[User] Please transcribe this text

[Assistant] The first book being the fifth season. This is such a unique adult fantasy series. I devoured it. But it takes a little while to get used to it because of the writing style. A lot of it is told, uh, the second person, so you, you, you. So it gets a little confusing, so it won't be for everyone.


[User] Please transcribe this text

[Assistant] With that said, you're following this woman who, uh, lives in a small town and one day she comes back home, her husband killed her son and kidnapped her daughter, well, their daughter. So the story doesn't really center the magical school, but there's still one present and, you know, there's a little bit of time spent there.


[User] Please transcribe this text

[Assistant] If you really love magical school, I feel like we'll take anything.


[User] Please transcribe this text

[Assistant] So this still works, the magic system is super interesting. Also, one thing that I love with this one is that it mixes some of my favorite thing, which is like the magic and the fantasy, but also kind of apocalyptic world setting.


[User] Please transcribe this text

[Assistant] And the mix is just really well done. I really enjoyed it. There's also great representation. The characters are just fantastic and I can't recommend this enough. Like the ending was just fantastic. I had to mention the Puppy War trilogy because even though the magical school is mainly in the first portion, like the first half of the first book,


[User] Please transcribe this text

[Assistant] It still works. You've only met a character who, in order to escape her horrible childhood, attempts to make it to the school where she will learn, uh, to become a general in the war.


[User] Please transcribe this text

[Assistant] I do want to mention to look up to your warnings because pretty much everything I can think of is in this book, which makes sense because of the war, but it's still definitely up there. It is an adult fantasy, so definitely tends to be a little bit darker, uh, but it works kinda with this video. Still recommend it. The magic system is super interesting. This one is more based on, uh, gods.


[User] Please transcribe this text

[Assistant] And the gods are not like, good. And using your magical power will just drive you crazy. So, fantastic story, do recommend it. I did finish the whole trilogy, and obviously no spoilers, but-


[User] Please transcribe this text

[Assistant] Not with this one, that I'm still thinking about it. It was great. Everyone has been talking about the Grisha universe because of the new TV show, but I had to mention Shadow and Bone because it does have a magical school. You don't see it a lot in the TV show, but in the first book you do have a good portion where everything happens in the magical school. You learn how the magic works, which is why you have to read the first


[User] Please transcribe this text

[Assistant] Lines and soldiers to like attack each other which sounds really weird, but it was not bad I just wish it was an adult book. That's the best way of describing it. I feel like it's supposed to be


[User] Please transcribe this text

[Assistant] Why? We're middle grade, the main character is 16, but he acts like he's 10, which was... And the romance...


[User] Please transcribe this text

[Assistant] Is why romance kinda sucked, to be honest. But, uh, because it's Brenda Sanderson, the story and the magic is really interesting, and again,


[User] Please transcribe this text

[Assistant] Jade City, which is the first book in the Greenbone Saga by Fan De Li. As far as the plot, think Godfather with magic, kung fu, and just two clowns trying to fight for control over this city.


[User] Please transcribe this text

[Assistant] And it was just really, really great. A lot more character driven than I expected. Uh, I think it's because the characters are definitely super touching and you just, you're really rooting for some of them and their struggle as they try to survive. And yes, I've only read the first book. I'm planning on reading book two.


[User] Please transcribe this text

[Assistant] Any minute now, and the third book is coming out, uh, towards the end of the year, so you can binge read the whole thing, but yes, highly recommend this series also. A few that I was more so-so about were like stretching a little bit the definition of magical school. The first one would have to be every heart a doorway, which like magical school maybe might be stretching a little bit your fallen kids that want to, uh,


[User] Please transcribe this text

[Assistant] Magical universe through doors, think Narnia and then when they come back they struggle to adapt so they go to this specific place and they learn about these places but


[User] Please transcribe this text

[Assistant] I feel like it might be a bit stretching it, but still, if you like more middle grade white, you would probably enjoy this series.


[User] Please transcribe this text

[Assistant] I also wanted to talk about Assassin's Apprentice, which


[User] Please transcribe this text

[Assistant] I was dying to read this series. I thought I was going to absolutely love it, and I found myself pretty disappointed. I read the whole trilogy, like I tried, uh, but I couldn't really get that invested into all of it. It's very character driven. Uh, there is a magical school setting, I guess, like the main character is learning to become an assassin, but


[User] Please transcribe this text

[Assistant] Meh, but still. Uh, you also have The Magicians, which I've only read the first book. I need to continue.


[User] Please transcribe this text

[Assistant] A lot of people were describing this as like an adult depressed Harry Potter, which I guess, uh, I do think the magical school is interesting. The magic system seems interesting. I just feel like, yes, the main character is depressed, I guess, uh, very negative.


[User] Please transcribe this text

[Assistant] But it's more like towards the end, I feel like the story went like on a weird tangent, which we'll see how the rest of the trilogy works, but I thought I would mention that one. Also Black Prism, which...


[User] Please transcribe this text

[Assistant] Definitely has a magical school. And the magic system is really interesting. That one is based on color, like people that can see more color can use more powers. I did enjoy.


[User] Please transcribe this text

[Assistant] That part of the story, I also enjoy like the kind of mystery that happens, I'm gonna keep it fake.


[User] Please transcribe this text

[Assistant] But my issue was that I went into it thinking I was going to love it, give it five stars, and then nobody had mentioned how sexist it was. So I have yet to continue this series because of that, but I do have book two and even three on my shelf, so eventually I'll give them a shot. But yes, if you don't have an issue with, uh, pretty sexist humor and like the fact that sex slaves are totally normal,


[User] Please transcribe this text

[Assistant] And then the ones that I really didn't care for, uhm, we have A Deadly Education by Naomi Novik. I was super excited because that one really happens in a magical school. You found this person that goes there and is learning very different kind of magics, but


[User] Please transcribe this text

[Assistant] The main character is really unlikable, which I don't necessarily have an issue with that as long as there are other things you can care about, but you don't get a lot about the magic, you don't get a lot about the school except that it's very dangerous and like you have to be


[User] Please transcribe this text

[Assistant] On your toes 24x7, which is kind of exhausting to read to be honest. And I didn't care about anything. And I just finished it for the sake of it, and unfortunately it really didn't work for me, but...


[User] Please transcribe this text

[Assistant] You might feel differently. Magic for Liars was definitely one of my biggest disappointment. Was it last year? Uh, you found a story, if I remember correctly, uhm, you have like sister twins and one of them goes to this magical school and now they're adults and then there's been a murder there and the other sister that doesn't have magic goes there to investigate what happened but it was a huge flop for me but magical school, investigation.


[User] Please transcribe this text

[Assistant] Murder. Weird circumstances, so. Well that one mentions Harry Potter a few times, which, like, why are people talking about...


[User] Please transcribe this text

[Assistant] I couldn't get into it. I will blame it on the French. I tried to read it a couple years ago and I just...


[User] Please transcribe this text

[Assistant] I couldn't get into it, I don't know if it's because, I don't know, I don't know why, but I couldn't get into it, but it is a more classic, uh, YA fantasy series with magic, magical schools, so.


[User] Please transcribe this text

[Assistant] You might like it. Okay, this is gonna sound strange, but I'm adding these two because there's no magical school in the first book that will be apparently in the rest of the series. I just haven't continued. Bear with me, like never more. I feel like if you think middle grade magical school,


[User] Please transcribe this text

[Assistant] This one is going to be recommended a lot, and I went into it thinking, yay, magical school. No, there's none in the first book. None. So be warned, but apparently you do get some, uh, later on. Confirm in the comment section if you have read this series. I feel like it's recommended a lot, but yes, I am not planning on continuing. And also recently I read Magician's Guild, which


[User] Please transcribe this text

[Assistant] So university sitting, they're like secret society with magic, but it's not a magical school. I don't think it counts.


[User] Please transcribe this text

[Assistant] That you've read about, uh, any that you would recommend to everyone, me included. Also let me know if you have read any of the ones that I have mentioned in this video, because I want to know your thoughts. Everyone can actually read them if you feel differently or the same. And that's going to be it. Thumbs up, subscribe. I will be putting more videos on the screen that I recommend you check out and I will see you in my coming video very soon. Bye.


[User] Please transcribe this text

[Assistant] It's good to see you again. I was just about to have tea.


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[Assistant] Keep this magic stone in your pocket. It will stop the wind from blowing you away.


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[Assistant] I might be out of line for saying this since we only just met, but the seventh feels more like a family than ever, and we hope you feel the same. You're not out of line.


[User] Please transcribe this text

[Assistant] They used to be with Avalanche, but left after a policy dispute.


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[Assistant] You're more Austrian than I am, but everything feels different now. It's true.


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[Assistant] Six long years of study and now we're doctors.


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[Assistant] What are you going to do? Are you going back to live in Vienna again? Or are you going to...


[User] Please transcribe this text

[Assistant] I don't know why you need my help. I've heard you're quite strong. What kind of demon is it? It's a scorpion spirit.


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[Assistant] I have special magic that I'll use to defeat the scorpion.


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[Assistant] That woman didn't want to harm me. She wanted to marry me.


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[Assistant] But I told her that I'm a Buddhist monk, and I will never marry.


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[Assistant] My only goal is to reach the western paradise.


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[Assistant] Nice touch. I can tell you're just dying to hit the beach right about now.


[User] Please transcribe this text

[Assistant] What a wonderful surprise it is to see you again.


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[Assistant] Though, were she to offer her assistance, I'd gladly accept.


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[Assistant] Before a hero strikes down his foe, he must strike them with awe at his beauty. But he is not a hero by virtue of innate greatness.


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[Assistant] Only by inspiring others does he earn the title. Do you follow?


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[Assistant] That, my friends, is for me to know, and for you to find out.


[User] Please transcribe this text

[Assistant] I couldn't find the bartender, so I, uh, helped myself. Costa del Sol used to make them back at the bar. And here I am, drinking one in its namesake. Feels like it's been ages since I mixed a drink. Since 7th Heaven.


[User] Please transcribe this text

[Assistant] Hope I can come back here someday, stare at the ocean, listen to the waves.


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[Assistant] There's no alliances now and it should be dog eat dog. We know we can win and we're confident we can win.


[User] Please transcribe this text

[Assistant] We thought we were heading back to Australia. And now we're going to, uh, Hollywood.


[User] Please transcribe this text

[Assistant] Minor issues. Every country we go to, I can't understand them, they can't understand us. We are in a race. No English. With another team.


[User] Please transcribe this text

[Assistant] So they go somewhere where our currency pretty much, English speaking, yeaah, we should do alright. Fastest way, underlay way.


[User] Please transcribe this text

[Assistant] Winning in leg 9 is good, but winning in leg 10, that's what we want. It's a pride thing, we want to win the amazing race. I'd pretty much do anything to win.


[User] Please transcribe this text

[Assistant] Give the man some money! We had to take a photo with him, we had to give him a tip first.


[User] Please transcribe this text

[Assistant] Let's go. Once we had three, we did take it to Ray's Photoshop.


[User] Please transcribe this text

[Assistant] Thanks, Ro. I didn't know Thor and I wouldn't have known Hulk. I only knew the Wolverines, so lucky we had Ash.


[User] Please transcribe this text

[Assistant] Haha, pinks! I bloody hope that I don't pop last tonight.


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[Assistant] I'm definitely a bit of a simple Simon when it comes to eating. I like my stock standard, three veg and meat, or something pretty simple.


[User] Please transcribe this text

[Assistant] So we're just about asleep and suddenly...


[User] Please transcribe this text

[Assistant] This race, it's the most important thing ever.


[User] Please transcribe this text

[Assistant] Their track record in cars, taxis, driving is pretty ordinary. So we thought, oh, the boys have done it again. To be true, we've had a reasonable run. It's been reasonable. We've had a damn good cabbie driver.


[User] Please transcribe this text

[Assistant] And you only get that little time to read it before the chopper does the next circle.


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[Assistant] Thank you very much. You must show all three clue parts in Lifeguard to receive your next clue.


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[Assistant] Let's go, let's go Ash. Hold that, hold that. I didn't even think, I just ripped all the sand straight off.


[User] Please transcribe this text

[Assistant] Let's just, just pay all this out as best as we can and let's charge the things that happen to us.


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[Assistant] Who's got an eye for detail? How do you feel? Who's got an eye for detail? Can you do it?


[User] Please transcribe this text

[Assistant] I was pretty confident with maybe three or four that I had them straight away. The other five or six, I had absolutely no idea. Pretty much I thought, this is going to be a long challenge.


[User] Please transcribe this text

[Assistant] Well this is New Zealand, I just remember a lady. I just remember a lady. And I'm guessing Hawaii Hills because there's something weird about her but...


[User] Please transcribe this text

[Assistant] No. No. At this stage it was just a process of elimination.


[User] Please transcribe this text

[Assistant] Omega File 451, Loch Ness, Scotland.


[User] Please transcribe this text

[Assistant] I want you to take the next plane to Scotland, said Ahla.


[User] Please transcribe this text

[Assistant] Then get up to Loch Ness. Oh great, said Hawker. Are we looking for the Loch Ness monster? Old Nessie? Jude laughed. Don't laugh, said Arla.


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[Assistant] You are looking for a monster. Oh, come on, Arla, Jude said. You don't mean that.


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[Assistant] He turned to his computer and opened a file. It's a nighttime photo and not very good.


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[Assistant] Hawker and Jude stared at the photo on the computer screen. They could see water and something big and grey.


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[Assistant] It's got arms and a head, said Hawker. But what is it? It kills sheep.


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[Assistant] Cats and dogs, Ahla said. And perhaps small children next.


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[Assistant] But Ahla turned away and began to read his emails. Are you telling us everything Ahla? asked Hawker. Of course. Ahla put his hands on the table.


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[Assistant] Then drove along the side of Loch Ness to Fort Augustus. It was a grey November day. Grey sky, grey water, grey hills. Hawker looked across the loch.


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[Assistant] It's easy to believe in monsters here, he said. Loch Ness.


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[Assistant] Is about 200 meters deep.


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[Assistant] The third deepest lake in Europe. Did you know that?


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[Assistant] Talk to people in Fort Augustus first, Hawker said. Then, take it from there.


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[Assistant] It killed Mrs. Fraser's dog, said one woman. She has a house down by the water. The monster


[User] Please transcribe this text

[Assistant] Killed six of my brother's sheep, said a man called Dougald.


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[Assistant] About nine kilometres up the loch.


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[Assistant] He was a big man with black hair and blue eyes.


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[Assistant] And it was nearly dark. Right, said Hawker.


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[Assistant] Now, we'd like to look at your dead sheep, please. And then, we need a boat.


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[Assistant] Where can we get a fast boat, Archie? What do you want a boat for? We're going to catch this thing, said Jude, and stop it killing your sheep.


[User] Please transcribe this text

[Assistant] When you see this monster, please ring us. Anytime. Day or night. Our mobile phones are always turned on.


[User] Please transcribe this text

[Assistant] They slept a little in the day and were out most of the night in the boat.


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[Assistant] They thought they saw the monster just north of in the Morriston.


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[Assistant] Another night, a call came from a little place called Foyers.


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[Assistant] They got there at six in the morning. It was dark and cold and everything was very quiet. They sat in the boat looking up and down the lock. Look, whispered Hawker, down there by the trees.


[User] Please transcribe this text

[Assistant] There were some tall trees by the side of the lock. There were some sheep under the trees.


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[Assistant] Suddenly the sheep began to run. Start the engine said Hawker. Let's get down there. When they got to the trees


[User] Please transcribe this text

[Assistant] They found five sheep with broken necks, but no monster. It just kills and goes away again, said Jude. Horrible.


[User] Please transcribe this text

[Assistant] We heard their engines last night and the night before. Who are they? Let's go and see. Quietly, their boat moved nearer. There were four men in each boat, men in grey, young men with hard faces. They watched Hawker and Jude and said nothing.


[User] Please transcribe this text

[Assistant] Hello, said Jude, with a friendly smile. Who are you?


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[Assistant] A tall man in the nearest boat answered, Army, he said. Who are you?


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[Assistant] What are you doing out here at this time of night? We're visitors, said Jude. Looking for Nessie, of course. What are you doing?


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[Assistant] There's no monster in this lock, said the tall man.


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[Assistant] Allah phoned them every morning. Get on with it, he said.


[User] Please transcribe this text

[Assistant] This lock is thirty-six kilometres long and two kilometres across. There are only two of us and we're not getting any sleep.


[User] Please transcribe this text

[Assistant] We met some army people last night, Jude said. What are they doing here? What do they do at their laboratory? The phone went quiet. Then, what laboratory?


[User] Please transcribe this text

[Assistant] The army laboratory in the hills above Loch Ness. The phone went dead. Well, well, Jude said to Hawker. He doesn't know. Or he's not telling.


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[Assistant] The monster came out of the lock and killed sheep nearly every night.


[User] Please transcribe this text

[Assistant] Everybody around the lock wanted to help Hawker and Jude, and their mobile phones never stopped ringing.


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[Assistant] A lot of people thought the monster was Nessie, but Archie knew it wasn't.


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[Assistant] And it's going to start killing people soon. Look, you need some sheep. Sheep, said Hawker. Do you mean sleep?


[User] Please transcribe this text

[Assistant] He was very tired after ten nights on the lock. Of course, said Jude. Clever Archie. Can you get us some old sheep then? Or perhaps we can use Hawker. He's nearly an old sheep by now. Oh, shut up, said Hawker.


[User] Please transcribe this text

[Assistant] The men in grey were out every night too.


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[Assistant] They were never far away from Hawker and Jude, but never came to speak to them.


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[Assistant] Soft Scottish rain that never stops. When they turned the engine off, everything was quiet.


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[Assistant] Just the rain whispering on the lock. Hawker got out of the boat and stood with the flashlight watching and listening. Jude sat in the boat with her gun in her hand.


[User] Please transcribe this text

[Assistant] There was a sudden noise of boats' engines behind them.


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[Assistant] And at the same time, something moved in the water in front of them.


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[Assistant] Ahead and two long arms came out of the water. Light! shouted Jude. Quick! Hawker turned on the flashlight.


[User] Please transcribe this text

[Assistant] And at once, the monster stood up and ran at Hawker through the water.


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[Assistant] It's long arms going for Hawker's head. Get down, Hawker! screamed Jude. In a second Hawker was under the water.


[User] Please transcribe this text

[Assistant] And then came the sound of Jude's gun. Once. Twice. And then a third time.


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[Assistant] It had a small head on a long neck. It was a strange, horrible thing.


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[Assistant] The men in grey arrived in their two boats. They got out.


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[Assistant] And came to look at the dead monster. Oh dear, the tall man said. Poor old Nessie. That, said Hawker, is not Nessie. So what is it?


[User] Please transcribe this text

[Assistant] Visitors, aren't you? said the tall man. Where from? Hawker and Jude stared at him and said nothing. Then,


[User] Please transcribe this text

[Assistant] Jude took something out of her pocket and held it up in front of the tall man's eyes. He looked at it. Oh, he said, I see EDI. Don't see many of those. Okay. What do you want to know? What?


[User] Please transcribe this text

[Assistant] It is that thing, said Jude. The tall man looked unhappy.


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[Assistant] But it was alive, a living thing, said Hawker.


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[Assistant] You can make a lot of living things in a laboratory these days, said the tall man.


[User] Please transcribe this text

[Assistant] Genetic engineering is getting very clever.


[User] Please transcribe this text

[Assistant] This one just kills small animals with four legs.


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[Assistant] Sheep, dogs, cats, things like that. Well, said Jude, that is nice to know.


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[Assistant] And where are the other monsters? asked Hawker.


[User] Please transcribe this text

[Assistant] For killing men, women and children. Things like that.


[User] Please transcribe this text

[Assistant] Can't answer that, I'm afraid. Talk to your people in Brussels. Well, we must get back. Lots to do, you know. Thanks for your help. Bye.


[User] Please transcribe this text

[Assistant] The men in grey put their dead monster in one of the boats and went away up the lock into the dark and the rain.


[User] Please transcribe this text

[Assistant] And what did Ahla say about it all? I asked.


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[Assistant] He didn't know about the monsters, you see. Or the laboratory.


[User] Please transcribe this text

[Assistant] The army didn't tell anyone in Brussels.


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[Assistant] Did the army make any more monsters? I asked. Not in Scotland, said Hawker.


[User] Please transcribe this text

[Assistant] The British Army closed their laboratory after that.


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[Assistant] The Americans and the French made some monsters years later. They were smaller, like big cats, but with eight legs. Where are they now? I said. You don't hear anything about them. Of course not, said Jude. People don't want to hear about monsters.


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[Assistant] Or in a place deep under the ground, said Hawker. Nice and secret. Just waiting for the next war.


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[Assistant] And so there isn't a Loch Ness monster and never was one, I said. Nessie? said Jude. She looked me in the eyes and did not smile.


[User] Please transcribe this text

[Assistant] Of course there's a Loch Ness monster. She's a blue-grey color, has a small head, a very long neck,


[User] Please transcribe this text

[Assistant] And is about 15 meters long.


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[Assistant] Go and look at all the photos of her on the internet.


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[Assistant] If another team comes, can you please, please send them up to the top there?


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[Assistant] My apologies, sir, but I'm afraid animals are not allowed to participate.


[User] Please transcribe this text

[Assistant] This is it. Race on foot to the finish line at Mutton Bird Island Lookout.


[User] Please transcribe this text

[Assistant] To finish up, we're going to look at the rectangle intersection problem that's got important practical applications and uses the techniques that we've been studying so far.


[User] Please transcribe this text

[Assistant] And it's a simple generalization of our line intersection problem. So now we have a bunch of rectangles. They're all oriented horizontal or vertical. And what we need to do is find all the intersections in that set of rectangles.


[User] Please transcribe this text

[Assistant] Naive root force algorithm involves checking each pair of rectangles for intersection.


[User] Please transcribe this text

[Assistant] And what we want is a more efficient algorithm than that as usual. And again, to keep the code simple, we're going to assume that all the coordinates are distinct. We don't have any, any equal lines. We don't have to worry about whether we consider rectangles that touch to be intersecting and so forth.


[User] Please transcribe this text

[Assistant] So, uh, that's, uh, that's the problem rectangle intersection search.


[User] Please transcribe this text

[Assistant] Uh, and this is, uh, historically, uh, an extremely important problem. Uh, in the 1970s, uh, when we switched to very large-scale integration for computers,


[User] Please transcribe this text

[Assistant] We were switching from a situation where we were wiring physical devices together to a situation where we were essentially drawing the computer.


[User] Please transcribe this text

[Assistant] And from those drawings, uh, like this, make, uh, physical things that implemented computers with different layers and different, uh, uh, physical materials interacting, uh, in different ways. Uh, some things are wires, and some things are switches that, uh, uh, are used to implement memory bits and computer logic.


[User] Please transcribe this text

[Assistant] Uh, and so, uh, people to design new computers would, uh, make huge drawings, uh, that just showed the lines, uh, that corresponded to the materials that, uh, had to be created to make the computer. Now, it was very expensive. You didn't want to have any bugs, uh, when you're making a chip.


[User] Please transcribe this text

[Assistant] And, uh, there were various, uh, rules about what you can do on these drawings. And basically, these rules had to do with doing this orthogonal rectangle intersection search.


[User] Please transcribe this text

[Assistant] You can't have lines that come too close to other lines. Certain types of lines can't intersect.


[User] Please transcribe this text

[Assistant] And it was actually the case that the progress of faster and faster processors with more and more components was slowed because people were using the naive quadratic algorithm to do this design rule checking.


[User] Please transcribe this text

[Assistant] Uh, but now maybe a year and a half later, uh, you have, uh, a computer that's two times faster, but you also want to build a bigger computer so you have twice as many rectangles to check.


[User] Please transcribe this text

[Assistant] So you have two n rectangles to check now, and your computer's twice as fast. So, uh, we get to, uh, use the faster and bigger computer to build faster and bigger circuits, but that doesn't help if you're using a quadratic algorithm.


[User] Please transcribe this text

[Assistant] Uh, if you're using a quadratic algorithm and it takes you M days to, uh, check your, uh, design rules and people were running these things, uh, on the order of days, uh, then for the next computer it would take two M days. It would take twice as long.


[User] Please transcribe this text

[Assistant] And, uh, it was, uh, Ed, Ed McCright at Xerox PARC who discovered interval search trees and the logarithmic algorithm, uh, that allowed us to sustain Moore's Law and keep building, uh, bigger and bigger, uh, computers.


[User] Please transcribe this text

[Assistant] Uh, by changing this uh, quadratic algorithm to a linear algorithm and let's see how it works.


[User] Please transcribe this text

[Assistant] Really, it's a modification of the sweet line algorithm that we looked at for intersecting lines. But now we're going to use that for intersecting rectangles. Rather than using range search as our basic operation, we're going to use interval search.


[User] Please transcribe this text

[Assistant] So now, every time the line sweep hits a rectangle, that corresponds to an interval. If it's the left part of a rectangle, then we put that interval into our interval search tree.


[User] Please transcribe this text

[Assistant] Uh, so in this case we put on zero and then we put on one, uh, and then we put on two.


[User] Please transcribe this text

[Assistant] Uh, and, and that'll give us, uh, now three rectangles, uh, on our sweep line. And so now, uh, the question is when we hit a, uh, a new rectangle, we want to do an interval search.


[User] Please transcribe this text

[Assistant] But with the basic interval search tree algorithm and the sweep line, uh, process that we've talked about, uh, you can get the orthogonal, uh, orthogonal rectangle intersection search problem solved in time proportional to n log n plus r log n, where r is the number of intersections.


[User] Please transcribe this text

[Assistant] And typically in design rule checking, you wouldn't expect too many intersections.


[User] Please transcribe this text

[Assistant] So, again, just as with line intersection search.


[User] Please transcribe this text

[Assistant] Uh, using a priority queue or a sort, uh, is only n log n for processing the x coordinates. Uh, and because interval search trees take log n for every operation, the insert and delete intervals is n log n total. Uh, and the searches is n log n plus r log n.


[User] Please transcribe this text

[Assistant] So the bottom line is that the sweep line algorithm takes this rectangle intersection problem and reduces it to 1D interval search and we have an efficient algorithm for that problem.


[User] Please transcribe this text

[Assistant] And that enables us to solve the problem in linear rhythmic time instead of quadratic time. And that definitely enabled new progress in technology and it's a fine example of the importance of algorithmic technology.


[User] Please transcribe this text

[Assistant] So here's our summary of applications of binary search trees for geometric problems.


[User] Please transcribe this text

[Assistant] We started with one dimensional range search and just used a regular, uh, binary search tree to, uh, uh, compute ranks to get the answer. But that, as the basis, we were able to solve the two dimensional line segment intersection search using the sweep line algorithm.


[User] Please transcribe this text

[Assistant] And then the interval search tree to solve the one dimensional interval search problem and then how that corresponds to the basic algorithm that you get to if you use the sweep line algorithm to solve rectangle intersection.


[User] Please transcribe this text

[Assistant] Uh, many of these problems are the basis for geometric processing of huge amounts of data, uh, that we see, uh, all over the web. Uh, and our basic search tree mentality in APIs and binary search tree data structure give us efficient solutions to these important practical problems.


[User] Please transcribe this text

[Assistant] Here's a question two, difficulty level on an AMC-8.


[User] Please transcribe this text

[Assistant] Suppose we have a Lego set for building a stormtrooper. Stormtrooper is from the Star Wars movie. Star Wars is a movie where there's a lot of black and white. Darth Vader is all black. And stormtroopers are all white.


[User] Please transcribe this text

[Assistant] I actually saw a joke lately that said, uh, somebody thought of asking for making a coloring book for Stormtroopers and Darth Vader. You would be done with the coloring already.


[User] Please transcribe this text

[Assistant] And that's actually why I chose this, because this question is a question with only two colors, black and white.


[User] Please transcribe this text

[Assistant] Because if you're building the Lego set, you have two colors for your pieces.


[User] Please transcribe this text

[Assistant] And this LEGO set has only black and white LEGO.


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[Assistant] Suppose that there are, for every seven black legos, there are thirteen white legos.


[User] Please transcribe this text

[Assistant] Suppose that there are 91 black Legos altogether. Then how many white Legos are there? Well, this is a question about ratios and proportions.


[User] Please transcribe this text

[Assistant] The only thing you need to be careful about is to make sure you read the question carefully. So it says there are 91 blacks.


[User] Please transcribe this text

[Assistant] And here's seven black, thirteen white. So what I'll write is that for every


[User] Please transcribe this text

[Assistant] What we have in the problem, says that for every 7 blacks, you have 13 whites.


[User] Please transcribe this text

[Assistant] I want to share with you that sometimes the way that people will write this is they will write 7 colon 13. I want to let you know that in case you ever see this written somewhere, possibly on an AMC problem. Well, if it's 7 to 13,


[User] Please transcribe this text

[Assistant] And now the problem says that you have 91 black Legos.


[User] Please transcribe this text

[Assistant] There are many ways to finish at this point. And here, I will just say one of the quick ways is to just say from the 7 to the 91, what do I need to multiply by?


[User] Please transcribe this text

[Assistant] Well that means I need to know what is 91 divided by 7.


[User] Please transcribe this text

[Assistant] If you do that, if you take 91 divided by 7, let's just do it quickly on the side.


[User] Please transcribe this text

[Assistant] If that's times 13, this one here should also be times 13. And so I get that 13 times 13, well I now need to multiply those numbers together. Let's do this.


[User] Please transcribe this text

[Assistant] 339, 339. By the way, as I'm doing this, I'm also reviewing some of the common number multiplications. 13 times 3, 39.


[User] Please transcribe this text

[Assistant] And then here, once you're used to those, these are all tricks now, how to speed up actually. You can put that 13 down, add together 169. I chose that number carefully, because 169 is also an important number to remember. That is 13 squared.


[User] Please transcribe this text

[Assistant] Okay, and so what this tells you is that the answer to the problem then is that if it was 7 black to 13 white, then if there are 91 black, there are 169 white. And then you would be done.


[User] Please transcribe this text

[Assistant] Let me share the kinds of things you want to do on this question to make sure you don't make a mistake.


[User] Please transcribe this text

[Assistant] You see, on this question, the most easy way to make a mistake.


[User] Please transcribe this text

[Assistant] Even if you do it twice, you should also make sure to read it twice. Because this 91 is very dangerous.


[User] Please transcribe this text

[Assistant] If you had misread the problem and thought there were 91 white Legos, actually you would still get a nice answer. Because...


[User] Please transcribe this text

[Assistant] If you did this, because if you did this wrong, and you pretended that it wasn't this, but if you pretended that this was the 91, then you would have said that 13 times 7 gives you the 91, and you'd get 7 times 7 over here to get 49. And you would have concluded that there are 49 as the answer.


[User] Please transcribe this text

[Assistant] You see, the reason why this is the case, and this is wrong by the way,


[User] Please transcribe this text

[Assistant] The reason why this is the case is actually because the 91 that I chose is a very special number that I also want to introduce to you.


[User] Please transcribe this text

[Assistant] Is one of the smallest numbers that people accidentally think is prime.


[User] Please transcribe this text

[Assistant] I say that because when you think about whether a number is prime, the first things you check are, is it even? No.


[User] Please transcribe this text

[Assistant] Is it a multiple of 3? There's a rule for multiple of 3, adding up the digits together, seeing if it's a multiple of 3. No. And is it a multiple of 5? Well, also no. Because uhm, it doesn't end in a 0 or a 5. And then we don't have a nice rule for checking multiple of 7.


[User] Please transcribe this text

[Assistant] So I chose this to introduce to you that whenever you see 91, remember, 91 is actually 7 times 13. It factors that way. Okay.


[User] Please transcribe this text

[Assistant] But I also wanted to use this problem to introduce to you the number 169, which is also very important for two reasons.


[User] Please transcribe this text

[Assistant] The first reason is because 169 is beyond what most people memorize in their multiplication table.


[User] Please transcribe this text

[Assistant] You might memorize up to 10 times 10. You might memorize up to 12 times 12. 13 times 13 is 169.


[User] Please transcribe this text

[Assistant] Why is that important? Actually also because of geometry.


[User] Please transcribe this text

[Assistant] I will share with you that there is a very important triangle, which comes if I take a right angle.


[User] Please transcribe this text

[Assistant] And I put one side here 5 and one side here 12.


[User] Please transcribe this text

[Assistant] This Pythagorean theorem now tells me that the length of this side here is the square root of 5 squared, which is 25.


[User] Please transcribe this text

[Assistant] And so this 169, square root of 169, we now know is 13.


[User] Please transcribe this text

[Assistant] And so, I wanted to introduce this 169 to you. Because, if you come across any triangle like this, and then you see this 169, you will know that the square root of that is another whole number. And so you have this 5, 12, 13 right triangle.


[User] Please transcribe this text

[Assistant] And so the idea is, this particular problem


[User] Please transcribe this text

[Assistant] Includes in it a bunch of carefully chosen numbers, 91, 169.


[User] Please transcribe this text

[Assistant] And also I want to share the tip on this question, is that when you do it, since it's so quick,


[User] Please transcribe this text

[Assistant] Read the question one more time at the end, and then you will make sure that you had it correct.


[User] Please transcribe this text

[Assistant] I see the clashes and I'm assuming round one is going to be a taste test, which freaks me out because I've done one before.


[User] Please transcribe this text

[Assistant] Didn't do too well at it. So hopefully this is a little bit different.


[User] Please transcribe this text

[Assistant] I'm competing against two guys that have already got pins. I'm not just doing this for myself at this point, I'm doing it for everyone else. Like, they can't get another pin because that would just totally change the game.


[User] Please transcribe this text

[Assistant] It's ridiculous. It's another Asian ingredient that I know so well. It's belacan, it's shrimp paste. Belacan. You are correct.


[User] Please transcribe this text

[Assistant] There's not that many pics left, and the stress is just building layer upon layer upon layer.


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[Assistant] This is definitely Khan Week so far. Let's keep the momentum going.


[User] Please transcribe this text

[Assistant] I've seen so many of the other contestants try this on and they've looked amazing in it.


[User] Please transcribe this text

[Assistant] I'm so happy I've got it on now. It's my time. Let's fight.


[User] Please transcribe this text

[Assistant] And I know that everyone's gonna assume that I would use peanut butter.


[User] Please transcribe this text

[Assistant] I'm choosing an ingredient that I think Jin might not be comfortable with.


[User] Please transcribe this text

[Assistant] So, for my dish today, I'm gonna take out the fish sauce in my broth and sub in vegemite instead. And hopefully that brings out similar kind of flavours that I need for the dish.


[User] Please transcribe this text

[Assistant] Today I'm doing a vegemite and chicken broth, served with chicken, mousse dumplings and smoked chicken. The broth really needs time to develop in flavour, so I need to get the chicken bones and the chicken wings on there, browning away first.


[User] Please transcribe this text

[Assistant] Um, so I'm gonna get some colour out of them. Get them really, really brown, just so you get the flavour of the chicken through it. And then I'm gonna deglaze them. Okay. And then start working on layering flavours through it. Yeah, so how do you know when to add the vegemite? So I'll do the aromats first, actually.


[User] Please transcribe this text

[Assistant] There's back notes of Asian flavours in my dish, but none of them are too overpowering because I really still need that Vegemite to shine because there's a Vegemite challenge. I just need to make sure that everything is really well balanced.


[User] Please transcribe this text

[Assistant] I deglazed the broth, now I have to let it simmer. I need that water to really reduce down. And add some Vegemite in.


[User] Please transcribe this text

[Assistant] I've got a broth, I've got a smoked chicken, I've got dumplings, I've got mousse, I've got mushrooms three ways.


[User] Please transcribe this text

[Assistant] It's round two of immunity. I'm cooking against Jin Choi from Harley Veranda restaurant. Are you enjoying yourself?


[User] Please transcribe this text

[Assistant] I actually am. This is crazy, but it's so much fun. Vegemite is the main component of today's dish. So I'm cooking chicken vegemite.


[User] Please transcribe this text

[Assistant] I need to make sure that the Vegemite isn't too strong so it's overpowering but not light enough that it's just not there. Now you'll be able to really whisk in the Vegemite. I need to make sure it's just on point so it shines through.


[User] Please transcribe this text

[Assistant] I've left my dumpling dough out too long and it's starting to dry up so I need to make sure that I form those dumplings really fast now because if it gets too dry they'll just break open. Let's split that one.


[User] Please transcribe this text

[Assistant] A lot of flavours going on right now. There's a new marminess from the Vegemite. There's the chicken happening. There's a saltiness that comes from the broth as well.


[User] Please transcribe this text

[Assistant] There's not much time left at all. I haven't started plating. I've got the peas on. The dumplings are out. The chicken's done. Yeah, that's it. That's it. Just nice pieces.


[User] Please transcribe this text

[Assistant] But I have no idea how Jin's dish tastes. It looks great, so it's all up to the judges now.


[User] Please transcribe this text

[Assistant] Of course you can. Just look at Cloud, I've been taking care of- No you haven't. Look at the state you've left her in. You didn't even wipe her face, for goodness sake.


[User] Please transcribe this text

[Assistant] Your note had me worried, and now that I'm here, I can see that I was right to be concerned.


[User] Please transcribe this text

[Assistant] The world's ending. At least, that's what everyone's saying.


[User] Please transcribe this text

[Assistant] In Chinese, you write it as 俄罗斯方块.


[User] Please transcribe this text

[Assistant] And as you may know, when you're playing Tetris, you can turn the pieces around. You can also make the pieces fall fast if you want.


[User] Please transcribe this text

[Assistant] But in Tetris, you are usually trying to have them all come down and make a very nice line in the bottom. That's how you don't die.


[User] Please transcribe this text

[Assistant] And of course in Tetris they come faster and faster and faster, uh, and that's what makes the game so difficult.


[User] Please transcribe this text

[Assistant] You don't want to see shapes like this kind.


[User] Please transcribe this text

[Assistant] You don't want to make shapes like this because these are very bad from having horizontal lines.


[User] Please transcribe this text

[Assistant] But we can think of these tetris shapes as pieces in a game of how to put the pieces together and try to make shapes.


[User] Please transcribe this text

[Assistant] Here is a puzzle, which is inspired by and adapted from an AMC 8 problem.


[User] Please transcribe this text

[Assistant] It has the same idea behind the solution. But I tried to put it in the theme of this game because that's more fun.


[User] Please transcribe this text

[Assistant] So now, in this Tetris problem, I have all of these shapes, five of these shapes, and I promise to you, I tell you, you definitely


[User] Please transcribe this text

[Assistant] Can make all of these pieces to fit together in four of these possibilities. One of them you cannot. I promise you there's one of them you cannot and four that you can.


[User] Please transcribe this text

[Assistant] But just like Tetris, you are allowed to turn the pieces.


[User] Please transcribe this text

[Assistant] You are just not allowed to reflect the pieces this way. Which one can you do?


[User] Please transcribe this text

[Assistant] Notice this is written as a multiple choice problem. Actually on the AMC-8, the problems are multiple choice problems.


[User] Please transcribe this text

[Assistant] I've been talking about all of my questions in this, in this class as questions where you try to find the answer because that way we can focus on the mathematics. But in this case, having a multiple choice problem gives you a very interesting way to think about how to solve it.


[User] Please transcribe this text

[Assistant] Here, I have now the same five things which I'm supposed to make with my Tetris pieces. What were the Tetris pieces again?


[User] Please transcribe this text

[Assistant] The easiest way to remember this is actually based on the name Tetris. Do you know why it's called Tetris?


[User] Please transcribe this text

[Assistant] Tetris, if I write down in English, is T-E-T-R-I-N. The history of this game is that Tetris was invented, was released in 1984 by a Russian programmer. That's actually why you call it Erosi, right, in your name. That's the Russian programmer.


[User] Please transcribe this text

[Assistant] The meaning of the name Tetris is based on two words that the Russian programmer thought was reasonable. One is that every piece in Tetris has four pieces, has four squares. So that is the T-E-T-R. Tetra equals four. Do you know where the is comes from?


[User] Please transcribe this text

[Assistant] I can tell you a fun piece of history. The is comes from the fact that the Russian programmer's favorite game was tennis.


[User] Please transcribe this text

[Assistant] That's where the is comes from. That has nothing to do with the game.


[User] Please transcribe this text

[Assistant] With this particular game, or those pieces. But it's a piece of history that now you understand why it's called Tetris.


[User] Please transcribe this text

[Assistant] Okay, but now I want to see which one of these can't I make.


[User] Please transcribe this text

[Assistant] The problem is written this way, so that actually when you look at it, you start to think, how would I make this? Because maybe when you were, uh, playing with games in school, you may have had these problems, puzzles, where you were putting pieces together. Those are fun. And when you do these puzzles, sometimes when you look at this, you say, aha, I know


[User] Please transcribe this text

[Assistant] For sure, if I'm trying to make this, I have no choice on the beginning of this, except to do this.


[User] Please transcribe this text

[Assistant] This then becomes a problem solving problem, where we're going to do a lot of trial and error.


[User] Please transcribe this text

[Assistant] And so, here I know I'm forced. Whenever you do a problem, if you know you have no choice, it makes your question easier. So we can put that there. Let's see, what could I then put next to it? Let's try different things.


[User] Please transcribe this text

[Assistant] For example, what if the next thing I try is a square? I could try that for the square.


[User] Please transcribe this text

[Assistant] What else could I put that? Maybe this is a good place to put that L shape.


[User] Please transcribe this text

[Assistant] I'm showing you the problem solving technique instead of just showing you the answer. Except that I've already made a mistake.


[User] Please transcribe this text

[Assistant] I told you that you're allowed to rotate, but not to flip.


[User] Please transcribe this text

[Assistant] The original shape that we started with was an L shape that looks like this.


[User] Please transcribe this text

[Assistant] No matter how you turn it, you cannot make that. This one cannot turn into that one. You would actually need to have a flip in order to do that.


[User] Please transcribe this text

[Assistant] If you've played the game Tetris, you probably have been frustrated by this before. That there are two shapes in Tetris that-


[User] Please transcribe this text

[Assistant] Can't turn in all the ways that include the flips. And those are the L shape and the S shape, which we will see in a second also.


[User] Please transcribe this text

[Assistant] So then you say, okay, then I cannot do this. So in that case, I need to go back. I don't put this here.


[User] Please transcribe this text

[Assistant] Is there anything else I can do? Actually, when you're looking at this problem, there is nothing else you can do because there is this piece, this square here needs to be covered.


[User] Please transcribe this text

[Assistant] And so if I have to cover the square, and I have to use everything once, the only thing that can reach there is an L shape. And so you backtrack again. And you say, well that's not there then, I cannot do this.


[User] Please transcribe this text

[Assistant] And so what you're feeling here is you're feeling what it is to search a space where I have lots of choices every time and I have to go back and try again. It's actually quite frustrating. Let's keep trying. Maybe what I can try next is to put an L shape.


[User] Please transcribe this text

[Assistant] If I put that L shape, then what can I do next? Maybe I can put a square.


[User] Please transcribe this text

[Assistant] I'm just showing you how you're thinking about this, and you're also probably wondering, is there a systematic way to do this, where I can make sure I've tried everything?


[User] Please transcribe this text

[Assistant] If you like writing computer program, this would be a good place to think about how to write a computer program to try to do all of these automatically by trying all different things that you can put down. Let's keep going.


[User] Please transcribe this text

[Assistant] How can I go next? It looks like it would be a good place for an S shape. Here is the S shape. And you see with the S shape,


[User] Please transcribe this text

[Assistant] If I turn it once, I will get something that looks like a zigzag down. If I turn it twice, I get the same thing back. The S shape is very interesting. The S shape has this 180 degree rotational symmetry. 180 degrees makes it back to itself again. And now the last one, I see my T shape appeared. So this is good. This means that this particular piece, this particular one, I can do.


[User] Please transcribe this text

[Assistant] Now let's try another one, and we will see where this method starts to become very difficult.


[User] Please transcribe this text

[Assistant] You see, with this method I knew for sure where that, where I could start because there was something all the way out here that needed to be reached and the only thing that can reach it was the floor. When I go over to here,


[User] Please transcribe this text

[Assistant] I don't really know how to start because there are lots and lots of different places that I could put things.


[User] Please transcribe this text

[Assistant] What should I put first? Should I put a square to begin? Or should I start with maybe this S shape? Because I know that's one that I can't turn. At this point, the problem is actually quite frustrating. And I will say, I hope you tried the question for some time. And you will see that the question is actually quite difficult.


[User] Please transcribe this text

[Assistant] You often start to find out that the hardest, there's something where sometimes there are squares that are hard to touch because you can only reach them with a very long stick. But that same long stick gives you trouble.


[User] Please transcribe this text

[Assistant] For example, when I'm looking at this, there are not so many places I can put the long stick. So when you do this one, maybe the puzzle becomes how can I put the long stick first.


[User] Please transcribe this text

[Assistant] Actually, as you play with this question, it's quite interesting that that insight about the long stick which you find through the problem solving is also the secret that helps you solve the whole question. Because...


[User] Please transcribe this text

[Assistant] Remember that this was a problem where I promised you one of them can't be done. Think of it.


[User] Please transcribe this text

[Assistant] How hard is it to prove that you can't do something?


[User] Please transcribe this text

[Assistant] You would have to analyze all the possible ways, unless you can have a very nice theory that promises you you can't do it. Or, you would have to find the way to do every other one.


[User] Please transcribe this text

[Assistant] Finding the way to do everyone takes a very long time, as we just discovered through the searching. And here's a tip, especially when you're ever trying to do a problem like this. If you're trying to find ways to arrange squares inside a big picture, this is an example of one of the hardest types of problems in algorithms and computer science.


[User] Please transcribe this text

[Assistant] So whenever you see a problem like this, actually, you should be thinking there must be some very easy way to explain why one of them is not possible. And that's where the long stick comes in. You see, in this problem,


[User] Please transcribe this text

[Assistant] There's one of these pictures here, where you cannot put the long stick anywhere.


[User] Please transcribe this text

[Assistant] In this one, this long stick, which is four tall, doesn't hit.


[User] Please transcribe this text

[Assistant] Anywhere here. Because if I try to put it vertically, everything is only three at most.


[User] Please transcribe this text

[Assistant] If I try to put it horizontally, everything is only three, at most. So actually on this problem,


[User] Please transcribe this text

[Assistant] This piece, this one right here, is the one that's impossible.


[User] Please transcribe this text

[Assistant] That's why it's so important that the problem guarantees you that one of them is not possible.


[User] Please transcribe this text

[Assistant] Because then you can look for some reason why it's not there. I should say the first thing that you should try with this question was that there were five pieces, each with four squares. The first thing to try would have been


[User] Please transcribe this text

[Assistant] Do any of them not have 20 squares? But that would be too easy. They actually all have 20 squares. So then the next thing to try is what sorts of these, these


[User] Please transcribe this text

[Assistant] These arguments can you make that in a picture without even trying all of the ways can you immediately conclude it's not possible.


[User] Please transcribe this text

[Assistant] That's how I find this as the answer. This is quite a cute question.


[User] Please transcribe this text

[Assistant] If you see anything else like this, see if you can find some reason why something is not possible and look there.


[User] Please transcribe this text

[Assistant] Maybe just to finish this off, I should just let you know that these are actually possible.


[User] Please transcribe this text

[Assistant] So what I'm going to do here is I'm going to just draw for, uh, for your reference how those would have been done, how the rest of these would have been done.


[User] Please transcribe this text

[Assistant] So for example, this one here, I would have done it with a four across on that side, and the T shape actually sits here.


[User] Please transcribe this text

[Assistant] And then the L shape itself is also turned. The L shape sits here. And the square is on top.


[User] Please transcribe this text

[Assistant] I'm showing you this because this is also giving you a bit of philosophy from this computer science. You see, when I made all of these shapes, what I did is I just took those pieces and I put them together. It's actually very easy to put together shapes and make these things and then ask you, can you tell me where they are? This is actually related to something called cryptography.


[User] Please transcribe this text

[Assistant] And this last one, actually you may have seen, you may have thought about the last one right away, because with the last one it seems like there are two very long things that need two long sticks. But, you can use the T shape to make one of the long sticks.


[User] Please transcribe this text

[Assistant] And then you can use the square down here.


[User] Please transcribe this text

[Assistant] Then you can put one of the long sticks down over here. The L shape you can turn.


[User] Please transcribe this text

[Assistant] For four of these, you can do it. And for this one, you can't. And the real secret on this entire problem is to come up with a good way of explaining it without actually having to do it.


[User] Please transcribe this text

[Assistant] This is a lesson in, in some sense, Tetris, but in another sense, a deep part of computer science, about how it can be very easy to make problems that are very hard to solve. You'll see these sorts of themes again in the future as well.


[User] Please transcribe this text

[Assistant] It used to be like this thing that prevents me from doing all this stuff that...


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[Assistant] Causes other kids to die, that causes everybody to be stressed, and now, it's, uh,


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[Assistant] A protein that is abnormal that weakens the structure of cells.


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[Assistant] And it takes a burden off of me because now I don't have to think about progeria as...


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[Assistant] In this lecture, we shall be looking at Oscar Wilde and looking at Oscar himself as much as at the work he produced, very distinguished work, but nonetheless overshadowed by the personality of the man, the image of the man. And as one looks at Wilde, another question asserts itself.


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[Assistant] Contemplating the vast overproduction of what we call English literature, one question comes out time and time again. Why write?


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[Assistant] It's tedious, hard work, it's badly paid, and typically it gets you very little by way of admiration, that reward. The admiration of readers, that is. Most readers, as we can see, don't want most of what is written.


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[Assistant] Coming centuries later, modified that observation. Fame, money, and the love of beautiful women. These were the three spurs that, he said, impel the writer to follow that hard and generally unrewarding road.


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[Assistant] There are many famous writers in English that still, we've looked at many of them.


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[Assistant] There are many more, alas, than there are writers who make a lot of money. Very few writers that we've looked at have died rich. And I suspect that few of them have had extraordinarily beautiful consorts.


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[Assistant] Celebrity, however, is something else. Milton, for example, would never have written celebrity as the spur.


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[Assistant] And this is all relevant to Oscar Wilde. Who, one may ask, was the first authorial celebrity? One whose reputation depends more on glamour, glitz as we would say, than the literature which was produced by them.


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[Assistant] Now many would, would hazard Byron as the first celebrity. The mad, bad Lord.


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[Assistant] Byron gave his name to a whole cultural movement that we call Byronism. We examined that in a previous lecture.


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[Assistant] Byron gave his name to a lifestyle, byronic. A lifestyle which was dashing, amoral, glamorous, cared nothing for middle class prejudice.


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[Assistant] But celebrated as he was, highly celebrated in his lifetime and thereafter, Byron was no mere celebrity in our understanding of the word.


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[Assistant] His dandy pose, his bow brummel dress. These were central to his image. And they sold his work.


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[Assistant] Byron's place in the pantheon of English literature depends primarily


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[Assistant] And almost, one would say, entirely on the vast collection of major literary works which in a very short life he completed for us. Uh, and on poems like Don Juan, rather than his own sexual delinquencies.


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[Assistant] How then to define the celebrity author? Now, I would suggest...


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[Assistant] It's an author whose public image is better known than his works.


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[Assistant] Uh, whose literary works indeed may be minimal or peripheral.


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[Assistant] But whose unimportance, the unimportance of these literary works in no way detracts from the image which that author has left of posterity. One can sum all this up in two words, Oscar Wilde.


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[Assistant] Oscar Wilde liked to assert that his major work of art was himself, Oscar.


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[Assistant] Now, like all his witticisms, there's an element of paradox, wild paradox, of self-contradiction. A human being is not a work of art. But with Oscar, there's always...


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[Assistant] Undisputed masterpiece to his credit. The play, the importance of being earnest, which we shall be looking at in some detail.


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[Assistant] He had one gothic novel of considerable interest.


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[Assistant] It would be, one would be hard put to say that it's a great work. Much of the interest which it has derives from its gay subtext, which in fact is something which speaks to our time rather more than it did to Wilde's own. That work of course is the picture of Dorian Gray.


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[Assistant] It's uhm, a novel which depicts a Faustian pact with the devil by which the hero Dorian remains forever a golden youth, uhm, d'or is French for of gold.


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[Assistant] While a portrait of him, secreted in the attic, the far recesses of the house withers and degenerates. So the picture grows old and he stays young.


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[Assistant] As a study in the corruptions of aestheticism, the picture of Dorian Gray does not, I think, rank with works on a similarly daring theme for that time, by Proust or Thomas Mann's Death in Venice, for example. It's interesting, but it's not great. While, just to categorize his achievement,


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[Assistant] And I think only the famous last stanza of that ballad is much quoted. I'll, I'll, I'll quote it, uh, now.


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[Assistant] And all men kill the thing they love. By all let this be heard. Some do it with a bitter look. Some with a flattering word. The coward does it with a kiss. The brave man with a sword.


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[Assistant] The illusion in this particular stanza...


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[Assistant] Is to the, the Judas who let him down, let Oscar Wilde down, Lord Alfred Douglas, who was his lover who didn't stand by him in his time of trial, his time of trial literally, which sent him to prison.


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[Assistant] Again, one would be very hard pushed to put it up there with King Lear or La Belle Dame Saint-Merci or Paradise Lost.


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[Assistant] Were this all, uh, Oscar Wilde would be, let's say, were the literature all that we had of him, Oscar Wilde would be no more famous than, say, Christina Rossetti or her brother, Dante Gabriele Rossetti. He'd have a place in literature, but it wouldn't be a, a foremost place. But he does have a foremost place.


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[Assistant] Because in addition to what he did as an author, there is a third element, notoriety. He was a celebrity, he made himself a celebrity, but he was also notorious.


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[Assistant] No writer, I think, has been more notorious in that, to some extent, gives him a status. It may be borrowed feathers in a literary sense, but it gives him, gives him a status in, in the, the last cut that one makes in literary judgement when one says, these authors are those to whom we must devote ourselves.


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[Assistant] These are the important writers. Usually about 50 or 60 of them.


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[Assistant] Wilde played a very dangerous game in life. Now, his heyday was the 1890s.


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[Assistant] It was a period in which, as we've seen, Victorianism was winding down like a clock whose mainspring had gone.


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[Assistant] It was a period in which new literary, cultural and artistic influences were...


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[Assistant] Notably from France, were eroding old English certainties. Bohemianism, as it was called, was rampant.


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[Assistant] And with it came the notion that artists and writers were not the legislators of mankind, not sages, not mouthpieces for their nation or their class, not incarnations of morality of how you should live.


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[Assistant] But denizens of an underworld are a demi-monde, a half-world with different antisocial mores which might never connect with the world of the majority of people.


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[Assistant] They were experimenters, these writers, with life, and often devil's advocates, exponents of dangerous alternatives.


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[Assistant] Now this clash is found everywhere in the 1890s as artists turned round to query or assault, insult if they couldn't assault, the society in which they worked and


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[Assistant] Which they, they got their living. Épater le bourgeois. Affront the middle classes. This was the French term. Kick against the pricks. This in fact was a motto, an important motto over literature of this decade. It was the artist's duty to rebel against previously sacred orthodoxies.


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[Assistant] George Bernard Shaw turned this conflict to comedy and worked like Man and Superman. He played with dangerous Nietzschean, Ibsenite, Wagnerian, foreign doctrines.


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[Assistant] The conflict that I'm talking about finally wore down Thomas Hardy until in the mid 1890s he gave up the struggle and turned to poetry after all the fuss about the obscure.


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[Assistant] Being a writer in the 1890s very often meant being at odds with the society in which you lived, worked and had your being.


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[Assistant] Now, while positively danced in the no man's land between respectability and outlawry, and in the sad last phase of his life, criminality as it was then defined, as his sexual practices were then defined.


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[Assistant] Now, some words about Wild himself. Oscar, Fingal, O'Flaherty, Wills, Wild, to give him his full name.


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[Assistant] Was born in 1854. He was born in Mid-Victoria, but he was born Irish.


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[Assistant] He was born in Dublin. His father was a surgeon there. A very distinguished surgeon who was knighted for his services to medicine when Oscar was 24.


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[Assistant] Oscar was brought up in a cultured milieu. Dublin was highly cultured. He was a brilliant young man, a brilliant child. He was precocious. He was Anglo-Protestant, which meant that in his early life he was a member of the ascendancy, the upper class.


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[Assistant] He would however die a catholic, or as he put it, not catholic, but a violent papist. He crossed over. Went across, as they said.


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[Assistant] This was well into the future. He read classics at Trinity College Dublin. He then got a scholarship to Magdalen College at Oxford. At Oxford, among the dreaming spires, about the same period as Jarrod Manley Hopkins, interestingly enough, he came under the influence of the doctrine of aestheticism and its prophet, Walter Pater.


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[Assistant] You should, Pater said, as we saw in the Hopkins lecture, burn with a hard gem-like flame. And while, like the other Paterians, yearn to do just that, I think that image instead comes from the fact that they had gas lighting at this time, and these hard gem-like flames were around them.


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[Assistant] Uh, in, in their living rooms, in their houses, in their universities.


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[Assistant] The aim, as Peter saw it however, was to recover the aesthetic glories of the Renaissance, to transplant them into 1890s.


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[Assistant] And this doctrine was given an extreme expression in one of Wilde's famous witticisms.


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[Assistant] All that I desire to point out is the general principle that life imitates art far more than art imitates life.


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[Assistant] Or, as he wrote in the Decay of Lying, lies are preferable to truth. Why? Because lies are more beautiful.


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[Assistant] Now, that work, The Decay of Lying, very typical, uhm, wildly entitled. In fact, it's a work in favor of lying as being a high form of creative artifice. In that work, what we have are two cigarette-smoke-laden young men, two isthetes.


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[Assistant] Uh, of whom the more radical Vivian is clearly wild himself. It's a kind of, they're having a conversation, a very relaxed conversation, but of an extremely high


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[Assistant] Tone. Uhm, this is how it ends with, with, with, with three great, great doctrines, uhm, as, as enunciated by, by Vivian.


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[Assistant] The third doctrine is that life imitates art far more than art imitates life.


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[Assistant] This results not merely from life's imitative instinct, but from the fact that the self-conscious aim of life is to find expression, and that art offers it certain beautiful forms through which it may realize that energy.


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[Assistant] It is a theory that has never been put forward before.


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[Assistant] Novelty was very important to Wild, but it is extremely fruitful and throws an entirely new light upon the history of art. The paradox continues to unwind.


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[Assistant] It follows as a corollary from this that external nature also imitates art.


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[Assistant] The only effects that she can show us are effects that we have already seen. Through poetry or in paintings, this is the secret of nature's charm.


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[Assistant] As well as the explanation of nature's weakness. This is turning


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[Assistant] You know, romantic writers like Wordsworth on their head, of course. That in fact, nature imitates art.


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[Assistant] The telling of beautiful, untrue things is the proper aim of art. But of this, I think I've spoken at sufficient length.


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[Assistant] And now, let us go out on the terrace, where droops the milk white peacock, like a ghost, while the evening star washes the dusk with silver.


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[Assistant] Involving wholesale repudiations of the spirit of the age. It's the exact reverse, for example, of what George Eliot stood for. Realism. For, for a while.


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[Assistant] Wild is coming close here to the philosophical theory which in later times is called phenomenology. It is through the forms of art that we understand the formlessness of the natural world into which we've been plunged.


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[Assistant] It is, it is, clearly as one reads this, he's protesting too much, but it is clearly not the world which is conditioned by art, but our perception of the world which is conditioned by art, and without art we cannot


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[Assistant] As we say, makes sense of the world. Now, that in fact is a much more acceptable proposition, but Wilde of course, as he puts it so epigrammatically, so sharply, so in your face paradoxically, makes us take it on board and think about it and reformulate it in ways that we can use it. Now, one point to be made is that Wilde


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[Assistant] Had the best scholarly credentials of almost any great writer since Milton.


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[Assistant] He was not a stand-up comedian, but a considerable amount of letters and extraordinarily well-educated. He got a double first in classics, for instance, very hard to get in those days.


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[Assistant] Yet no one wore learning more lightly than Oscar, or wore his poet's garb with more panache.


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[Assistant] Now, he threw himself into the London literary world and also he was a prominent figure in Paris and in America. America loved him.


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[Assistant] Above all, he threw himself into the world of publicity. Gossip sheets, newspapers, and of course photography. All these, as it were, enhanced the wildian image.


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[Assistant] The green carnations in the buttonhole, the elaborate dress, the flowing hair, the cosmetics, all this was justified as a cult of Hellenism.


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[Assistant] Greek, er, in fact going back to the ancient Greek which he, which he studied and which he was so proficient.


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[Assistant] He, he was in fact the embodiment of what was called jeunesse dorée, gilded youth, male youth of course.


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[Assistant] Uh, women in fact have a, a very kind of ambiguous and in some ways a, a rather contingent, not to say peripheral role in all this. Uh, although in his...


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[Assistant] In his outrageous and much banned play Salome, Wilde did depict the Bible's most notorious femme fatale. He was quite interested in that aspect of feminism.


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[Assistant] Uh, that, that play is immortalized by the illustrations of, of Aubrey Beardsley, whose designs embody the, the spirit of the 1890s as vividly, uhm, as, as does Wilde himself.


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[Assistant] One of uhm, one of, one of Wiles most extravagant, but I think meaningful.


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[Assistant] Uhm, epigrams or witticisms is that I would number Jesus Christ among the poets. Everything is, everything, everything must be, as it were, sort of translated into art. Art is everything.


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[Assistant] The, the outrageousness of the 1890s. And remember, this is against the grain of England generally. The outrageousness of the 1890s is reflected in the opening of Dorian Gray, that novel I was talking about earlier. And it is, I think, the best.


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[Assistant] Part of that otherwise rather mechanical narrative. It's a wonderful basic idea that the picture in the attic is growing old while you stay young, but...


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[Assistant] But he doesn't really have the technical ability to make that idea run in terms of narrative.


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[Assistant] The setting again is, as in the decay of lying, three fashionable young men, men of the world, men of the mourned, fashionable world, one of whom is a golden youth, Dorian, they're in an artist's studio, and this is how it's


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[Assistant] How it's described. These are the opening paragraphs and very good they are, I think. I don't think Wild wrote better prose, better fictional prose anywhere else.


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[Assistant] The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink flowering thorns.


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[Assistant] It's important because smells figure very little in literature. Norman Mailer once said you could go through the whole work of Hemingway without finding a single smell.


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[Assistant] And here is Wilde in his first paragraph assailing the nostrils of the reader. It creates a very powerful and novel effect.


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[Assistant] From the corner of the divan of Persian saddlebags, on which he was lying, smoking as usual innumerable cigarettes.


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[Assistant] Lord Henry Watton could just catch the gleam of the honey-sweet and honey-colored blossoms of the Laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs. And now and then, the fantastic shadows of birds in flight flitted across the long tussle of silk curtains.


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[Assistant] That was stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid jade-faced painters who, in an art that is necessarily immobile, seek to convey the sense of swiftness and motion.


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[Assistant] The sullen murmur of the bees, shouldering their way through the long unmoaned grass, or circling with monotonous insistence around the black-crocketed spires of the early June hollyhocks, seemed to make the stillness more oppressive, and the dim roar of London was like the boredom note of a distant organ.


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[Assistant] Anyone who like me lives in London wonders where on earth he is. I mean, this notion, this kind of barrage of wonderful odours and scents and sounds and visions. I mean, it is clearly fantastical, it is artificial, but that is the point of it all.


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[Assistant] The artificiality is, as it were, the reason, the reason of what Wild is doing.


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[Assistant] You load every rift with awe, said Keats. Well, what Wild does is to take it even further. He overloads every rift with awe. This is overdone, but the overdoing is, as I say, the point of it all.


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[Assistant] In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty. Art, in fact, intrudes. First nature, as indeed it over-described here, then art.


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[Assistant] And in front of it, some little distance away was sitting the artist himself, Battle Hallward, whose sudden disappearance some years ago caused at the time such public excitement and gave rise to so many strange conjectures.


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[Assistant] As he looked at the gracious and comely form he had so skillfully mirrored in his art, we assume that Dorian, the model, is nude.


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[Assistant] A smile of pleasure passed across his face and seemed about to linger there, but he suddenly started up and, closing his eyes, placed his fingers upon the lids as though he sought to imprison within his brain some curious dream from which he feared he might awake.


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[Assistant] Again, there's no kind of drive in this narrative at all. It is all


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[Assistant] Pictorial is the picture of Dorian Gray and pictorialism is the, if you like, the light motif. It is your best work battle.


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[Assistant] The best thing you have ever done, said Lord Henry languidly, you must certainly send it next year to the Grosvenor. The Academy is too large. The Royal Academy, that means. The Academy is too large and too vulgar.


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[Assistant] For vulgarity, it's the worst thing that can happen in, in, in Wild's world. The Grosvenor, that's an art gallery, is the only place.


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[Assistant] I don't think I will send it anywhere, he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. No, I won't send it anywhere.


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[Assistant] Walter Pater. There are all sorts of little tendrils here which go backwards and go forwards.


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[Assistant] Well, that's probably enough of the portrait of Dorian Gray and I always think that reading it is a bit like chewing nougat or...


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[Assistant] So having, as it were, sort of three courses of sweet meat, it is too rich. But nonetheless, as I say, this was the whole point of what Wilde was doing, the richness, the superabundance. Now, there is another side to Wilde's achievement.


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[Assistant] That is to say, although I think, you know, one respects but does not highly regard him as a novelist, his achievement as a dramatist, writing a very, a very high form of comedy, would put him up there with the very greatest dramatist that we have.


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[Assistant] I should say incidentally that uhm, the subtext of Dorian Gray, one of the things which has given it, as it were, a perennial interest, the subtext is clearly gay.


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[Assistant] Uhm, but it should be remembered that Wild, by now, when he wrote


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[Assistant] Two years after the picture of Dorian Gray, which came out in 1891, were the high point of...


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[Assistant] A while's career, and these were the years in which he did what I was talking about a minute or two ago when he, when he created drama. Now the point about the drama was that that was a receptacle in which he didn't have, as it were, to do the pictorial stuff. He could actually sort of put into it, he could decant into it his wit.


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[Assistant] He was, it's very hard to measure these things because conversation in fact doesn't stick around, it disappears, it's up there in the ether somewhere, but he was, it is clear from what we do know about him, one of the great conversationalists of English literature, as great possibly as Dr. Johnson.


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[Assistant] And wild witticisms, which were thrown off in conversation or in lectures or...


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[Assistant] On one disastrous occasion in the courtroom where he was on trial for offenses against public decency are legion. Only Mark Twain, I would suggest, is more fertile or effortlessly spontaneous in witticism, verbal witticism than wild. I'll just give a few of them.


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[Assistant] The English have really everything in common with the Americans, except of course language. Now, on the face of it, that witticism is nonsensical, but it's actually examined also, it does have a grain of truth in it. Or put it another way, if we twist it this way and that, we can find some truth in it. Now, while as I've been saying achieved


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[Assistant] Uh, something more important than the picture of Dorian Gray in drama. And he achieved, I think, one masterpiece. And that masterpiece is his late play, The Importance of Being Earnest.


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[Assistant] Now, it's a delicious satire on Victorian seriousness, moral orthodoxy, earnestness.


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[Assistant] It is, it is full, almost every, every page, every, every, every minute on stage, it has dazzling verbal exchanges, and it had a wonderfully farcical plot as well, it, it, it, it is, it is,


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[Assistant] A very, very funny play. And one moment in this funnest of plays is supremely funny.


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[Assistant] And that is the clash between Lady Bracknell, who represents high Victorianism, uh, and is the ward of the young woman whom the scapegrace, Jack, who's the hero, wishes to marry.


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[Assistant] It's a very complicated plot, I won't describe it, but there is this confrontation, as it were, between old Victorianism and the new world, or the new world of the 1890s Bohemianism, as it's embodied by Jack.


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[Assistant] Jack, uhm, and Jack has made a proposal. He's offered for the ward of Lady Bracknell.


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[Assistant] Uhm, the fact is, is, is Lady Bracknell, he's had to explain himself. The fact is Lady Bracknell, uhm, I said I'd lost my parents. It would be nearer the truth to say that my, my parents seem to have lost me. Uh, I, I don't, I don't actually know who I am by birth. I was, well, I was found. Lady Bracknell. Found?


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[Assistant] Uh, the late Mr. Thomas Cardew, an old gentleman of a very charitable and kind disposition, found me and gave me the name of Worthing because he happened to have a first class ticket for Worthing in his pocket at the time. Worthing is a place in Sussex. It's a seaside resort.


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[Assistant] Lady Bracknell, where did the charitable gentleman who had a first class ticket for this seaside resort find you? And Jack says gravely.


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[Assistant] In a handbag, Lady Bracknell. And this is a scene which is famous, largely because of, uh, uh, an English actress, Edith Evans, who did it in a film. A handbag?


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[Assistant] Cloak room at Victoria Station, says Lady Bracknell. Jack. Yes, the Brighton Line. And then Lady Bracknell. The line is immaterial. And so it goes on. It is...


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[Assistant] I mean, it's one of those, one of those scenes, and indeed the whole play is one which, which requires a very fast and virtuosic performance from the actors. But,


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[Assistant] In my experience that in the theatre, and in the cinema as well, it's been filmed several times, you can't hear the lines very often for the uproarious laughter which they elicit from the audience.


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[Assistant] The last phase of Oscar Wilde's life is well known. It coincides in fact with the triumph of the importance of being earnest in the West End theatres of the time.


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[Assistant] The author's name was removed from the placards because in fact he'd overnight become a figure of the darkest disgrace.


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[Assistant] Very simply, uhm, Wilde was accused by his young lover, Lord Arthur Douglas, his young lover's father of being a somdomite as


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[Assistant] The Marquis of Queensbury miss- miss- misspelled at sodomite he meant.


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[Assistant] Wild, very unwisely took out a slander suit. He lost and was then himself prosecuted under a recent homophobic law, uh, the Boucher Amendment as it's called, for what were called offences against public decency.


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[Assistant] He was found guilty and he was imprisoned with hard labour for two years.


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[Assistant] On his release, and the downfall is like that of Lucifer, on his release he took refuge without his shamed wife and children in France, dying as he gested beyond his means, with the final year of the Victorian era in 1900.


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[Assistant] One of, one of Wilde's innumerable witticisms was, to live is the rarest thing in the world. Most people exist, that is all.


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[Assistant] Well, Wild certainly lived. And one can say that he died too early. And another of his witticisms is one can survive anything nowadays except death.


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[Assistant] Well, death and persecution have enshrined the memory of wilds. They've made them an object of perennial fascination as a great celebrity and also a very notorious figure.


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[Assistant] Looking at him, one can also acknowledge that he was a great writer, though he himself might have seen that as perhaps one of the less important of his achievements in life.


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[Assistant] Word to the wise, stay far away from that asshole.


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[Assistant] And it happens every day, right through the winter, just a couple of miles from my doorstep. How good is that?


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[Assistant] If you visit the Beast Battleground, you might just run into a rare monster. Well, do you?


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[Assistant] So that's why Dines shot all those people? To get back?


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[Assistant] It's like one of those tight football matches. It's one all, and it all comes down to those entrees.


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[Assistant] Both entrees were delicious and both were a celebration of grapes in their entirety.


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[Assistant] But there was one that stuck its head above the other. And that was


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[Assistant] You gave us familiar flavours of beetroot, goat's cheese and grapes and the walnuts, but that addition of that red wine vinaigrette was really yummy and tied it all together. Well done blue team.


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[Assistant] Oh, you must mean Biggs. He was just dropping off some food.


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[Assistant] So here I am, the odd woman out. I hit it off quick, huh? Must be nice to make friends that easily.


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[Assistant] I don't know. I act like I can. Think I always have. Ever since I was a kid. Anyway, you up for a little exploring? With me. I mean, no pressure.


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[Assistant] Back when I was still finding my feet in Midgar, I ran into some trouble. But she took me under her wing, helped me out, saved me, really.


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[Assistant] I admired her. She was so cool and confident. Like nothing could bring her down.


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[Assistant] Now wait a minute. Barret might have a temper, but he'd never do this.


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[Assistant] As park director, it's my pleasure to welcome you to this, our gilded paradise.


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[Assistant] We meet again young man. If you'd like to go another round, I'm always game. Seriously?


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[Assistant] A director from head office was attending a coliseum match earlier, when their security detail was gunned down.


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[Assistant] And so we have no image of their face. But according to eyewitness reports,


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[Assistant] It was a man with a gun grafted to one arm and that's when it hit me.


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[Assistant] I knew this man. He was one of several fugitives we were warned to be on the lookout for.


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[Assistant] Nigh as tall and muscular as I, yet brash and brazen, with an ever-present scowl that smolders behind his sunglasses and...


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[Assistant] Tell me, does that sound like anyone you might know?


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[Assistant] You have 24 hours, after which you will all be deemed complicit, clapped in chains, and delivered to Shinra.


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[Assistant] In the event you decide to make a break for it.


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[Assistant] Our culprit awaits below, my scrappy friends. In the name of justice, go forth!


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[Assistant] Which is why I'm ever so certain that you'll be useful. What do you want? So the son of a bitch with a gun for an arm? I got him under loss and pain. Out in the middle of the day.


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[Assistant] Don't worry, Master, said Wukong. I'm great at defeating demons. This won't take long. I hope that fool


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[Assistant] Greetings, Your Majesty! I am Sun Wukong, King of the Fruit and Flower Mountain!


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[Assistant] You need someone who can defeat demons. Well, here I am.


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[Assistant] But if you want my help, you must stay calm and explain everything to me.


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[Assistant] You can stop being sad now, your majesty. I will rescue the queen. In the meantime, please take care of my companions. I think Bajie is hungry.