AV Geeks 16mm Lunch 5-28-2026

Mhm. >> Mhm. >> Mhm. >> Uh someone pointed out in the comments that there's no y'all. And uh y'all is definitely um something that's needed. I think uh English pronouns got a lot of problems compared to other languages. Um and you being both a um single and plural just is problematic. Didn't come up with another word. Okay. Um anyways, we watch old 16 mm films here and I'm Skip Alzheimer and this is the AV Geeks lunchtime streaming show. Um where it's we watch 16 mm films and it's free. Or is it? It's free! It's free! >> We all like to get something free. When I was a boy, I sometimes used all my allowance to buy postcards and then I'd go through magazines and find things I could send for that were free. But you know something? It's fun to get free candy and things like that, but there's something much more important. The most important thing in all the world and it's free. >> What's the most important thing in the world that's free? To really be a Christian. >> That's right. Not one of us, nobody in all the world deserves to be a Christian. To have our sins forgiven, to have the Lord Jesus fill our lives with happiness, and to know we're going to heaven someday. We don't deserve this. But it's ours, free. The Bible calls this salvation. >> What's salvation, Mr. Messenger? That's what he's talking about. Salvation is when you let Jesus into your heart so he can forgive your sins and make you happy. >> That's right. >> I'm still not sure I understand. >> Do you like to hike in the woods? >> Sure. >> And have your parents ever warned you to be careful so you don't get lost? Okay, let's imagine you're out hiking in the woods. You get a little careless and go deep into the trees, away from any trails. You're sure you can take care of yourself, but you get lost. It's no fun being lost. It can be very dangerous. Suppose when you're lost in the woods, you find a box. It's full of books, books on science, history, arithmetic, all kinds of books. You could read all those books, learn everything in them, but that wouldn't help you find your way out of the woods. And that's how it is with lots of people in this world. They learn many things, but they just never take the time to learn the most important thing, how to become a Christian. Suppose you were to find a lot of money in this box, hundreds of dollars perhaps. What good would that do you so long as you were lost? You couldn't buy any food. You couldn't buy a ticket which would take you out of the woods, you'd be just like people in the world today. They work and work to make money. Money becomes the most important thing in life to them. They think so much about money, they never take time to think about God's free gift of salvation. It's especially bad to be lost in the woods at night. The Bible tells us this world is full of darkness, the darkness of sin. Jesus said, "If you follow me, you won't be stumbling through the darkness, for a living light will flood your path." God is light, the Bible tells us, "and in him is no darkness at all." Go to that light and you won't be lost anymore. Becoming a Christian means that you turn from the darkness of sin and go to the light which God has given us, the light we find in the Bible. But many people won't come to God's light. They try to live their own way. They go all through life lost. Don't turn your backs on God's light, kids. The Apostle Paul said to one of his young friends, "When you were a small child, you were taught the Holy Scriptures, and it is these that make you wise to accept God's salvation by trusting in Christ Jesus." >> I still don't quite understand how you become a Christian, Mr. Messenger. >> Okay. Let's think about it this way. Suppose you were out there on the water drowning. Then you saw me coming in my boat. What would you do? >> I would call out for you to save me. >> But what if I looked down at you and said, "Oh, you're drowning. I'm sorry. What a terrible thing. Dear me, it's getting late. I must hurry. I don't have time to save you now, but I'll be back this way in an hour. If you're still drowning then, I'll pull you into my boat and save you. Is that what I would do? >> No, you would pull me into your boat and save me. >> Of course I would. I would save your life just as fast as I could. That's the way it is when you become a Christian. You're like a person drowning. You can't save yourself. But the Bible tells us anyone who calls on the name of the Lord will be saved. >> I understand. Isn't it kind of like when you're sick? The doctor gives you some medicine. If you take the medicine, the germs in your body will die. You will get well again, but you've got to take the medicine. >> Sin is a terrible thing. All of us have sin in our hearts. The Bible tells us all have sinned. Everybody. But when we open our hearts to the Lord Jesus, when we become Christians, then something wonderful happens. God makes us His children. Becoming a Christian not only sets you free from sin. Becoming a Christian is the only way to really have a happy life. So, do you think you really understand what it means to be a Christian? >> Everyone is lost without Jesus. >> It's like they're lost in the woods at night. >> But the Bible is God's light. >> The Bible tells us how we can be saved from our sins. >> You just tell Jesus you're lost. You can't save yourself. You ask him to save you and he does. >> Anybody who really wants to can become a Christian. All you have to do is open your heart to the Lord Jesus. >> I'm sure that I'm a Christian. >> So am I. >> Are you a Christian? If you aren't, you can Always remember what the Bible says, kids. Believe on the Lord Jesus Christ and you shall be saved. >> So, it's Mr. Messenger, not Farmer Messenger. Um I have another film that he did and I can't remember what it is, but I'm sure that there's a series of these Ken Anderson films. They made a bunch of religious films uh back in the day. Um including one about skateboarding, which is kind of interesting. Unfortunately, my copy of it is really beat up. Um Anyways, let's see what we got here. Uh that was part of a show that I did called God Awful, where there's a bunch of films that were Christian films that were not very good. Uh all right. Here's a drug film. And uh no, actually, let's go ahead and watch something on the scanner. Let's go ahead. We get So, this is what I figured out that uh I did some testing last night. Um if I capture while I'm streaming, the audio is garbage. It's no It's really bad. It drops out and this is a problem we've been having for a while and I'm not quite sure what's what the deal is um with that. Like, they changed something. Um so, I can use the scanner to show you stuff, but I can't scan at the same time. That's okay because I don't mind that. So, here's a new film that we haven't seen before. It's a Western Woods film, which means it's based on a book and it might just barely be animated and maybe not animated at all. Here we go. It's the village of round and square houses. Enjoy. >> The village of round and square houses. This village really exists. Just the way it always has. In the remote hills of Central Africa. It was not until I was almost full grown and left my village that I found our village was like no other. For the men live in square houses and the women in round ones. To me, this seemed the natural order of things. But, what is it like you ask? I will tell you how it was and is for me. I grew up on my grandmother's farm in the village of Toss that lies at the foot of Nata Mountain in the Bameni Hills of West Africa. We planted yams and corn and tobacco and the finest coffee grown in the Cameroons. Our village was always happy and peaceful. A good place for any boy or girl to grow up. Every evening after a day of work in the fields, Uncle Domo and Grandpa Oma came to our round house for supper. We children would hurry to put out the low wooden stool for Grandpa Oma, for he was the eldest and closer to the ancestor spirits. Then we would unroll the grass mat for Uncle Domo, the next oldest, as was only proper and respectful. And there they would sit proudly in their bright robes. Grandpa Oma above, seated on his stool, hands on knees, and Uncle Domo seated below. Then they would ask to see the children. One by one we would come forward from the narrow doorway, and one by one we would be lifted to sit upon those high and bony knees. And Grandpa would ask each one of us, "What have you learned today?" We would squirm and make an answer, and wiggle off those sharp knees, and run to help Mama and Grandma Tika prepare the meal to come. Supper might be fish or rabbit or groundnut stew or yams, but always I would be the one to pound and soften the white cassava root to make the fufu we eat at every meal. Then Mama would cook the fufu and beat it till it was white and fluffy. And she would pile the food into big bowls with round handles, just right for our small hands to hold. Then we would march into the big round room, our bare feet gripping the earthen floor. The little ones went first, carrying the bowl of heated water and towels to wash the hands before and after eating. Then the older ones would carry in the stew, spicy and steaming, smelling oh so good. And I would come in last, bearing the fufu. Grandpa, as the eldest, would always eat first, dipping the first three fingers of one hand into the fufu, scooping up a small portion, which he dipped quickly into the stew bowl to flavor each bite with the spicy meat and juices. Then, in order of age, Grandma, Uncle Domo, and sometimes Mama, if she left the cook fire, would finish their meal in the same way. And we children would follow last, making sure to leave the bowl clean. After supper, when the men went back to the square house to smoke and talk of farming and fishing and the old days of the hunt, Grandpa would leave some tobacco for Grandma. He knew she liked to smoke it later, when everything was peaceful. Then she would sit alone in the moonlight, looking up at the dark slope of Naga Mountain rising high above. I remember one night I sat beside her. Grandma Tica took a last puff on her pipe, then pointed with it to the sky above our village. "You'll see old Mother Naga smoking so peacefully there." I leaned way back and looked up to see old Naga's breath rising in lazy puffs of smoke, soft and gray in the night sky. And do you remember that sometimes in the night we hear old Naga snoring in her sleep? I nodded, pleased that grandma felt I was old enough to notice such things. Well, it is by these signs that we know she is content. Now we live in peace with Naga and the spirits of our ancestors. Houses of any sort, either square or round, it did not matter. Then, one peaceful night before anyone alive remembers, old Naga began to groan and rumble and awoke from a long sleep. The villagers were frightened and ran out of their houses and hid in the bushes at the foot of the mountain. A great wind came up and the ancestor spirits in the trees cried out to warn them. Even the rocks began to tremble. Suddenly, the black night was split open like a coconut and a great white burst of light rose like the sun. Then the voice of our mother, Naga, thundered out over all. Boom. Baboom. Baboom. And the people cried out to Naga and prayed where they were lying down, hands pressing the earth asking, "What have we done to so anger you?" All through the night old Naga spoke to them, shouting her anger to the skies as red rivers of lava flowed down her sides. The morning sun rose, but no one could see him. The anger of Naga was too great, and ashes and smoke filled the air. Finally, no one remembers when, Naga spoke no more. Slowly, carefully, the people lifted their heads and looked about. Everything was covered with ashes, even themselves. Everyone looked like a gray ghost. No one knew who stood next to them, or who came behind. So, they stood there, trembling with fear, but grateful to be alive. Naga had spared them. Still covered with ashes, the men, women, and children faced the mountain together and went back to claim their homes. But, when they came to the burnt-out village, only two houses were left standing. One square and one round. The people saw that only these two houses had been spared by Naga, and they wondered to themselves, "Why these?" Was it a sign? But, the village chief had no time for such questions, and he called them together. "We must begin to rebuild our village now." He pointed to the ash-covered people. "You, tall gray things, you go live in the square house. And you, round gray things, go live in the round house. And you, small gray things over there, you go pick the small gray stones out of the fields so we can plant our crops again. And so it was done. The women lived in the round house with the children, and the women talked and laughed, preparing food for everyone. The men stayed in the square house and told each other tall stories and planted yams and corn each day in the new rich soil. And the children made a game out of clearing the fields of small gray stones and went swimming and fishing in the long afternoons. And no one forgot to thank Naka for sparing their lives and giving them back such fine crops from her good earth. Grandma smiled down at me. And so you see it has been to this day, for the women have decided they enjoy getting together to talk and to laugh and to sing. And the men have become used to being together and relaxing in their own place. And the children? Aisha, is it not true the children still keep the fields clear of little gray stones? Yes, I laughed. And we still swim and play in the afternoon, but we bring home the fish we catch for supper. And we all get together then. Grandma laughed, too. So, you see, Ausa, we live together peacefully here because each one has a place to be apart and a time to be together. She took me by the hand and turned back to the roundhouse. And that is how our way came about and will continue till Naga speaks again. >> So, that I apologize for the buffering. Um yeah, I I there's a thing with key frames that OBS is not doing right and I thought I had fixed it, but I hadn't. So, there you go. Anyways, the uh yeah, that film fascinating, but man, I wish it was animated. Uh visually, it was beautiful, but man, to see it animated would be really awesome. But, there you go. That's life. Okay. Um let's find out what's going on with our good friends our good French friends at Tout le Bond. This is uh the go to Versailles. Enjoy. >> Madame Clement C'est beau. C'est sensationnel, tu sais. Où sommes-nous ? Nous sommes sur la terrasse. Attends. Écoute bien. Le roi dit en sortant du château on ira sur la terrasse. Il faut s'arrêter sur le haut des degrés pour considérer la situation des pièces d'eau et des fontaines. Nous sommes en haut des degrés, c'est-à-dire des marches. Regarde. Et voilà les pièces d'eau, les bassins et les fontaines. C'est merveilleux. Ça, c'est le bassin de Latone. Plus bas, c'est le bassin d'Apollon. Tu entends, ? Ces demoiselles ont un livre, un guide écrit. Nous allons les suivre comme ça, nous n'avons pas besoin de payer un guide. Un ? Jamais de la vie. Non, un guide, ça attend toujours un pourboire. Et il faut donner au moins pas un franc. Un ? Mais c'est de la folie. C'est que la vie est chère à Paris. Ah oui. Enfin, aujourd'hui, nous avons de la chance. Suivant ces jeunes filles, on peut toujours leur demander. D'accord. Pardon, mademoiselle. Excusez-nous, je vois que vous avez là un guide avec un plan. Dites-nous, s'il vous plaît, quelle est cette espèce de ? Ça, madame, c'est le Grand Canal. Ah. Il est pas bien grand, mon avis, hein. Chez nous, en Auvergne, les canaux sont beaucoup plus grands que ça. N'est-ce pas, ? Ah oui, surtout plus long. Et nous, nous, mademoiselle, nous sommes Auvergnats. >> Yeah. Yeah, but I miss you. What is this affair master? I could I play on your watch the order of the laundry to watch the party of the orange tree. And the lack of this week. The lack of this week. Can we switch? I thought I thought. Let's face my mother said we do the garden switch the garden of the war at the court of Louis XIV. It is a very good garden switch. Thank you, miss you. If you want to get you see a lot of service. No, thank you, miss you. You have my little library and plan. That's it. Yeah, my mother said you don't insist on that. I don't claim on the gate. I miss you see you later I get No, no, no, miss you. You should have a good time with them. I saw the young lady Matthew. He is happy. We are happy. So you should go home and get your aunt. You saw my uncle at the cafe. I don't know my mother said the orange tree is for cultivating the orange. Yes, we are madam. Only garden of the interior delivery and only saw on the weather. I will not switch again. It's not possible. It's my mother and my mother said the orange tree is not possible. My mother said If you will be excused. Oh, regard. There are the person in the water. These are some of the carp, mademoiselle. They are so very old. They are more than 100 years old. It is too short to dig. It is the water here. It is a way to be tranquil. Pardon, mademoiselle. These persons What kind of fish is this? These are some of the carp, monsieur. They are so very old. They live more than 100 years old. 100 years old? How can they be 100 years old? You are mocking us. We have fish that are much bigger than that, and they are not 100 years old. I am tired. And now, where do we go? Wait, I am looking. Look, Clement. All of this water is being wasted. What a waste. Waste. >> Bon appétit, mesdames. Don't worry, Mathilde. He is gone. He is gone? Oh, good. So, everything is good. Oh, no, Clement, not you. Be reasonable. Life is expensive in Paris. Here, half. Elizabeth and Caroline continue their walk. They arrive now in front of the Grand Trianon. Hello, young ladies. Did you have a good walk? >> Yes, sir. >> The park of Versailles is beautiful, huh? >> It's wonderful. >> Listen. You like Versailles. So, I'm going to show you something very special. Something Wait for me there. It was the favorite toy of the little Dauphin, the son of King Louis XVI. I never show it to anyone. But you are so nice, both of you. >> Merci beaucoup, monsieur. C'est merveilleux. >> Merci, monsieur. C'est mon plus joli souvenir du château de Versailles. >> Mais non, mais non, mademoiselle. Je ne veux pas de pourboire. Je n'ai pas besoin d'argent. C'est Cela m'a fait plaisir. >> Bon. Au revoir, monsieur. >> Au revoir. >> I like me some harpsichord, but I can't really dance to it. Sorry. Uh all right. It is finally time to take commas aside. Uh this is part of the that punctuation series that Centron films made in the 70s where they try to be a little funny and uh I think they um obscure the message enough to where you're like, "What? What? I thought I understood it, but now I don't understand it at all." So, enjoy. Wait a minute. Something's acting weird. Let's try that again. Let's try that again. See if that works. >> This is Dr. OG Wiz, world-famous comma hunter and super expert on commas in general. >> Uh Thank you. Whoever you are uh Uh yes. I've hunted commas all over the world. And let me tell you, I've found some commas in some pretty strange places. You know, some people think it's wrong to hunt commas unless you're a teacher. But the fact is, a comma in the wrong place can cause a lot of trouble. Well, take this big one for example. I found it hanging outside of a sentence trying to take the place of a period. Can't do it. I did it a favor by bringing it inside the sentence. All commas belong inside sentences. Let me introduce you to Horace T. Punctuator, the inventor of the comma. If Horace could speak, >> comma >> he would say, >> comma >> "There really isn't much to it. In fact, >> comma >> Horace got the idea for the comma while watching an old-fashioned melodrama. But, I'll tell you a little bit more about that in just a moment. First, hear this. I'm going to show you just two ways in which you can use commas. That's all, only two. And if you practice these two things, it should take care of the majority of your comma problems. Here they are. Notice that my fingers never leave my hands. There they are. Asides and betweens. You don't know what those terms mean? Well, don't worry about it. In this film, we're going to concentrate on asides. Now, what is an aside? Well, just watch some of this melodrama. >> Aha! >> Squire Northworthy, what are you doing here? >> I heard about your trouble. Little does she know that I am the cause of that trouble. And I came to help. >> Did you see that gesture? That is an aside to the audience. In melodrama, when you want to give the audience a little extra information, it's called an aside. The is something in addition to the main part of the sentence and it tells a little bit more about what's going on. Watch now for the asides. >> I'm sure that your friends, whoever they may be, will come to your rescue. >> I thank you for your sympathy, if that is what it really is. But I think I can solve my own problems. >> The grammar experts have other names for asides. Uh what is it they're called? >> Parenthetical elements. Or sometimes nonrestrictive subordinate clauses. >> Oh, well, I I just call them asides. Uh you know, something's added on the side. Uh asides. Um if you look closely at people in conversations, you can often see them make asides. Oh, they don't put their hand to the side of their mouth, but if you watch very carefully, you can spot two asides in this ordinary conversation. >> I saw your neighbor, the one with the bleached hair, at the supermarket yesterday. >> I haven't seen her for let me see, about 3 weeks. >> Did you spot the two asides? The one with the bleached hair and let me see. Well, so far we've only seen asides in conversation. However, Horace T. Punctuate-er decided that he wanted to use asides in some of the sentences he was writing. At first, he did it this way. >> When you see Helen, my sister, please tell her >> Wait. There was something wrong with that method. The person reading the sentence later wouldn't see Horace moving his head aside. And then Horace thought of this great idea. He made a dot for a tiny little head. And then showed that he was moving it aside. He put one where he turned his head aside. And one where he brought it back. And there it was right on the page. Horace had taught the world to enclose the aside in commas. Today, anybody can do it. If you want to, you can even do it in a melodrama. >> I wish Jack that handsome fellow were here now. >> Your friend I do believe is not dependable. >> If only my father whom I dearly loved were here to advise me. Oh. >> Commas might even enclose the asides in ordinary conversation. >> I saw your neighbor the one with the bleached hair at the supermarket yesterday. I haven't seen her for let me see about 3 weeks. >> An interesting thing about asides if you leave them out the sentence still makes sense. Watch. >> I saw your neighbor at the supermarket yesterday. >> I haven't seen her for about 3 weeks. >> See what I mean? The aside is something extra. We have uh you will notice been using two commas every time. Can we ever enclose an aside with just one comma? If you ask me the answer is yes. Why? Because all commas belong inside the sentence. So, if you ever have an aside at the beginning or the end of a sentence, it only takes one comma to separate it from the rest. Now, I'll demonstrate. Here's an example of an aside in the middle of a sentence. The answer, if you ask me, is yes. Now, here's the same aside at the beginning of a sentence. If you ask me, the answer is yes. And now, here's an aside at the end of a sentence. Blondes have more fun, they say. And that's all you need to know about punctuating asides with commas. This is Conceited Connie. She is so conceited, she never encloses her asides with commas. She thinks we can read her mind. But we can't, so nobody knows what she's trying to say. This is the way she writes a sentence. No commas must mean no asides. So, this is the way one of our actors might read her sentence. People I like not, those I dislike, like me. Is that what you meant to say? Well, I didn't think it was. How can the reader know where the aside is if you don't put the commas in? Put the commas in. Now, we can read it the way you meant it. People I like, not those I dislike, like me. If you practice just one thing, many of your problems with commas will disappear. Just learn to recognize what is the main thing you are saying and what is a side remark. Then enclose the side with commas. What is it you want to say? >> John is noisy. >> That's the main thing you want to say. >> John is noisy. >> How many Johns do we have in here? Uh-huh. Could you add a little something extra to help let us know which John you mean? >> I could use an aside. >> Try >> John, the one on my left, is noisy. >> Now, if you were writing, we couldn't see you point. How would you do it if you were writing? >> John, the one on my left, is noisy. >> All right. John, be quiet. Helen, don't be a squealer. Now, everyone, let's pretend that you have commas on your hands. Let's read the following unpunctuated sentence and then pick out the aside together. Ready? Let's do it. Squire Noteworthy, the fiend, was up to no good. How did we know that the fiend was extra information and therefore an aside? Because you can leave it out and the sentence still makes sense. And what mark do we use to enclose asides? >> Comma. >> Right. Now we get into some tricky stuff. Remember, I'm uh still talking only about asides. But if you'll remember, there are other ways to gesture asides besides this. Remember the woman who touched her hair when she did an aside? >> The one with the bleached hair? >> And remember the one who just glanced aside. >> Let me see. >> We have many ways of gesturing asides. We may point, for example. John, be quiet. Helen, don't be a squealer. If we address somebody directly when we are speaking or writing, do you know what that's called? >> Direct address. >> That wasn't so hard, but I call that an aside, too. Why? Because uh if I just say you are noisy or John is noisy, those are simple, complete sentences. But, if I add a direct address, it's like interrupting my main thought to uh point a finger at someone to whom I'm speaking. You, John, are noisy. It's almost like interrupting my thought to point a light at someone. John, I see you are behaving yourself. Helen, I am speaking directly to you. Are you listening, Mr. Smith, to what I am saying? I'm speaking to you, John. Dear sir, I am now addressing you. Would you, Mary, TURN THE LIGHTS ON? THANK YOU FOR TURNING THE LIGHTS ON. THANK YOU, MARY, for turning the lights off. The direct address could be left in or left out. Since it's something extra we add, an aside, we always separate the direct address with >> comma >> or commas. Here are other ways we sometimes gesture asides. We nod our head yes or we shake our head no. We often do. Yes. We often do. Yes and no, when they are used in a sentence that way, are asides. Well, after all, they don't contribute to my main thought. I could say, for example, that answer is correct. I'm just adding a little something extra for emphasis when I say, "Yes, that answer is correct." or "No, that answer is not correct." But when I'm writing, how does the reader know whether I'm nodding or shaking my head? >> comma >> Yes. That is correct. Before or during our main thought, we sometimes tilt our head back to think, saying, "Let me see." or uh "Well." or "Hmm." Do you ever do that? Before you give the answer to a question, say, "Well." and then go on to state what you meant to say? That extra added thought is an aside. Needs a comma. I could say, for example, "You may be right." I'm just adding a little indication of my doubt when I say, "Well, you may be right." If it's a thought added, it's an aside. Therefore, what if I leave the comma out? Suppose somebody asks me where water comes from. I'm not sure. But I think about it. And here's what I say. I thought well water came from the ground, that you had to pull it up out of the ground in buckets. Let's put the comma in and see what happens. Ah, that shows me it's a different kind of well. That well is a little bit of thinking I was doing on the side. Well, {comma} water comes from the sky. So you see, you do need the commas. There's only one rule for asides, and it covers everything I've shown you. And that rule is anything that breaks into your main idea may be treated as an aside. Here's a main idea. We've been picking on John, so let's make it up to him with this sentence. I think that John is smart. I'm going to break into that thought with another kind of aside. If you think commas are hard, you should try breaking into a sentence this way. Woo! Okay. Now I'm going to break into this complete thought by adding a few extra asides. Someone tells me that John has been getting poor grades. To which my reply is I think however, that John is smart. Or someone claims that I once said that John was dumb. To which my reply is, I think now that John is smart. I can even add an extra aside at the beginning of the sentence. For instance, I think now that John is smart. Any addition, interruption, or qualification of the main sentence thought is an aside. That's all there is to it. Learn to pick out your main thought, and everything else is an aside. Separate all asides with commas, and you will have mastered more than half of the uses of the comma. I won't review what I've said, because the best way to do that is to look at the film again, after you've practiced. There are many fun ways in which to practice asides. Now, audience, the rest is up to you. >> Comma. >> No. Period. >> This, we do believe, ends part one. >> Comma. Comma. >> Yeah, fearless uh pronunciation. Okay. Um thanks for watching today. I appreciate your eyeballs. Uh and I feel like we've shown the uh the other Coma film, but maybe we haven't. I'll keep a I'll keep a look and see. Um, but, uh, if you like what you saw, hit the thumbs up, hit the like button, subscribe. Uh, you can also donate donate donate via the Super Thanks button or go to patreon.com/avgeeks or ko-fi.com/avgeeks. Those are great ways to support us, but also just showing up. Uh, I'm going to go get a haircut. We'll see you tomorrow. Everybody take care.