkas Gabrielius Klimenka nusprendė ištirti, ar Lietuvos parduodamu krepšių turinys atitinka oficialas rekomendacijas pareikimas puslapyje LT72.Jungtinėse Amerikos Valstijose įkurta daugiau nei 100 lietuvių bažnyčių, daugiau nei 50 lietuvių kapinių, pastatyta per 150 paminklų Lietuvai ir lietuviams. Jungtinėse Valstijose veikia didžiuliai lietuvių muziejai, lietuvių vienuolynai, lietuvių klubų rūmai, ten palaidoti vieni žymiausių lietuvių, jų garbei pavadintos gatvės ir aikštės. Visa tai sugulė į Augustino ir Aistės Žemaičių knygą „Gabalėliai Lietuvos”. Šią knygą sudėlioti iš gabalėlių užtruko septynerius metus.Didėja gyventojų nepakantumas seniems, nenaudojamiems automobiliams. Praėjusiais metais daugiau gyventojų pranešė apie apleistus nenaudojamus daugiabučių kiemuose ar kitose viešose vietose stovinčius automobilius.Didėja gyventojų nepakantumas seniems, nenaudojamiems automobiliams. Praėjusiais metais daugiau gyventojų pranešė apie apleistus nenaudojamus daugiabučių kiemuose ar kitose viešose vietose stovinčius automobilius. Mieli klausytojai, ar jūs savo aplinkoje pastebite nenaudojamus automobilius, ar pranešate apie juos?Kaune, Antano Žmuidzinavičiaus kūrinių ir rinkinių muziejuje, duris atvėrė paroda apie Lietuvos mados istoriją, dabartį bei ateitį. Ekspozicijos rengėjai kviečia: „Pasikalbėkime" apie madą ir ne tik“. Kolegos Andrius Baranovo pasakojimas.

Aistė Simėnaitė pasakoja apie svoriomanijos kelionę, kurioje patyrė daug skaudžių, beviltiškų etapų. Aistė žino, ką reiškia nuėjus į parduotuvę netilpti net į didžiausio dydžio drabužius, maitintis po šaukštelį kūdikių tyrelėmis po skrandžio mažinimo operacijos ir gydytis valgymo sutrikimus Psichikos sveikatos centre.Kelionė buvo ilga, nepaprasta, bet prasminga, nes išbandžiusi begalę lieknėjimo priemonių suprato, kad atsakymai, kaip atrasti taiką su savo kūnu ir išmokti jį puoselėti, slypėjo kitur. Visas patirtis ir atvirą pasakojimą Aistė sudėjo į savo naują knygą „Svoriomanija. Kelionė iki 100 kg ir atgal“.Ved. Lavija Šurnaitė

Spaudos publikacijų apžvalga.Ar prieš dešimtmečius iškeltos prof. Zigmo Zinkevičiaus teorijos vis dar aktualios?Anykščiuose paminėtos kultūros mecenatės dailėtyrininkės Beatričės Kleizitės-Vasaris šimtosios gimimo metinės.Plungės kultūros centre šiandiena atidaroma fotoklubo „Žybt“ paroda „Etninės kultūros ženklai Žemaitijos kraštovaizdyje“.34-oji Lietuvos rašytojų sąjungos premija įteikta Viktorijai Daujotytei-Pakerienei už autobiografinių tekstų knygą „Kai rašai, nebijai“.Šiaulių „Juventos“ progimnazijos kieme rengiama pilietinė akcija „Išsaugokime dainuojančią Juventą“. Ja siekiama atkreipti dėmesį į mokyklos laukiančią pertvarką.Augustinas Žemaitis ir Aistė Žemaitė pristato knygą „Gabalėliai Lietuvos: Amerika“.Lietuviai sukūrė žaidimą pagal latvio režisieriaus Gintso Zilbalodžio filmą „Flow“, kuris pirmą kartą Baltijos šalių kino istorijoje pelnė „Auksinį gaublį“.Ved. Marius Eidukonis

Susipažįstame su spaudos publikacijomis kultūros tema.Šiaulių fotografijos muziejuje pristatyta praėjusio amžiaus fotografiją iliustruojanti paroda „Vizijos“.Kaip Lietuvos sezoną Prancūzijoje vertina jo veidu tapęs šokėjas Dovydas Strimaitis?Eglė Baliutavičiūtė apžvelgia Aistės Paulinos Virbickaitės „Ką veikti muziejuje: meno istorijos, interpretacijos ir patarimai“ ir antologiją „Tarp būties ir nebūties. Karo padėtis. Esė“.Trečią kartą savo žinias bus galima pasitikrinti „Antikos žinių viktorinoje“.Į ką dažniausiai savo fotoobjektyvą nukreipia Balio Buračo fotografijos meno premiją šiemet gavęs Vytautas Stanionis?Iš Ukrainos evakuoti Marijos Prymačenko darbai pasiekė Prano Gudyno restauravimo centrą ir laukia restauracijos.Šiemet minimas Marcinkonių paminėjimo rašytiniuose šaltiniuose 420 metų jubiliejus.Šakiuose visą savaitgalį vyks tarptautinis festivalis „Cirko žiburiai 2024“.Ved. Marius Eidukonis

Lietuvos nacionalinis dramos teatras buvo pakviestas prisijungti prie organizacijos „Mitos21“, kuri vienija stipriausius Europos teatrus. Apie šią organizaciją ir tai, ką prisijungimas prie jos gali pasiūlyti teatrui, pasakoja viena iš LNDT meno vadovių, režisierė Eglė Švedkauskaitė.„Apie meną galima kalbėti įvairiai, o šitos įvairovės Lietuvoje man šiek tiek trūksta“, – sako knygą „Ką veikti muziejuje“ parašiusi meno kritikė Aistė Paulina Virbickaitė. Šia knyga autorė tarsi drąsina į muziejus ir galerijas žengti tuos, kurie dar nėra tapę nuolatiniais jų lankytojais, ir siūlo pagrindus meno pažinimui. Pokalbis su knygos „Ką veikti muziejuje“ autore.Vaikštinėdami Paryžiuje, o ir kituose didesniuose Prancūzijos miestuose, kur ne kur – metro stotyse, gatvėse ar šiaip stenduose – galime pamatyti Lietuvos sezono Prancūzijoje plakatą. Jame – juodu latekso rūbu apsirengęs šokantis vaikinas ryškiai rausvais ilgais besiplaikstančiais plaukais. Tai – jaunosios kartos choreografas ir šokėjas Dovydas Strimaitis. Su juo Prancūzijoje susitiko ir apie Lietuvos sezoną pasikalbėjo Austėja Kuskienė.Clinto Mansello garso takelis šiuolaikinėms, steroidinėms „Telmai ir Luisai“ filme „Meilė, melas, kraujas“: Režisierė Rose Glass 90-ųjų elektroninės muzikos ritmu žvelgia į moterų meilę, ritmingai besipriešinančią vyriško pasaulio taisyklėms ir, pasitelkdama ironiją, siūlo iškeisti niūrią tikrovę į magišką realizmą. Pasakoja Ieva Buinevičiūtė.Tarp 100 įtakingiausių pasaulio asmenybių renginių rinkoje pateko renginių paslaugų grupės „ReKūrai“ vadovas, festivalio „Revolution“ organizatorius ir tinklalaidės „Kamantinėjimai“ autorius Aurimas Kamantauskas. Ką toks pripažinimas atneša? Kuo išsiskiria šiandienė Lietuvos renginių rinka? Kokius pokalbius Aurimas laiko nusisekusiais? Ir kodėl taip mėgsta Nilsą Frahmą? Atsakymai į šiuos ir daug kitų klausimų – rubrikoje „Be kaukių“.Ved. Rasa Murauskaitė-Juškienė

LRT OPUS laidos „Be filtro“ viešnia – naują albumą „Nemigos“ po penkerių metų pertraukos pristatanti dainininkė ir aktorė Eye‘stė La‘see‘tė (Aistė Lasytė). Nuo „Liūdnų slibinų“ iki jausmingos elektronikos – pokalbis apie spalvingą Aistės karjerą, gyvenimą ir liūdesį, kuris gali nešti pozityvumą. Ved. Ramūnas Zilnys

Miego paralyžius – traumuojanti patirtis ar tiltas į sąmoningą sapnavimą? Atsakymo į šį klausimą ieško Vilniaus universiteto Filosofijos fakulteto docentas Tadas Stumbrys ir gydytoja neurologė, Medicinos fakulteto profesorė Rūta Mameniškienė. Miego paralyžių bent kartą savo gyvenime patiria nuo 7,6 iki 30 proc. žmonių visame pasaulyje.„Knygą pradėjau kurti susirgęs skrandžio liga ir gavęs gydytojo išrašytą labai griežtą dietą: turėjau atsisakyti daugybės mėgstamų maisto produktų. Atsisakiau ir mano valgiaraštis tapo skurdus. Sukandęs dantis galėjau kentėti iki pasveiksiu, bet tikiu, kad labiau gydo tai, kas skanu. Taip gimė idėja sukurti skanaus maisto knygą tiems, kurie negali valgyti visko, ko nori, kad galėtų valgyti viską, ką gali, bet būtinai – žiauriai skaniai“, - sako virtuvės šefas Alfas Ivanauskas kartu su treneriu Pauliumi Ratkevičiuki išleidęs knygą, kaip valgyti skaniai ir sveikai.Visas lietuviškas JAV bei Kanados vietas aplankę, nufotografavę, nufilmavę, jų žemėlapį ir enciklopediją sudarę 2017–2023 m. „Tikslas – Amerika“ ekspedicijų autoriai Augustinas ir Aistė Žemaičiai sustoti neketina bei šiemet lietuviško paveldo ieško Europoje.Iš užsienio į kaimą grįžusi Eglės ir Nerijaus Švelnių šeima dabar plėtoja mišrų ūkį Mažeikių rajone. 30 hektarų daržininkystės ūkis turi ir nacionalinės kokybės produkto ženklinimą, o produkcija realizuojama maitinimo įstaigose. Kiek pastangų prireikė jaunai šeimai, kad įsilietų į ūkininkavimą domėjosi LRT Radijo laidos „Gimtoji žemė“ vedėja Rūta Simanavičienė.

Spaudos apžvalga.Kalbos ryto rubrikoje – apie lietuviškų sporto šakų pavadinimų kilmę bei istoriją.Kauno tvirtovės VI forte lankytojai kviečiami pamatyti kareivines, parako sandėlius, centrinę poterną, praeiti antruoju gynybiniu žiedu ir apžvelgti kairinį puskaponierių, į kurį vedama itin retai. Ypatingo dėmesio ekspozicijoje sulaukia iš Ukrainos karo lauko atgabentas tankas.Japonų rašytojai Banana Yoshimoto – 60. Koks šiuolaikinės japonų literatūros populiarumas yra Lietuvoje?KTU studento pasiekimas – žaidimas vaikams, skatinantis susipažinti su Austrija.Atrinkti „Expo 2025 Osaka“ Baltijos paviljono dizaino idėjos konkurso TOP 3 projektai.Laidoje „Įgarsintas vaizdas“ šįkart – apie naujausio Martino Scorcesės filmo „Mėnulio gėlių žudikai“ garso takelį, kuris perteikia beveik keturių valandų epinio pasakojimo emocinį peizažą laukiniuose vakaruose.Stasiui Eidrigevičiui – 75. Aistės Diržiūtės-Rimkės teksto apžvalga.Ved. Justė Luščinskytė

* BRUJERIA "Brujerizmo"  (R.I.P Pinche Peach) * ETERNAL FLIGHT "The Masks will Fall" * ISUTA'AIST " Popopo"  (collector des 90's from Fontenay le Comte !! ) Live-Report ROCK N VIE Hellfest Spirit Fest à Apremont (85)  du 20/07 Part. 1 * HELL MILITIA  "Death Worship"  (vinyle) * GREAT WHITE "Call it Rock n' Roll" (live 2002)  hommage au retrait de Jack Russel . Live-Report ROCK N VIE Hellfest Spirit Fest à Apremont (85)  du 20/07 Part. 2 *ALESTORM "Captain Morgan's Revenge" 

Luaithríona na Tríonóide

Vilniuje, Šnipiškėse, Šilutės ir Fino gatvių sankryžoje, trumpam įsikuria laikina fotoateljė, kurioje Vilniaus muziejus ir Medinės miesto architektūros muziejus kviečia įamžinti senąsias Šnipiškes liudijančius objektus ir pasidalinti jų istorijomis. Apoie Šnipiškių rajono pažinimą ir laikinąją fotoateljė kalbamės su menotyrininke, Vilniaus muziejaus direktore dr. Rasa Antanavičiūte.„Kad šis filmas bus politiškai įkrautas jaučiame jau nuo pirmosios scenos“, - naujausią Romo Zabarausko filmą „Rašytojas“ apžvelgia kino kritikė Monika Gimbutaitė.Birželio 9-ąją dieną įteikti nacionaliniai kino apdovanojimai „Sidabrinė gervė“. Šeši apdovanojimais įvertintas Deimanto Narkevičiaus filmas „Čiulbanti siela“, tiek pat jų pelnė ir Marijos Kavtaradzės kino juostos „Tu man nieko neprimeni“ kūrybinė komanda. Filmas išrinktas ir kaip geriausias 2023 m. filmas. O geriausiu ilgametražiu dokumentiniu kino filmu įvertintas režisierės Aistės Stonytės debiutinis filmas „Mamutų medžioklė“. Pokalbis su laimėtojomis Marija Kavtaradze ir Aiste Stonyte.Likus vos kelioms savaitėms iki Šimtmečio Lietuvos dainų šventės, vakar tūkstantinė chorų ir šokių kolektyvų eisena per visą uostamiestį nuvingiavo į Vasaros estradą. Vakarų Lietuvos krašto dainų šventė iškėlė vėliavą ir perdavė estafetę Kaunui. Apie įvykį Klaipėdoje pasakoja Agnė Bukartaitė.Apie vaikystės įspūdžių svarbą, išmintingus tėvus ir mokytojus ir begalinę meilę muzikos kūrybai rubrikoje „Be kaukių“ kalbamės su džiazo pianistu, kūrėju, pedagogu Richardu Baniu.Ved. Gerūta Griniūtė

Dar vaikystėje molėtiškis Aivaras Čečetas padėjo mamai Auksei dirbti ūkyje. Darbštus jaunuolis, vos sulaukęs 18 metų, ėmėsi savarankiškai ūkininkauti – pasirinko pieninės galvijininkystės ūkio kryptį. Dabar turi 150 galvijų, iš kurių pusė karvės, taip pat 200 hektarų žemės. Ateityje ketina statyti modernią pieno fermą su dviem melžimo robotais, o galvijų padvigubės.Varėnos rajone, Dargužiuose, įsikūrusio amatų centro tikslas – tyrinėti ir populiarinti tautinį paveldą, plėtoti kultūrinę ir edukacinę veiklą, saugoti iš kartos į kartą perduodamą amatininkų patirtį ir įgūdžius. Čia buriasi kūrybingi įvairių sričių amatininkai, demonstruodami tapybos, drožybos, keramikos, siuvinėjimo, audimo, bitininkystės amatus. Svečiai taip pat supažindinami su žolelėmis, jų rinkimo ypatybėmis, sirupų ir hidrolatų gamyba. Kulinarinio paveldo puoselėtojai krosnyje kepa dzūkų tradicinius patiekalus.Automobilių sporto aistruolių džiaugsmui Trakų rajone, Onuškio seniūnijoje, Živilės ir Vidmanto Perminų šeima prieš 16 metų įkūrė „Auto Moto Parką“. Buvusio ūkio vietoje, 24 hektarų plote, iškilo pastatai, supirkta įvairi technika, įrengta trasa. Dabar čia aktyvų poilsį, ypač vaikų džiaugsmui, renkasi ir iš toliau atvykusios šeimos. Visą šį parką aptarnauja 5 žmonės: Živilė su Vidmantu, jų vaikai Aistė ir Lukas bei marti Kamilė.Ved. Regina Montvilienė

„Prieš 20 metų tai buvo dalykas, kurį visi slėpė“ - pasakoja Aistė Bikauskė prisiminusi vaikystę, kuomet jai buvo diagnozuotas 1 tipo cukrinis diabetas. Jau kelerius metus Aistė užsiima sveikatos edukacija ir dalinasi gyvenimo su šia liga kasdienybe socialiniuose tinkluose.Daugiau nei pusę savo laiko šioje Žemėje gyvenanti su cukriniu diabetu, Aistė pripažįsta, kad labai ilgai diabetą norėjo atskirti nuo savęs, tačiau suprato, kad sveikata yra kiekvieno žmogaus asmeninis reikalas, jog ji turi rūpėti mums patiems, o ne kažkam kitam.Pokalbis su tinklaraščio „Mission Diabetes“ kūrėja Aiste Bikauske apie gyvenimą su liga, motyvaciją keistis ir edukacijos naštą.Ved. Ignas Klėjus

Vilniaus Rotušėje 23 kartą surengti „Lietuvos spaudos fotografijos“ apdovanojimai. Šiemet „Auksiniai kadrai“ buvo įteikti aštuoniems fotografams. Du iš jų – Saulius Žiūra ir Vidmantas Balkūnas - laidoje dalijasi savo mintimis apie apdovanojimus pelniusius kadrus.Apdovanoti geriausi lietuviškų filmų operatoriai. Pagrindinį „Ąžuolo“ prizą pelnė Julius Sičiūnas už darbą Austėjos Urbaitės režisuotame filme „Per arti“. Tuo metu operatorei Kristinai Sereikaitei atiteko Specialus „Ąžuolo“ kategorijos paminėjimas už dėmesingą ir pagarbų žvilgsnį į dokumentinio kino personažus bei išskirtinę profesinę laikyseną režisierės Aistės Stonytės dokumentiniame filme „Mamutų medžioklė“.„Autorinis vaizdo įmantrumas atsargiai subalansuojamas jausmingo turinio, kaistančios aistros prigesinamos lengvu sąmoju, įtampą kelianti elektroninė muzika priešinama chirurgiškai parinktai sentimentAliai melodijai. Regis, viskas taip paprasta, kad net banalu. Ir vis tiek nesupranti, kaip paskutinėmis filmo minutėmis, pamiršęs visą skepsį, nejučia atsidūrei ant kėdės krašto“, – naują italų režisieriaus Lucos Gvadaninjo filmą „Varžovai“ apžvelgia kino kritikas Dmitrij Gluščevskij.Praėjusią savaitę sužinojome, kokie autoriai pripažinti geriausiais „Metų knygos rinkimuose“, „Pirmosios knygos konkursas“ taip pat paskelbė nugalėtojus, tiksliau - nugalėtojas. Su debiutuojančiais balsais lietuvių literatūroje apie jų santykį su rašymu ir kritiką „Pirmosios knygos konkursui“ kalbasi Indrė Kaminckaitė.Ryžtinga, griežta, muzikali ir labai reikli. Tai - dirigentė, moterų choro „Viva“ vadovė Vilija Mažintaitė. Rubrikoje „Be kaukių“ ji pasakoja apie savo kelionę į muziką, meilę jai, sudėtingas muzikines patirtis ir iššūkius vadovaujant moterų chorui.Ved. Odeta Vasiliauskaitė

Melioracijos įrenginių nusidėvėjimas Lietuvoje siekia 75 procentus, o Vyriausybė neturi lėšų jų renovacijai ir priežiūrai. Žemės ūkio ministerija, siekdama spręsti ypač sudėtingą situaciją Lietuvoje, pasiūlė steigti Melioracijos fondą. Prasidėjo fondo įstatymo projekto svarstymas. Numatyta, kad įmokas į fondą privalės mokėti visi melioruotos žemės naudotojai. Valstybė tik bendrai finansuos fondo veiklą. Ūkininkai baiminasi, kad mokesčius surinks, bet melioracijos problemos nebus sprendžiamos. Ar pagrįsti šie nuogąstavimai?Lietuvos agrarinių ir miškų mokslų centro (LAMMC) mokslų daktarė Aistė Balčiūnaitienė kartu su komanda pristatė 100 proc. suyrantį, biologiškai skaidų substratą, skirtą įvairiausiems augalams auginti. Šis substratas skirtas hidroponikos būdu auginamoms kultūroms ir, kaip sako Aistė, produkto paklausa pasaulyje – labai didelė.Rubrikoje „Miestietis kaime“ pažintis su Irena ir Rolandu Šimkais, kurie ilgus metus gyveno Vilniuje, vadovavo kompanijoms, o dabar dėmesį skiria šilauogynui Kauno rajone. Kaip sako Rolandas, dabar nebėra kam vadovauti, pasižiūri į veidrodį ir supranti, kad reikia eiti dirbti, bet buvimas gamtoje suteikia daug vidinės laisvės, ramybės ir sveikatos.Ved. Rūta Simanavičienė„Gimtoji žemė“ – penktadienį, balandžio 26 d., 06.07 val. per LRT RADIJĄ.

Susipažįstame su spaudos publikacijomis kultūros tema.Kokios seniausios užrašyto Lietuvos pavadinimo formos ir lietuvių kilmės teorijos?Aistės Stonytės dokumentinį filmą „Mamutų medžioklė“ apžvelgia kino kritikė Monika Gimbutaitė.Kokios dainos „Smile“ sukūrimo peripetijos ir tikroji pop muzikos standarto autorystė? pasakojimas.Priekulės kultūros centras keičia pavadinimą, o kovą tradiciškai pasitinka dėmesį skirdamas teatrui.Kauno paveikslų galerijoje parodoje „Žaidimai“ eksponuojami JAV gyvenančio Rimo Čiurlionio darbai be pavadinimų.Iki šio šeštadienio nevyriausybinės ir viešojo sektoriaus kultūros organizacijos gali teikti paraiškas dalyvauti programoje „Atvirumo menas“ ir pasitelkti unikalų diagnostikos įrankį „Kūrybingos organizacijos žemėlapį“Pianistas Gintaras Januševičius pristato naują programą „Mažasis princas“.Ved. Marius Eidukonis

Lietuvos kino teatrus pasiekė režisierės ir žurnalistės Aistės Stonytės debiutinis ilgametražis dokumentinis filmas „Mamutų medžioklė“.1972-ieji lietuviams asocijuojasi su Romo Kalantos susideginimu. Airiams – su neramumais Derio, arba Londonderio mieste Šiaurės Airijoje. Kauno menininkų namų rezidentė Roisín McGuigan savo kūryboje jnagrinėja atminties ir jos įamžinimo problematiką.Lietuva Pasaulio dosnumo indekse užima 109-ąją vietą, tarp Europos šalių esame antri nuo galo. Kas padėtų fiziniams asmenims Lietuvoje tapti aktyvesniais aukotojais ir įsitraukti į filantropinę veiklą? Pokalbis su Šveicarijos St.Galleno universiteto profesore Giedre Lideikyte Huber.Prieš 4 metus „Metų žodžiu“ anglakalbėse šalyse tapo „covid“, praėjusiais metais rinkimuose dominavo dirbtinį intelektą apibūdinančios frazės ir žodžiai. Kas žodį padaro „metų žodžiu“?„Kai kultūros operatoriai, nusimesdami atsakomybę, negalvoja apie sklaidą ir naujų auditorijų įtraukimą, atrodo, kad jie atitrūkę nuo realaus pasaulio“, – sako rašytoja, muziejininkė Renata Karvelis, parengusi Vilniaus knygų mugės inspiruotą komentarą.„Moterys, esančios galios pozicijoje, taip pat gali elgtis labai toksiškai“, – kalbėdama apie viename Dresdeno teatre pristatomos pjesės turinį, pastebi jaunosios kartos lietuvių teatro režisierė Laura Kutkaitė. Su kokiomis nemaloniomis patirtimis ji susidūrė, ten ruošdamasi premjerai?„Ar turėtume nugriauti sovietinius paminklus? Nemanau, tai būtų švaistymas. Nemanau, kad ukrainiečių armija naikina rusišką įrangą, ji gana naudinga karo įkarštyje. Paminklai bėgant laikui gali keisti prasmę“, – akcentuoja garsus britų architektūros kritikas, knygos „Galios architektūra“ autorius Deyanas Sudjičius. Kaip architektūrą išnaudoja įvairūs režimai ir kaip šiandieninės demokratijos turėtų elgtis su architektūroje uždokuotu ideologiniu palikimu?Ved. Marius EidukonisRed. Indrė Kaminckaitė

Susipažįstame su spaudos publikacijomis kultūros tema.Ar orbitoje atsirandantys palydovų spiečiai gali užtikrinti interneto prieigą net pačiose atokiausiose vietose?Kokie svarbiausi naujojo Samuelio Bako muziejaus logotipo akcentai?Vytautas Bikulčius apžvelgia Antonio Munozo Molinos romaną „Vienas minioje“ ir Catherineʼa Cusset romaną „Laimės apibrėžimas“.Kaune prasideda frankofonijos mėnuo.Kokie tyrimo „Gyventojų dalyvavimas kultūroje ir pasitenkinimas kultūros paslaugomis“ rezultatai?Šią savaitę Lietuvos kino teatrus pasiekia režisierės ir žurnalistės Aistės Stonytės debiutinis ilgametražis dokumentinis filmas „Mamutų medžioklė“.Medijų rėmimo fondas praeda skelbti konkursus finansinei paramai gauti.Ved. Marius Eidukonis

Susipažįstame su spaudos publikacijomis kultūros tema.Kaip unikalūs organizmai – grybai – gali būti panaudojami inovacijose?Šiauliuose gyvenanti Aistė Žaliavičienė jau daugybę metų kolekcionuoja į įvairiausias pasaulio kalbas išverstą „Mažąjį princą“. Jos kolekcijoje – daugiau kaip pusšimtis šios knygos vertimų.Elžbieta Banytė apžvelgia Ian McEwan knygą „Pamokos“ ir Nobelio premijos laureato Johno Maxwello Coetzees apysaką „Lenkas“.Kokią literatūrą mėgsta estai ir koks jų požiūris į lietuvių literatūrą?Ukrainos jaunimo grupės Lietuvoje atstovai siekia supažindinti lietuvius su Ukrainos kultūra, viena tokių iniciatyvų - paroda „Plieno spalvos“, kurios eksponatai iš fronto surinkti, vaikų vedoruoti karo įrankiai.Šeštadienį Vilniuje rengiamos paramos ir solidarumo eitynės „Už Ukrainos pergalę! Хода за перемогу України!“.Režisierius Andrius Blaževičius būsimame savo filme „Skyrybos karo metu“ tyrinėja, kaip karas veikia mūsų vertybinius pasirinkimus.Dainininkė Viktoria Leleleka apie Ukrainos kultūros vėliavnešystę per muziką, kalbą ir žinią, kurią ji skleidžia pasauliui.Šiandien knygų mugėje vyks konferencija LRT KLASIKA klausia.Ved. Marius Eidukonis

Tęsiu pažadą ir kalbinu moteris apie jų gimdymo patirtis bei nėštumo ir pogimdyminę priežiūrą įvairiose užsienio šalyse. Šiais pokalbiais siekiu padrąsinti ir prisijungti prie diskusijų apie gimdyvių ir medicinos personalo bendradarbiavimą siekiant ne tik mediciniškai, bet ir psichologiškai saugaus gimdymo sąlygų moterims Lietuvoje. Taip pat noriu paskatinti moteris domėtis, gilintis į gimdymo temą, kuri, manau, yra tikrai svarbi motinystės kelionėje. Šįkart kalbamės su mano mylima drauge, kardiologijos gydytoja rezidente Aiste Pilkiene, kuri dalijasi, kaip vyko jos nėštumo priežiūra Šveicarijoje, Bazelio mieste, kiek ji turėjo laisvės vadovauti savo gimdymui, koks buvo akušerės, gydytojo vaidmuo, kodėl Aistei susidarė įspūdis, jog viskas net šiek tiek pernelyg orientuota ne į personalą, o į klientą. Aistė pasidalino ir nuotraukomis, kurios tikrai iškalbingos, tad keliomis iš jų pasidalinsiu ir šiame laiške. Išgirsite ir daug įvairių detalių, kurios kai kurių iš jūsų, labiau besidominčių gimdymo tema, galbūt visai ir nenustebins, o kai kurioms galbūt sukels ir nuostabą, kad iš tiesų taip būna. Pavyzdžiui, kodėl dar besilaukiant rekomenduoja susirasti akušerę. Arba kad iškart po gimdymo nepaima kūdikėlio nei sverti, nei matuoti, leidžia virkštelei nupulsuoti pačiai. O šeimai su ką tik gimusiu kūdikiu ramiai ir tyliai praleisti keletą valandų vieniems toje pačioje gimdymo palatoje bei ten pat ir pavalgyti. Apie maistą – atskira didelė tema, bet nesiplėsiu, viską išgirsite pokalbyje (mano komentaras, nuskambėjęs pokalbio metu, apie maistą, kurio net nesinori prisiminti, deja, yra apie iš patirties Vilniaus gimdymo namuose, tačiau tikrai esu girdėjusi ir labai nuostabių atsiliepimų apie maistą gimdyvėms kitose, gimdymus priimančiose, įstaigose). Taip pat Aistė dalinosi, kada leidžia po gimdymo keliauti namo ir ką veikia akušerė, lankanti šeimą po gimdymo. Kiekvienai moteriai po pirmojo gimdymo priklauso 16 tokių akušerės vizitų ir 10 po antro ar kitų gimdymų moteriai pageidaujant. Tokie apmokytų specialistų vizitai numatomi jau ir Lietuvoje artimiausiu metu, daugiau apie tai papasakosiu netrukus. Klausant Aistės man vis kirbėjo mintis, jausmas... jog taip ir turėtų būti. Bent kažkaip panašiai :) Ir labai įsiminė viena iš Aistės pasakytų frazių: „Profesionalumas ir yra tame, kiek gebi atliepi konkrečios šeimos poreikius.“ O tie poreikiai gali būti labai skirtingi. Ir tikrai išgirsite Aistės įspūdžius apie gyvenimą Šveicarijoje, jos visuomenę. Kviečiu klausyti ir susitikti pokalbio aptarimui, įspūdžių pasidalinimui mūsų bendruomenės Discord‘e, prie kurio prisijungti galėsi tapusi KALBA MAMOS narystės prenumeratore. Visą informaciją rasti www.kalbamamos.lt Gero klausymo! Marija

Įsibėgėjant Lietuvos nacionalinei atrankai į 2024 m. „Euroviziją“ apžvelgiame antrąjį EUROVIZIJA.LT pusfinalį, kuriame į finalą pateko AISTÈ ir grupė „Žalvirinis“, o kai kurie dalyviai nesugebėjo susitaikyti su mintimi, jog jie nepateko į finalą. Slovėnija pristatė savo „Veronica“, o Norvegijoje išgirdome dainą galinčią laimėti visą „Euroviziją“. Podkasto galite klausytis Youtube, Spotify, Apple podcasts ir kitose populiariausiose tinklalaidžių platformose. Temos: Prastas intro (0:00); Lietuvos finalą papildė du dalyviai (2:23); Bjaurus ir nesuvokiamas vienos dalyvės elgesys nepatekus į finalą (14:45); Mistiška Slovėnijos paraiška (24:20); Pusfinalio rezultatais nuvylusi, bet kelis solidžius variantus turinti Estija (32:05); Šiurpuliukus kelianti ir apie Oslą 2025 m. galvoti privertusi Melodi Grand Prix Norvegijoje (53:15); Greičiausiai pernykštės sėkmės nepakartosianti Suomija (1:07:35);

Šiandien tvarios produkcijos ar paslaugų pasirinkimas yra tapęs privilegija. Pilietinės akcijos dalyviai šiandien susirinkę kvies diskutuoti, kaip galima tvarią produkciją ir paslaugas padaryti labiau prieinamas kiekvienam. Ar tvarumas - prabanga?Kariuomenė 105-ąsias atkūrimo metines minės renginiais visoje Lietuvoje, įspūdingiausias paradas vyks Konstitucijos prospekte Vilniuje.Dažnai po nepasiektos svarbios sportininko pergalės ar nepelnyto medalio atsigręžiama į psichologiją. Apie psichologo vaidmenį kiekvieno mūsų gyvenime „Čempionų pokalbiuose“ Airinė Palšytė kalbina buvusią profesionalią irkluotoją, sporto psichologę Aistę Žemaitytę.Edukacinis projektas „Klasika visiems“ suburs pusę tūkstančio neabejingų muzikai: Šv. Jonų bažnyčioje Vilniuje skambės prancūzų muzikos perlas – Camille‘io Saint-Saënso šedevras – „Requiem“.Ved. Gabija Narušytė

Seolfaidh Pádraig Mac Fhearghusa an leabhar 'Inside Innti' ag an bhFéile Bheag Filíochta ar an mBuailtín tráthnóna. Aistí tá sa tsaothar a féachaint air na filí óga a tháinigh chun coinnlíochta in Ollscoil Chorcaí ins na seachtóidí.

Susipažįstame su spaudos publikacijomis kultūros tema.Kokia Mėnulio tyrimų istorija?Lapkričio 11-ąją Kaune laukia Aleksandro Špilevojaus režisuoto spektaklio „Kai mes būsim jauni“ premjera.Dovilė Kuzminskaitė apžvelgia Andrus Kivirähk romaną „Jaujininkas“ ir Alinos Bronsky romaną „Šukparkis“.Kas yra industrinė archeologija ir ką ji gali mums papasakoti?Laikraščių ir žurnalų leidėjai kreipėsi į valdžios institucijas su prašymu nekeisti Lietuvos pašto periodinių leidinių prenumeratos pristatymo įkainių.Kauno rajono muziejuje atidaroma grafikės Aistės Ramūnaitės darbų paroda „Meilės pėdsekiai”.Andriaus Blaževičiaus filmas „Bėgikė”, be filmo kūrėjų žinios, buvo parodytas kino festivalyje Rusijoje.Lietuvos nacionalinis operos ir baleto teatras savo 104- ąjį sezoną pradeda ypatinga „Aidos“ premjera, kurios tiesioginę transliaciją šiadnien savo klausytojams dovanoja ir LRT KLASIKA.Vokietijos sostinėje jau 13 kartą organizuojamas kino festivalis „Litauisches Kino Goes Berlin“.Ved. Marius Eidukonis

Burbiškių miško vaiduokliai po labai ilgo laiko nusprendė sugrįžti į Vilniaus senamiestį. Ir nors Didžioji, Pilies ir Trakų gatvės išlaikė daugelį jiems pažįstamų senų pastatų, bet kai kas buvo visiškai pasikeitę... Atsirado daugybė drabužių parduotuvių! Kas nutiko, kai vaiduokliai nusprendė pasimatuoti naujus apdarus?Antrus metus iš eilės 9 autoriai, anksčiau niekada nerašę vaikams, priėmė „Vakaro pasakos“ Rašytojų iššūkį ir sukūrė po pasaką, skirtą Vilniaus 700 metų gimtadieniui.Aistės Kisarauskaitės pasaką „Kaip vaiduokliai gavo naujus rūbus“ skaito aktorė Judita Urnikytė.Įrašo režisierė Inga Tamulevičienė, garso režisierė Lina Dainienė.

Aistí a chum sí i 1973 fé stair agus seancas an iascaigh i gCorca Dhuibhne.

The use and management of fluorine-based chemical pollutants is problematic, making better group approaches and analysis necessary. Researchers from the AIST institute, Japan and Örebro University, Sweden have offered novel insight into how these chemicals disproportionally affect younger women, and offer new standards and techniques for better identifying organofluorines, many of which at present remain unknown.Read the original research: https://doi.org/10.1016/j.jhazmat.2022.129025

GUEST OVERVIEW: Alexandra Kashurnikova Russian journalist, TV-anchor, the Olympic torchbearer (Sochi 2014) Was born in Siberia, Irkutsk city, near the world famous lake Baikal. Alexandra has been working as a TV-news presenter since her 17. As the head of International department of Irkutsk regional TV-station "AIST" she produced numbers of international projects with Asian country's TV-channels including "CCTV-Russian". Nowadays Alexandra works for public organization "Narodny front" founded by the President of Russia. She covers all projects of the youth team of this All-Russian volunteer's movement. As a journalist, Alexandra works in emergency zones and hosting official events with the participant of Vladimir Putin. https://yadi.sk/d/88lWEQVDHb7BJg  

Í gær var tilkynnt að Recep Tayyip Erdogan Tyrklandsforseti fallist á að Svíþjóð gangi í Atlantshafsbandalagið. Björn Malmquist fréttamaður ræddi við Morgunvaktina af leiðtogafundi bandalagsins í Vilníus. Þórður Snær Júlíusson, ritstjóri Heimildarinnar, fjallaði um risaviðskiptin með ísfirska fyrirtækið Kerecis sem selt var fyrir 175 milljarða króna. Þórður fór líka yfir Lindarhvols-skýrsluna og stöðuna hjá Íslandsbanka. Arthúr Björgvin Bollason var á línunni frá Berlín. Þýska ríkisstjórnin fékk á baukinn á dögunum þegar hún hún ætlaði að keyra í gegnum þingið tiltekið frumvarp svo að segja án umræðu. Hæstiréttur greip í taumana og sagði slík vinnubrögð ekki líðast í lýðræðisríki. Arthúr Björgvin ræddi líka um rétt manna til að vera latir og hitabylguna í Þýskalandi um helgina. Jón H. Björnsson var fyrsti Íslendingurinn sem menntaði sig í landslagsarkitektúr. Hann stofnaði líka gróðrastöðina Alaska, og gerði margt fleira merkilegt á löngum ferli. Sýning um ævi og feril Jóns er nú á skiltum við Austurvöll. Að henni standa landslagsarkitektarnir Ásta Camilla Gylfadóttir og Ragnhildur Skarphéðinsdóttir. Þær voru gestir Morgunvaktarinnar og töluðu um Jón og arfleifð hans. Tónlist: That's Life - Frank Sinatra Paskutin? kulka - Aist? Smilgevi?i?t? & Skyl? Tre?ia para - Giedre Lob der Faulheit - Dietrich Fischer-Dieskau Undarlegt með unga menn - Rúnar Gunnarsson Umsjón: Björn Þór Sigbjörnsson og Vera Illugadóttir.

Í gær var tilkynnt að Recep Tayyip Erdogan Tyrklandsforseti fallist á að Svíþjóð gangi í Atlantshafsbandalagið. Björn Malmquist fréttamaður ræddi við Morgunvaktina af leiðtogafundi bandalagsins í Vilníus. Þórður Snær Júlíusson, ritstjóri Heimildarinnar, fjallaði um risaviðskiptin með ísfirska fyrirtækið Kerecis sem selt var fyrir 175 milljarða króna. Þórður fór líka yfir Lindarhvols-skýrsluna og stöðuna hjá Íslandsbanka. Arthúr Björgvin Bollason var á línunni frá Berlín. Þýska ríkisstjórnin fékk á baukinn á dögunum þegar hún hún ætlaði að keyra í gegnum þingið tiltekið frumvarp svo að segja án umræðu. Hæstiréttur greip í taumana og sagði slík vinnubrögð ekki líðast í lýðræðisríki. Arthúr Björgvin ræddi líka um rétt manna til að vera latir og hitabylguna í Þýskalandi um helgina. Jón H. Björnsson var fyrsti Íslendingurinn sem menntaði sig í landslagsarkitektúr. Hann stofnaði líka gróðrastöðina Alaska, og gerði margt fleira merkilegt á löngum ferli. Sýning um ævi og feril Jóns er nú á skiltum við Austurvöll. Að henni standa landslagsarkitektarnir Ásta Camilla Gylfadóttir og Ragnhildur Skarphéðinsdóttir. Þær voru gestir Morgunvaktarinnar og töluðu um Jón og arfleifð hans. Tónlist: That's Life - Frank Sinatra Paskutin? kulka - Aist? Smilgevi?i?t? & Skyl? Tre?ia para - Giedre Lob der Faulheit - Dietrich Fischer-Dieskau Undarlegt með unga menn - Rúnar Gunnarsson Umsjón: Björn Þór Sigbjörnsson og Vera Illugadóttir.

Rodney Cromwell "The Winter Palace" - https://www.happyrobots.co.uk/ Jamila & The Other Heroes "Ya Habibi, La!" - Bazaar Bizarre www.jamilaandtheotherheroes.com The Dirty Nil "Celebration" - Free Rein To Passions www.thedirtynil.com The Breathing Method "Indie Darkness" (featuring Crostpaths) www.thebreathingmethod.band Kathleen Turner Overdrive "Gurlzilla" - Autosomal https://www.facebook.com/musicalrelics ******************* ALBUM FOCUS: A reoccurring series focusing on new and outstanding concept, compilation and tribute albums. The Legends Of Tomorrow: The Weather at World's End: 1997–2022 Northern Island's Colin Harper curates a collection of songs from fellow studio collaborators and friends over a 25-year span "All We Need Is Love" (2022) "Better Weather" (2022) "My Heart Is Broken" (1997) "When You Needed" (1997) ********************** Lara Hope & The Ark-Tones "Here To Tell The Tale" - Here To Tell The Tale https://www.larahopeandtheark-tones.com/ Drew Young "Bourbon & Bad Decisions" www.drewyoungband.com Aistè "What's Going On" - Theory Of Everything https://www.aistemusic.com/ Ben Reel "Hardwired Blues" - Come a Long Way www.benreel.com Mister Rabbit "Stirring Absent Pots" - End Of History Illusion EP https://himisterrabbit.bandcamp.com/ Professor Louie & The Crowmatix "Work It Out" - Strike Up The Band www.professorlouie.com Malcolm Holcolmbe "The Wind Doesn't Know You" - Bits & Pieces www.malcolmholcombe.com ***************************** MÍO "Fra et annet sted" 'Ingen tid å miste https://www.miomusikk.com/ Max Forleo "The Black Curtain" - www.maxforleo.com The Rifters "At The Foot Of The Mountain" - The Enchanted World www.rifters.net William Prince "Tanqueray" - Stand In The Joy www.williamprincemusic.com Open Road "Dimming Of The Day" - Skylark www.openroadmusic.net Boa Morte "Mountain" - The Total Space www.boamorte.com ******************* Closing music: MFSB "My Mood" - Universal Love Running time: 4 hours, 21 minutes --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

Prie mikrofono jau antrą kartą įsitaisiau aš, Morta Belenavičienė. Kuriu tinklaraštį „Mama, ką valgom?“, tad ir pokalbių temos suksis apie maistą. Šiuos pokalbius kuriu norėdama palengvinti jūsų paieškas apie kūdikių primaitinimą, mažų vaikų ir visos šeimos mitybą, o drauge noriu ir įgarsinti kitų šeimų patirtis, kurios, tikiu, jus nuramins, o gal net įkvėps drąsiau ir atviriau pažvelgti į gaminimą bei valgymą. Taip drauge galime užauginti maistą mylinčių valgytojų kartą! Būtent toks – įkvepiantis meilę sezoniniam maistui, turgui ir kūrybai virtuvėje – yra ir šis pokalbis su Aiste Bikauske, tinklaraščio @mission_diabetes autore. Aistė pasidalino, kodėl pradėjo rašyti tinklaraštį apie cukrinį diabetą, koks yra jos santykis su maistu, kaip šį santykį pakoregavo pirmo tipo cukrinis diabetas, kiek laiko prireikė, kad atrastų mitybos principus, tinkančius būtent jos kūnui. Pokalbyje aptarėme dietų kultus ir kodėl jie neveikia, o dietos tėra trumpalaikės – Aistė kviečia kalbėti apie visos mitybos įpročius: mes turime gebėti taip valgyti visą gyvenimą, o kasdieniai mūsų pasirinkimai labai priklauso nuo aplinkybių – ar ruošiamės bėgti maratoną, ar automobiliu važiuosime į darbą, todėl mityboje, kaip ir tėvystėje bei kitose gyvenimo srityse, Aistė siūlo rinktis balansą. Klausiau Aistės, ar natūraliai produktuose esantis cukrus skiriasi nuo pridėtinio cukraus, kodėl gali būti klaidinga jį vadinti „sveika alternatyva“. Ji pasidalino ir savo šeimos desertų ragavimo tradicijomis bei kokias mitybos ir meilės maistui vertybes ji nori perduoti ir savo vaikui. Žinoma, kalbėjomės ir apie Aistės kūdikio primaitinimą, kokiu būdu ji pasirinko supažindinti Adomą su maistu ir kaip galiausiai atsipalaidavo, leido sau būti atvira įvairioms patirtims ir stengėsi neprisirišti prie vieno metodo ar teorijos, norėdama pasilikti lankstumo galimybę. Klausiau ir apie iššūkius, su kuriais teko susidurti primaitinimo metu, tačiau Aistė pastebėjo, kad vieni iššūkiai keičia kitus ir tai, kas pačioje pradžioje atrodė sudėtinga, labai greitai praeina, didžiausiu iššūkiu tampa tėvų išėjimas iš komforto zonos ir perėjimas į naują etapą. Aistė man yra viena turgaus ir sezoninių bei vietinių produktų entuziasčių vėliavnešių, tad nenuostabu, kad ir mudviejų pokalbyje aptarėme, kaip ir kur ji renkasi produktus bei kur semiasi įkvėpimo, kaip jai sekasi planuoti šeimos maistą ir kodėl ji taip mėgsta pirkti turguje. Pokalbio pabaigoje Aistė palinkėjo visiems mokytis apie maistą, kas su kuo dera, eksperimentuoti, kad būtų galima vis lengviau gaminti su sezoniškais produktais ir „išvirti sriubą iš kirvio“, o svarbiausia, nenuspręsti, jog ko nors nemėgsti dar neišbandžius – pokalbio pabaigoje išgirsite, ką daryti, jei nemėgstate burokėlių, kaip įsikvėpti kurti virtuvėje bei koks didelis džiaugsmas Aistei yra būti nustebintai maisto. Tikiu, kad mudviejų pokalbis įkvėps ir jus! Už galimybę įrašyti šiuos pokalbius kokybiškai dėkoju Vilniaus Universiteto radijo stočiai START FM. O dabar kviečiu klausytis pokalbio. Šiame pokalbyje girdėsite: 00:03:39 – Aistės tinklaraštis Mission Diabetes ir kaip jį įkvėpė pirmo tipo cukrinis diabetas 00:05:45 – Cukriniu diabetu sergančio žmogaus mityba – ko sveikas žmogus galėtų iš jos pasimokyti 00:14:49 – Pridėtinis ir natūraliai produktuose esantis cukrus 00:26:56 – Desertų ragavimo tradicija Aistės šeimoje 00:30:09 – Adomo primaitinimo kelionė 00:51:33 – Sezoninis, vietinis, kokybiškas maistas ir kūryba Aistės virtuvėje 01:07:44 – Patarimas primaitinimą pradedantiems tėvams 01:15:27 – Kas Aistę įkvepia gaminti ir mėgautis maistu

Bhuaidh Antaine Ó Séaghdha comórtas aistí gaolainne Thithe an Oireachtais le déanaí.Is dalta i Rang na h-Ard Teiste i bPobalscoil Chorca Dhuibhne é Antaine.

Michael Jamin sits down with one of his good friends (and former bosses) Jonathan Aibel who was a movie writer for Kung Fu Panda 1-3 and has worked on other greats like Trolls, Monster Trucks, The SpongeBob Movie: Sponge Out of Water, and Monsters vs Aliens. If you dream of being a movie or TV writer, you won't want to miss this podcast episode!Show Notes:Jonathan Aibel IMDB: https://www.imdb.com/name/nm0008743/Jonathan Aibel EMMYS: https://www.emmys.com/bios/jonathan-aibelJonathan Aibel Rotten Tomatoes: https://www.rottentomatoes.com/celebrity/jonathan_aibelMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated Transcript:Jonathan Aibel (00:00:00):We knew storyboards, we knew how to read storyboards. We knew what happens in an editing room and how actors perform, right? So we came to it with production skills or an, an understanding of the process that that helped us come in and say, oh, I think you can, you can cut a few frames there and actually know what we were talking about.Michael Jamin (00:00:23):You're listening to Screenwriters. Need to Hear This with Michael Jamin. Hey everyone. Welcome to Screenwriters. Need to hear this. I'm Michael Jamin, and I got a great guest for you today. This is my, this is one of my, this is one of my first bosses, actually. And yeah, yeah, John, it's true. I am here with John Abel one of the partner, he, his partners Glen Berger. I'll have him on in a future episode. So tell him to just relax. I know he wants toJonathan Aibel (00:00:51):Be, let's see how this goesMichael Jamin (00:00:52):First. Yeah, he'll, exactly. So yeah, and this guy's got a ton of credit. We, he's a real life movie writer. So let me give, I'm gonna sell you a, I'm gonna sell you, John, and then I'll let you talk for a second. But first let me talk, let me sell you up.Jonathan Aibel (00:01:04):That's fine.Michael Jamin (00:01:04):Proof everyone knows, like, I'm a, people say I'm a good creative writer. Wrong. I'm gonna prove it by selling you here, by building you up. So he's written on a u s a, he wrote run on King of the Hill for many years, including he was the showrunner, season five, cos Showrunner Mar. He also worked on Married to the Kelly's. That was his tv. That was his run in TV, I think. And then he went on to write Kung fu Panda, Kung fu Panda two, Kung fu Panda three proving like, you know, milking that thing, just milking that Kung fu panda thing. And then trolls, monster Trucks. And you've had a couple, couple upcoming stuff I want to talk about. Jonathan Abel, welcome to the show.Jonathan Aibel (00:01:46):Thank you. That was okay.Michael Jamin (00:01:48):What wasn't good? What should I have said?Jonathan Aibel (00:01:49):Well, you, king of the Hill is six years and like, that was six six. That was great TV. And then, and then you kinda mentioned some things. I was on six weeks with the same,Michael Jamin (00:01:59):Yeah,Jonathan Aibel (00:02:00):The same emphasis.Michael Jamin (00:02:01):I'm pretty sure, but I'm pretty sure. So they're not equal, you're saying, you're saying, well,Jonathan Aibel (00:02:07):You know, some, some are hits and some are are learning experiences. I'mMichael Jamin (00:02:12):Wearing my shirt for you by the, my King of the Hilter. But let, lemme tell you something. Let me tell you let me tell you something else. So will you, you guys, you and your partner Glenn hired basically, hi. You and Richard Pell hired us to be on King of the Hill. I think there was an opening because of Paul Lieberstein who left. And we literally took his office. So I credit I thank you for that. Oh, you'reJonathan Aibel (00:02:30):Welcome.Michael Jamin (00:02:31):When we got, when we joined the show, it was like, you know, it's your responsibility to get up to speed. So I asked for every script that was written or every, you know, anything on DVD that was already shot. And I distinctly remember reading all your guys' scripts, you and you and Glen Scripps, and just thinking, man, every script you wrote was just tight. It was so tight. And you'd come outta the box with a big joke. And it was just so well written. And like, you know, I didn't, there was 20 writers in the show, but I remember that your, your scripts always stood out like, man, these are always,Jonathan Aibel (00:03:02):You know, IMichael Jamin (00:03:03):Appreciate that. Always good. Yeah.Jonathan Aibel (00:03:04):I also appreciate your your diligence.Michael Jamin (00:03:07):My diligenceJonathan Aibel (00:03:08):Well, to come into a job and say, let me read everything. Lemme seeMichael Jamin (00:03:12):Everything. Oh, is, I didn'tJonathan Aibel (00:03:13):Think that was, it was a bit of a challenge with a hundred episodes.Michael Jamin (00:03:16):Always dreadful. The whole thing was a horrible experience. It's a lot to, but I remember. But you have to do it. You have to. That's how you get the voice of the characters and but the, to like, what kind of show episodes are being told. I remember, I dunno if I ever told you this, but I remember we had just, we were on just Shoot Me, you know, for the first four years. And I remember after the first season, king of the Hill was up against to shoot me. And I remember I was actually house-sitting for Steve Levitan for some reason. And and we were watching, I, we threw a big party. He, he wasn't in the house. And, and we were watching King of the Hill. It just came on. It was the, it was, you know, the Bobby's falls in love with the, with the dummy. And I, and I remember watching thinking, oh no, this is the competition. , this is really good Jonathan Aibel (00:04:01):That we used to watch. Just shoot me all the time in the writer's room feel that same way.Michael Jamin (00:04:06):Is that right? I didn't know that. I don't, I don't think so,Jonathan Aibel (00:04:08):But I, I just feels like it would, it should be.Michael Jamin (00:04:11):Yeah. You, you actually used to reciprocate.Jonathan Aibel (00:04:13):That'd be a nice thing to say.Michael Jamin (00:04:14):It would've been. But yeah, so Damn, Michelle was, and I still get, I, even today I get a ton of compliments on, on King of Hill. But tell me more. Tell me how you broken. How did you guys even get on King of Hill Hill?Jonathan Aibel (00:04:28):We were very lucky in that before we even moved to California, we, Glen and I met, we were management consultants and we met someone at this consulting firm who was college roommate with Greg Daniel's wife. And when we first started thinking maybe we don't wanna be consultants and would prefer to be comedy writers, she said, you should talk to Suzanne. Give her a call. So we called Suzanne to say, could we, we know you're Frank, could we talk to you about writing? And she said, you really wanna talk to my husband? So she put Greg on the phone. He didn't know who we were. We, he then I, whatMichael Jamin (00:05:11):Was Greg doing at that time?Jonathan Aibel (00:05:13):He had moved to la I think he was doing Seinfeld at the time or had done the freelance, the parking spot on Seinfeld. Oh, I didn't, yeah, he'd come off of snl.Michael Jamin (00:05:24):Right.Jonathan Aibel (00:05:25):And he gave the most basic advice that now you would probably give people, or you'd Google this. And it was, and Glen wrote it down, it was moved to Los Angeles. Mm-Hmm. . Okay, okay. What else do we need to do? Like the how do you become a writer? And just super helpful in that regard. And then we moved to LA and never ran into him until King of the Hill. We had our first meeting and Glenn, I think he may have brought the pad and said, it's your fault. We're here.Michael Jamin (00:06:00):But how did you get the meetingJonathan Aibel (00:06:02):That, that it was just through our agent. There's this new show starting up, it's animated. I don't wanna do animation. I know, I know. And it's non gild. Yeah,Michael Jamin (00:06:12):I know aboutJonathan Aibel (00:06:13):That. And you're gonna work in a full year for 12 episodes. Mm-Hmm. . Well, this sounds terrible, but it's Greg, it's Mike Judge who's coming off of Beavis and Butthead. Mm-Hmm. . And you will learn a lot whether it's a hit or not. And we thought, well, that's probably the best reason to, to take a job. There's nothing to see. There was no pilot even, there's just a script. Right. There are no voices to listen to. It had been cast. So it was really just going under the assumption that, well, anytime you think something's gonna be a hit, it never is. So let's take a job just based on the people. And I don't think at that moment we had there, it wasn't like, do we take this or do we take this? It was, well, do we take this or do we just hang on? And, but you had no, I think maybe we hadn't,Michael Jamin (00:07:04):You didn't have any other credits before that, did you?Jonathan Aibel (00:07:06):No, we had done, we started off, oh, we did an episode of the George Carlin show. We had done, youMichael Jamin (00:07:13):Were right down the hall from me. I didn't know that. Cause I was a pa.Jonathan Aibel (00:07:15):Right. Well, we had done a freelance. A freelance,Michael Jamin (00:07:17):Doesn't matter. You were in the Warner Brothers building, building 1 22 or something. Cuz that's where it was.Jonathan Aibel (00:07:21):Well, here. No, cuz here's our great George Carlin story is that we wrote this script for Sam Simon. Right. We turned it in. We get a call a few weeks later from someone at the studio who said, great episode. And we said, oh, you read the script. Well read the script. Did tape last night.Michael Jamin (00:07:42): just slapping the face. Yeah.Jonathan Aibel (00:07:47):We were not invited to our own tape. So we watched, we had a party, we watched it at home. Look, our first, our first big creditMichael Jamin (00:07:54):That, but that's amazing too. How did you get, how did you pitch that? You're skipping all this good stuff.Jonathan Aibel (00:07:59):Ah, our agent just back then we were, we were new. I think we had a couple, we've done a, a sketch show on Nickelodeon that got us in the guild that got us an agent. And interesting. He just put us up for stuff. So one of them was this freelance of of Carlin. And one of the other things is we went to pitch Sam mm-hmm. , who it was, it was a hazard. Like he had a deadly sharp throwing stars on his table. So you'd go to like, oh, what's the paperwork? Don't touch those. They were razor sharp. And he also had a couple vicious dobermansMichael Jamin (00:08:42):In the office. Yeah, I remember that. I remember that.Jonathan Aibel (00:08:44):Then he also had, what we assumed was his story editor sitting at the table as we pitched him some story ideas. And then we left and realized, no, that was his next meeting. The next writer who's gonna pitch story idea sat at the table while we pitched ours. And then we left. And he stayed and pitched his,Michael Jamin (00:09:02):That's a littleJonathan Aibel (00:09:03):Unusual. It was a very, it was, it was a very odd thing. But that worked out in the sense that we got the freelanceMichael Jamin (00:09:10):Your scripts must have been very good then. I mean, cuzJonathan Aibel (00:09:13):I don't think they, I don't think so.Michael Jamin (00:09:15):It must have been if you would've got an agent that easily and got to be able to pitch these shows.Jonathan Aibel (00:09:19):Well, the, the agent, I don't know if it was easy. We, well, what happened was what Mo what happens to most people is you come out and you think, we need to find an agent. We need to get an agent. We're not gonna get a job without an agent. Right. And then you meet all these agents, they love you, they love your stuff, and they say, get a job. I'm happy to sign you.Michael Jamin (00:09:37):Yes.Jonathan Aibel (00:09:38):And we realized we're not going to get work, but just an agent. We need to get work somehow. And just by knowing people, talking to people, we wound up at M T V. Mm-Hmm. doing a game show.Michael Jamin (00:09:54):Which show was that?Jonathan Aibel (00:09:55):It was called Trashed. Think It finally Made it there. We just worked on the pilot and then got to know people on the, on the hallway. We share, we were in damn TV buildings. And next door were some writers on this Nickelodeon show. And a couple of the writers had just left. And someone said, oh, I hear they're, they're looking to hire. Wow. So we said, Hey, we, we've got sketches. Can we, can we meet? We the executive producer read our stuff, met with us, and said, yeah, I'll hire these guys. We went to our agent, the, the potential agent, and said, we just got offered a guild job. Do you wanna represent us? You, there's no negotiation other than you say, yeah, I think I can get my boss to sign you. Sure. And that was it. And then we were in the Guild. We were having fun writing, and I had had credits, but I, I wouldn't say we necessarily knew how to write. We knew how to be funny and come up with gags mm-hmm. . But the idea of how do you write a scene, how to you write a script was right. Was a little bit mysterious.Michael Jamin (00:11:01):But, and so you, I so you met Glen, you were just, you were, he was a coworker at when you were in your consulting firm. And then how did you both, like, did you, so you never even dreamed as a kid of being a writer. It was ne like, how did this come out of, where did this come from? This writing thing?Jonathan Aibel (00:11:14):I don't think I had any idea that people wrote for a living.Michael Jamin (00:11:20):Mm-Hmm. .Jonathan Aibel (00:11:22):Like, you didn't, you'd watch shows and you wouldn't think, I don't, I don't really know what I was thinking. Like, if I went to see a play on Broadway, I knew a human had written it, but there's something about TV where you would think like, I don't know, those are characters who would say these words and you don't think of 10 people in a room writing those words. So it wasn't until Stimson's and Seinfeld started breaking through that, I started feeling like, whoa, there's TV here that I'd wanna write. And later I found out it was because people just a few years ahead of me at Harvard,Michael Jamin (00:12:01):Right.Jonathan Aibel (00:12:01):Were writing those shows. So I was sort of thinking like, why does this feel like it's my sensibility without realizing I was kind of swimming in the same waterMichael Jamin (00:12:09):They had? You weren't on the Lampoon then. No.Jonathan Aibel (00:12:11):You didn't have a no idea that this is something,Michael Jamin (00:12:14):How did you know you were funny then? Like, you know, IJonathan Aibel (00:12:18):Mean, I, I think I always had a sense of humor and was known for being funny slash maybe sometimes disruptive, but cleverly disruptive in school. Right. Like, I was, I'd done musical theater, so I was okay fam like, I, I wasn't like unfamiliar with entertainment.Michael Jamin (00:12:40):Right.Jonathan Aibel (00:12:42):But that was different from thinking, you know, that's something you can make a living at. And then it was right around that time where these articles started coming out about the number of people who had gone from the East coast to LA and how many Letterman writers.Michael Jamin (00:12:56):Yeah.Jonathan Aibel (00:12:56):And SNL writers and Simpson's writer and Seinfeld and Frazier and Cheers and all these. That opened up my eyes to wait a minute, this is, you could make a living,Michael Jamin (00:13:07):But when you,Jonathan Aibel (00:13:07):I went to, I had no idea.Michael Jamin (00:13:09):When you quit your job, then you came to LA you'd had no job. Right. You were what? You were just like, I'm gonna live off my savings. Or what would you do?Jonathan Aibel (00:13:16):Right. We, we, we saved up from, I I, I think Glen says he sent away for grad school applications. His second day of work is how, how quickly he knew that place wasn't for him.Michael Jamin (00:13:30):He did it just .Jonathan Aibel (00:13:32):It was a little, a little later in the process, but we started writing at night. Like we found out you gotta write a specMichael Jamin (00:13:40):Script. Right. And you guys are roommates too?Jonathan Aibel (00:13:43):No. No. We, we weren't, but we wouldn't sometimes call in sick and then work on ourMichael Jamin (00:13:48):Right.Jonathan Aibel (00:13:49):Ourselves or Glen would stay home and, and turn the light onto my cubicle and put a Right. Put my suit jacket over my chair. , you know, it wasMichael Jamin (00:13:58):All these, oh my God. Jonathan Aibel (00:14:00):Our heart wasn't really in it, but we stayed and did the job and, and saved up.Michael Jamin (00:14:05):Right.Jonathan Aibel (00:14:06):So that we could move to LA And we didn't move out to LA like I think we were, we approached it, the way we approached consulting, which was this, this was my job as a consultant, was I was given a list of doctors and it, we had sent them a survey and it was go down this list, call each doctor's office and ask them if they filled out the survey. So it's like, hello, Dr. Levine, my name is John Avon. I'm calling on behalf of this. And we've sent a survey. I was just wondering if you had a chance to, to, and I would just have to do that for hours. And the skill it taught me was just pick up the phone and call people.Michael Jamin (00:14:47):Right.Jonathan Aibel (00:14:47):So when we were thinking of moving to LA, it was, oh, you should like calling Suzanne.Michael Jamin (00:14:53):Right.Jonathan Aibel (00:14:54):Instead of saying, ah, she doesn't know me. It was just, okay, she's just like a doctor. I'm calling you. She doesn't want to talk to me. She'll just, you weren'tMichael Jamin (00:15:01):To call, were intimidated at all. You, you had, you weren't intimidated at all.Jonathan Aibel (00:15:04):I don't think I knew to be intimidated. We were in Boston at the time,Michael Jamin (00:15:08):UhhuhJonathan Aibel (00:15:09):. We didn't, you weren't surrounded by people who had this dream of going to Hollywood and then came home with their tail between their legs and said, now it's awful out there. Right. It was, that place seems fun and sunshine and I knew people, people from school, people, friends of my brothers had lived were, were out there. So when we showed up, it felt like there was a, a group, there was a, you weren't alone. It was there other people here pursuing the dream, but not so many that you felt like there's no chance this is gonna happen. Like we were, I don't know if cocky is the word, but because we didn't know any better. We were just know it's gonna work outMichael Jamin (00:15:48):And itJonathan Aibel (00:15:49):We're gonna, we didn'tMichael Jamin (00:15:49):How long did it take for you to get work, but when you moved out here, it sounds like a fa it was fast.Jonathan Aibel (00:15:53):Well, we moved out in September and we got the game show started in December. And then I think amazing by the following summer we were on the Nickelodeon show.Michael Jamin (00:16:07):What show was that? What was thatJonathan Aibel (00:16:08):Called? It was called Roundhouse.Michael Jamin (00:16:10):I don't know that one.Jonathan Aibel (00:16:11):Right. Bruce Bruce Gowers who just passed away two days ago. Who did The Queen, the Bohemian Rapley video. He was the director of it.Michael Jamin (00:16:19):Oh wow.Jonathan Aibel (00:16:20):But there's a little little roundhouse trivia. It was really fun. It was a lot of in living color writers.Michael Jamin (00:16:25):Wow.Jonathan Aibel (00:16:26):Between gigs were there. So it had dancing and original music and it was a sketch show for tweens on on sncc.Michael Jamin (00:16:36):Sncc. Is that what it was? Really? Yeah. It's so funny cuz this show here was on Nick at night, which was supposed to be not Nickelodeon and Nick at night. No, it'sJonathan Aibel (00:16:43):Different.Michael Jamin (00:16:44):But it's not because it, Nick, I don't remember if Nick at night started at 8:00 PM or 9:00 PM or whatever. But see, my, my partner I siever it used to say, but it's the, it's the babysitting channel up until, you know, 8 0 1 and then it becomes racy. But the parents don't know thatJonathan Aibel (00:17:00):. Right. no one's turning you.Michael Jamin (00:17:02):Yeah. So the, we got a lot of peopleJonathan Aibel (00:17:04):From was Saturday night. Saturday night. Nick is a whole otherMichael Jamin (00:17:07):Ball game. Oh, is that what that is? Sncc? Yeah.Jonathan Aibel (00:17:10):I guess they could have also done it Sunday without changing the name. Yeah. But it was SaturdayMichael Jamin (00:17:15):Or Wednesdays. Wednesdays or Thursdays. Anything, any day that ends with an sJonathan Aibel (00:17:23):That's true. Wednesday, Wednesdays Nick.Michael Jamin (00:17:25):Yeah. Anyway, that's why we're not in the marketing department.Jonathan Aibel (00:17:29):My point though is by the time we got to King of the HillMichael Jamin (00:17:32):Yeah.Jonathan Aibel (00:17:34):We had had, we had worked on a, a show that was real old school in its joke telling, like real strong set up three a page, boom, boom, boom, boom. Then we worked on another show that was very emotional where it was single woman in the city kind of show. And that was, it wasn't, not funny, but it was as a writer there it was, wait a minute, I'm supposed to tell a story that isn't just the situation of situation comedy. It wasn't just the character loses her driver's license and has to go to the D M V and this crazy stuff happens. Mm-Hmm. , it was thinking about the, the internal life and they're Okay. That's an interesting then,Michael Jamin (00:18:23):But then when did you learn actually how to write like story, a story structure? When did, is that King of the Hill?Jonathan Aibel (00:18:29):I think so. The other, the, the show that was very joke heavy. The other thing you learn on a joke heavy show is, is the, the tricks. The okay, someone comes in and says something and then at the end of the scene someone repeats it in a callback andMichael Jamin (00:18:44):Right, right.Jonathan Aibel (00:18:45):Then people laugh and the music plays and you dissolve slowly to the next scene. And they're, they're like they're like weapons. They could be in that they could be used for good or evil.Michael Jamin (00:18:55):Right. Right. SoJonathan Aibel (00:18:57):By the time though, we got to King of the Hill, I remember pitching the very first week to Greg and you just have no idea what this show you're thinking the Simpson. So, okay. I remember we pitched something like Dale's an exterminator. So he tens a big house and then people think it's a circus and starts showing up at it.Michael Jamin (00:19:19):Oh, I like thatJonathan Aibel (00:19:20):. And Greg's like, oh, that's the little, probably by season eight that would've been a season eight idea. That's good. But in the beginning I think that's a little not observational enough. And, and, and it's sort of like, well what do you mean to define observational was the, the question like how do you find comedy out of human, actual human behavior?Michael Jamin (00:19:48):Right.Jonathan Aibel (00:19:48):In the way, how do you observe what a person would do in a, in a real life situation? And no one had really done that in animation, which was Yeah. The, I think the brilliance of Mike and Greg was to say, well, what if you take this style that's associated with unreality Right. And give it more reality than anything else you've seen in animation.Michael Jamin (00:20:09):And that's what was unusual because we used to say in many ways just king of the Hill was less of a cartoon than, than just shooting me. I mean, just shoot me was more of a cartoon. You know, it was, but, and it's unusual cause you'd say, I I even back then I was like, well why is this show animated? Like, cuz you no one's eyes popping out, no one's running on air. You know, no one's doing any Daffy Duck stuff. But I guess it was just because you could shoot it like a movie and it could be real. But you didn't have the, you didn't have the budget. WellJonathan Aibel (00:20:39):You're probably overthinking it cuz it was just the real reason is they had to deal with Mike and Mike's an animator and this is what he wanted to do.Michael Jamin (00:20:46):. I guess so. But usually why is it animated? Like, you know, otherJonathan Aibel (00:20:50):Than because Yeah. That's, that's why are, why are, why is this? It's cuz cuz Mike wanted, he saw it. No, that was his thing. And, and he didn't. And, and that's great. That's as, that's as good a reason. And how,Michael Jamin (00:21:04):How much was, and I've heard stories, but I think people wanna hear this. How involved was Mike like literally on a day-to-day basis in those early years with the show?Jonathan Aibel (00:21:13):Huh. I can't say I know the full scope of it because I'm sure he was more involved in the production,Michael Jamin (00:21:22):But he wasn't in the writer's room. I mean, I know like,Jonathan Aibel (00:21:24):No, cuz he was living in Texas.Michael Jamin (00:21:26):Right.Jonathan Aibel (00:21:27):So he would come in and then we would do the story retreats, maybe you remember. Yeah. Or we'd go to Texas and and meet with him, or he would come in or we'd go to his house. It re it was Greg on the day today. And then I don't really know what the, the communication between the two of them was. Right. I, I'm pretty sure Mike's deal was, I have a life in Texas and I don't wanna move to LA and do this grind cuz he had done that grind for Beefs and, but, and the Beavers and Butthead movie.Michael Jamin (00:22:01):Right, right.Jonathan Aibel (00:22:03):So I think that's what Greg took on.Michael Jamin (00:22:06):But yeah, he,Jonathan Aibel (00:22:06):It was a great combination.Michael Jamin (00:22:08):He have notes though. He I remember, you know, even on on the, on the audio track, you could sometimes hear him say, I'm, that that line's not right. He'd tweak a line or whatever, you know? Yeah, yeah.Jonathan Aibel (00:22:19):Yeah, you get his little I'm not gonna say that. How aboutMichael Jamin (00:22:23): not gonna do that. But, but then, okay, so then you guys rose up to the ranks cuz only in five or six years you were running the show, which is a pretty fast climb to be able to run a TV show after only that short amount of time is kind of crazy almost. You know, IJonathan Aibel (00:22:38):Think we were a and meanwhile feels like, oh, we're not getting anywhere in this town. And some of that is because you do a show. We were, we'd probably done a year of it worked under the year before it even premiered. Right. So you're putting all this into it and you don't know if it's gonna be a hit. And then the surprise was, it, it was doing really well. And then you have no time to enjoy it because you're halfway through starting season two. It was, it was both really exciting and just crazy exhausting. And itMichael Jamin (00:23:12):Was,Jonathan Aibel (00:23:13):Yeah. Like 3:00 AM And that's sort of fun sometimesMichael Jamin (00:23:19):When you're young, it's inJonathan Aibel (00:23:21):The beginning where it's, hey, it's like college, right? We're all hanging out. We're just being funny. And then you start dating and your partners saying, what time are you gonna be home? I don't know. Yeah. Or what time do you think I really, I don't know. Someone could come into this room in two minutes and say, we're good. Go home. Or someone could come in in two minutes and say, I just got Mike's notes. We need to start over. Yeah. You don't know. And that's a, when you're a staff writer, not so hard because you just do what you're told when as you move up and take on more responsibility. It, it definitely became less fun. Aspects of it were fun. Mm-Hmm. directing actors was really fun. Mm-Hmm. working with editing and storyboard artists and the animation directors fun. But the more stuff like, can I go to a dentist appointment on Wednesday? Let me see what's the staff, what, what room am I in today? Like, I, I left consulting because I didn't wanna be a, a manager. And that's wh part of show running is that, and for us, that was the, that wasn't the fun part. The fun part, as we say, Glenn and I would note you rise up and become a showrunner based on the strength of your writing. And then you get to a position where you don't have time to write anymore.Michael Jamin (00:24:41):Oh. It's not only that people, cause I people, they reach out to me all the time, you know, that I wanna be a showrunner. It's like, I just wanted to be a writer. Like, cuz be a show. It's like you just said, you, none of us become comedy writers because we wanna be managers. Like that's not, and when you're a show owner, that's what you're doing. You are managing other people. Yeah. And and, and we're not equipped, we're not prepared for it. And we don't necessarily even want to do that. And, you know, it's a, it's a, it's a hardJonathan Aibel (00:25:06):Leap. Right. And it was, it was definitely challenging also, cuz you're putting all this work in, then you realize, this isn't even my show. This is Greg and Mike's vision, and you're just trying to fulfill their vision. Right.(00:25:21):Like, I can see running my, if Im running my own show saying I love this idea and this is my baby and I'm gonna protect. And I just, I want to be the ur here. I want to see my vision through. But so much of show running isn't that at all? It's, it's, Greg would describe it as it's sort of like pottery where you would make a pot, put it on the shelf and all right, what's the next one? Sometimes they break, sometimes they're not quite formed. But you don't have time. You gotta get to the next Right. Get to make another pot.Michael Jamin (00:25:53):But do you have, and I wanna get to your film career, which is very impressive, but do you have, did you have any like, eyes to go back and do any kind of television, even creating your own show?Jonathan Aibel (00:26:03):We, after King of the Hill, we, we wrote a few pilots. We were at Fox and writing pilots. And it was a weird time in TV where every year Fox would say, we don't want single camera shows. We need, we need Multicam, we need to pair them with whateverMichael Jamin (00:26:20):Right.Jonathan Aibel (00:26:21):Hit they had there. We need another, we need to pair this. So we'd write a multi cam and then they would only pick up single camera shows. But I think that happened two or three years or whatMichael Jamin (00:26:29):Yeah. What's,Jonathan Aibel (00:26:30):What's going on? So we started realizing, I, I think we were kind of spoiled by King of the Hill. It was, it was just creatively, it was just an amazing show. And so fun to write those characters and work with those actors and work with that staff that after that it was, I don't, it's hard to just go and do sitcoms. I mean, like, I enjoyed the form, but I couldn't see myself spending 10 more years doing that. And it felt like the the air was coming out of that format.Michael Jamin (00:27:07):Then how did you, how did you jump into features?Jonathan Aibel (00:27:10):Well, it started because King, as I mentioned, king of the Hill was not a guild go in the first years mm-hmm. . So we're doing it, we're in our second or third year, and we realized we're gonna lose our health insurance. What, what? I mean like, it was a very adult sounding realization of, oh, health insurance. What I, I hadn't even been thinking. Because when you're in the Writer's Guild, it's amazing. On a time I was 23, I had health insurance.Michael Jamin (00:27:40):But you had health through the Animators Guild though, through tag.Jonathan Aibel (00:27:43):We weren't animated animation. We were No, it was not unfamiliarMichael Jamin (00:27:47):Anybody. Oh no. Wow. I didn't know that.Jonathan Aibel (00:27:51):So we said to our agent, we need, we need either freelance episodesMichael Jamin (00:28:00):Mm-Hmm. Jonathan Aibel (00:28:01):Or we need to write a feature. And she said, well, do you have a feature spec? And we said, no. And then, and to her credit, she said, there's this director, he's been hired to direct a reboot of Freddy, or of Friday, it was Freddy versus Jason.Michael Jamin (00:28:20):Mm-Hmm. .Jonathan Aibel (00:28:21):And he loves King of the Hill. And basically it was, can you give him a fun, fun, he's got an idea for story fun characters that he can then kill. Like it was right around Scream had come out. So there was this, the, the Birth of Hard comedy.Michael Jamin (00:28:38):Right.Jonathan Aibel (00:28:39):So he said, yeah, we can do that. And we, we met him, we got along, he loved the show. We, we love working with him. So we wrote this script, which then, which then didn't get produced. But it was, oh, this features is kind of like writing King of the Hill, but longer.Michael Jamin (00:28:59):Right.Jonathan Aibel (00:28:59):You just kind of write King of the Hill and then you keep writing and keep writing and then you have a hundred pages of King of the Hill instead of 22. Right. But the three act structures similar. And the idea of thinking about a character and how do you write a character, we realized it's kind of more cinematic than episodic television. Like the things we were learning were more applicable to writing features than writing sitcoms at that point.Michael Jamin (00:29:28):Yeah.Jonathan Aibel (00:29:29):So when our television deal was nearing its clothes, and we were thinking, do we renew it? Do we throw our hats out there as, as showrunners for hire? And we thought, you know, let's, let's write, maybe we can write some more features. And we just started getting some rewrites, doing some originals.Michael Jamin (00:29:50):Mm-Hmm. .Jonathan Aibel (00:29:52):And you can start making a, a decent living writing movies and never get made.Michael Jamin (00:29:57):Oh, for sure. At least you could then. I don't know if it's nowJonathan Aibel (00:29:59):Yes. Yes. Then you then you could. But it was super frustrating. Yeah. Because everything would be about to go and then there would be a reason mm-hmm. it wouldn't go. And there were none of those reasons were under your control. And you, you could, you would do a great job and everyone would love it. And then, oh, this movie just came out. Yeah. Basically the same premise. So, sorry.Michael Jamin (00:30:20):Yeah.Jonathan Aibel (00:30:21):And that's when we had been meeting this, this fantastic exec name Christine Belsen, who was then at Henson.Michael Jamin (00:30:30):Mm-Hmm.Jonathan Aibel (00:30:30):. And we were huge Muppet fans. Right. And she brought us in and we totally hit it off. And she said, I wanna do a Muppet kung fu movie.Michael Jamin (00:30:39):UhhuhJonathan Aibel (00:30:40):. And we thought, oh my God, yeah, that would be so great. Yes. Sign us up for that. And we said, but you know, we read that that Dreamers is doing this Jack Black, kung fu kung fu Panda movie. And she said, oh, those movies take forever. I don't think it's, I I wouldn't worry about that. So then we don't hear from her for a while. We're worried what's going on. Then we get a call from her. Okay. So I moved over to Dreamworks and we're looking for writers who come from Panda.Michael Jamin (00:31:08):Wow.Jonathan Aibel (00:31:08):And we said, oh, okay. So it was just a case where it started off simple enough, they asked us to come in for just two weeks of consulting to see what they had underway and talk about the story. Cuz it was in a roughMichael Jamin (00:31:25):But had be different. Dreamworks has a whole different system over there. So what do you mean consultant? Cause I know they worked very differently from other studios.Jonathan Aibel (00:31:33):Well, so there had been writers who, well kind of what happens is, you know, king, king of the hill, the Simpsons though, shows very writer driven. Right. It doesn't have time. You don't have time to be anything other than ri writer driven. So the animators are given the script and the audio. Right. And they're So draw this,Michael Jamin (00:31:54):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Jonathan Aibel (00:32:18):And in feature animation, Dreamworks especially, they may take that script and they'll take tens, the first 10 scenes of act, the first half the movie and give it to 10 different storyboard artists who will take that and read it and say, I see what this scene is doing, but maybe I can do it this way. And they will draw something and write it and animate and, and storyboard it and often record the dialogue themselves. And it's sort of like almost like what is it? 32 short films about Glen Gould where you end up with these almost mini movies in the beginning of a movie anyway. Like at the start of a development process where you would watch this movie and say, okay, that PO is different from this PO who's different from that po. And you watch it and you think, this doesn't make any sense, but I can start to see a story in there.(00:33:13):And then they'll do it iteratively. So then you're on that scene there, that moment I really understood who the character was. So more of that moment. So by way of saying, you may have someone who came in and wrote a script, but they might be long gone at this point cuz now it's been torn up it's storyboard and now you're walk working off transcripts where they've written down what's on screen. And that's what you're rewriting off of. So by the team time we came in, there was like a movie ish. Like you could, there was something in black and white you could watch mm-hmm. that everyone knew wasn't necessarily coherent. But the point isn't coherence. The point is what, what jumps out at you? Like we watched and said, oh, I think what you're doing is, it's kind of like a Cinderella story, right?(00:34:06):He's the guy in the beginning who wants to go to the kung fu ball mm-hmm. and can't go. And then the Prince points at him, and then he goes on this thing, and now the bad guy's coming for him and he doesn't know. And is he the chosen one? Or isn't he the chosen one? It's like those are like, now it's, it feels a little glib for me to say that as if it were obvious. It, it was, it's it was not it obvious. It's, it's, you're sitting there thinking, is it this story? No. Maybe it's the story. Some of it is, there are, there are two, Jack, Jack has, Jack Black has two kind of two great. Our type of our typical characters. One is the high fidelity like the jerk Yeah. Who deep down is suffering from low self-esteem. Right. And then he has the friendly guy who deep down is suffering from low self-esteem.(00:35:00):Right. So some of the, the production of the, the development of Kung Fu Panda was, which, which Jack is in our movie. Is he the guy who's chosen to be this kung fu guy and then realizes, oh my God, this is great. Now I don't have to work anymore. Now I can just go to the palace and hang out and relax and, and live it up until he finds out there's a responsibility. So there was some of that version of the movie. Then there's the guy who's wishes more than anything. He can be the kung fu master, but knows because of he's a big panda. That's impossible. Cuz Panas don't do kung fu and then his dream comes true. And then he has to, you know, that's what the movie ended up being. But when you started seeing that character in the opening reel, you'd say, whoa, I, I wanna, I, I wanna know more Right about that. And that's the magic of these time. You hadMichael Jamin (00:35:51):To sense of it. But see that's what I'm, I'm curious though, cuz for me it seems counterintuitive. It feel, it feels like you're putting the cart ahead of the horse. It's like, you know, I wonder if, was that, did you feel the same way? Because usually, you know, okay, we have an idea. We come, we have Ari, the writers come up with a th a thread, you know, through line and there's a story and Well,Jonathan Aibel (00:36:09):It's, it's inefficient for sure. But I think you can look at animated movies for the most part as a genre and say for the most part they're really well constructed.Michael Jamin (00:36:22):Right.Jonathan Aibel (00:36:23):And I think this is, this is why, because if a writer's gonna, it's very hard to create a great movie off of six drafts, even eight drafts, 10 drafts. Mm-Hmm. and, and just see it on paper and say, yeah, that's gonna work. Because no one knows how to read a script.Michael Jamin (00:36:43):I see.Jonathan Aibel (00:36:44):Like, even as a professional writer, I don't think I could read a script and say, this is gonna be an amazing movie. You can say this is a great script. Right. But is it gonna be an amazing movie? I don't know, an animation, you're making the movie as you're writing the movie, so it's not you, it makes sense. Theoretical. Is this gonna be good? It's ah, I, I see that moment. I see Poe and his father. Right. Having that moment where Poe is afraid to tell his dad what he wants to do with his life. I see. That's one thing. Makes sense. How do we build on that?Michael Jamin (00:37:17):Right. That makes sense to So it's very collaborative with you and the animators then.Jonathan Aibel (00:37:21):Oh yeah. The storyboard team, the directors, the producer, the actors, Uhhuh . It was it very different from TV animation. Right.Michael Jamin (00:37:32):SoundsJonathan Aibel (00:37:32):Very different. And I, our, our, one of our first the first moment we realized that was the producer said, I I want you to sit in a room with this guy, a storyboard artist and talk about the scene and what it could be. So we sat with him and we worked line by line. We hopped it and said, it could be this could be this. Yeah. I could draw this, do this. Said great, we're gonna write it up. We wrote it up, gave it into him. Three weeks later we go to watch the scene. It's nothing at all we discussed and went to the producer, but a, a thing. She said, yeah, I know, but I know he's kind of out there. And I wanted to see what he would take your stuff and give you, you know, if you, if all you want, if all you're expecting is the best version of what you've already done, you're closing off the chance that you'll be surprised by something.Michael Jamin (00:38:24):Right.Jonathan Aibel (00:38:25):So that's cool. On the other hand, sometimes in their scenes where you just say, can you just please do the, the pages? Right. Like, we've thought a lot about this. We understand. And there's some scenes in that first movie, which went pretty much from our pages to the final version. Cuz they were just compact. They made sense. Right. There wasn't a lot of room, but there wasn't a need for a lot of exploration. It was okay, that works. So let's just get that right going and move on to the theMichael Jamin (00:38:52):Others. So they brought you in under contract for a couple of weeks just to see how you would respond to the animators?Jonathan Aibel (00:38:59):Yeah, we had a after, well, no, to see what we would, it wasn't a trial. It was, they thought in 10 days we would give them an outline that they could work off of.Michael Jamin (00:39:12):But even still, you, they, they knew that they would probably go off via the reservation and you'd be required to Yeah. But that'sJonathan Aibel (00:39:19):Collaborate more. That's, but I think that happened a lot. It wasn't, it was more of then when we pitched our take on it to Jeffrey Katzenberg and he said, great, when you, when can you guys start writing Uhhuh. ? Okay. And then the other people lo looked at each other like, oh, I guess we, I guess we should probably get that, put that deal in place. So then we wrote a draftMichael Jamin (00:39:38):Mm-Hmm. .Jonathan Aibel (00:39:40):And then they took the draft and then started going through that process of tearing it apart. And at, at which point they realized it would probably be helpful to have us around. And I think it, what helped is that coming from tv, we, we knew storyboards, we knew how to read storyboards. We knew what happens in an editing room and how actors perform. Right. So we came to it with production skills or an, an understanding of the process that that helped us come in and say, oh, I think you could, you can cut a few frames there and actually know what we were talking about. At, at the same time, the, the big difference was television is it's a, it's a sprint as you know. Yeah. It's, you need to get this done because the actors are gonna be here at 10:00 AM to read this and record this.(00:40:35):So you need something for them. So we were approached feature animation, we gotta get this done, we gotta get this done. And then what you realize is that you, that's the exact wrong way to do because you, you get it all done now then when stuff starts changing, you've already written stuff that's, it's obsolete before anyone has seen it. Right. It's like animation is best. I think it's like, it's a marathon of sprints where we need, this scene has to go into production and Jack is coming in Thursday to record this. We need these three pages done. All right, we'll get it done, we'll get it done. Great. Now in six weeks, we're gonna need sequence 1500 going into rough layout though. That's the next one. I know it's,Michael Jamin (00:41:21):But you're working off an an outline. You know what the story is, right?Jonathan Aibel (00:41:24):You do and you don't. Isn't that, I know that's a weird thing to say, but you, Lenny, I can't tell you the number of boards there that would say big battle, like act three, big battle you know, wrap up epilogue.Michael Jamin (00:41:39):Is this the way animation movies were done like at Disney back in the day? Is this where they're getting this from?Jonathan Aibel (00:41:45):It's possible. I I think what where it comes from is that what's your expense, your greatest expense of time. And therefore money is the animator, the person at Disney drawing the cell mm-hmm. at Dreamworks. That final, the final editor moving frame by frame. That takes a lot of time. And it is such a skill and the people who do it are so brilliant that it's not like you can say we need six more animators who can capture Poe. It's, there's this guy Dan, Dan Wagner, just a brilliant animator and he was the one who could give Poe his soul.(00:42:29):Right. So you only get so much Dan. So you don't want to give Dan 10 scenes to do and say, we're not sure if these are all gonna work. But, so you are not giving the animators the scenes until they're ready at the same time. The animators can only do so much at the same time. So so while they're working on one scene, there's no reason to have the other scenes done. So it's sort of like you back, you back up into the process and you'd say, well if they can only animate these this much now mm-hmm. , well let's keep working on those other scenes and make them better and keep playing with them until it's too late. And then we'll, we'll turn 'em around. Right. So you really, you have the time to get it right. And if you said no, let's rush that. We, we gotta get All right. Now there's no reason to.Michael Jamin (00:43:16):It sounds like this cuz knowing how you guys ran King of the Hill, it sounds like this is like the perfect fit for you because you guys would often rewrite the hell out of a scene trying different ways and just experimenting.Jonathan Aibel (00:43:26):That was, I I think Thank you. I think it was, it, it it is a good fit for us to, to have said, okay, we've written that scene. There, there are a lot of exercises that are, are kind of cool that you can use, which is stuff like, well let's write the opposite. Right? You have someone come into a scene who's really excited, like, well, what if they came into the scene feeling the other way and that you flipped. You kind of have that, the opportunity to exploreMichael Jamin (00:43:58):More. Right.Jonathan Aibel (00:43:59):And then, and know that there's no punishment for it because the whole point is to experiment.Michael Jamin (00:44:05):Right. That's the point. So did they keep you under, how does it work? Do they keep you under contract at that point, Dreamworks, to do other movies? Or are you constantly pitching them to get assigned other projects orJonathan Aibel (00:44:17):That No, we had, we had a, it was great in that it started off, I think it was, we were there four days a weekMichael Jamin (00:44:25):Mm-Hmm. Jonathan Aibel (00:44:26):And I think at the time we were in person then it would be three, then after six months, three days a week, as there's less to change, they need less abuse. So then it was two days a week, then one day a week. And then at the same time we were doing other rewrites in other studios. And I think it was when we got down to one day a week, they said, you know, we have this smoothie monsters versus aliens when you wanna work on that. Right.Michael Jamin (00:44:49):So you were never squeeze.Jonathan Aibel (00:44:51):We were one day monsters. Four days.Michael Jamin (00:44:53):All right. So you were alwaysJonathan Aibel (00:44:54):Kind. Yeah, always. Show by show.Michael Jamin (00:44:56):I see. You're always jumping. Right. So it wasJonathan Aibel (00:44:58):Never, and then, and it, it was nice cuz you know, you don't wanna, we liked it because it led us take the projects that spoke to us that Right. Looked like they were gonna be fun. While also, like, the great thing about Panda was it was a hit came out. It was a hit. And when you've written a movie, it's a hit. People want you to write their movies. Right. So it, and and also people want you to write movies similar to the movie that was just a hit.Michael Jamin (00:45:28):Right.Jonathan Aibel (00:45:29):So it didn't matter that we had done King The Hill or other stuff. It was, oh, they, they wrote Fu Pan, they should write the Chipmunks movies. We'll offer that to them.Michael Jamin (00:45:38):Right. Right.Jonathan Aibel (00:45:39):So talking Animal, oh, here's another talking animal.Michael Jamin (00:45:42):So did you have toJonathan Aibel (00:45:43):Ever Thenn Bozer,Michael Jamin (00:45:46):Did you have to pitch, when you go on further assignments, are they pretty much yours because of, or do you have to pitch? Do you have to win that assignment?Jonathan Aibel (00:45:54):It's always a little of both. I mean, look, we were very, we were very lucky in that they weren't bake offs where Yeah. Six people are coming in to pitch this. It was, I think that the Chipmunks people really like Kung Fu Panda. It was just a rewrite. Can you come? It was over Christmas.Michael Jamin (00:46:16):UhhuhJonathan Aibel (00:46:17):. So I think that that definitely helped that they found us saying, yeah, we'll give up your, our holiday to, to write these pages for you.Michael Jamin (00:46:24):Right.Jonathan Aibel (00:46:25):But then the, the luck was these were, these became franchises. So then they come you for Comfort Panda Two and Comfort Panda Three and Chipmunks three. Right. And, and then we through people knew what Dreamwork got to SpongeBob. So then you'd do SpongeBob to second SpongeBob movie that led to the third SpongeBob movie.Michael Jamin (00:46:44):I didn't even mention those. Cause that's not even on your I M D B. We'll have to update that when we get off the, the Zoom. Yeah. What update your page? I didn't know any of this. I didn't know you did the I didn't know you did that. And so, okay. Because that's a big deal. Cause I, I remember, you know, when Si and I, we did, we did a couple of movies. We sold a couples, they didn't get made. We sold a couple movies and then we were all we're brought into you know, we didn't realize they were bake offs. We didn't, so we, we pitched for, you know, a couple big companies, I don't have to mention what they are. And, and we're told Yeah, you got the, you got it. You got it. And then only to discover that someone else got it. We didn't even know o other people were trying to get, like, we had no idea. And that's a lot. You're talking about months and months of heartbreaking wasted work and then the project never even made. So, but you don't really have it's true to deal with that True. Because of your level, you know. Yes,Jonathan Aibel (00:47:34):Yes and no. The the no is if they're, if you've worked with them on Kung fu Panda one, two, and three, there's a good chance they'll come to you for Kung fu Panda four.Michael Jamin (00:47:46):Right.Jonathan Aibel (00:47:47):So, and if you hit it off, feel like they may say, come in with some ideas and they like an idea. So they're not just saying, here's the deal before you've pitched anything. So there were meetings, but you know, they know you can deliver. That's kind of the main thing. Right. If it's people who you don't really know, then yeah. It's, they're rebooting this franchise and their hearing takes. And what we've learned, actually the hard way is if you're going to put yourself in that situation, you want to put as, I don't wanna say as little work as possible. You want to, you wanna do the right amount of work. That's the the best way where, but it's, we've, we've gone in and we've pitched I know, but we've gone in where we've pitched, you pitched for 20 minutes and then you realize by the second sentence you said the words they don't want to hear like, oh, that's not the kind of movie they want to do at all.(00:48:47):Right. And we've learned a better strategies to go and say, here, I I understand you wanna do a silly putty movie. I'm, I'm totally making this up, but here's, you could go this way where Silly Putty, it's a revenge story where it's a John Wick me silly putty. Right. Or it's the origin story of how a serious putty became silly putty because of a, of a family tragedy. And he's the clown who lasts through to you . Like, you know, each of these is an archetype movie. Right. And then it's, I don't know if any of those strike, well we kind of do like that. It's like, okay, okay, well we'll come back to you with that. It'sMichael Jamin (00:49:23):Interesting cuz you set the terms then over the pitch chart. Cuz that's not usually how we go in. We, here's the, here's the take, here's our take. And then, you know, you could be your, you could be completely off. I didn't know you had a choice.Jonathan Aibel (00:49:33):Well, this is a new, this is a new, this is a new realization. Uhhuh having, because you know, kind of what's happened is after doing a lot of these movies, you start to think, okay, I like this. I I know what I'm doing. What's something I don't really know how to do that I haven't done before mm-hmm. . And that's the type of movie where a person isn't necessarily gonna say, Hmm, get me the guys who did Kung Panda. Right. So you gotta hustle for those little more. And those were the ones where I think we were over preparing for many of them by saying we're gonna blow 'em away with the le attention to detail. Yeah. And especially in a Zoom era where you blow 'em away with the tension detail, they're thinking is I just need three sentences to bring the boss. Really? And it's hard because as storytellers you sometimes feel like, I can't, I don't, I'm sorry, I cannot pitch this idea unless I understand the character arts and Yeah. Right. The three acts and you're think, you know, maybe sometimes you can go in and say, and then in the third act there's a huge battle in which the forces of evil have to go against the forces ofMichael Jamin (00:50:39):I see. I would be worried about pitching something that I didn't know how to actually break. You know what I'm saying? Like, youJonathan Aibel (00:50:43):Know. Yes, I know. I, I you eventually, you just kind of have to have confidence and say, you know what, we'll figure something out. We'll figure, it's hard. It's really hard to, even at this point we'll go into a rewrite and say, what is that third act set piece? I don't know, but we'll, we'll, we'll figure it out. And it's in the back of your head thing if I don't get that.Michael Jamin (00:51:06):Yeah. Right.Jonathan Aibel (00:51:08):And then one day it'll be like, oh, wait a minute. Well, what if this happened? Because we just like, it will, it will come to you. And I think it's, it's a little, maybe this is the animation experience. It's a little foolish to even think I know what the perfect act three is before I've actually written Acts one and two.Michael Jamin (00:51:28):Yeah. But you andJonathan Aibel (00:51:29):Instead rely on your instincts and your experienceMichael Jamin (00:51:32):Wanna build to something you wanna, I I it's so, I'm, I'm telling you how to do it. I have no idea how to do it.Jonathan Aibel (00:51:37):No, but, but, but of course you will build to it, you know, you need to build to something, but you may not know the ingredients yet. Like, you'll be writing something and say, well, I'll give you a good example. In, in Conco Panda, we wound up having this, this pose, big realization. Mm-Hmm. that, can I give spoilers after 15 years after movies opened?Michael Jamin (00:51:59):I believe. I believe so. Okay.Jonathan Aibel (00:52:01):So Pose opened the scroll in it's blank, and he realizes he's failed. And his father says to him, it's okay, you can be a noodle old man just like me. And by the way, it's time. I told you the secret ingredient in my suit. And the secret ingredient is nothing. There is no secret ingredient. It was just to make something special, you just have to believe it's special. And really, that was just a joke about his father, who in the first scene we wrote that, oh, that'd be funny if he has a secret ingredient soup. And later we find out there is no secret ingredient. It's just a marketing gimmick. And it wasn't until he got to the later scene where someone, I think this bill Damascus, his name, he is, he was then the executive of dreamworks. And he said, I, I, I like what you're doing there.(00:52:49):You're kind of making comparison between the scroll being blank and the soup, not really having the spec, the specialness, it's that's it into here. And we said, that's not at all what we're, is that what we're doing? That is what we're doing. You know, like, I don't know if we consciously did that or everyone working on the movie was putting that stuff in there. But once, so if we had started with, what is it? We never would've gotten there. But like, it's funny you were talking about ingredients, but we had these ingredients of the father, the soup. We had this scroll that was blank, and it took a whole bunch of time. And thinking for a, a person to look at that with fresh eyes and say, I think you've given yourself the moment you need to do the rest of the movie.Michael Jamin (00:53:37):Do you think this is how they tell their movies at at Pixar? They have a different process. Do you thinkJonathan Aibel (00:53:43):That I I don't, I don't know all I've, all I know of the process there is, they seem to draw on tablecloths.Michael Jamin (00:53:51):Is that Oh, really?Jonathan Aibel (00:53:51):That I don't know. That was at, there's some documentary where they have this, this famous tablecloth that's amazing. Where it was, they weren't, the Brain Trust was meeting. And I said, well, here's some movies I think we could do. There's what if tos come to life? What, what if bugs come to life? What if Bumper Beyond that, I don't really know their process. It's probably somewhat similar.Michael Jamin (00:54:13):So. Interesting. And when you work, you know, you're, and I'm jumping around, but your partner, Glen, he doesn't, he lives not in la So how do you guys do, what do you work in on Zoom? Is that how you guysJonathan Aibel (00:54:24):Yeah, we, oh, we've been Skyped for, for years and years. Just, just audio. Just, I'm a, I'm Aist and I'll tell you why. JustMichael Jamin (00:54:32):Yeah, go on. And why just audio?Jonathan Aibel (00:54:34):I'm a Skype because Skype lets you Skype out. So you can call people's cell phones. So if our agent or lawyer or an executive or I know we need them to take a meeting, he's just stays in my ear and All right, let me patch him in and then you can Okay. Call. also we started before Zoom,Michael Jamin (00:54:49):Right?Jonathan Aibel (00:54:50):So we're And why no video?Michael Jamin (00:54:52):Yeah.Jonathan Aibel (00:54:54):Is, initially it was for bandwidth reasons. It was laggy at Skype at one point, and Glen was out in the sticks and didn't haveMichael Jamin (00:55:03):Because you could have used a cell, a phone. You know that Skype without video. It was a phone.Jonathan Aibel (00:55:08):Yeah. Yeah. There are a lot of other things we could do, but we realized I don't need to see him staring at me. I, I don't, I, and I, I'm not like the old married couple. We're okay with the silence.Michael Jamin (00:55:21):And do you,Jonathan Aibel (00:55:22):When you're going like this and you're not hearing anything,Michael Jamin (00:55:24):Are you on final draft collaborator? Is that what you're doing? Or what? No. Well, how'sJonathan Aibel (00:55:29):That? I know there's a lot of, there's a lot of that You could, we could do. And if it's real, really important, we might say, oh, let's, like now we outline on, on Google Docs.Michael Jamin (00:55:41):Okay.Jonathan Aibel (00:55:41):Instead of sending Word documents back and forth, is this, are you working on Tuesday's version? No, this is Thursday's. Wait. Now you, now you can see it. And that's useful. But I, I feel like daring, there are two ways to write. One is staring at the words and the other is staring at the sky. Right. And one day, some days I feel like doing one Glen feels like one sometimes the other like, I don't want to even know what's there. I just want to, but who's coming up with stuff? In, well, hopefully Glen, there have been times where we'll come up with a whole thing and then say, you got that. I thought you were typingMichael Jamin (00:56:20):.Jonathan Aibel (00:56:21):So we, we usually sa

Leabhar The Book of the Skelligs seolta le déanaí. Aistí ar na h-aon ghné do Sceilig Mhichíl ann. Aiste ar an spéis a bhí aige muintir na Fraince sa Sceilig leis an Ollamh Grace Neville ina measc.

Mark Fedor, CEO of Morgan Industries, leads an Alliance Ohio-based manufacturer of material handling systems and production solutions. The company specializes in the construction of large-scale industrial overhead cranes and steel mill equipment. Under Mark's 16-year tenure as CEO, this 152-year old company is leading its industry in the adoption of automation and other Industry 4.0 technologies.  Mark began his career at Morgan after college. He then pursued an opportunity to build a steel plant at Steel Dynamics in Fort Wayne, Indiana, and then was lured back to the company where his father, grandfather and great-grandfather made their living.   Mark has been a member of the Association for Iron & Steel Technology, or AIST, since 1996, serving on the crane committee and a number of subcommittees. He earned his bachelor's degree in mechanical engineering at the University of Akron.

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9 de octubre | Nueva YorkHola, maricoper. Mark, bórralo ya.El podcast de La Wikly también está disponible en iTunes, Spotify y iVoox.Añade el podcast a tu plataforma favorita haciendo click en el botón “Listen in podcast app” que aparece justo debajo del reproductor.Apoya el proyecto periodístico independiente de La Wikly con una suscripción premium que incluye tres newsletters extra a la semana, acceso a nuestra comunidad privada de Discord y eventos exclusivos para los maricopers premium:Leer esta newsletter te llevará 12 minutos y 44 segundos.A todos nos pasa. Bienvenido a La Wikly.Lo importante: Facebook protagoniza una de sus peores rachas de imagen por falta de transparencia. La publicación de un extenso reportaje de The Wall Street Journal ha vuelto a ilustrar lo tóxica y problemática que puede llegar a ser la plataforma.Eso incluye priorizar el contenido de odio, ser un activo dañino para las adolescentes o desdeñar la moderación de contenido ilegal, violento o extremista lejos de las fronteras estadounidenses.Contexto: la polémica nace de la filtración de miles de páginas de documentos confidenciales de Facebook hecha por una exdirectora de la compañía.El nombre de la informante es Frances Haugen, de la que te hablamos en esta edición premium de La Wikly después de que testificara en uno de los comités del Senado.El reportaje del WSJ se divide en nueve partes que analizan los documentos filtrados. Así que para poder hacer una radiografía de las conclusiones que saca el diario, vamos a resumir las revelaciones a lo largo de dos publicaciones.Una es la que leerás a continuación. La otra saldrá el próximo lunes.🪞 Espejito, espejito… malo¿Qué pasa? En los últimos años, Facebook ha llevado a cabo estudios para descifrar si Instagram es perjudicial para sus usuarios más jóvenes. En repetidas ocasiones, los investigadores de la compañía han descubierto que la aplicación es dañina para un porcentaje significativos de ellos, sobre todo para las chicas.Por ejemplo, el 32 por ciento de las adolescentes dicen que si se sienten mal con sus cuerpos, Instagram hace que se sientan peor, según una presentación de diapositivas publicada en el tablero de mensajes interno de Facebook en 2020.Contexto: más del 40 por ciento de los usuarios de Instagram tienen 22 años o menos. Y alrededor de 22 millones de adolescentes en Estados Unidos inician sesión en Instagram cada día.En promedio, los adolescentes en EE. UU. pasan un 50 por ciento más de tiempo en Instagram que en Facebook.Un equipo de investigadores de Facebook llevó a cabo lo que llamaron una "inmersión profunda en la salud mental de los adolescentes", así como estudios de seguimiento. Llegaron a la conclusión de que algunos de los problemas eran específicos de Instagram y no de las redes sociales en general.La tendencia a compartir solo los mejores momentos del día a día de cada uno, la presión por lucir perfecto y un producto adictivo pueden ser la tormenta perfecta para que los adolescentes desarrollen no solo una imagen negativa de sus cuerpos, sino también trastornos alimentarios y depresiones."Los adolescentes nos dijeron que no les gusta la cantidad de tiempo que pasan en la aplicación, pero sienten que tienen que estar presentes. […] A menudo se sienten 'adictos' y saben que lo que ven es malo para su salud mental, pero se sienten incapaces de detenerse", explicó un gerente de investigación de Instagram a sus colegas, según los documentos.Angela Guarda, directora del programa de trastornos alimentarios en el Hospital Johns Hopkins, dijo que es común que sus pacientes digan que aprendieron sobre cómo restringir la ingesta de alimentos a través de consejos en las redes sociales.Guarda estima que Instagram y otras aplicaciones de redes sociales juegan un papel en los trastornos de aproximadamente la mitad de sus pacientes.Pese a conocer esta información, Facebook ha minimizado constantemente en público los efectos negativos de la aplicación en adolescentes.Adam Mosseri, director de Instagram, dijo a los periodistas en mayo que la investigación que había visto sugiere que los efectos de la aplicación en el bienestar de los adolescentes probablemente sean "bastante pequeños".Y Mark Zuckerberg, consejero delegado de Facebook, defendió a la compañía durante una audiencia del Congreso en marzo contra las críticas de los legisladores sobre los planes para crear un nuevo producto de Instagram para niños menores de 13 años.El lanzamiento de Instagram Kids ha sido congelado."La investigación que hemos visto es que el uso de aplicaciones sociales para conectarse con otras personas puede tener beneficios positivos para la salud mental", dijo Zuckerberg en la audiencia cuando se le preguntó sobre los niños y la salud mental. Yikes.En agosto, los senadores Richard Blumenthal y Marsha Blackburn pidieron en una carta a Zuckerberg que publicara la investigación interna de Facebook sobre el impacto de sus plataformas en la salud mental de los jóvenes.En respuesta, Facebook envió a los senadores una carta de seis páginas que no incluía los propios estudios de la empresa. En cambio, la empresa dijo “no estar al tanto de un consenso entre los estudios o expertos”.Cuando Facebook probó un ajuste para ocultar los "me gusta" en un programa piloto que llamaron Proyecto Daisy descubrieron que no mejoraba la vida de los adolescentes. No obstante, la compañía implementó el cambio como una opción para los usuarios de Facebook e Instagram en mayo de 2021 después de que altos ejecutivos le dijeran a Zuckerberg que podría servir para ilustrar que la compañía estaba abordando uno de tantos problemas:"Un lanzamiento de Daisy sería recibido por la prensa y los padres como una fuerte indicación positiva de que Instagram se preocupa por sus usuarios", escribieron los ejecutivos de Facebook en una discusión sobre cómo presentar sus hallazgos a Zuckerberg.¿Entonces? Lo grave de estas revelaciones tiene que ver con el cinismo de Facebook, sí, pero también con la falta de transparencia sobre los efectos que sus productos están teniendo entre la población, especialmente los más jóvenes.Cabe resaltar que Facebook no solo no hace públicos los resultados de sus estudios, sino que tampoco permite que investigadores externos analicen sus plataformas de la forma honesta que ya no podemos esperar por parte de Zuckerberg y su equipo.🤳 Conquistando nuevas generaciones¿Qué pasa? Con la caída de popularidad de Facebook entre los más jóvenes, la compañía se puso una meta de tres años para crear más productos para preadolescentes y encargó documentos estratégicos sobre las oportunidades comerciales a largo plazo que presentan esos usuarios más jóvenes.La competencia de sus rivales, en particular Snapchat y TikTok, es un factor motivador detrás de ese trabajo, según los documentos obtenidos por WSJ.Explícamelo: Facebook ha intentado comprender qué productos pueden resonar en niños y preadolescentes (de 10 a 12 años), cómo estos jóvenes ven las aplicaciones de la competencia y qué les preocupa a sus padres.Pero conocido el contexto de lo perjudiciales que pueden llegar a ser las aplicaciones de Facebook se hace difícil digerir la forma tan agresiva de la compañía para llegar a los más jóvenes, especialmente si no estudian antes los posibles efectos negativos en ellos.Contexto: en Estados Unidos, la cantidad diaria de adolescentes que usan Facebook se ha reducido en un 19 por ciento en los últimos dos años y probablemente se reduciría en un 45 por ciento adicional de cara a 2023.Una encuesta del Pew Research Center de 2020 descubrió que entre los niños de 9 a 11 años:El 30 por ciento usaba TikTok.El 22 por ciento usaba Snapchat.El 11 por ciento usaba Instagram.Solo un 6 por ciento usaba Facebook.La primera incursión de Facebook en productos específicos para niños fue su lanzamiento en 2017 de Messenger Kids, una aplicación de video y chat de amplio control parental, para usuarios de 6 a 12 años.Sin embargo, el interés en Messenger Kids disminuyó después de los 10 años y los preadolescentes vieron Facebook como un producto para personas mayores.Playdates. La compañía incluso exploró la posibilidad de usar las citas de juegos (dos o más familias concretan un plan para que sus hijos jueguen juntos) para potenciar el crecimiento de la app Messenger Kids.Esta serie de revelaciones, y la montante preocupación en torno a las estrategias de Facebook para llegar a los más pequeños, provocó que esta misma semana la compañía congelara el lanzamiento de nuevos productos.🌟 La élite secreta¿Qué pasa? Puede que Zuckerberg haya dicho públicamente que Facebook permite a sus usuarios hablar en pie de igualdad con las élites de la política, la cultura y el periodismo —y que sus estándares de comportamiento se aplican a todos, sin importar su estatus o fama.Sin embargo, la documentación revisada por WSJ revela la existencia de una élite de usuarios de alto perfil que quedan eximidos de algunas o de todas las reglas del sitio.El programa, conocido como verificación cruzada o XCheck, protege a millones de usuarios VIP del proceso de moderación normal de la empresa.XCheck a veces ha protegido a figuras públicas cuyas publicaciones contenían acoso o incitación a la violencia, algo que normalmente daría lugar a sanciones para los usuarios habituales, según muestran los documentos.Por ejemplo, en 2019, permitió al futbolista brasileño Neymar mostrar a decenas de millones de sus fans unas fotos de los desnudos de una mujer que lo había acusado de violación.Facebook tardó más de 24 horas en eliminar el contenido.El procedimiento estándar de Facebook para gestionar la publicación de “imágenes íntimas no consensuadas” es simple: eliminarlo antes de que se publique. Pero Neymar estaba protegido por XCheck, lo que dificultó la labor de los moderadores.En otros términos, es posible que a los usuarios corrientes nunca se les diga qué regla violaron o que ni tan siquiera se les dé la oportunidad de apelar la decisión de la plataforma de haber borrado su publicación o incluso su cuenta.Sin embargo, los usuarios de XCheck reciben un trato distinto. Si los sistemas de Facebook concluyen que una de esas cuentas VIP podría haber infringido sus reglas, no eliminan el contenido, al menos no de inmediato.La queja se enruta a un sistema separado, con empleados a tiempo completo mejor capacitados, para niveles adicionales de revisión.En la práctica, la mayoría de las veces esa revisión posterior no llega.La documentación obtenida por WSJ revela que XCheck creció hasta incluir a al menos 5.8 millones de usuarios en 2020, lo que a su vez permitió que las publicaciones de esos usuarios que violaban sus reglas se vieran al menos 16.400 millones de veces antes de ser eliminadas.Es decir, cuando el daño ya estaba hecho.El próximo lunes, exploraremos los artículos del WSJ que desgranan la documentación de Facebook acerca de la desinformación y el contenido de odio que prolifera en su plataforma.¿Desea saber más? En The Wall Street Journal tienes los artículos completos sobre los temas que hemos tocado en esta entrega, así como podcasts que indagan en las principales revelaciones del reportaje.🎬 Una recomendaciónCon la colaboración de FilminEl verano de Sangaile es una película lituana de 2015 dirigida por Alanté Kavaïté. Sigue la historia de Sangaile, una adolescente fascinada con los aviones de acrobacias que tiene miedo a las alturas.Sangaile es tímida e introvertida, con lo que conocer a la luminosa Austé supone un cambio que transforma lo que tenía visos de convertirse en un verano de miradas perdidas en su habitación.Con la relación entre las dos protagonistas, lideradas por una estupenda Aisté Dirziüté, Kavaïté logra un drama adolescente que sabe viajar entre las luces y sombras de Sangaile sin perder el foco en la construcción de su personaje.Además, apoyándose en unos escenarios a veces mágicos (¡qué atardeceres!) que crean la atmósfera idónea para un relato tan íntimo como acogedor, valores más que necesarios para hacernos partícipes de la historia de amor en el centro de la historia.El filme de Kavaïté es una de esas pequeñas joyas europeas que en su momento lograron buena atención mediática gracias al circuito festivalero (premio a la Mejor Dirección en Sundance, presencia en Berlín), pero que con el paso del tiempo necesitan de un merecido reconocimiento.Coming of age de los que no hay que dejar pasar.El verano de Sangaile está disponible en Filmin.🤣 Quitándole la graciaCouch guy, o el tío del sofá, es el sobrenombre con el que se conoce estos días a un joven que se ha hecho famoso por un TikTok viral. En ese vídeo, su novia Lauren intentaba darle una sorpresa yendo a verle a la universidad.¿Y por qué se hizo viral? Por la reacción del chico al ver a su novia. Su lenguaje corporal, y los movimientos que hace en los momentos previos a verla, hicieron saltar todas las alarmas de *cientos de miles* de usuarios.Un vistazo a la sección de comentarios del TikTok original ofrece una idea del fenómeno tan bestia en el que se ha convertido el vídeo:“Bandera roja🚩🚩🚩 no se ha levantado no ha saltado por la ventana de la emoción”, escribió @t00kapack. Su comentario acumula 216,000 likes.“Las chicas parecen sospechosas, los chicos parecen estar disfrutando, el novio pinta asustado. 😅😅😅 Hermana… por favor, haz preguntas”. escribió @slothbakka. 396,000 likes.“El bro está en el sofá con otras tres chicas”, escribió @cocainecat6969. 619,000 likes.La retahíla de comentarios alcanzaron tal punto de toxicidad que Lauren se vio obligada a responder a los que ponían en duda su noviazgo:“Me rompe el corazón que la gente pueda ver un momento especial y traigan tanta negatividad. Por favor, pensad antes de asumir algo sobre mi relación. En cuanto al comentario sobre el teléfono, el teléfono estaba sobre su regazo :) ¡Pero gracias por la preocupación! Y no, no estoy negándome a ver nada ❤️”, escribió Lauren. 274,000 likes.Con ‘el comentario del teléfono’, Lauren se refiere a los movimientos de manos que su novio hace con un teléfono antes de abrazarse a ella. Hay teorías de todos los colores sobre de quién es ese teléfono —o quién lo tenía en primer lugar.La versión más extendida es que la chica a su izquierda tenía el teléfono del novio y acaba devolviéndoselo cuando ve que la novia va camino de saludarlo.Lauren llegó a publicar varios vídeos en respuesta a las distintas narrativas que se habían construido en torno al vídeo inicial. Incluso su novio se abrió un TikTok propio para poner fin a la especulación, pero eso no ha frenado el fenómeno. En absolutoLa viralidad de couch guy se ha traducido en miles de vídeos que analizan el TikTok original hasta la saciedad (tienes ejemplos aquí y aquí). También hay memes (aquí y aquí) y versiones alternativas (aquí, aquí y aquí).Los mejores TikTok de toda esta movida son los que juegan con el hecho de que estemos hablando de couch guy en nuestro día a día como si el debate sobre si de verdad el tipo es un capullo o no nos debiera importar.Mis favoritos del género son este y este.Kalhan Rosenblatt tiene un artículo muy interesante ahondando en el fenómeno detectivesco de TikTok que puede llegar a tener repercusiones tan negativas para los protagonistas de estas historias como couch guy.En otro orden de cosas, este jueves estuve charlando con Marcelo Madrigal, especialista en redes sociales y los bajos fondos de internet, sobre las últimas revelaciones de Facebook y la distopía que ya estamos viviendo por las ciberguerras geopolíticas entre Rusia, China y EE. UU., entre otros.Puedes ver la entrevista completa aquí.Y en mi última entrega de Solo en América hablo sobre la restrictiva ley del aborto de Texas que premia con 10,000 dólares a quienes denuncien un aborto.Puedes ver el vídeo completo aquí.Hasta la semana que viene, This is a public episode. Get access to private episodes at www.lawikly.com/subscribe