Slugs & Bugs Show – Behind the Scenes

Slugs & Bugs Show – Behind the Scenes


It’s the Slugs & Bugs Show! – My name is Randall Goodgame. I, along with a lot of my
human and non-human friends, hang out and make stuff at the workshop. – It’s a brand new
family show, it’s funny– – Let’s get ready to exegete. – I’m thrilled to be a part of it. – I think it’s just super fun, and I think the characters are great. – It has bugs, and slugs like me. Bugs and slugs, and they’re
all combined in a show. – Doug the Slug and
Sparky the Lightning Bug are two of my best buds, and
we come and hang out every day. – So my husband is the
host, but I just stop by every now and then,
just check on everybody, and make sure everything’s okay, you know, I am a mom, so
I like to bring by snacks. Thought I’d drop my leftovers
off from Cupcake Club. – Cupcake Club?!? – We’re excited to come together and try to create something new that uses incredible music. – And music is a great way to have fun, whether you’re singing
about truths of the gospel or Mexican food. – To take these ideas that
are revealed in Scripture that we put into song, and then carry them in their little hearts and go humming away with truth. ♪ Above yourselves ♪ ♪ You first, you first ♪ ♪ Above yourselves ♪ ♪ No please, after you ♪ ♪ Value others ♪ ♪ I don’t mind, you go ahead ♪ ♪ Above yourselves ♪ – The Slugs and Bugs Show is about having a lot of fun. – Yeah! – While being creative. – Surprise!
– Surprise! – I will help some of the characters through some sort of problem. – Yeah, Doug, you really missed some on the nose sorts of lessons that might have been beneficial
to your moral development. – And I think that’s one
of the goals of the show that we wanna walk along the path and be sharing with our kids truth that we know that God
has put into his Scripture and into his creation. We want that to come to life in real ways that we walk out, that’s real discipleship, right? – I can’t wait!!! – I mean like how we walk around in the world following Jesus, that’s like the great big
picture of what the show is. – Ooh! – Sorry Doug–
– Ah, do you know how dangerous
salt is to a slug? – What’s been exciting with the show is that there’s so many diverse guests. – Lot’s of my friends
from here in Nashville, musicians and pastors and authors. – I’m a little nervous because I have never
been on a TV show before but this is so fun. – I wanted to bring together a space where we could feature some
great music from Randall, with some vibrant characters
that we can all enjoy and know that we have families watching. – That was a blast! – And the reason I like
the show is simple, it’s really fun, not
annoying like that kind of kid type thing that you, “Okay, my kid’s gonna watch this, “I can barely listen to it” I think it appeals to
everybody in the family, it’s not just something to kind of plop your kids in front of. – I am so proud of the amazing artists that we’ve had come around
this whole production, and I’m just thrilled, I can’t wait to share it with families. – Mm, mm, mm!
– Mm, mm, mm! – Woo-hoo!
– Woo-hoo!

Aesop’s Fables The Ant and the Grasshopper Short Film

Aesop’s Fables The Ant and the Grasshopper Short Film


[Music]
Aesop’s Fables the Ant and the Grasshopper [Music] There once was a grasshopper,
who liked to play with his flute. [Music] Then one day he met a large group of
ants, all of them carrying loot. What are you doing? Asked the grasshopper, wanting to
know. We are gathering food for the winter, they replied, before it starts to snow. But the grasshopper played with his flute, without a single care [Music] while the ants had to carry apples and peaches and even a pear.
[Music] Then the grasshopper saw a berry and took
it in one go. That made the ant angry, but then it
started to snow. The ant took the berry back and quickly ran away while the grasshopper took his
flute and continued to play. [Music] Then a blizzard came around and the grasshopper had nothing to eat. So he went to the ants home, hoping to meet. He looked through their window and what
did he see? He saw ants laughing and eating and all
full of glee. So he knocked on the door and it opened to show, the ant he met earlier, now
wondering what the grasshopper was here for. Can I have some food? Asked the grasshopper, hoping for a bite. You did no work, said the ant so nothing for you, and it serves you right. So the grasshopper walked away with
nowhere to go. But he learned his lesson next summer and was now in the know. Today he helps with the work and has made amends. and now spends winter with the ants, his
newfound friends. [Music]

Ant-Man and The Wasp Fight Aliens! | Marvel’s Ant-Man | Episode 2 – Alien Invasion

Ant-Man and The Wasp Fight Aliens! | Marvel’s Ant-Man | Episode 2 – Alien Invasion


No, for real, you should’ve
been there, Wasp. I was like,
“Blop-blop-blop, bam!” And Yellojacket went down! Mmm-mmm. Winging it just works. (ALARM BLARING) ALIEN: With the human’s
growth technology, we will finally be able
to take over Earth, and then, the entire galaxy! (LAUGHING MANIACALLY) Hey there, little buddies,
what are you up to? World domination?
Can’t have that. Come on! Ow! You know what we need…
Hey! Wait up. (GRUNTING) What we need is a plan. None of your “winging it.” Let’s capture
the leader and… (MOCKINGLY)
My name is Wasp and I like
to come up with plans. Watch out, aliens,
I’m going to punch you,
’cause that’s my plan. WASP: It’s not funny, Scott. Yes, it is. Uh-oh. (SCREAMING) (GROWLING) Hand over the growth disc. With it, we can finally grow
as big and mighty as our empire
was always destined to be, and rule the Earth! Okay, guys, yeah. Sure, we totally give up. What? Let us go
and I’ll give you the disc. Agreed. WASP: Have you lost
your mind? That’s unrelated. (LAUGHING) I feel the power… (GROANING) Now what? Now, for round two. (SCREAMING) WASP: Please tell me
you have a plan. ALIEN: I surrender. Just like I was saying,
you know? Always have a plan.

The Thematic Importance of the Chimera Ant Arc’s Narrator (Hunter x Hunter)

The Thematic Importance of the Chimera Ant Arc’s Narrator (Hunter x Hunter)


This is a topic that needs no introduction
– It goes without saying that the narrator in the Chimera Ant arc is divisive. Some love his implementation, while others
say that it completely ruined the anime for them due to how slow and deliberate everything
became as a result of this structure. And.. As you have no doubt come to expect if you
know literally anything at all about me, I’m part of the camp that thinks of it as a stroke
of genius from both Togashi and the staff at Madhouse for the way in which it was adapted. Now before I properly start, I need to make
it clear that this video is not an all-encompassing defense that will tackle every possible criticism
of the narrator. Someone could watch this video, agree with
me, and still find other reasons for criticizing him. There have been lots of great defenses on
the topic which I’m currently showing on-screen and will link in the description (Digibro
video, ,) but to be completely clear – my defense of the use of the narrator for this
video is extremely specific, lasering in on one aspect of why he was completely necessary
in logistic and thematic terms. Now, one complaint that I’ve heard time
and time again is that the narrator feels artificial, just telling us what we can already
see or what could have been said in another way. Given this, why didn’t the characters in
these situations just think these things and monologue it in their heads? It would be much more natural and it would
flow better. Now, I conceptually understand the complaints
about narration in general and how the characters could have just thought the things that the
narrator told us, but that complaint just can’t be levied at a good portion of the CA
arc because of what it aimed to do. As much as it is a bold critique of human
nature, society, and the systems and hierarchies that dictate existence, Chimera Ant is also
an arc that deeply explores the ins and outs of the human condition. As I elaborated in my Pouf video, the Royal
Guards are extreme examples of duality and its relation to humanity, and the journeys
of Meruem and Gon are as well. Additionally, the characters of Ikalgo, Knuckle,
Komugi, Shoot, Meleoron, Killua, Palm and Welfin all primarily explore these ideas as
well. Togashi ponders the human mind with a fine-tooth
comb, and surprisingly enough, this aspect can also be found with his use of the narrator
during the slowed-down Palace Invasion. For example, during Shoot’s development,
He notes some very important things himself, but a lot of his realizations are told by
the narrator. And that makes total sense. How contrived would Shoot’s epiphany have
seemed if he told all of it to himself and the audience? What about how the narrator voices Knuckles’
declaration, or consistently muses on Gon’s dwindling state of mind? Having characters think or voice all these
things would not have been appropriate. Things simply don’t happen that way. By nature, we can not articulate and conceptualize
everything we feel. Chimera Ant is all-encompassing and sincere
with its exploration of the human psyche, so its natural that it is just as genuine
with the way it structures the story – integrating it with the themes and spirit of the narrative
at play. The Palace invasion happens at a rapid pace, so
in order to capture all of these fine little details that add to the situations, each individual
interaction must be scrutinized. And that includes internal character development
and progression, which occurs so quickly that there was very few other ways to pay heed
to these details while remaining thematically accurate. With the narration, Togashi is attempting
to capture the element of stream-of-consciousness thought and internal development. But the very essence of that sort of thing
is that it can’t be properly articulated “in the moment” by the characters involved. Think of the times in your life that changed
you. Maybe you reached some sort of epiphany, maybe
you learned something important about yourself, maybe you accomplished something incredibly
important to you. In those moments, could you have properly
mentally articulated all the things going through your mind? As humans, we process things a mile a minute
at times. We feel things we don’t even realize that
we can feel, and by it’s very nature, we simply are not able of being conscious of
all of these thoughts – at least, not in a manner that could be communicated properly
in story format. It’s impossible. This sort of thing is one of the wonders of
human consciousness. A third party, aka the narrator, is NEEDED
to articulate these things in a way that these characters cannot, or else that abstract element
and mystique is dismissed. Not to mention, a character like Gon lacks
the self-awareness at this point in the story to actively attend to his thoughts, and he
moves through instinct without being very cerebral. So in certain cases, the narrator is also
appropriate for maintaining character consistency. And
for some other story, perhaps it would have been better to have these characters speak
or think these things out. But Togashi desired to reach the most genuine
and raw truths of our minds, and while there were obviously some other major reasons for
the narrator, this intent was carried out through his inclusion. This all contributes to the story by having
a detached, neutral third party able to explain the emotional complexity and motivations of
the several moving parts at play here in a logically sound and thematically loyal way,
and it’s pulled off with style. It’s a unique bit of structural and thematic
integration that I consider a masterstroke, and it’s unfortunate that not many people
talk about this. Regardless, thank you very much for watching. I realize that this was a smaller sort of
topic that I usually cover, but I appreciate you humoring me nonetheless. Be sure to let me know what you think of my
pretentious overthinking, and I’ll see you next time.

The Typhus Epidemic That Saved A Polish City From The Nazis


Dr. Eugene Lazowski was born in Poland in
1913. He was a Polish doctor and soldier during
World War II. He had been a prisoner of war in a German
Prisoner Of War camp for three years. Providence shone on Dr Eugene Lazowski one
night in 1942 when he saw a means of escape and took it. When Lazowski returned to Rozwadów, he went
to work for the Polish Red Cross – and the Underground. Eugene had a home next to the ghetto in Rozwadow. In fact, his fence bordered the ghetto, which
was filled with his fellow countrymen, many of them Jews. The ‘residents’ of the ghetto were sadly
undernourished and some of them were very ill. Despite the fact that the Germans had declared
it a crime to help these people, a crime that was punishable by death, Dr. Eugene Lazowski
came up with a way to treat the sick in the Rozwadow ghetto. He would have them come to his fence, under
cover of night, and tie a white cloth to it. When he saw the cloth, he would come out to
the fence and treat whoever was there. Dr. Eugene Lazowski was given the opportunity
to assist these people more, when his colleague, Dr. Stanislaw Matulewicz, made an amazing
discovery. If he injected healthy patients with the same
dead bacteria that was used to test for typhus, their tests would come back positive for the
disease, with no harm done to them. The Germans were terrified of contracting
the disease, so if a patient was found to have it, that would make them exempt from
transfer to labor and concentration camps. There was one problem, however. During the time of the Nazi occupation of
Poland, Jews who were discovered to have deadly communicable diseases were killed and their
homes burnt to the ground. If Dr. Eugene Lazowski and Dr. Matulewicz
were going to help, they would only be able to use the bacteria on non-Jewish patients. They first tested it on a man who was home
on leave from a labor camp. It worked. The test came back positive and the man did
not have to return. The doctors began slowly ‘spreading’ the
disease throughout Rozwadow and the surrounding villages. They were very careful not to ‘infect’
Jews and they made sure that some of the ‘infected’ were referred to other doctors, who did not
know of the deception, for testing. This way, all of the tests were not coming
from them. That would have been too obvious. Once there were enough cases of the disease,
which is transmitted through the bite of infected lice, the Germans quarantined the area. No more people were taken out of the area
and placed in camps. Dr. Eugene Lazowski was allowed to continue
‘treating’ the ‘epidemic’ and so, he was able to perpetuate it for nearly three
years. During that time, the Germans only came to
inspect the area once. Their fear of the disease prevented them from
doing a thorough job of it and so the deception was not discovered. Close to the end of World War II, a soldier
whom he had secretly treated for a venereal disease warned Eugene Lazowski that the Gestapo
was after him. He grabbed his wife and daughter and fled
the city. He moved to the United States in 1958 and
became a professor at the University of Illinois Medical Center. Dr. Eugene Lazowski passed away in Oregon
in December of 2006.

The Inner Workings of the Venus Flytrap explained

The Inner Workings of the Venus Flytrap explained


In the food chain, plants are termed producers, as they convert energy from the sun into food. Food for the primary consumers, the herbivores, that only feed on plants as their source of energy. And then, on the top of the food chain, there are the carnivores, the secondary consumers, that eat other animals to obtain their energy. This feeding relationship seems to be the basic principle of life on earth. Then the more surprising is it, that one group of plants managed to evolve tools that allowed them to break away, from the bottom of the food chain and become carnivores themselves. they are no longer the food of animals, instead animals became their food. The most iconic of these carnivorous plants is probably the venus flytrap. But why did they evolve like this? And how exactly does their release mechanism work? That’s what we’re going to find out in this episode of facts in motion. The inner workings of the Venus Flytrap. Hope you enjoy. Most carnivorous plants live in swamps and marshes, with soil so waterlogged they are very poor in esential nutrients like nitrogen and phosphorus. So in order to survive in these harsh enviroments, they evolved mechanisms that allowed them to trap and digest insects and other small animals that then provide these plants with the nutrients they can’t find in the ground. There are many different kinds of carnivorous plants, each with its own method of killing. Pitfall traps use the simplest method. A vertical tube that fills with water, and drowns anything that falls into it, which are sometimes even relatively large animals, like rats and frogs. Flypaper traps utilize sticky mucus, to catch insects that come into contact with it. And then there are snap traps, the most advanced of all carnivorous plants. Today, there are only two species of snap traps, the venus flytrap and the waterwheel plant. Basically a venus flytrap that grows underwater where it captures small aquatic vertabrates and tiny fish. In the wild, the venus flytrap only lives in a few small patches of wet pine forest in South Carolina, in the United States. The plant itself is relatively small, with with only four-seven leaves growing outwards from a single stem. Each leaf blade consists of two ridges; the stem, which is sharp and pointy, and the leaf, which is shaped like a pair of lobes. that form the crown (?) Each with a set of spines along it Within the trap, six fine hairs three on each side, called echo strips. (?) A closer study of these plants shows they evolved from an ancestral lineage that utilized microbes. (?) The evolution of a mechanism that can completely trap in the prey

Insect Exoskeleton: Structure and Molting

Insect Exoskeleton: Structure and Molting


In most insects, the integument forms a rigid
exoskeleton that surrounds the outer surface of the animal. The exoskeleton serves a variety of functions. It gives the insect structure,
prevents chemical and mechanical damage, protects against invasion by parasites and
infection by microorganisms, inhibits water loss
and serves as the attachment point of muscles for locomotion. It is also forms the trachea of the respiratory
system, forms a lining for the foregut and hindgut regions of the digestive system and forms
the wings in adult insects. This cut-away view shows that the integument
consists of a series of layers. The integument is separated from the hemolymph
by the basement membrane – a connective tissue layer comprised of glycoaminoglycans
and proteins similar to collagen. The epidermal cells are the living part of
the integument. Epidermal cells form a monolayer below the
cuticle, and they secrete the overlying structural layers, with the exception of the cement layer
which is a product of the dermal glands. Above the epidermal cells is the procuticle,
a layer of protein intermixed with chitin. Chitin is a complex polysaccharide comprised
of mainly N-acetylglucosamine subunits mixed with some glucosamine, and linked in chemically
resistant beta-1,4 bonds similar to the inert beta- glucose of cellulose. Chitin gives the cuticle strength and stability
and aids in water retention. The insoluble chitin chains pack closely together
to form microfibers of 15-30 chains lying parallel to each other and surrounded by protein. The chitin-protein chains are deposited in
the endocuticle as layers throughout the intermolt period. Pore canals are minute tubular channels that
extend from the epidermal cells through the procuticle and end below the epicuticle. The pore canals may be formed by cytoplasmic
extensions of the epidermal cells as the procuticle is formed following a molt. Pore canals may provide an avenue for the
transport of chemicals through the cuticle and probably play a role in transporting the
chemicals that comprise the structural parts of the cuticle. The chemicals may diffuse laterally from the
canal to form the procuticle at the time of molting. After the cuticle forms, the cytoplasmic extensions
retract and the remaining channel becomes the pore canal. After the molt, the procuticle differentiates
into the endocuticle and the exocuticle. The thick, inner portion of the cuticle is
termed the endocuticle. It is usually the thickest layer of the cuticle
and is soft and flexible. Endocuticle is deposited throughout the time
between molts. Above the endocuticle is the exocuticle. The exocuticle is the layer that gives the
cuticle its hardness and rigidity. Exocuticle becomes hard and rigid because
it undergoes sclerotization or tanning. Sclerotization is the cross-linking of proteins
by quinones derived from polyphenols. Sclerotization makes the exocuticle hard,
strong and insoluble so it is resistant to chemicals and mechanical damage and has low
water permeability. Sclerotization differentiates the original
procuticle into the endo- and exocuticles. Above the exocuticle is the epicuticle. The epicuticle is thin and consists of four
layers: Cuticulin is the innermost epicuticle layer,
and is composed of sclerotized proteins and lipids. Some layers of the cuticle may be absent in
regions of the body of some insect species, but the cuticulin layer is always present. A polyphenol layer is sometimes present above
the cuticulin layer that may serve as a source for the phenols used in tanning,
A wax layer protects the insect from water loss
Pore canals may transport wax to the epicuticle, and wax channels at the ends of the
pore canals deposit the wax onto the inner epicuticle. The wax consists of an inner monolayer of
organized wax molecules and an outer “bloom” layer of randomly mixed fatty acids and fatty
alcohols. Because insects are small animals, they have
a large surface area relative to their volume which means they have a potential for serious
water loss through the cuticle, and the wax serves to suppress cuticle transpiration. The outermost cement layer is a product of
the dermal glands and is comprised of lipids and tanned proteins. The cement layer is thought to protect the
wax layer from abrasion, but it is variable and may not always be present. The insect exoskeleton is an effective integument,
but, like a suit of armor, it restricts the size that insects can attain, and its rigidity
prevents growth except by replacing the existing exoskeleton with a new, larger one by molting. Let us see how an insect is able to molt to
remove an exoskeleton that has become too small, and replace it with a new one that
allows for growth. The molting process begins when cuticular
epidermal cells are stimulated by exposure to 20-hydroxyecdysone – the insect molting
hormone. The hormone enters the epidermal cells where
it stimulates genes related to molting and the formation of new cuticle. The activated epidermal cells undergo mitosis
or grow by cellular enlargement. This is the period of growth to form a new, larger
cuticle for the next instar. The existing structural cuticle separates
from the epidermal cells. This is termed apolysis. The ecdysial space between the endocuticle
and the epidermal cells is filled with a gel that contains inactive chitinase and protease
enzymes. A new outer epicuticle layer of cuticulin
is secreted. This new cuticulin layer protects the epidermal
cells and newly forming cuticle from digestion by the enzymes in the molting gel, which is
then activated and becomes fluid. The chitinase and protease enzymes of the
molting fluid begin to digest the old endocuticle As much as 90% of the chitin and protein breakdown products from the old endocuticle are re-used by the epidermal cells to form
a new procuticle. Digestion of the endocuticle continues until
it reaches the old exocuticle The old exocuticle layer is resistant to enzyme
action since it is sclerotized. The remaining molting fluid is re-absorbed. The wax layer and polyphenol layer of the
new cuticle are deposited by the epidermal cells. Just before the molt the cement layer is released
by the dermal glands Note that the section of old cuticle is smaller
than the present region from which it came. This is the result of the epidermal cell growth
in the region from which the old cuticle was derived. Molting, which is properly called ecdysis,
occurs when the old exocuticle and epicuticle are sloughed off. The shed cuticle is called the exuvium. A hormone called bursicon is released that
stimulates the new procuticle layer that was present at the time of the molt to undertake
sclerotization by polyphenols and be converted to the new exocuticle. Once sclerotization is completed, no further
sclerotization occurs during the remainder of the instar. During the time between the molts, new endocuticle
is deposited continuously. And the cycle starts over at the next molt.

Max & Ruby: Ruby’s Puppet Show / Sugar Plum Max / Max’s Ant Farm – Ep. 37

Max & Ruby: Ruby’s Puppet Show / Sugar Plum Max / Max’s Ant Farm – Ep. 37


♪♪♪ ♪ Max and Ruby ♪ ♪ Ruby and Max ♪ ♪ Max and Ruby ♪ ♪ Ruby and Max ♪Man:
Max and Ruby.
Woman:
Ruby and her
little brother Max!
Kids:
Max and Ruby!
(Giggling)“RUBY’S PUPPET SHOW”(BOING, BOING)RUBY:
READY LOUISE?
READY RUBY! OKAY. ONE, TWO, THREE,PUSH!HOW DOES IT LOOK
ON YOUR SIDE, LOUISE? I THINK
IT’S STRAIGHT. LET’S STEP BACK
AND LOOK. BOTH:
HM… PERFECT! OUR PUPPET STAGE
IS READY.NOW ALL WE NEED
IS THE PUPPETS.
CAREFUL, MAX! LOUISE AND I ARE ABOUT
TO PUT ON A PUPPET SHOW! IT’S GOING TO BE
VERY DRAMATIC! WE HAVE ALL KINDS
OF PUPPETS. SEE? WE HAVE HAND PUPPETS
LIKE THIS PUPPY DOG. (AS PUPPET)
WOOF! WOOF! I’D LIKE TO FETCH A BALL! (PANTING) LOUISE:
AND WE HAVE FINGER PUPPETS. SEE? THEY JUST GO RIGHT
ON YOUR FINGERS. AND…CHEEP! TWEET! CHIRP!AND THERE ARE
STRING PUPPETS, LIKE THIS CLOWN. SEE? I CAN MAKE HIM WALK.BUT IT’S VERY HARD TO DO.YES, STRING PUPPETS
ARE THE HARDEST. PUPPET! THAT’S RIGHT MAX! LOUISE AND I WILL PUT ON
A PUPPET SHOW FOR YOU, OKAY? LET’S SEE
IF THE CURTAINS WORK. ONE, TWO, THREE… PULL! MAX:
PUPPET! BOTH:
(LAUGH) MAX! YOU’RE NOT
A FINGER PUPPET OR A HAND PUPPET.LOUISE:
AND YOU’RE DEFINITELY
NOT A STRING PUPPET!
WE’RE GOING TO PUT ON
A PUPPET SHOW FOR YOU, MAX. AND YOU CAN HELP!WOULD YOU LIKE THAT?WE NEED YOU TO PLAY
A VERY IMPORTANT PART. DO YOU THINK
YOU CAN DO IT? YOU CAN BE OUR
AUDIENCE! THE AUDIENCE IS THE MOST
IMPORTANT PART OF THE SHOW. NEXT TO THE PUPPETS. IN FACT, YOU CAN BE IN CHARGE
OF OUR AUDIENCE. WHY DON’T YOU PUT OUT
ALL THE CHAIRS IN A NICE NEAT ROW. AND HELP THE AUDIENCE
GET SEATED! WE’LL GO BACK STAGE AND GET READY
FOR THE PUPPET SHOW.BOTH:
THANKS MAX!
RUBY:
WHICH PUPPET DO YOU
WANT TO USE, LOUISE?
I DON’T KNOW,
RUBY. A LITTLE DUCK? QUACK, QUACK! (GIGGLES) A SCARY DRAGON? (ROARS) (GASPS) (GIGGLES) AWWWW, LOOK! A CUTE LITTLE LAMB PUPPET.BAAA! (BLEATS)LOOK LOUISE! HERE’S A PUPPET
OF A LITTLE GIRL. YOU KNOW WHAT THAT MEANS? WE COULD DO
A PUPPET SHOW OF MARY HAD
LITTLE LAMB! EXACTLY!ROBOT:
TAKE ME TO YOUR LEADER!
TAKE ME TO YOUR LEADER! MAX:
PUPPET! MAX! THAT IS A ROBOT! IT’S NOT A HAND PUPPET OR A FINGER PUPPET. AND IT’S DEFINITELY
NOT A STRING PUPPET! RIGHT. LOOK,
THESE ARE THE PUPPETS WHO WILL BE PERFORMING
IN OUR PUPPET SHOW. MARY… HELLO!LOUISE:
AND HER LITTLE LAMB.
BAAAA. WE’RE JUST ABOUT READY
TO PUT ON OUR SHOW, MAX. CAN YOU PLEASE MAKE SURE
THE AUDIENCE IS READY? (SIGHS)RUBY:
OKAY, IF YOU’RE
THE LITTLE LAMB,
AND I’M MARY,I SHOULD WALK THIS WAY.LOUISE:
AND I SHOULD FOLLOW
YOU WHEREVER YOU GO! AND THEN WHAT HAPPENS
IN THE STORY? I DON’T REMEMBER. HM… RUBY AND LOUISE:
(GASP)MAX:
PUPPET!
WE REALLY NEED YOU
TO BE IN THE AUDIENCE, MAX. IN FACT, THE MOST IMPORTANT
PART OF YOUR JOB IS ABOUT TO BEGIN!RUBY:
HERE’S WHAT WE NEED YOU
TO DO.
CAN YOU PLEASE MAKE SURE
THE REST OF THE AUDIENCE GETS SEATED? MR. AND MRS. QUACK,WOULDN’T WANT TO MISS
OUR PUPPET SHOW.
NEITHER WOULD
SALLY SWIMS-A-LOT.SHE SWAM ALL THE WAY HERE
TO SEE IT.
IN A COUPLE OF MINUTES,THE CURTAINS ON OUR STAGE
ARE GOING TO OPEN, AND DO YOU KNOW WHAT WE NEED
YOU TO DO THEN? WE NEED YOU TO APPLAUD.YOU KNOW,
CLAP YOUR HANDS.
PUPPETS LOVE
APPLAUSE. DO YOU THINK
YOU CAN DO THAT, MAX? LET’S HAVE A PRACTICE RUN. SO…
THE CURTAINS OPEN AND WHAT DO YOU DO? (TOYS LAND WITH A THUD) (CLAPS) BOTH:
(GIGGLE) THAT’S PERFECT! WE KNEW YOU’D BE
A GREAT AUDIENCE! OKAY, MAX, WE’LL GO BACKSTAGEAND AS SOON AS YOU SEE
THE CURTAINS OPEN,
YOU KNOW WHAT TO DO!♪♪♪RUBY:
BECAUSE I’M PLAYING
THE PART OF MARY,
MY PUPPET HAS TO GO
ON FIRST, LOUISE.
OKAY,
I’LL OPEN THE CURTAINS, AND THEN MY LITTLE
LAMB PUPPET WILL COME OUT. WHAT ARE WE GOING TO DO
ABOUT THE ENDING OF THE STORY? LET’S JUST MAKE IT UP
AS WE GO ALONG. ALL RIGHT! IT’S ALWAYS MORE FUN
WHEN YOU DO IT THAT WAY! (GIGGLING) GET READY TO APPLAUD,
MAX!THE PUPPET SHOW
IS ABOUT TO BEGIN!
(CRICKETS CHIRP) HM… NO APPLAUSE? (CRICKETS CHIRP) WHERE DID HE GO? PUPPET!RUBY:
AAAAAAH!
HOW DID THAT SPIDER
GET HERE?!
LOUISE:
BAA! BAA!
RUBY:
GET IT OUT OF HERE!
WE DON’T NEED
ANY SPIDERS HERE!
LOUISE:
BAA! BAA!
(APPLAUSE)RUBY:
(WHISPERING)
WHO’S THAT?
LOUISE:
(WHISPERING)
I DON’T KNOW!
WHAT A WONDERFUL SHOW! GRANDMA! I JUST LOVE MARY
AND HER LITTLE LAMB. AND HOW DID YOU COME UP WITH THAT TERRIFIC NEW ENDING WITH THE SPIDER? IT WAS MAX,
AND HIS STRING- PUPPET! (BOING, BOING)RUBY:
“SUGAR PLUM MAX”
(WHIRRING)ROBOT VOICE:
ALERT! ALERT!
UNIDENTIFIED INTRUDERS!RUBY:
IT WAS A GREAT IDEA
TO GET INTO OUR TUTUS,
LOUISE. I JUST KNOW I’M A BETTER
BALLERINA WHEN I’M WEARING MY TUTU, DON’T YOU THINK,
RUBY? YES LOUISE. NOW, WHAT BALLET DANCE
SHOULD WE DO FOR GRANDMA WHEN SHE COMES OVER? SWAN LAKE?RUBY:
THAT’S PRETTY HARD
FOR BEGINNER BALLERINAS.
HMM. (GASP)
WHAT A BEAUTIFUL BOX! THERE MUST BE SOMETHING
VERY SPECIAL INSIDE! YOU’RE RIGHT!GRANDMA AND I
MADE A DELICIOUS TREAT
FOR AFTER BALLET PRACTICE.THEY’RE SUGAR PLUMS.THAT GIVES ME
A GREAT IDEA, RUBY! I KNOW WHAT BALLET
DANCE WE CAN DO! BOTH:
THE DANCE OF THE SUGAR PLUM
FAIRY!RUBY:
GRANDMA WOULD LOVE THAT!
SUGAR PLUMS! (GASPS) THOSE ARE FOR AFTER OUR
BALLERINA PRACTICE, MAX! LOUISE:
DANCING LIKE A SUGAR PLUM
IS EASIER THAN DANCING LIKE A SWAN,
RUBY. BUT SUGAR PLUM FAIRIES
NEED TO DO A FULL PIROUETTE. YOU MEAN WHERE YOU TURN
ALL THE WAY AROUND, ON ONE TOE? HM-HM. NEITHER OF US HAS
EVER DONE ONE! THEN THIS IS THE DAY
TO TRY! WHOA! THAT’S WHAT PRACTICING
IS FOR! (TRAIN CHUGS AND WHISTLES) SUGAR PLUMS! YOU CAN HAVE A SUGAR PLUM
AFTER THE PERFORMANCE, MAX. WHY DON’T YOU PLAY
WITH YOUR OTHER TOYSWHILE WE PRACTICE?MAYBE IT WOULD HELP IF WE WARM UP WITH THE FIVE
BALLET POSITIONS. GOOD IDEA, RUBY! FIRST POSITION. SECOND POSITION. THIRD POSITION. FOURTH POSITION. AND FIFTH. AND HOLD… AND REPEAT.RUBY:
FIRST POSITION!
SECOND POSITION. (WHIRRING) THIRD POSITION! (WHIRRING) FOURTH POSITION! FIFTH POSITION.AND…. RELAX!(WHIRRING)RUBY:
MAX!
YOU HAVE TO WAIT TILL
WE’RE FINISHED OUR DANCE. WHY DON’T YOU PLAY
WITH ONE OF YOUR OTHER TOYS TO KEEP YOUR MIND OFF
THE SUGAR PLUMS. NOW THAT WE’RE WARMED UP, LET’S TRY TO DO
A PIROUETTE. YOU GO FIRST,
LOUISE. OKAY! (EFFORT NOISES)
AHHH! WOW! YOU ALMOST WENT
ALL THE WAY AROUND. LET ME TRY. (EFFORT NOISES)
OOOH!LOUISE:
MAYBE A SWAN IS EASIER
THAN A SUGAR PLUM
AFTER ALL! BALLERINAS NEED
TO BE STRONG, AND THEY NEED
TO PRACTICE. LET’S TRY AGAIN. OOPS! OOOH! (EFFORT GRUNTS) (WHIRRING)ROBOT VOICE:
ALERT! ALERT!
INCOMING!(GASPS) MAX, THESE SUGAR PLUMS ARE FOR AFTER
THE BALLET PERFORMANCE!LOUIS:
RUBY,
MAYBE IT WOULD BE EASIER
TO PRACTICE PIROUETTES IF WE DID THEM
TO MUSIC. THAT’S A GREAT IDEA,
LOUISE. DANCING IS ALWAYS
EASIER TO MUSIC. (BALLET MUSIC PLAYS) ♪♪♪ HERE COMES THE PART WHERE
WE DO THE PIROUETTE! BOTH:
OOOH! OOPS! WE ALMOST DID IT,
LOUISE! LET’S TRY AGAIN! (TAPE REWINDS) (GASPS) MAX! I TOLD YOU, MAX. GRANDMA’S COMING TO SEE
THE DANCE OF THE SUGAR PLUM FAIRY AND THEN WE CAN
ALL ENJOY THESE TREATS. BUT NOW, WE NEED TO PRACTICE! (DOORBEL RINGS) (GASPS) I THINK PRACTICE TIME
IS OVER, RUBY! GRANDMA! I HOPE I’M NOT TOO EARLY
FOR THE BIG PERFORMANCE, BUT I COULDN’T WAIT
ANY LONGER. I LOVE THE BALLET. YOU’RE JUST IN TIME
FOR THE DANCE OF THE SUGAR PLUM FAIRY. PLEASE WALK THIS WAY. IF I COULD WALK THAT WAY, I’D BE WEARING A TUTU TOO! (CHUCKLES)HELLO, MAX.ARE YOU HERE TO WATCH
THE DANCING SUGAR PLUMS? SUGAR PLUMS! ♪♪♪ (WHIRRING) (BALLET MUSIC PLAYS) (PLANE WHIRS) (GASPS) MAX! BRAVA! BRAVA!
(APPLAUDS) (GIGGLES) RUBY,
THAT WAS AMAZING! I HAVEN’T SEEN SUCH WONDERFUL
SUGAR PLUM PIROUETTES SINCE I SAW PAVLOVA DANCE IT. YOU MEAN…
I DID A PIROUETTE? NOT JUST ONE!
LOTS! I THINK THE PERFECT REWARD
FOR BOTH YOU BALLERINAS…AS WELL AS THE BUNNYWHO HELPED RUBY
DO HER PIROUETTES, IS TO HAVE ONE
OF THOSE DELICIOUS… SUGAR PLUMS!RUBY:
“MAX’S ANT FARM”
♪♪♪ MAX! MY FIRST DRESS-UP PARTY
IS ABOUT TO BEGIN AND YOU AREN’T EVEN READY!YOU WANT TO LOOK NICE
FOR MY PARTY,
DON’T YOU, MAX?ANTS!RUBY:
YOU CAN PLAY
WITH YOUR ANTS LATER.
DRESS-UP PARTIES
AND ANTS DO NOT GO TOGETHER! PERFECT! YOU LOOK GREAT, MAX. (DOORBELL RINGS) (GASP)
MY GUESTS ARE HERE! ♪♪♪ VALERIE:
THANK YOU FOR INVITING US
TO YOUR DRESS-UP PARTY. (DOOR SLAMS SHUT) ANTS! (MARCHING MUSIC) CAN YOU PLEASE HANG UP VALERIE, MARTHA
AND LOUISE’S COATS WHILE I SHOW OUR GUESTS
INTO THE LIVING ROOM, MAX? THANK YOU, MAX. THANK YOU, MAX. THANK YOU, MAX. ANTS?RUBY:
THANK YOU FOR COMING
TO MY PARTY.
I’VE PLANNED LOTS OF GAMES
AND ACTIVITIES AND REFRESHMENTS
FOR LATER ON. (CHEERING) THE SECRET TO
A SUCCESSFUL PARTY IS TO PLAN EVERYTHING SO THERE ARE
NO SURPRISES! YOU’RE RIGHT, RUBY. WILL YOU HELP ME
SERVE DRINKS, PLEASE! HHM. YOU HAVE TO ROUND UP
ALL YOUR ANTS BEFORE ANYONE
SEES THEM, OR MY PARTY
WILL BE RUINED! ANTS! (SIGHS) I’LL KEEP
OUR GUESTS BUSY. OH, WHO WANTS FRUIT PUNCH? ALL:
WE LOVE FRUIT PUNCH! (CHUCKLES) (SLURPS) MMM. FRUITY. (MARCHING MUSIC) (GASPS) SILLY ME!
(CHUCKLES) WE WERE SUPPOSED TO DANCE
BEFORE REFRESHMENTS. FOLLOW ME! EVERYBUNNY TAKE
YOUR PARTNER! VALERIE:
MAY I HAVE THIS DANCE,
MARTHA? MARTHA:
SURE VALERIE! SHALL WE? OH, YES. LETS! (GIGGLING) ANTS! OOH! RUBY:
OOOPS! EXCUSE ME! I WAS TRYING
A NEW STEP. (GASPS) EXCUSE ME AGAIN! I JUST HAVEN’T QUITE
GOT IT YET. IT’S PRETTY HARD
TO FOLLOW! MAYBE WE SHOULD
ALL TRY IT, RUBY! (GASPS) WOW! I DON’T THINK
I’M A GOOD ENOUGH DANCER TO DO THAT!RUBY:
UM, I’M SURE YOU CAN DO IT,
VALERIE.
(GIGGLE)
THAT TICKLES!
WHAT DOES, RUBY?RUBY:
IT UM…
TICKLES ME THAT WE’RE
ALL HAVING SO MUCH FUN! (LAUGHS) ANTS! NOW IT’S TIME TO MAKE
SHADOW ANIMALS. OOOOOH! SHADOW ANIMALS! I’VE GOT MY STAR LIGHT
STAR BRIGHT FLASHLIGHT, AND IF YOU’LL DIM
THE LIGHTS, PLEASE MAX?LOUISE, VALERIE, MARTHA:
OOOOH! GOOD ONE RUBY!
IT’S SO REAL!HAH! HERE LITTLE PUPPY!ANY REQUESTS? HOW ABOUT A DUCK? I LIKE BUTTERFLIES. OKAY. ANTS! THAT’S A FUNNY REQUEST,
MAX! (GASPS) I CAN’T DO ANTS! WHY DON’T WE ALL GO
TO THE DINING ROOMFOR SOME LADY FINGERS
AND MORE FRUIT PUNCH!
LOUISE:
LADYFINGERS! YUM! REFRESHMENTS WILL BE SERVED
IN THE DINING ROOM. HERE, MAX! FOLLOW ME! ANTS!RUBY:
EVERY PARTY NEEDS
A CHANGE OF SCENERY.
I DECORATED THE DINING ROOM
MYSELF. (GASPS)NO!NO WHAT, RUBY? NO… NO PARTY IS COMPLETE
WITHOUT PLAYING A GAME! OKAY!
WHAT KIND OF GAME?RUBY:
UM…
LET’S PLAY WHO AM I. LET’S GO BACK INTO
THE LIVING ROOM. MAX, THEY’RE
IN THE DINING ROOM! (FRUSTRATED)
ANTS! (MARCHING MUSIC) ♪♪♪ ANTS! OH, I KNOW! I KNOW! YOU’RE RAPUNZEL! YOU’RE RIGHT, MARTHA! NOW IT’S YOUR TURN! WE’VE BEEN PLAYING
WHO AM I FOR A LONG TIME,
RUBY. OH, WELL… (MUNCHING) YOU’RE RIGHT AGAIN,
MARTHA! HOW ABOUT THOSE
REFRESHMENTS? VALERIE:
GOOD IDEA! MARTHA:
ALL THESE GAMES
HAVE MADE ME HUNGRY! MAX, ARE THOSE ANTS?! ALL:
(SQUEAL) OH NO! ALL:
WE LOVE ANTS! YOU DO? CAN WE SEE?VALERIE:
MARCHING ALL IN A ROW!
(GIGGLES) AH… (GIGGLE)
YOU SHOULD FEEL ONE! THEY TICKLE!
(GIGGLES)LOUISE:
YOU’RE A GREAT HOSTESS,
RUBY.
JUST WHEN WE THOUGHT YOUR PARTY
COULDN’T GET ANY BETTER, YOU TOP IT OFF
BY SHOWING US… ANTS!

Rooster Teeth Animated Adventures – Godzilla vs the Human Bugs


BURNIE: We were talking about like Godzilla, like – people are scared shitless of bugs, so what if Godzilla was like exactly like a person, and when it saw humans it was like: “WUHHHUHUHULLUHHH!”
[laughter] GUS: He’s like knocking down buildings – “Get it off, get it off!” BURNIE: “Where’d it go, where’d it go?” JACK: Godzilla has like an aerosol can – he like shakes and sprays all the people on the ground… GAVIN: He finally smashes a human and then looks at it, and he’s just like, “Glughh!”
[laughter] BURNIE: Fucking tank – the tank rolls up, and Godzilla takes it and puts a cup over it…
[laughter] GUS: …and he’s like “I’ll deal with that later.”
[laughter] BURNIE: I would pay great money if that was the first scene in the new Godzilla. He comes out of the ocean, and a fucking jet flies by him and he goes: “EEEEEEEEEEEEEEE!”.
[laughter] He goes up to other giant monsters –
“Is it on me? Is it on me?” [laughter]

Ang Langgam at ang Kalapati [The Ant and the Dove] | Aesop’s Fables in Filipino | MagicBox Filipino

Ang Langgam at ang Kalapati [The Ant and the Dove] | Aesop’s Fables in Filipino | MagicBox Filipino


On a warm sunny day a thirsty ant went to the river to quench its thirst with some cool water. mm a a I’m so thirsty, Where is the river ? I must go down there to drink. Half way on, the ant slips and falls into the river. Hh aah help nh ah help ah n ah n a h Help! Help! Help me! I’m being carried away . The flow of the river is too strong for me . Any one, help me please . Please help me From far away, a Dove sees the ant in danger. Oh no, the Ant is in trouble. Ah ah nh Help me! ah anh help me! Thinking smartly, the dove threw some leaves from the tree. Ah anh help me anh help me Hurry yo little ant, climb on to that leaf fast. Tthe ant climbed safely over the leaf and reached the shore. Meanwhile, a hunter enters and saw the dove. Excellent bird, very very beautiful dove. The dove does not know that I’m standing here. So what I should do now ? Should be able to trap that easily. Safely arriving on the shore, the ant saw the hunter hiding behind the tree, preparing himself to arrow the gentle dove Oh no My friend dove is in danger. I must save my friend. (sound of the dove ) (sound of the dove ) Agh ahh ohh oh fl( Futtering sound of the wings) Oh, ah, I can’t bear the pain, ah um On hearing the noise of the hunter, the dove flew away to the safe place. (Sound of the dove) I might have died, but you luckily saved me with your idea. Thank you, thank you my dear friend, thank you (sound of Laughter) You are most welcome friend You have saved my life it was the least I could do for you I’m happy my friend Dear kids, The moral of the story is As you sow so you reap Do good to others and that will help you back