Bridger Aerospace announced on February 20th, the deployment of a Pilatus PC-12 Multi-Mission Aircraft (MMA) to Oklahoma to provide aerial intelligence for early-season wildfires. This marks the earliest seasonal deployment of any Bridger Aircraft since the company’s inception in 2014.

Bridger Aerospace Announces Earliest Fire Season Dispatch in Company ...

Bridger Aerospace is an American aerospace company which provides aerial firefighting and wildfire management services. At the Martin Fire in Nevada in 2018, it was the first private company to legally fly a drone over a wildfire.

Bridger Aerospace - Wikipedia

Amid raging wildfires, changing climate, and a year-round fire season, Bridger Aerospace uses sustainable and environmentally safe firefighting methods. By sourcing water near the fire, we minimize harm to the local water system and reduce flight time between scoops and drops.

Bridger Aerospace | Bridger Aerospace

I guess that is a normal expectation, ... Glassdoor, so it was kind of difficult to research the company. He also asked me in-depth questions about the duties of the job I was applying to, and if I knew of any of Bridger’s competitors, which I found odd....

Working at Bridger Consulting Group | Glassdoor

Not familiar with Bridger per say but I’ve worked for expert network consulting companies. It’s not a scam, it is a spamming kind of industry and they can be annoying af but they do like actually pay you for your time which can be a good side gig.

r/Scams on Reddit: Is Bridger Consulting a scam?

Bridger | 4,534 followers on LinkedIn. A tech-enabled consulting platform connecting businesses with industry professionals to share knowledge, on-demand. | Bridger is a tech-enabled consulting firm connecting businesses with industry professionals to share knowledge, on-demand.

Bridger | LinkedIn

As a leading LiDAR company, Bridger is your go-to source for data products that help detect methane leaks. Click here to learn more.

Aerial LiDAR Methane Detection Technology Company | Bridger Photonics

By combining technology with ... projects, review profiles, schedule engagements, and chat directly with a Bridger research contact there to quarterback the entire process. As the company expands its services, it will include virtual events, teleconferences, and quantitative ...

Bridger, a Tech-Driven Consulting Firm Fueling the Expert 'gig' ...

Bridger Co. is seeking to acquire Valley Bank of Glasgow and First Security Bank of Malta, according to the website of the Federal Reserve Bank of Minneapolis.

Montana-based Bridger Co. seeking to acquire 2 in-state banks | ...

A few years later, in February of 1919 the Bank became The American National Bank of Bridger before organizing as Bank of Bridger on June 6, 1941. The Bridger Company acquired the Bank of Bridger in 1985 and ownership remains the same today. Throughout the years the bank has expanded with offices ...

About Bank of Bridger - Bank of Bridger

Bridger

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While Netflix asks, "Are you still watching?" vertical short-form series are now transforming the audiovisual market. People aren't just watching; they're watching till the end. In traffic, at lunch, at the gym, and between work meetings, people watch short videos to entertain themselves and forward them to friends. That's what I do, and I bet you do, too. And here's the kicker: In 2024, the use of vertical videos is set to skyrocket by more than 50%. Why? Because they work. Vertical videos boast a staggering 90% watch completion rate compared to their horizontal counterparts. I caught this trend in 2023, seeing this format evolve in the Asian market. My partner Anatolii Kasianov and I quickly ran a pilot project and raised investments. Now we are making short-form series that steal screen time from traditional streamers. Here's how it works. Picking a trendy story topic Choosing the right content is crucial in creating video dramas. Since we are developing a mediatech company, we have much data at our fingertips. For instance, our book platform has millions of monthly users. This gives us plenty of insights into audience interests. We also pay close attention to user feedback. When readers ask about character motivations or plot choices, it shows us what engages them. We also track market trends. Netflix's success with "Bridgerton" wasn't just a hit –– it was a lesson in what works. Our analysis shows clear patterns: The fast pace of market trends is critical, as demonstrated by Netflix's "Miller's Girl," which set off a trend for age gap series on TikTok. Swiftly creating shorts series based on these trends is vital for success.
Audiences in different countries prefer distinct genres and tropes. Paranormal themes often find more popularity in Europe, while the billionaire genre is particularly popular in the US.
Successful series often hinge on book adaptations. With books having strong fan bases, it's crucial to grasp their essence. Even making significant changes, like 70% of the storyline, can prove advantageous. The US is our primary market. We use this data to inform our vertical drama concepts, ensuring we create content that resonates with our target audience and fits the short-form, vertical format. Collaboration with book authors Our journey from page to screen starts with a unique partnership with book authors. When we find a promising book, we contact its author with an offer: a share in the series' profits. This isn't just a licensing deal — it's a collaborative effort. The book undergoes significant revisions to fit our format. We work closely with the author to preserve the essence of their story while adapting it for short-form, vertical viewing. Authors sometimes give us full rights to the story, seeing the potential for a wider audience. Authors benefit greatly from this collaboration. In addition to financial rewards, they receive the desired recognition as their stories reach a larger audience. Creating a script After signing all papers with the author, our team of screenwriters gets to work. Yes, we're still engaging human writers to craft the story to make it more real and tailored to the series' short-form nature. Sure, they collaborate with our AI tools to structure the story, emphasising hooks and dramatic elements that work well in short, vertical episodes. This human-AI partnership allows us to maintain creativity while optimising for our unique format. Filming vertical dramas Our production process looks like a typical TV series shooting, but it costs us up to 10 times less. A team of producers reviews the script, casts actors, and scouts locations. We attract professional actors for filming. Currently, the entire process takes about 2 months. We're aiming to cut this to 1 month using AI. We already leverage AI in scripting and localisation (translation and dubbing). Our next big opportunity is to streamline post-production with AI tools. What next? With 65% user retention on day one and 44% after a week, we see proof of our vertical drama model. It's a good sign for the short-form content market. Users love our pay-per-episode model. It's not just convenient; it's changing how people consume and pay for content. Just think of how many times you've had busy months where you didn't watch TV shows and were charged for your subscription. This flexibility is a crucial differentiator from traditional streaming services. Our main goal is to build a Netflix for vertical series, the format that will be the most prevalent in the future. So now, our scaling plan looks like this: Expanding our production capacity by increasing the number of studios.
Implement AI in post-production and reduce our production timeline.
Exploring licensing deals, particularly with Asian content creators already succeeding in this format. Our next big bet? AI-driven character interaction. Viewers are very interested in the characters and what will happen next. We are developing a feature that allows to continue communicating, even dating with the characters after the series ends. But we’re not stopping here. We’re also working on content personalisation: changing voices, settings, and actors based on users' preferences. Imagine watching a series where a character looks and speaks according to your taste, or the action occurs in your favourite city! That’s the future of the content we are developing. While Netflix asks, "Are you still watching?" vertical short-form series are now transforming the audiovisual market. People aren't just watching; they're watching till the end. While Netflix asks, "Are you still watching?" vertical short-form series are now transforming the audiovisual market. People aren't just watching; they're watching till the end. In traffic, at lunch, at the gym, and between work meetings, people watch short videos to entertain themselves and forward them to friends. That's what I do, and I bet you do, too. And here's the kicker: In 2024, the use of vertical videos is set to skyrocket by more than 50% . Why? Because they work. Vertical videos boast a staggering 90% watch completion rate compared to their horizontal counterparts. 50% 50% 90% 90% I caught this trend in 2023, seeing this format evolve in the Asian market. My partner Anatolii Kasianov and I quickly ran a pilot project and raised investments. Now we are making short-form series that steal screen time from traditional streamers. Here's how it works. Picking a trendy story topic Picking a trendy story topic Choosing the right content is crucial in creating video dramas. Since we are developing a mediatech company, we have much data at our fingertips. For instance, our book platform has millions of monthly users. This gives us plenty of insights into audience interests. We also pay close attention to user feedback. When readers ask about character motivations or plot choices, it shows us what engages them. We also track market trends. Netflix's success with "Bridgerton" wasn't just a hit –– it was a lesson in what works. Our analysis shows clear patterns: The fast pace of market trends is critical, as demonstrated by Netflix's "Miller's Girl," which set off a trend for age gap series on TikTok. Swiftly creating shorts series based on these trends is vital for success. Audiences in different countries prefer distinct genres and tropes. Paranormal themes often find more popularity in Europe, while the billionaire genre is particularly popular in the US. Successful series often hinge on book adaptations. With books having strong fan bases, it's crucial to grasp their essence. Even making significant changes, like 70% of the storyline, can prove advantageous. The fast pace of market trends is critical, as demonstrated by Netflix's "Miller's Girl," which set off a trend for age gap series on TikTok. Swiftly creating shorts series based on these trends is vital for success. Audiences in different countries prefer distinct genres and tropes. Paranormal themes often find more popularity in Europe, while the billionaire genre is particularly popular in the US. Successful series often hinge on book adaptations. With books having strong fan bases, it's crucial to grasp their essence. Even making significant changes, like 70% of the storyline, can prove advantageous. The US is our primary market. We use this data to inform our vertical drama concepts, ensuring we create content that resonates with our target audience and fits the short-form, vertical format. Collaboration with book authors Collaboration with book authors Our journey from page to screen starts with a unique partnership with book authors. When we find a promising book, we contact its author with an offer: a share in the series' profits. This isn't just a licensing deal — it's a collaborative effort. The book undergoes significant revisions to fit our format. We work closely with the author to preserve the essence of their story while adapting it for short-form, vertical viewing. Authors sometimes give us full rights to the story, seeing the potential for a wider audience. Authors benefit greatly from this collaboration. In addition to financial rewards, they receive the desired recognition as their stories reach a larger audience. Creating a script Creating a script After signing all papers with the author, our team of screenwriters gets to work. Yes, we're still engaging human writers to craft the story to make it more real and tailored to the series' short-form nature. Sure, they collaborate with our AI tools to structure the story, emphasising hooks and dramatic elements that work well in short, vertical episodes. This human-AI partnership allows us to maintain creativity while optimising for our unique format. Filming vertical dramas Filming vertical dramas Our production process looks like a typical TV series shooting, but it costs us up to 10 times less. A team of producers reviews the script, casts actors, and scouts locations. We attract professional actors for filming. Currently, the entire process takes about 2 months. We're aiming to cut this to 1 month using AI. We already leverage AI in scripting and localisation (translation and dubbing). Our next big opportunity is to streamline post-production with AI tools. What next? What next? With 65% user retention on day one and 44% after a week, we see proof of our vertical drama model. It's a good sign for the short-form content market. Users love our pay-per-episode model. It's not just convenient; it's changing how people consume and pay for content. Just think of how many times you've had busy months where you didn't watch TV shows and were charged for your subscription. This flexibility is a crucial differentiator from traditional streaming services. Our main goal is to build a Netflix for vertical series, the format that will be the most prevalent in the future. So now, our scaling plan looks like this: Expanding our production capacity by increasing the number of studios. Implement AI in post-production and reduce our production timeline. Exploring licensing deals, particularly with Asian content creators already succeeding in this format. Expanding our production capacity by increasing the number of studios. Implement AI in post-production and reduce our production timeline. Exploring licensing deals, particularly with Asian content creators already succeeding in this format. Our next big bet? AI-driven character interaction. Viewers are very interested in the characters and what will happen next. We are developing a feature that allows to continue communicating, even dating with the characters after the series ends. But we’re not stopping here. We’re also working on content personalisation: changing voices, settings, and actors based on users' preferences. Imagine watching a series where a character looks and speaks according to your taste, or the action occurs in your favourite city! That’s the future of the content we are developing.

Our Short-form Series Perform Better Than Netflix. Here's How we Film Them

This paper is available on arxiv under CC 4.0 license. . Authors: Gemini Team, Google Table of Links Abstract and Introduction Model Architecture Training Infrastructure Training Dataset Evaluation Responsible Deployment Discussion and Conclusion, References Contributions and Acknowledgments Appendix 8. Contributions and Acknowledgments Leads Rohan Anil, Co-Lead, Text Sebastian Borgeaud, Co-Lead, Text Yonghui Wu, Co-Lead, Text Jean-Baptiste Alayrac, Co-Lead, MM Vision Jiahui Yu, Co-Lead, MM Vision Radu Soricut*, Co-Lead, MM Vision* Johan Schalkwyk, Lead, MM Audio Andrew M. Dai, Co-Lead, Data Anja Hauth*, Co-Lead, Data* Katie Millican, Co-Lead, Data David Silver, Co-Lead, Fine-Tuning Slav Petrov, Co-Lead, Fine-Tuning Melvin Johnson, Lead, Instruction Tuning Ioannis Antonoglou*, Co-Lead, RL Techniques* Julian Schrittwieser, Co-Lead, RL Techniques Amelia Glaese, Lead, Human Data Jilin Chen, Lead, Safety Emily Pitler, Co-Lead, Tool Use Timothy Lillicrap, Co-Lead, Tool Use Angeliki Lazaridou, Co-Lead, Eval Orhan Firat, Co-Lead, Eval James Molloy, Co-Lead, Infra Michael Isard, Co-Lead, Infra Paul R. Barham, Co-Lead, Infra Tom Hennigan, Co-Lead, Infra Benjamin Lee, Co-Lead, Codebase & Parallelism Fabio Viola, Co-Lead, Codebase & Parallelism Malcolm Reynolds, Co-Lead, Codebase & Parallelism Yuanzhong Xu, Co-Lead, Codebase & Parallelism Ryan Doherty, Lead, Ecosystem Eli Collins, Lead, Product Clemens Meyer, Co-Lead, Operations Eliza Rutherford, Co-Lead, Operations Erica Moreira, Co-Lead, Operations Kareem Ayoub, Co-Lead, Operations Megha Goel, Co-Lead, Operations Core Contributors George Tucker Enrique Piqueras Maxim Krikun Iain Barr Nikolay Savinov Ivo Danihelka Becca Roelofs Core Contributors Anaïs White Anders Andreassen Tamara von Glehn Lakshman Yagati Mehran Kazemi Lucas Gonzalez Misha Khalman Jakub Sygnowski Alexandre Frechette Charlotte Smith Laura Culp Lev Proleev Yi Luan Xi Chen James Lottes Nathan Schucher Federico Lebron Alban Rrustemi Natalie Clay Phil Crone Tomas Kocisky Jeffrey Zhao Bartek Perz Dian Yu Heidi Howard Adam Bloniarz Jack W. Rae Han Lu Laurent Sifre Marcello Maggioni Fred Alcober Dan Garrette Megan Barnes Shantanu Thakoor Jacob Austin Gabriel Barth-Maron William Wong Rishabh Joshi Rahma Chaabouni Deeni Fatiha Arun Ahuja Ruibo Liu Yunxuan Li Sarah Cogan Jeremy Chen Core Contributors Chao Jia Chenjie Gu Qiao Zhang Jordan Grimstad Ale Jakse Hartman Martin Chadwick Gaurav Singh Tomar Xavier Garcia Evan Senter Emanuel Taropa Thanumalayan Sankaranarayana Pillai Jacob Devlin Michael Laskin Diego de Las Casas Dasha Valter Connie Tao Lorenzo Blanco Adrià Puigdomènech Badia David Reitter Mianna Chen Jenny Brennan Clara Rivera Sergey Brin Shariq Iqbal Gabriela Surita Jane Labanowski Abhi Rao Stephanie Winkler Emilio Parisotto Yiming Gu Kate Olszewska Yujing Zhang Ravi Addanki Antoine Miech Annie Louis Laurent El Shafey Denis Teplyashin Geoff Brown Elliot Catt Nithya Attaluri Jan Balaguer Jackie Xiang Pidong Wang Zoe Ashwood Anton Briukhov Albert Webson Sanjay Ganapathy Smit Sanghavi Core Contributors Ajay Kannan Ming-Wei Chang Axel Stjerngren Josip Djolonga Yuting Sun Ankur Bapna Matthew Aitchison Pedram Pejman Henryk Michalewski Tianhe Yu Cindy Wang Juliette Love Junwhan Ahn Dawn Bloxwich Kehang Han Peter Humphreys Thibault Sellam James Bradbury Varun Godbole Sina Samangooei Bogdan Damoc Alex Kaskasoli Sébastien M. R. Arnold Vijay Vasudevan Shubham Agrawal Jason Riesa Dmitry Lepikhin Richard Tanburn Srivatsan Srinivasan Hyeontaek Lim Sarah Hodkinson Pranav Shyam Johan Ferret Steven Hand Ankush Garg Tom Le Paine Jian Li Yujia Li Minh Giang Alexander Neitz Zaheer Abbas Sarah York Machel Reid Elizabeth Cole Aakanksha Chowdhery Dipanjan Das Dominika Rogozińska Vitaly Nikolaev Core Contributors Pablo Sprechmann Zachary Nado Lukas Zilka Flavien Prost Luheng He Marianne Monteiro Gaurav Mishra Chris Welty Josh Newlan Dawei Jia Miltiadis Allamanis Clara Huiyi Hu Raoul de Liedekerke Justin Gilmer Carl Saroufim Shruti Rijhwani Shaobo Hou Disha Shrivastava Anirudh Baddepudi Alex Goldin Adnan Ozturel Albin Cassirer Yunhan Xu Daniel Sohn Devendra Sachan Reinald Kim Amplayo Craig Swanson Dessie Petrova Shashi Narayan Arthur Guez Siddhartha Brahma Jessica Landon Miteyan Patel Ruizhe Zhao Kevin Villela Luyu Wang Wenhao Jia Matthew Rahtz Mai Giménez Legg Yeung Hanzhao Lin James Keeling Petko Georgiev Diana Mincu Boxi Wu Salem Haykal Rachel Saputro Kiran Vodrahalli Core Contributors James Qin Zeynep Cankara Abhanshu Sharma Nick Fernando Will Hawkins Behnam Neyshabur Solomon Kim Adrian Hutter Priyanka Agrawal Alex Castro-Ros George van den Driessche Tao Wang Fan Yang Shuo-yiin Chang Paul Komarek Ross McIlroy Mario Lučić Guodong Zhang Wael Farhan Michael Sharman Paul Natsev Paul Michel Yong Cheng Yamini Bansal Siyuan Qiao Kris Cao Siamak Shakeri Christina Butterfield Justin Chung Paul Kishan Rubenstein Shivani Agrawal Arthur Mensch Kedar Soparkar Karel Lenc Timothy Chung Aedan Pope Loren Maggiore Jackie Kay Priya Jhakra Shibo Wang Joshua Maynez Mary Phuong Taylor Tobin Andrea Tacchetti Maja Trebacz Kevin Robinson Yash Katariya Sebastian Riedel Core Contributors Paige Bailey Kefan Xiao Nimesh Ghelani Lora Aroyo Ambrose Slone Neil Houlsby Xuehan Xiong Zhen Yang Elena Gribovskaya Jonas Adler Mateo Wirth Lisa Lee Music Li Thais Kagohara Jay Pavagadhi Sophie Bridgers Anna Bortsova Sanjay Ghemawat Zafarali Ahmed Tianqi Liu Richard Powell Vijay Bolina Mariko Iinuma Polina Zablotskaia James Besley Da-Woon Chung Timothy Dozat Ramona Comanescu Xiance Si Jeremy Greer Guolong Su Martin Polacek Raphaël Lopez Kaufman Simon Tokumine Hexiang Hu Elena Buchatskaya Yingjie Miao Mohamed Elhawaty Aditya Siddhant Nenad Tomasev Jinwei Xing Christina Greer Helen Miller Shereen Ashraf Aurko Roy Zizhao Zhang Ada Ma Angelos Filos Core Contributors Milos Besta Rory Blevins Ted Klimenko Chih-Kuan Yeh Soravit Changpinyo Jiaqi Mu Oscar Chang Mantas Pajarskas Carrie Muir Vered Cohen Charline Le Lan Krishna Haridasan Amit Marathe Steven Hansen Sholto Douglas Rajkumar Samuel Mingqiu Wang Sophia Austin Chang Lan Jiepu Jiang Justin Chiu Jaime Alonso Lorenzo Lars Lowe Sjösund Sébastien Cevey Zach Gleicher Thi Avrahami Anudhyan Boral Hansa Srinivasan Vittorio Selo Rhys May Konstantinos Aisopos Léonard Hussenot Livio Baldini Soares Kate Baumli Michael B. Chang Adrià Recasens Ben Caine Alexander Pritzel Filip Pavetic Fabio Pardo Anita Gergely Justin Frye Vinay Ramasesh Dan Horgan Kartikeya Badola Nora Kassner Subhrajit Roy Ethan Dyer Core Contributors Víctor Campos Alex Tomala Yunhao Tang Dalia El Badawy Elspeth White Basil Mustafa Oran Lang Abhishek Jindal Sharad Vikram Zhitao Gong Sergi Caelles Ross Hemsley Gregory Thornton Fangxiaoyu Feng Wojciech Stokowiec Ce Zheng Phoebe Thacker Çağlar Ünlü Zhishuai Zhang Mohammad Saleh James Svensson Max Bileschi Piyush Patil Ankesh Anand Roman Ring Katerina Tsihlas Arpi Vezer Marco Selvi Toby Shevlane Mikel Rodriguez Tom Kwiatkowski Samira Daruki Keran Rong Allan Dafoe Nicholas FitzGerald Keren Gu-Lemberg Mina Khan Lisa Anne Hendricks Marie Pellat Vladimir Feinberg James Cobon-Kerr Tara Sainath Maribeth Rauh Sayed Hadi Hashemi Richard Ives Yana Hasson YaGuang Li Eric Noland Core Contributors Yuan Cao Nathan Byrd Le Hou Qingze Wang Thibault Sottiaux Michela Paganini Jean-Baptiste Lespiau Alexandre Moufarek Samer Hassan Kaushik Shivakumar Joost van Amersfoort Amol Mandhane Pratik Joshi Anirudh Goyal Matthew Tung Andrew Brock Hannah Sheahan Vedant Misra Cheng Li Nemanja Rakićević Mostafa Dehghani Fangyu Liu Sid Mittal Junhyuk Oh Seb Noury Eren Sezener Fantine Huot Matthew Lamm Nicola De Cao Charlie Chen Contributors Gamaleldin Elsayed Ed Chi Mahdis Mahdieh Ian Tenney Nan Hua Ivan Petrychenko Patrick Kane Dylan Scandinaro Rishub Jain Jonathan Uesato Romina Datta Adam Sadovsky Oskar Bunyan Dominik Rabiej Shimu Wu John Zhang Contributors Gautam Vasudevan Edouard Leurent Mahmoud Alnahlawi Ionut Georgescu Nan Wei Ivy Zheng Betty Chan Pam G Rabinovitch Piotr Stanczyk Ye Zhang David Steiner Subhajit Naskar Michael Azzam Matthew Johnson Adam Paszke Chung-Cheng Chiu Jaume Sanchez Elias Afroz Mohiuddin Faizan Muhammad Jin Miao Andrew Lee Nino Vieillard Sahitya Potluri Jane Park Elnaz Davoodi Jiageng Zhang Jeff Stanway Drew Garmon Abhijit Karmarkar Zhe Dong Jong Lee Aviral Kumar Luowei Zhou Jonathan Evens William Isaac Zhe Chen Johnson Jia Anselm Levskaya Zhenkai Zhu Chris Gorgolewski Peter Grabowski Yu Mao Alberto Magni Kaisheng Yao Javier Snaider Norman Casagrande Paul Suganthan Evan Palmer Contributors Geoffrey Irving Edward Loper Manaal Faruqui Isha Arkatkar Nanxin Chen Izhak Shafran Michael Fink Alfonso Castaño Irene Giannoumis Wooyeol Kim Mikołaj Rybiński Ashwin Sreevatsa Jennifer Prendki David Soergel Adrian Goedeckemeyer Willi Gierke Mohsen Jafari Meenu Gaba Jeremy Wiesner Diana Gage Wright Yawen Wei Harsha Vashisht Yana Kulizhskaya Jay Hoover Maigo Le Lu Li Chimezie Iwuanyanwu Lu Liu Kevin Ramirez Andrey Khorlin Albert Cui Tian LIN Marin Georgiev Marcus Wu Ricardo Aguilar Keith Pallo Abhishek Chakladar Alena Repina Xihui Wu Tom van der Weide Priya Ponnapalli Caroline Kaplan Jiri Simsa Shuangfeng Li Olivier Dousse Fan Yang Jeff Piper Nathan Ie Contributors Minnie Lui Rama Pasumarthi Nathan Lintz Anitha Vijayakumar Lam Nguyen Thiet Daniel Andor Pedro Valenzuela Cosmin Paduraru Daiyi Peng Katherine Lee Shuyuan Zhang Somer Greene Duc Dung Nguyen Paula Kurylowicz Sarmishta Velury Sebastian Krause Cassidy Hardin Lucas Dixon Lili Janzer Kiam Choo Ziqiang Feng Biao Zhang Achintya Singhal Tejasi Latkar Mingyang Zhang Quoc Le Elena Allica Abellan Dayou Du Dan McKinnon Natasha Antropova Tolga Bolukbasi Orgad Keller David Reid Daniel Finchelstein Maria Abi Raad Remi Crocker Peter Hawkins Robert Dadashi Colin Gaffney Sid Lall Ken Franko Egor Filonov Anna Bulanova Rémi Leblond Vikas Yadav Shirley Chung Harry Askham Luis C. Cobo Contributors Kelvin Xu Felix Fischer Jun Xu Christina Sorokin Chris Alberti Chu-Cheng Lin Colin Evans Hao Zhou Alek Dimitriev Hannah Forbes Dylan Banarse Zora Tung Jeremiah Liu Mark Omernick Colton Bishop Chintu Kumar Rachel Sterneck Ryan Foley Rohan Jain Swaroop Mishra Jiawei Xia Taylor Bos Geoffrey Cideron Ehsan Amid Francesco Piccinno Xingyu Wang Praseem Banzal Petru Gurita Hila Noga Premal Shah Daniel J. Mankowitz Alex Polozov Nate Kushman Victoria Krakovna Sasha Brown MohammadHossein Bateni Dennis Duan Vlad Firoiu Meghana Thotakuri Tom Natan Anhad Mohananey Matthieu Geist Sidharth Mudgal Sertan Girgin Hui Li Jiayu Ye Ofir Roval Reiko Tojo Contributors Michael Kwong James Lee-Thorp Christopher Yew Quan Yuan Sumit Bagri Danila Sinopalnikov Sabela Ramos John Mellor Abhishek Sharma Aliaksei Severyn Jonathan Lai Kathy Wu Heng-Tze Cheng David Miller Nicolas Sonnerat Denis Vnukov Rory Greig Jennifer Beattie Emily Caveness Libin Bai Julian Eisenschlos Alex Korchemniy Tomy Tsai Mimi Jasarevic Weize Kong Phuong Dao Zeyu Zheng Frederick Liu Fan Yang Rui Zhu Mark Geller Tian Huey Teh Jason Sanmiya Evgeny Gladchenko Nejc Trdin Andrei Sozanschi Daniel Toyama Evan Rosen Sasan Tavakkol Linting Xue Chen Elkind Oliver Woodman John Carpenter George Papamakarios Rupert Kemp Sushant Kafle Tanya Grunina Rishika Sinha Contributors Alice Talbert Abhimanyu Goyal Diane Wu Denese Owusu-Afriyie Cosmo Du Chloe Thornton Jordi Pont-Tuset Pradyumna Narayana Jing Li Saaber Fatehi John Wieting Omar Ajmeri Benigno Uria Tao Zhu Yeongil Ko Laura Knight Amélie Héliou Ning Niu Shane Gu Chenxi Pang Dustin Tran Yeqing Li Nir Levine Ariel Stolovich Norbert Kalb Rebeca Santamaria-Fernandez Sonam Goenka Wenny Yustalim Robin Strudel Ali Elqursh Balaji Lakshminarayanan Charlie Deck Shyam Upadhyay Hyo Lee Mike Dusenberry Zonglin Li Xuezhi Wang Kyle Levin Raphael Hoffmann Dan Holtmann-Rice Olivier Bachem Summer Yue Sho Arora Eric Malmi Daniil Mirylenka Qijun Tan Christy Koh Soheil Hassas Yeganeh Contributors Siim Põder Steven Zheng Francesco Pongetti Mukarram Tariq Yanhua Sun Lucian Ionita Mojtaba Seyedhosseini Pouya Tafti Ragha Kotikalapudi Zhiyu Liu Anmol Gulati Jasmine Liu Xinyu Ye Bart Chrzaszcz Lily Wang Nikhil Sethi Tianrun Li Ben Brown Shreya Singh Wei Fan Aaron Parisi Joe Stanton Chenkai Kuang Vinod Koverkathu Christopher A. Choquette-Choo Yunjie Li TJ Lu Abe Ittycheriah Prakash Shroff Pei Sun Mani Varadarajan Sanaz Bahargam Rob Willoughby David Gaddy Ishita Dasgupta Guillaume Desjardins Marco Cornero Brona Robenek Bhavishya Mittal Ben Albrecht Ashish Shenoy Fedor Moiseev Henrik Jacobsson Alireza Ghaffarkhah Morgane Rivière Alanna Walton Clément Crepy Alicia Parrish Contributors Yuan Liu Zongwei Zhou Clement Farabet Carey Radebaugh Praveen Srinivasan Claudia van der Salm Andreas Fidjeland Salvatore Scellato Eri Latorre-Chimoto Hanna Klimczak-Plucińska David Bridson Dario de Cesare Tom Hudson Piermaria Mendolicchio Lexi Walker Alex Morris Ivo Penchev Matthew Mauger Alexey Guseynov Alison Reid Seth Odoom Lucia Loher Victor Cotruta Madhavi Yenugula Dominik Grewe Anastasia Petrushkina Tom Duerig Antonio Sanchez Steve Yadlowsky Amy Shen Amir Globerson Adam Kurzrok Lynette Webb Sahil Dua Dong Li Preethi Lahoti Surya Bhupatiraju Dan Hurt Haroon Qureshi Ananth Agarwal Tomer Shani Matan Eyal Anuj Khare Shreyas Rammohan Belle Lei Wang Chetan Tekur Mihir Sanjay Kale Jinliang Wei Contributors Ruoxin Sang Brennan Saeta Tyler Liechty Yi Sun Yao Zhao Stephan Lee Pandu Nayak Doug Fritz Manish Reddy Vuyyuru John Aslanides Nidhi Vyas Martin Wicke Xiao Ma Taylan Bilal Evgenii Eltyshev Daniel Balle Nina Martin Hardie Cate James Manyika Keyvan Amiri Yelin Kim Xi Xiong Kai Kang Florian Luisier Nilesh Tripuraneni David Madras Mandy Guo Austin Waters Oliver Wang Joshua Ainslie Jason Baldridge Han Zhang Garima Pruthi Jakob Bauer Feng Yang Riham Mansour Jason Gelman Yang Xu George Polovets Ji Liu Honglong Cai Warren Chen XiangHai Sheng Emily Xue Sherjil Ozair Adams Yu Christof Angermueller Contributors Xiaowei Li Weiren Wang Julia Wiesinger Emmanouil Koukoumidis Yuan Tian Anand Iyer Madhu Gurumurthy Mark Goldenson Parashar Shah MK Blake Hongkun Yu Anthony Urbanowicz Jennimaria Palomaki Chrisantha Fernando Kevin Brooks Ken Durden Harsh Mehta Nikola Momchev Elahe Rahimtoroghi Maria Georgaki Amit Raul Sebastian Ruder Morgan Redshaw Jinhyuk Lee Komal Jalan Dinghua Li Ginger Perng Blake Hechtman Parker Schuh Milad Nasr Mia Chen Kieran Milan Vladimir Mikulik Trevor Strohman Juliana Franco Tim Green Program Leads Demis Hassabis Koray Kavukcuoglu Overall Technical Leads (equal contribution) Jeffrey Dean Oriol Vinyals The roles are defined as below: • : Individual(s) responsible for the sub-team throughout the project. Lead Individual that had significant impact throughout the project. • Core Contributor: : Individual that had contributions to the project and was partially involved with the effort. • Contributor Responsible for the organizational aspects of the Gemini effort • Program Lead: Responsible for the technical direction of the overall Gemini effort • Overall Technical Lead: Within each role, contributions are equal, and are listed in a randomized order. Ordering within each role does not indicate ordering of the contributions. Gemini is a cross-Google effort, with members from Google DeepMind (GDM), Google Research (GR), Knowledge and Information (K&I), Core ML, Cloud, Labs, and more. We thank our reviewers and colleagues for their valuable discussions and feedback on the report— Alexandra Belias, Arielle Bier, Eleanor Tomlinson, Emily Hossellman, Gaby Pearl, Helen King, Hollie Dobson, Jaclyn Konzelmann, Jennifer Beroshi, Joel Moss, Jon Small, Jonathan Fildes, Oli Gaymond, Rebecca Bland, Reena Jana, and Tom Lue. Our work is made possible by the dedication and efforts of numerous teams at Google. We would like to acknowledge the support from Abhi Mohan, Adekunle Bello, Aishwarya Nagarajan, Alaa Saade, Alejandro Lince, Alexander Chen, Alexander Kolbasov, Alexander Schiffhauer, Amar Subramanya, Ameya Shringi, Amin Vahdat, Anda Rabatić, Anthonie Gross, Antoine Yang, Anthony Green, Anton Ruddock, Art Khurshudov, Artemis Chen, Arthur Argenson, Avinatan Hassidim, Beiye Liu, Benjamin Schroeder, Bin Ni, Brett Daw, Bryan Chiang, Burak Gokturk, Carl Crous, Carrie Grimes Bostock, Charbel Kaed, Charlotte Banks, Che Diaz, Chris Larkin, Christy Lian, Claire Cui, Clare Bycroft, Corentin Tallec, Daniel Herndon, Dave Burke, David Battle, David Engel, Dipannita Shaw, Donghyun Koo, Doug Ritchie, Dragos Stefanescu, Elissa Wolf, Emre Sargin, Eran Ofek, Eric Herren, Estella King, Fatema Alkhanaizi, Felix Gimeno, Fernando Pereira, Florent Altché, Gabriel Carvajal, Gaurav Gandhi, George Powell, Goran Pavičić, Harry Richardson, Hassan Wassel, Hongji Li, Idan Szpektor, Igor Ivanisevic, Ivan Jambrešić, Ivan Jurin, Jade Fowler, James Assiene, Jay Yagnik, Jeanbastien Grill, Jeff Seibert, Jenna LaPlante, Jessica Austin, Jianxing Lu, Jim O’Keeffe, Jin Huang, Joe Heyward, Johannes Welbl, John Jumper, Jonathan Caton, Josh Woodward, Joshua Foster, Kathryn Tunyasuvunakool, Katrina Wong, Kavya Kopparapu, Kelvin Nguyen, Kira Yin, Konstantin Sharlaimov, Kun Li, Lee Hong, Lilly Taylor, Longfei Shen, Luc Mercier, Maciej Mikuła, Mania Abdi, Manuel Sanchez, Maria Ines Aranguren, Mario Carlos Cortes III, Matthew Tait, Matthias Lochbrunner, Mehdi Ghissassi, Micah Mosley, Michael Bendersky, Michael Figurnov, Michael Harris, Michael Mathieu, Michael O’Neill, Michael Vorburger, Mihir Paradkar, Nandita Dukkipati, Nathan Carter, Nathan Watson, Neil Rabinowitz, Nikhil Dandekar, Nishant Ranka, Obaid Sarvana, Olcan Sercinoglu, Olivier Lacombe, Ottavia Bertolli, Paul Caron, Pranesh Srinivasan, Praveen Kumar, Rahul Sukthankar, Raia Hadsell, Rajagopal Ananthanarayanan, Roberto Lupi, Rosie Zou, Sachin Menezes, Sadegh Jazayeri, Sam Cheung, Sameer Bidichandani, Sania Alex, Sanjiv Kumar, Sara Wiltberger, Sarah Fitzgerald, Saz Basu, Sebastian Nowozin, Shannon Hepburn, Shayne Cardwell, Sissie Hsiao, Srinivasan Venkatachary, Sugato Basu, Sundar Pichai, Sundeep Tirumalareddy, Susannah Young, Swetha Vijayaraghavan, Tania Bedrax-Weiss, Taylor Applebaum, Teiva Harsanyi, Terry Chen, Tim Blyth, Ting Liu, Tom Cobley, Tomas Izo, Trystan Upstill, Varun Singhai, Vedrana Klarić Trupčević, Victor Cai, Vladimir Pudovkin, Vu Dang, Wenbo Zhao, Wesley Crow, Wesley Szeng, Xiaodan Song, Yazhou Zu, Ye Tian, Yicong Wang, Yixing Wang, Yossi Matias, Yunlong Jiao, Zachary Jessup, Zhenchuan Pang, Žiga Avsec, Zimeng Yang, and Zoubin Ghahramani. We’d also like to recognize the AlphaCode team, the Borg Scheduling team, the Facilities team, the Gemini Demo Team, the Global Server Ops (GSO) team, the JAX team, the the Legal team, ML SRE team, the ML Supercomputer (MLSC) team, the PartIR team, the Platforms Infrastructure Engineering (PIE) team, and the XLA Compiler team. We thank everyone at Google not explicitly mentioned above, who have shared excitement, given feedback on early Gemini models or created interesting demo uses of Gemini, and worked with or supported the core Gemini team on many aspects of this project.

Gemini -  A Family of Highly Capable Multimodal Models: Contributions and Acknowledgments

Around the World in Eighty Days by Jules Verne, is part of the HackerNoon Books Series. You can jump to any chapter in this book . IN WHICH PASSEPARTOUT DOES NOT SUCCEED IN MAKING ANYBODY LISTEN TO REASON here CHAPTER XXVIII. IN WHICH PASSEPARTOUT DOES NOT SUCCEED IN MAKING ANYBODY LISTEN TO REASON The train, on leaving Great Salt Lake at Ogden, passed northward for an hour as far as Weber River, having completed nearly nine hundred miles from San Francisco. From this point it took an easterly direction towards the jagged Wahsatch Mountains. It was in the section included between this range and the Rocky Mountains that the American engineers found the most formidable difficulties in laying the road, and that the government granted a subsidy of forty-eight thousand dollars per mile, instead of sixteen thousand allowed for the work done on the plains. But the engineers, instead of violating nature, avoided its difficulties by winding around, instead of penetrating the rocks. One tunnel only, fourteen thousand feet in length, was pierced in order to arrive at the great basin. The track up to this time had reached its highest elevation at the Great Salt Lake. From this point it described a long curve, descending towards Bitter Creek Valley, to rise again to the dividing ridge of the waters between the Atlantic and the Pacific. There were many creeks in this mountainous region, and it was necessary to cross Muddy Creek, Green Creek, and others, upon culverts. Passepartout grew more and more impatient as they went on, while Fix longed to get out of this difficult region, and was more anxious than Phileas Fogg himself to be beyond the danger of delays and accidents, and set foot on English soil. At ten o’clock at night the train stopped at Fort Bridger station, and twenty minutes later entered Wyoming Territory, following the valley of Bitter Creek throughout. The next day, 7th December, they stopped for a quarter of an hour at Green River station. Snow had fallen abundantly during the night, but, being mixed with rain, it had half melted, and did not interrupt their progress. The bad weather, however, annoyed Passepartout; for the accumulation of snow, by blocking the wheels of the cars, would certainly have been fatal to Mr. Fogg’s tour. “What an idea!” he said to himself. “Why did my master make this journey in winter? Couldn’t he have waited for the good season to increase his chances?” While the worthy Frenchman was absorbed in the state of the sky and the depression of the temperature, Aouda was experiencing fears from a totally different cause. Several passengers had got off at Green River, and were walking up and down the platforms; and among these Aouda recognised Colonel Stamp Proctor, the same who had so grossly insulted Phileas Fogg at the San Francisco meeting. Not wishing to be recognised, the young woman drew back from the window, feeling much alarm at her discovery. She was attached to the man who, however coldly, gave her daily evidences of the most absolute devotion. She did not comprehend, perhaps, the depth of the sentiment with which her protector inspired her, which she called gratitude, but which, though she was unconscious of it, was really more than that. Her heart sank within her when she recognised the man whom Mr. Fogg desired, sooner or later, to call to account for his conduct. Chance alone, it was clear, had brought Colonel Proctor on this train; but there he was, and it was necessary, at all hazards, that Phileas Fogg should not perceive his adversary. Aouda seized a moment when Mr. Fogg was asleep to tell Fix and Passepartout whom she had seen. “And, besides,” added Passepartout, “I’ll take charge of him, colonel as he is.” “Mr. Fix,” resumed Aouda, “Mr. Fogg will allow no one to avenge him. He said that he would come back to America to find this man. Should he perceive Colonel Proctor, we could not prevent a collision which might have terrible results. He must not see him.” “You are right, madam,” replied Fix; “a meeting between them might ruin all. Whether he were victorious or beaten, Mr. Fogg would be delayed, and—” “And,” added Passepartout, “that would play the game of the gentlemen of the Reform Club. In four days we shall be in New York. Well, if my master does not leave this car during those four days, we may hope that chance will not bring him face to face with this confounded American. We must, if possible, prevent his stirring out of it.” The conversation dropped. Mr. Fogg had just woke up, and was looking out of the window. Soon after Passepartout, without being heard by his master or Aouda, whispered to the detective, “Would you really fight for him?” “I would do anything,” replied Fix, in a tone which betrayed determined will, “to get him back living to Europe!” Passepartout felt something like a shudder shoot through his frame, but his confidence in his master remained unbroken. Was there any means of detaining Mr. Fogg in the car, to avoid a meeting between him and the colonel? It ought not to be a difficult task, since that gentleman was naturally sedentary and little curious. The detective, at least, seemed to have found a way; for, after a few moments, he said to Mr. Fogg, “These are long and slow hours, sir, that we are passing on the railway.” “Yes,” replied Mr. Fogg; “but they pass.” “You were in the habit of playing whist,” resumed Fix, “on the steamers.” “Yes; but it would be difficult to do so here. I have neither cards nor partners.” “Oh, but we can easily buy some cards, for they are sold on all the American trains. And as for partners, if madam plays—” “Certainly, sir,” Aouda quickly replied; “I understand whist. It is part of an English education.” “I myself have some pretensions to playing a good game. Well, here are three of us, and a dummy—” “As you please, sir,” replied Phileas Fogg, heartily glad to resume his favourite pastime even on the railway. Passepartout was dispatched in search of the steward, and soon returned with two packs of cards, some pins, counters, and a shelf covered with cloth. The game commenced. Aouda understood whist sufficiently well, and even received some compliments on her playing from Mr. Fogg. As for the detective, he was simply an adept, and worthy of being matched against his present opponent. “Now,” thought Passepartout, “we’ve got him. He won’t budge.” At eleven in the morning the train had reached the dividing ridge of the waters at Bridger Pass, seven thousand five hundred and twenty-four feet above the level of the sea, one of the highest points attained by the track in crossing the Rocky Mountains. After going about two hundred miles, the travellers at last found themselves on one of those vast plains which extend to the Atlantic, and which nature has made so propitious for laying the iron road. On the declivity of the Atlantic basin the first streams, branches of the North Platte River, already appeared. The whole northern and eastern horizon was bounded by the immense semi-circular curtain which is formed by the southern portion of the Rocky Mountains, the highest being Laramie Peak. Between this and the railway extended vast plains, plentifully irrigated. On the right rose the lower spurs of the mountainous mass which extends southward to the sources of the Arkansas River, one of the great tributaries of the Missouri. At half-past twelve the travellers caught sight for an instant of Fort Halleck, which commands that section; and in a few more hours the Rocky Mountains were crossed. There was reason to hope, then, that no accident would mark the journey through this difficult country. The snow had ceased falling, and the air became crisp and cold. Large birds, frightened by the locomotive, rose and flew off in the distance. No wild beast appeared on the plain. It was a desert in its vast nakedness. After a comfortable breakfast, served in the car, Mr. Fogg and his partners had just resumed whist, when a violent whistling was heard, and the train stopped. Passepartout put his head out of the door, but saw nothing to cause the delay; no station was in view. Aouda and Fix feared that Mr. Fogg might take it into his head to get out; but that gentleman contented himself with saying to his servant, “See what is the matter.” Passepartout rushed out of the car. Thirty or forty passengers had already descended, amongst them Colonel Stamp Proctor. The train had stopped before a red signal which blocked the way. The engineer and conductor were talking excitedly with a signal-man, whom the station-master at Medicine Bow, the next stopping place, had sent on before. The passengers drew around and took part in the discussion, in which Colonel Proctor, with his insolent manner, was conspicuous. Passepartout, joining the group, heard the signal-man say, “No! you can’t pass. The bridge at Medicine Bow is shaky, and would not bear the weight of the train.” This was a suspension-bridge thrown over some rapids, about a mile from the place where they now were. According to the signal-man, it was in a ruinous condition, several of the iron wires being broken; and it was impossible to risk the passage. He did not in any way exaggerate the condition of the bridge. It may be taken for granted that, rash as the Americans usually are, when they are prudent there is good reason for it. Passepartout, not daring to apprise his master of what he heard, listened with set teeth, immovable as a statue. “Hum!” cried Colonel Proctor; “but we are not going to stay here, I imagine, and take root in the snow?” “Colonel,” replied the conductor, “we have telegraphed to Omaha for a train, but it is not likely that it will reach Medicine Bow in less than six hours.” “Six hours!” cried Passepartout. “Certainly,” returned the conductor, “besides, it will take us as long as that to reach Medicine Bow on foot.” “But it is only a mile from here,” said one of the passengers. “Yes, but it’s on the other side of the river.” “And can’t we cross that in a boat?” asked the colonel. “That’s impossible. The creek is swelled by the rains. It is a rapid, and we shall have to make a circuit of ten miles to the north to find a ford.” The colonel launched a volley of oaths, denouncing the railway company and the conductor; and Passepartout, who was furious, was not disinclined to make common cause with him. Here was an obstacle, indeed, which all his master’s banknotes could not remove. There was a general disappointment among the passengers, who, without reckoning the delay, saw themselves compelled to trudge fifteen miles over a plain covered with snow. They grumbled and protested, and would certainly have thus attracted Phileas Fogg’s attention if he had not been completely absorbed in his game. Passepartout found that he could not avoid telling his master what had occurred, and, with hanging head, he was turning towards the car, when the engineer, a true Yankee, named Forster called out, “Gentlemen, perhaps there is a way, after all, to get over.” “On the bridge?” asked a passenger. “On the bridge.” “With our train?” “With our train.” Passepartout stopped short, and eagerly listened to the engineer. “But the bridge is unsafe,” urged the conductor. “No matter,” replied Forster; “I think that by putting on the very highest speed we might have a chance of getting over.” “The devil!” muttered Passepartout. But a number of the passengers were at once attracted by the engineer’s proposal, and Colonel Proctor was especially delighted, and found the plan a very feasible one. He told stories about engineers leaping their trains over rivers without bridges, by putting on full steam; and many of those present avowed themselves of the engineer’s mind. “We have fifty chances out of a hundred of getting over,” said one. “Eighty! ninety!” Passepartout was astounded, and, though ready to attempt anything to get over Medicine Creek, thought the experiment proposed a little too American. “Besides,” thought he, “there’s a still more simple way, and it does not even occur to any of these people! Sir,” said he aloud to one of the passengers, “the engineer’s plan seems to me a little dangerous, but—” “Eighty chances!” replied the passenger, turning his back on him. “I know it,” said Passepartout, turning to another passenger, “but a simple idea—” “Ideas are no use,” returned the American, shrugging his shoulders, “as the engineer assures us that we can pass.” “Doubtless,” urged Passepartout, “we can pass, but perhaps it would be more prudent—” “What! Prudent!” cried Colonel Proctor, whom this word seemed to excite prodigiously. “At full speed, don’t you see, at full speed!” “I know—I see,” repeated Passepartout; “but it would be, if not more prudent, since that word displeases you, at least more natural—” “Who! What! What’s the matter with this fellow?” cried several. The poor fellow did not know to whom to address himself. “Are you afraid?” asked Colonel Proctor. “I afraid? Very well; I will show these people that a Frenchman can be as American as they!” “All aboard!” cried the conductor. “Yes, all aboard!” repeated Passepartout, and immediately. “But they can’t prevent me from thinking that it would be more natural for us to cross the bridge on foot, and let the train come after!” But no one heard this sage reflection, nor would anyone have acknowledged its justice. The passengers resumed their places in the cars. Passepartout took his seat without telling what had passed. The whist-players were quite absorbed in their game. The locomotive whistled vigorously; the engineer, reversing the steam, backed the train for nearly a mile—retiring, like a jumper, in order to take a longer leap. Then, with another whistle, he began to move forward; the train increased its speed, and soon its rapidity became frightful; a prolonged screech issued from the locomotive; the piston worked up and down twenty strokes to the second. They perceived that the whole train, rushing on at the rate of a hundred miles an hour, hardly bore upon the rails at all. And they passed over! It was like a flash. No one saw the bridge. The train leaped, so to speak, from one bank to the other, and the engineer could not stop it until it had gone five miles beyond the station. But scarcely had the train passed the river, when the bridge, completely ruined, fell with a crash into the rapids of Medicine Bow. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Jules Verne (1994). Around the World in Eighty Days. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/files/103/103-h/103-h.htm This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

IN WHICH PASSEPARTOUT DOES NOT SUCCEED IN MAKING ANYBODY LISTEN TO REASON

The Mucker by Edgar Rice Burroughs, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . “FIVE HUNDRED DOLLARS REWARD” “FIVE HUNDRED DOLLARS REWARD” “'WE KEPT a-rambling all the time. I rustled grub, he rustled rhyme,'” quoted Billy Byrne, sitting up and stretching himself. His companion roused and came to one elbow. The sun was topping the scant wood behind them, glinting on the surface of the little creek. A robin hopped about the sward quite close to them, and from the branch of a tree a hundred yards away came the sweet piping of a song bird. Farther off were the distance-subdued noises of an awakening farm. The lowing of cows, the crowing of a rooster, the yelping of a happy dog just released from a night of captivity. Bridge yawned and stretched. Billy rose to his feet and shook himself. “This is the life,” said Bridge. “Where you going?” “To rustle grub,” replied Billy. “That's my part o' the sketch.” The other laughed. “Go to it,” he said. “I hate it. That's the part that has come nearest making me turn respectable than any other. I hate to ask for a hand-out.” Billy shrugged. He'd done worse things than that in his life, and off he trudged, whistling. He felt happier than he had for many a day. He never had guessed that the country in the morning could be so beautiful. Behind him his companion collected the material for a fire, washed himself in the creek, and set the tin can, filled with water, at the edge of the kindling, and waited. There was nothing to cook, so it was useless to light the fire. As he sat there, thinking, his mind reverted to the red mark upon Billy's wrist, and he made a wry face. Billy approached the farmhouse from which the sounds of awakening still emanated. The farmer saw him coming, and ceasing his activities about the barnyard, leaned across a gate and eyed him, none too hospitably. “I wanna get something to eat,” explained Billy. “Got any money to pay for it with?” asked the farmer quickly. “No,” said Billy; “but me partner an' me are hungry, an' we gotta eat.” The farmer extended a gnarled forefinger and pointed toward the rear of the house. Billy looked in the direction thus indicated and espied a woodpile. He grinned good naturedly. Without a word he crossed to the corded wood, picked up an ax which was stuck in a chopping block, and, shedding his coat, went to work. The farmer resumed his chores. Half an hour later he stopped on his way in to breakfast and eyed the growing pile that lay beside Billy. “You don't hev to chop all the wood in the county to get a meal from Jed Watson,” he said. “I wanna get enough for me partner, too,” explained Billy. “Well, yew've chopped enough fer two meals, son,” replied the farmer, and turning toward the kitchen door, he called: “Here, Maw, fix this boy up with suthin' t'eat—enough fer a couple of meals fer two on 'em.” As Billy walked away toward his camp, his arms laden with milk, butter, eggs, a loaf of bread and some cold meat, he grinned rather contentedly. “A year or so ago,” he mused, “I'd a stuck 'em up fer this, an' thought I was smart. Funny how a feller'll change—an' all fer a skirt. A skirt that belongs to somebody else now, too. Hell! what's the difference, anyhow? She'd be glad if she knew, an' it makes me feel better to act like she'd want. That old farmer guy, now. Who'd ever have taken him fer havin' a heart at all? Wen I seen him first I thought he'd like to sic the dog on me, an' there he comes along an' tells 'Maw' to pass me a hand-out like this! Gee! it's a funny world. She used to say that most everybody was decent if you went at 'em right, an' I guess she knew. She knew most everything, anyway. Lord, I wish she'd been born on Grand Ave., or I on Riverside Drive!” As Billy walked up to his waiting companion, who had touched a match to the firewood as he sighted the numerous packages in the forager's arms, he was repeating, over and over, as though the words held him in the thrall of fascination: “There ain't no sweet Penelope somewhere that's longing much for me.” Bridge eyed the packages as Billy deposited them carefully and one at a time upon the grass beside the fire. The milk was in a clean little graniteware pail, the eggs had been placed in a paper bag, while the other articles were wrapped in pieces of newspaper. As the opening of each revealed its contents, fresh, clean, and inviting, Bridge closed one eye and cocked the other up at Billy. “Did he die hard?” he inquired. “Did who die hard?” demanded the other. “Why the dog, of course.” “He ain't dead as I know of,” replied Billy. “You don't mean to say, my friend, that they let you get away with all this without sicing the dog on you,” said Bridge. Billy laughed and explained, and the other was relieved—the red mark around Billy's wrist persisted in remaining uppermost in Bridge's mind. When they had eaten they lay back upon the grass and smoked some more of Bridge's tobacco. “Well,” inquired Bridge, “what's doing now?” “Let's be hikin',” said Billy. Bridge rose and stretched. “'My feet are tired and need a change. Come on! It's up to you!'” he quoted. Billy gathered together the food they had not yet eaten, and made two equal-sized packages of it. He handed one to Bridge. “We'll divide the pack,” he explained, “and here, drink the rest o' this milk, I want the pail.” “What are you going to do with the pail?” asked Bridge. “Return it,” said Billy. “'Maw' just loaned it to me.” Bridge elevated his eyebrows a trifle. He had been mistaken, after all. At the farmhouse the farmer's wife greeted them kindly, thanked Billy for returning her pail—which, if the truth were known, she had not expected to see again—and gave them each a handful of thick, light, golden-brown cookies, the tops of which were encrusted with sugar. As they walked away Bridge sighed. “Nothing on earth like a good woman,” he said. “'Maw,' or 'Penelope'?” asked Billy. “Either, or both,” replied Bridge. “I have no Penelope, but I did have a mighty fine 'maw'.” Billy made no reply. He was thinking of the slovenly, blear-eyed woman who had brought him into the world. The memory was far from pleasant. He tried to shake it off. “'Bridge,'” he said, quite suddenly, and apropos of nothing, in an effort to change the subject. “That's an odd name. I've heard of Bridges and Bridger; but I never heard Bridge before.” “Just a name a fellow gave me once up on the Yukon,” explained Bridge. “I used to use a few words he'd never heard before, so he called me 'The Unabridged,' which was too long. The fellows shortened it to 'Bridge' and it stuck. It has always stuck, and now I haven't any other. I even think of myself, now, as Bridge. Funny, ain't it?” “Yes,” agreed Billy, and that was the end of it. He never thought of asking his companion's true name, any more than Bridge would have questioned him as to his, or of his past. The ethics of the roadside fire and the empty tomato tin do not countenance such impertinences. For several days the two continued their leisurely way toward Kansas City. Once they rode a few miles on a freight train, but for the most part they were content to plod joyously along the dusty highways. Billy continued to “rustle grub,” while Bridge relieved the monotony by an occasional burst of poetry. “You know so much of that stuff,” said Billy as they were smoking by their camp fire one evening, “that I'd think you'd be able to make some up yourself.” “I've tried,” admitted Bridge; “but there always seems to be something lacking in my stuff—it don't get under your belt—the divine afflatus is not there. I may start out all right, but I always end up where I didn't expect to go, and where nobody wants to be.” “'Member any of it?” asked Billy. “There was one I wrote about a lake where I camped once,” said Bridge, reminiscently; “but I can only recall one stanza.” “Let's have it,” urged Billy. “I bet it has Knibbs hangin' to the ropes.” Bridge cleared his throat, and recited: Silver are the ripples, Solemn are the dunes, Happy are the fishes, For they are full of prunes. He looked up at Billy, a smile twitching at the corners of his mouth. “How's that?” he asked. Billy scratched his head. “It's all right but the last line,” said Billy, candidly. “There is something wrong with that last line.” “Yes,” agreed Bridge, “there is.” “I guess Knibbs is safe for another round at least,” said Billy. Bridge was eying his companion, noting the broad shoulders, the deep chest, the mighty forearm and biceps which the other's light cotton shirt could not conceal. “It is none of my business,” he said presently; “but from your general appearance, from bits of idiom you occasionally drop, and from the way you handled those two boes the night we met I should rather surmise that at some time or other you had been less than a thousand miles from the w.k. roped arena.” “I seen a prize fight once,” admitted Billy. It was the day before they were due to arrive in Kansas City that Billy earned a hand-out from a restaurant keeper in a small town by doing some odd jobs for the man. The food he gave Billy was wrapped in an old copy of the Kansas City Star. When Billy reached camp he tossed the package to Bridge, who, in addition to his honorable post as poet laureate, was also cook. Then Billy walked down to the stream, near-by, that he might wash away the grime and sweat of honest toil from his hands and face. As Bridge unwrapped the package and the paper unfolded beneath his eyes an article caught his attention—just casually at first; but presently to the exclusion of all else. As he read his eyebrows alternated between a position of considerable elevation to that of a deep frown. Occasionally he nodded knowingly. Finally he glanced up at Billy who was just rising from his ablutions. Hastily Bridge tore from the paper the article that had attracted his interest, folded it, and stuffed it into one of his pockets—he had not had time to finish the reading and he wanted to save the article for a later opportunity for careful perusal. That evening Bridge sat for a long time scrutinizing Billy through half-closed lids, and often he found his eyes wandering to the red ring about the other's wrist; but whatever may have been within his thoughts he kept to himself. It was noon when the two sauntered into Kansas City. Billy had a dollar in his pocket—a whole dollar. He had earned it assisting an automobilist out of a ditch. “We'll have a swell feed,” he had confided to Bridge, “an' sleep in a bed just to learn how much nicer it is sleepin' out under the black sky and the shiny little stars.” “You're a profligate, Billy,” said Bridge. “I dunno what that means,” said Billy; “but if it's something I shouldn't be I probably am.” The two went to a rooming-house of which Bridge knew, where they could get a clean room with a double bed for fifty cents. It was rather a high price to pay, of course, but Bridge was more or less fastidious, and he admitted to Billy that he'd rather sleep in the clean dirt of the roadside than in the breed of dirt one finds in an unclean bed. At the end of the hall was a washroom, and toward this Bridge made his way, after removing his coat and throwing it across the foot of the bed. After he had left the room Billy chanced to notice a folded bit of newspaper on the floor beneath Bridge's coat. He picked it up to lay it on the little table which answered the purpose of a dresser when a single word caught his attention. It was a name: Schneider. Billy unfolded the clipping and as his eyes took in the heading a strange expression entered them—a hard, cold gleam such as had not touched them since the day that he abandoned the deputy sheriff in the woods midway between Chicago and Joliet. This is what Billy read: Billy Byrne, sentenced to life imprisonment in Joliet penitentiary for the murder of Schneider, the old West Side saloon keeper, hurled himself from the train that was bearing him to Joliet yesterday, dragging with him the deputy sheriff to whom he was handcuffed. The deputy was found a few hours later bound and gagged, lying in the woods along the Santa Fe, not far from Lemont. He was uninjured. He says that Byrne got a good start, and doubtless took advantage of it to return to Chicago, where a man of his stamp could find more numerous and safer retreats than elsewhere. There was much more—a detailed account of the crime for the commission of which Billy had been sentenced, a full and complete description of Billy, a record of his long years of transgression, and, at last, the mention of a five-hundred-dollar reward that the authorities had offered for information that would lead to his arrest. When Billy had concluded the reading he refolded the paper and placed it in a pocket of the coat hanging upon the foot of the bed. A moment later Bridge entered the room. Billy caught himself looking often at his companion, and always there came to his mind the termination of the article he had found in Bridge's pocket—the mention of the five-hundred-dollar reward. “Five hundred dollars,” thought Billy, “is a lot o' coin. I just wonder now,” and he let his eyes wander to his companion as though he might read upon his face the purpose which lay in the man's heart. “He don't look it; but five hundred dollars is a lot o' coin—fer a bo, and wotinell did he have that article hid in his clothes fer? That's wot I'd like to know. I guess it's up to me to blow.” All the recently acquired content which had been Billy's since he had come upon the poetic Bridge and the two had made their carefree, leisurely way along shaded country roadsides, or paused beside cool brooklets that meandered lazily through sweet-smelling meadows, was dissipated in the instant that he had realized the nature of the article his companion had been carrying and hiding from him. For days no thought of pursuit or capture had arisen to perplex him. He had seemed such a tiny thing out there amidst the vastness of rolling hills, of woods, and plain that there had been induced within him an unconscious assurance that no one could find him even though they might seek for him. The idea of meeting a plain clothes man from detective headquarters around the next bend of a peaceful Missouri road was so preposterous and incongruous that Billy had found it impossible to give the matter serious thought. He never before had been in the country districts of his native land. To him the United States was all like Chicago or New York or Milwaukee, the three cities with which he was most familiar. His experience of unurban localities had been gained amidst the primeval jungles of far-away Yoka. There had been no detective sergeants there—unquestionably there could be none here. Detective sergeants were indigenous to the soil that grew corner saloons and poolrooms, and to none other—as well expect to discover one of Oda Yorimoto's samurai hiding behind a fire plug on Michigan Boulevard, as to look for one of those others along a farm-bordered road. But here in Kansas City, amidst the noises and odors that meant a large city, it was different. Here the next man he met might be looking for him, or if not then the very first policeman they encountered could arrest him upon a word from Bridge—and Bridge would get five hundred dollars. Just then Bridge burst forth into poetry: In a flannel shirt from earth's clean dirt, Here, pal, is my calloused hand! Oh, I love each day as a rover may, Nor seek to understand. To enjoy is good enough for me; The gypsy of God am I. Then here's a hail to— “Say,” he interrupted himself; “what's the matter with going out now and wrapping ourselves around that swell feed you were speaking of?” Billy rose. It didn't seem possible that Bridge could be going to double-cross him. In a flannel shirt from earth's clean dirt, Here, pal, is my calloused hand! Billy repeated the lines half aloud. They renewed his confidence in Bridge, somehow. “Like them?” asked the latter. “Yes,” said Billy; “s'more of Knibbs?” “No, Service. Come on, let's go and dine. How about the Midland?” and he grinned at his little joke as he led the way toward the street. It was late afternoon. The sun already had set; but it still was too light for lamps. Bridge led the way toward a certain eating-place of which he knew where a man might dine well and from a clean platter for two bits. Billy had been keeping his eyes open for detectives. They had passed no uniformed police—that would be the crucial test, thought he—unless Bridge intended tipping off headquarters on the quiet and having the pinch made at night after Billy had gone to bed. As they reached the little restaurant, which was in a basement, Bridge motioned Billy down ahead of him. Just for an instant he, himself, paused at the head of the stairs and looked about. As he did so a man stepped from the shadow of a doorway upon the opposite side of the street. If Bridge saw him he apparently gave no sign, for he turned slowly and with deliberate steps followed Billy down into the eating-place. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Edgar Rice Burroughs (1995). The Mucker. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/331/pg331-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html.

“FIVE HUNDRED DOLLARS REWARD”

Where is Netflix headed in 2023 under the direction of co-CEOs Ted Sarandos and Greg Peters? On January 19, Reed Hastings, arguably the most important and influential person in the rise of New Hollywood, , having shared the position with Sarandos since 2020. Hastings, who remains executive chairman, made an impact on the entertainment industry that will be felt for years to come. Now Sarandos and Peters, who had been Netflix’s chief operating officer, are calling the shots. stepped down from his role of CEO They’re taking over at a time when Netflix is storming into 2023 with guns blazing. In its , Netflix said it added 7.7 million paid subscribers for the quarter. This figure easily surpassed the 4.57 million Wall Street expected. Revenue also slightly exceeded Wall Street’s expectations. fourth-quarter 2022 earnings announcement This is the second consecutive big quarter for Netflix. Its stock price is gradually rebounding from a freefall in 2022 following a harsh year that rocked the streaming industry. With the wind at their backs, Team Sarandos/Peters will likely not rock the boat and instead will stay the course – for the most part. Even so, many questions and hot button issues loom. Here are three big questions the company faces in 2023: How Soon Will Netflix Expand into Cloud-Based Gaming? -- which is too big for Netflix to ignore. So, in November 2021, the company games for mobile devices, available to Netflix subscribers in an ad-free format. (Mobile accounts for 86 percent of the global video gaming market, .) Gaming is a $300 billion market launched according to Statistica Since then, the company has built a portfolio of 50 games and acquired four game studios. The company will expand its offerings in 2023. According to Vice President of Gaming Mike Verdu, Netflix is “ ” beyond mobile. very seriously exploring a cloud-gaming offering so that we can reach members on TVs and on PCs A potential move into cloud gaming is important because the global cloud gaming market size is expected to reach $20.94 billion by the year 2030, according to market research store . Research and Markets What are Netflix’s chances of growing profitably in gaming overall? On the one hand, Netflix can offer well-known entertainment titles that lend themselves to games and an audience that is receptive to gaming. According to Karol Severin, lead gaming analyst for MIDiA Research, 46 percent of Netflix’s weekly active users play games on mobile devices and 33 percent play on consoles, “ .” which over-indexes significantly compared to the consumer average Indeed, Netflix’s most recent letter to shareholders noted, “In the fourth quarter of 2022, the company launched season four of the unscripted series Too Hot to Handle, which was a top 10 title for us globally for three consecutive weeks. Simultaneously, we debuted our Too Hot to Handle game, which has been our biggest game launch to date and is another encouraging sign in the long-term opportunity to entertain members with Netflix intellectual property (IP) across different mediums.” Gaming creates the potential for revenue through features such as in-app purchases, a model that Fortnite has mastered – should Netflix choose to go down that path (which it currently is not). But the company has a long road ahead. In 2022, only 1.7 million Netflix subscribers out of 220 million were playing one of its games on any given day, – although it must be said that even if daily active usage is low. according to Apptopia downloads of Netflix games have been improving It’s too early to say yet how much value gaming will deliver to Netflix from the standpoint of growing and keeping subscribers and generating revenue. That said, the potential value cannot be denied. Kevin Westcott, who leads the U.S. technology, media and telecommunications practice of Deloitte, The Los Angeles Times, “The more entertainment services that are on a platform, I believe it will make it much more sticky and reduce churn.” told Reducing churn, or subscriber loss, is important at a time when analysts are concerned that the streaming industry is over-statured. The Los Angeles Times noted that many consumers prefer not to pay for mobile games and instead play free ones that are supported by ads, or that charge for additional gameplay or bonus items. This suggests that gaming will be more valuable as a customer retention strategy, not an acquisition strategy. In 2021, Netflix Epic Games, TikTok, and YouTube as rivals for customers’ screen time. Keeping people engaged is important to Netflix. The company , which is all about viewer retention. cited counts total streaming minutes of any program as a key performance indicator for successful content Adam Levy of The Motley Fool , “The way I view Netflix's foray into games is as a moonshot. The biggest mobile games seemingly come out of nowhere and go viral (think Wordle). The same thing happens with some of Netflix's biggest shows (think Squid Game). The more shots the company takes, the more likely it's going to find a hit. And it has the resources and experience to capitalize if and when it finds that hit. That could result in stronger subscriber retention and monetization down the road. concluded So, while games have been disappointing so far, there's no need for Netflix to give up on them anytime soon.” An expansion into cloud-based gaming makes sense for Netflix, and I predict that’s exactly what Netflix will do in 2023. Cloud gaming involves streaming games off the internet instead of outright downloading them. It’s a more natural experience for Netflix subscribers and keeps Netflix’s audience locked into its own platform more easily. In 2022, the appearance of multiple Netflix for cloud-based gaming positions fueled speculation that the company would go in this direction -- as did Mike Verdu’s about cloud-based gaming at TechCrunch Disrupt in October 2022. job postings bullish comments In doing so, Netflix enters a crowded field that includes the likes of Microsoft’s Game Pass, Sony’s PlayStation Plus, and NVIDIA’s GeForce Now. Google made a run at cloud-based gaming . Before the advent of cloud-based gaming, Disney tried to launch video gaming and also before instead of trying to do all the heavy lifting of creating games in-house. and failed gave up licensing its properties to gaming companies Neil Barbour, an analyst at Kagan, , “While Netflix does have the infrastructure set up to stream video as well as an existing consumer base, there is a pretty deep chasm between video streaming and game streaming. Microsoft and Nvidia have been working for years at this and are just now approaching usable experiences for the average consumer.” said Netflix has a major advantage: the ability to develop games based on its marquee shows. After you’re done watching , with cloud-based gaming, you can play the game without having to fuss with downloading. This depends on Netflix quickly developing games that capitalize on the popularity of its content – and, of course, games that appeal to gamers. Gaming is a different experience than passively watching television. (At TechCrunch Disrupt, Verdu did not say whether  Netflix would build its own game controllers like Google did for the unsuccessful Stadia service; he did say that the titles wouldn't rely on TV remotes for input.) Stranger Things Stranger Things This is why Netflix has been fast tracking its growth by acquiring gaming studios. Even still, Netflix has its work cut out for it. How Successful Will Content Monetization Be? Reed Hastings must be relieved he is stepping back from his CEO role now that Netflix has launched its own ad-supported tier. During Netflix’s glory years when seemingly no one could touch the company, he was a content purist – insisting on building a business by creating great content that drives subscriber growth. But he eventually changed his thinking as his competitors grew their ad-supported offerings and Netflix’s subscriber growth showed signs of slowing before 2022. By 2022, he was , “Every major streaming company excluding Apple has or has announced an ad-supported service. For good reason, people want lower-priced options.” admitting to shareholders And so, under his watch, Netflix launched its own ad-supported tier in November 2022 – just as Disney+ unveiled its own. Netflix has not released any performance numbers on its ad-supported offering, but it looks like Netflix is delivering promising results. , daily subscription signups rose by more than 50 percent during the first few days the ad-supported tier was available. Ampere Analysis said that almost 10 percent of new customer signups are now for the ad-supported tier. According to Ampere Analysis Peters and Sarandos say they are going to push the ad model forward full throttle. They believe the model is succeeding already. Peters , “We have knocked this thing outta the park. We literally went from zero to get this thing launched in six months. And then we were within this much of what our predictions were. We’ve got a crap load of work, there’s no doubt. We're gonna be busy building this out for years to come.” He predicted its growth trajectory as follows: “Think about it as zero two months ago [when the service was launched in November 2021] and then about mid-single digit billions of dollars in three years” by catering to price-sensitive consumers. assured Bloomberg recently In its letter to shareholders discussing Q42022 growth, Netflix was equally sanguine about its prospects: While it’s still early days for ads and we have lots to do (in particular better targeting and measurement), we are pleased with our progress to date across every dimension: member experience, value to advertisers, and incremental contribution to our business. Engagement, which is consistent with members on comparable ad-free plans, is better than what we had expected and we believe the lower price point is driving incremental membership growth. Also, as expected, we’ve seen very little switching from other plans. Overall the reaction to this launch from both consumers and advertisers has confirmed our belief that our ad-supported plan has strong unit economics (at minimum, in-line with or better than the comparable ad-free plan) and will generate incremental revenue and profit, though the impact on 2023 will be modest given that this will build slowly over time. Advertising doesn’t tell the whole story about Netflix’s aspirations for monetizing content. The company for years. has been quietly building a merchandising operation as well For example, in 2019, Netflix and bike maker Mongoose agreed to offer a limited edition Mongoose based on a fictional bicycle used in , which was followed by the licensing of more -inspired bikes. Netflix also launched , including those with , , , and Stranger Things Stranger Things 75 co-brands Burger King Coca-Cola H&M Nike. These relationships — hybrid in-show product placements plus real-world merchandising — offered a glimpse of how Netflix would monetize its titles more broadly. Notably, the tie-in capitalized on the growing popularity of , which was a turning point for Netflix’s commitment to monetizing the value of its titles. Stranger Things Selling licensed products is a massive revenue opportunity. Global sales revenue generated by licensed merchandise and services grew to $315.5 billion in 2021, a 7.75 percent increase over the $292.8 billion generated in 2019, according to the by Licensing International, a trade group. In 2020, Netflix hired Nike and Disney veteran Josh Simon to lead its Consumer Products division. Since, then, the company has merchandized its content in a number of ways, including: most recent study of the industry A to distribute Netflix-inspired clothes, toys, beauty supplies and housewares on the . Initially this was an online operation, but the two companies recently said they’re . (It’s not clear what the Hubs actually look like – a row of merchandise? A kiosk? A store within a store?) In addition, Walmart is making available a Netflix Streaming Gift Card, exclusively at Walmart. The low-priced Netflix Streaming Gift Card gives customers a chance to use the streaming service without having a credit or debit card. Walmart will also offer Concession Kits to help fans create a movie theater-style couch-watching experience with themed items like popcorn, confections and collectible cups. partnership with Walmart Netflix Hub expanding the Netflix Hubs across  2,400 Walmart stores Distribution deals beyond Walmart. For instance, and sell Netflix-inspired merchandise. Target Amazon The launch of the , an online store built with Shopify to nimbly create merchandise based on the popularity of series like Squid Games. Netflix Shop Pop-up stores in major markets such as and . Los Angeles New York A for a live experience for Pat McGrath Labs’ collection. partnership with YouTube shopping Bridgerton makeup The Walmart relationship is intriguing because Walmart has a deal in place to offer a competing streaming service, Paramount+, to members of the Walmart+ premium service. Nevertheless, I predict Netflix and Walmart will double down on the Netflix Hub by rolling out more Netflix Hubs across all 10,500 stores globally -- especially because global markets are essential to Netflix’s growth. Walmart offers Netflix: An in-store, web-based, and mobile distribution channel to millions of Walmart customers. . . Its website is the . The company is the world’s largest retailer Walmart’s app is the most popular shopping app in the United States most visited eCommerce and retail site in the world Insight about how its shoppers behave – what they buy, when, and where. Walmart has mastered the science of collecting and analyzing first-party data, or the information people share with Walmart about themselves when they shop in store and online. First-party data has helped Walmart launch its successful Walmart Connect ad network, one of  many such retail-based networks emerging in recent years. Brand strength. Netflix is a newcomer to merchandising. Walmart gives the company visibility and legitimacy. As with gaming, merchandising is an early-days effort for Netflix. The company has not disclosed how much money it actually makes from merchandising, and based on earning reports, the mount must be immaterial for now. Disney sets the gold standard in this area, but streaming levels the playing field. Even Disney is still just figuring out how to develop synergies between Disney+ and Disney brands such as its theme parks and stores. Walmart is Netflix’s ace in the hole. Will Netflix Rethink Movie Distribution? For years, Netflix has locked horns with the major theater chains because Netflix has refused to give its movies a wide theatrical release before taking its films to streaming. AMC and Regal have flat-out boycotted Netflix’s films. The conflict eased up in 2022 when, for the first time, Netflix distributed one of its titles through three major Old Hollywood theater chains, AMC, Cinemark, and Regal. , the sequel to the hit Knives Out, was distributed to 600 theaters on November 23. The movie ran for one week, followed by a blackout period, and then a streaming premiere on Netflix on December 23. Glass Onion: A Knives Out Mystery Netflix didn’t release financial results for , . By contrast, Disney’s Thanksgiving release was on track to make about $24 million during Thanksgiving Week – but the movie was distributed across 4,174 theaters. Glass Onion but it’s estimated to have raked in $14.5 million during its one-week showing in only 638 theaters Strange World It’s been widely discussed that Netflix should have exhibited longer in theaters and cashed in on an opportunity to make much more money – especially because Netflix paid a reported $450 million for two sequels to . Box office analysts it could have earned four times as much if it had been released in more theaters and perhaps hundreds of millions if it had stayed in theaters longer than a week. Glass Onion Knives Out said Jeff Bock, a senior media analyst at Exhibitor Relations, , “This is probably one of the biggest gaffes in modern film release history in terms of bungling what could have been made at the box office with ‘Glass Onion.’ In my mind, they left hundreds of millions of dollars at the table. If they can afford that, that’s great, Netflix — but any other studio in town is just shaking their head at this decision because any other studio in town would have loved to have this film in the marketplace right now.” told The Los Angeles Times Sarandos countered, “There’s all kinds of debates all the time back and forth, but there is no question internally that we make our movies for our members, and we really want them to watch them on Netflix. Indeed, a short theatrical run for did exactly what Netflix had hoped for: build buzz for its streaming release. turned out to be the fourth most popular movie in Netflix’s history. As the company reported in its Q4 letter to shareholders, “We believe people typically sign up for a streaming service because they’ve heard about a title ‘you simply must watch’ from a friend, seen the excitement on social media or read about it in the press.” Glass Onion Glass Onion That was then. This is now: Sarandos and Peters are operating in a wary-to-hostile investing climate. The movies were expensive to acquire. And movies are enormously risky: unlike TV shows, which build buzz over multiple episodes, movies have only one shot at generating fan love. Knives Out And surely Sarandos and Peters are watching what their competitors are doing. A number of films enjoyed huge, extended, box office runs followed by successful streaming premiers in 2022: earned $750 million globally before Warner Brothers premiered the film the HBO Max streaming service. then enjoyed a first-week viewership of an estimated 4.1 million households (per Samba TV) – the second best first-week for a theatrical release on HBO Max. The Batman The Batman One of the biggest movie success stories of 2022 (or any year), , took to arrive on its studio’s streamer (Paramount+), which didn’t stop it from immediately becoming the service’s . Top Gun: Maverick seven months No. 1 offering banked $842 million globally during an 82-day run in theaters – and then . Black Panther: Wakanda Forever became the most-watched Marvel premiere on Disney+ based on hours streamed within the first five days I predict that Netflix will loosen up even more and allow a longer theatrical run for its titles (which it should do for the upcoming , starring Adam Sandler and Jennifer Aniston). Murder Mystery 2 The company can still cater to subscribers by releasing movies in theaters and then versions exclusively for streamers, as Peacock did following the movie’s successful box office run. And Disney+ often includes the standard and the IMAX versions for Marvel movies, plus often commentary tracks and a ton of extras, like you’d get on a DVD release. has a 90-minute making-of documentary. by streaming two versions of Jurassic World Dominion West Side Story New Hollywood is learning it can have its cake and eat it, too, by exhibiting movies in theaters as a way to maximize revenue and also build excitement for their streaming releases. What does Netflix have to lose, besides money on the table? Big Shoes to Fill Netflix is looking at a much brighter year than it did in this time last year. Reed Hastings’s legacy is secure, and Netflix has re-asserted its role as the leader of New Hollywood. Ted Sarandos and Greg Peters have big shoes to fill. Gaming, monetizing content, and rethinking Netflix’s movie distribution strategy are three ways to do that.

Three Questions for Netflix’s New Co-CEOs

THE HARDINGHAM HOTEL, AND HOW WE BECAME BIG PEOPLE

Showing Video Ads in React Native - Part 2: Android (including Audio Play)

In this slogging thread, the team at Hackernoon discuss the greatest shows on TV at the moment. We outline our favourites alongside the ones we want to watch. This Slogging thread by Jack Boreham, Mónica Freitas, Sara Pinto, Ellen Stevens and Amy Shah occurred in slogging's official #random channel, and has been edited for readability. Jack Boreham Dec 6, 2021, 11:12 AM What are the greatest shows on TV at the moment? Mónica Freitas Dec 6, 2021, 2:01 PM Jack Boreham So, I'm the type that rewatches the same shows repeatedly. My anxiety likes it that way 😂 but I've just finished the last season of "La Casa de Papel" or "Money Heist" for English speakers. It was a great ending for a great series. Also, the second season of "The Great" is out, and it's the perfect marriage between comedy and historical drama. Oh, and the second season of "The Witcher" premieres next week, so I'm excited. Mónica Freitas Dec 6, 2021, 2:01 PM Jack Boreham What shows have you been binging lately? Sara Pinto Dec 6, 2021, 4:49 PM I've recently started "Glória", a Portuguese Netflix show about the dictatorship in Portugal and the Cold War. I've only watched the first 3 episodes, but I think it's promising! On the other hand, I finished the 4th season of "The Handmaid's Tale", and I can't wait for the next one, it's such a great show. Have you seen any of these? Ellen Stevens Dec 6, 2021, 9:56 PM The Blacklist Jack Boreham Dec 6, 2021, 10:12 PM Mónica Freitas hahaha, I get you. I'm the same with movies 😂. They all seem interesting; as a game fan, I've never seen the Witcher. Why do you like the show? Jack Boreham Dec 6, 2021, 10:13 PM So at the moment, I'm watching a show on Netflix called clickbait; it's about a guy who gets taken hostage and will die if the video he's in gets to 5million views. It's a great series full of suspense. It's one Netflix! 🔥 1 Jack Boreham Dec 6, 2021, 10:14 PM Sara Pinto, I like the sound of Gloria. It seems heavily inspired by history (of course). I love that stuff and learning about the cold war, do you? 😄 Ellen Stevens great show and mighty clever. 💯 1 🔥 1 🙏 1 Sara Pinto Dec 7, 2021, 12:11 PM Jack Boreham, I'm more of a period drama kinda girl. I'm not into contemporary history as much, so this show has been a breath of fresh air Mónica Freitas Dec 7, 2021, 12:28 PM Jack Boreham It's fun! Very much a guy's type of show, I'd say 😂 It's not on the level of GOT, though the vibes are similar. Yet, if you're a fan of the game, you're probably going to like the show. I want to give the books a shot as well. Jack Boreham Dec 15, 2021, 5:40 PM Sara Pinto, have you seen Downton Abbey. You might like it Jack Boreham Dec 15, 2021, 5:41 PM Mónica Freitas love it. I will definitely like it. Are you a big fan of lord of the rings? Mónica Freitas Dec 15, 2021, 7:13 PM Jack Boreham What I am about to say is almost a crime in the nerd universe, but I was never able to go beyond the first movie. I blame Frodo. He has this expression like he's always about to cry, and I just can't... 😂 I liked the hobbit, though. I've got to give LOTR another shot. Are you a big fan? Sara Pinto Dec 16, 2021, 12:59 PM Jack Boreham It has been on my list for a long time now. I have such high expectations for this show that I think I'm afraid to start it haha. Have you seen it? Jack Boreham Dec 16, 2021, 2:05 PM Oooof, Mónica Freitas, I think we might have to kick you out of this thread 😉. Hahaha, I am. Yeah, I love the hobbit as well. Jack Boreham Dec 16, 2021, 2:07 PM Sara Pinto, it will be, it will exceed expectations. GB drama usually is poor, but Downton Abbey is great! Give it a shot!! I haven't; I think I might get kicked out of my country for not seeing it 😂 Mónica Freitas Dec 16, 2021, 8:24 PM Jack Boreham, oof, gonna be excluded after this, I see. Amy Shah Dec 17, 2021, 5:52 PM I have been watching Bridgerton. Jack Boreham Dec 18, 2021, 2:05 PM Mónica Freitas 😂😂sorryyy rules are rules Jack Boreham Dec 18, 2021, 2:05 PM Amy Shah, oooh, what's that? Amy Shah Dec 18, 2021, 5:29 PM https://www.netflix.com/title/80232398 Sara Pinto Dec 20, 2021, 1:07 PM Jack Boreham Then I know what I'm binge-watching this Christmas time! And you better delete that message. They will come after you 😂 😂 1 Mónica Freitas Dec 20, 2021, 5:25 PM Jack Boreham RIP ME :smiling_face_with_tear: 😂 1

What are the Greatest Shows on TV at the Moment? 

Netflix, the company that symbolizes New Hollywood, has adopted an Old Hollywood approach for generating revenue: merchandising. Recently, Netflix the launch of , an eCommerce operation that sells limited edition apparel and lifestyle products based on Netflix shows. Netflix.shop is the natural evolution of a direction Netflix . If this sounds like a familiar approach, well, it is. Disney created the blueprint for merchandising movies . But Netflix.shop has already made its mark by taking an openly inclusive approach through its partnerships with product designers. Let’s take a closer look at how and why Netflix is selling merchandise through its own digital retail storefront. announced Netflix.shop has been taking for the past few years in the 1920s How Netflix.shop Works Netflix.shop, built with Shopify, is a straightforward eCommerce operation. Since going online June 10, the site has featured T shirts, hoodies, and caps inspired by different Netflix shows. As of June 2021, the inventory is limited but well curated. Items debuting in June include streetwear and action figures based on anime series Yasuke and limited-edition apparel and decorative items inspired by in collaboration with the Musée du Louvre. In an announcement, Netflix emphasized not inventory but designer cachet: the company has taken an inclusive approach by collaborating with up-and-coming Black designers Kristopher Kites, and Jordan Bentley to introduce a collection of anime-inspired collectibles; and Nathalie Nguyen, a Vietnamese artist who immigrated from France to the U.S. when she was six. Lupin Netflix.shop takes a storytelling approach by featuring interviews with each designer, who share their personal stories and approach to their work. Jordan Bentley’s Hypland brand makes available streetwear inspired by , a based on a who reached the rank of samurai under the rule of Oda Nobunaga in seventeenth-century Japan. As Bentley notes in a video interview on Netflix.shop, “There’s never been an even representation for African American characters in the anime I love,” which is why he is inspired by . He explains how his passion for representing a Black warrior reflects Hypland’s inclusive and multicultural nature since its founding years ago. Yasuke Netflix anime series real-life African warrior Yasuke Jordan Bentley Kristopher Kites, from the south side of Chicago, shares how his dad took him to a comic store that stocked anime movies, which were his gateway to a world that inspired him. He also creates personal wear based on (Kites specializes in links and charms). Yasuke “We are like the modern day Black samurai,” he says, commenting on Black creatives. Kristopher Kites Nathalie Nguyen discusses how, as a 6-year-old immigrant who spoke no English, she communicated through art, often inspired by anime. She aspired to become a painter. But after learning 3D programming from scratch at a tech startup, she gained a following because of her 3D designs that she posted on social media. She has the inquisitive soul of an artist, constantly tinkering with designs through 3D modeling to find different ways to express the aesthetic of Netflix shows. Nathalie Nguyen Netflix’s inclusive embrace of emerging designers reflects the company’s culture. For example, Netflix’s marketing arm Strong Black Lead is committed to hiring people of color and supporting their voices. (Read more about Strong Black Lead .) In 2020, Netflix it was allocating up to $100 million of its cash holdings into financial institutions and organizations that directly support Black communities in the United States. In 2021, Netflix published its first-ever , which assessed the company’s journey toward being more inclusive. As an outcome of the report, Netflix a $100 million investment to improve the diversity of its content, including better representation of LGBTQ+ people. The company will fund organizations that help underrepresented communities find jobs in TV and film. Netflix.shop also delivers on this commitment to making the world more diverse and inclusive. here announced social impact report announced A Logical Evolution for Netflix Netflix has been in the – just not through its own branded website. For instance, in 2019, Netflix and bike maker Mongoose agreed to offer a limited edition Mongoose based on a fictional bicycle used in , which was followed by the licensing of more -inspired bikes. Netflix also launched , including those with , , , and merchandising business for a few years now Stranger Things Stranger Things 75 co-brands Burger King Coca-Cola H&M Nike. These relationships — hybrid in-show product placements plus real-world merchandising — offered a glimpse of how Netflix would monetize its titles more broadly. Notably, the tie-in capitalized on the growing popularity of , which was a turning point for Netflix’s commitment to merchandising. Stranger Things But even then, Netflix merchandising and co-brands as a way to gain exposure Netflix shows as opposed to being a serious revenue stream. At the time, CEO Reed Hastings that Netflix did not want to "get distracted with alternative revenue sources," because its subscriber engine is what drives revenue, Hastings said in the earnings interview. viewed said "The core focus is, create all these merchandising opportunities, tie-ins, touch points, so that you feel the 'Stranger Things' energy so that more people join," Hastings said. "We do monetize all that. It's just we're monetizing it through our giant engine rather than through little sidecar vehicles." But that’s not the case now. In 2020, Netflix hired Nike and Disney veteran Josh Simon to lead its Consumer Products division. Since he , Simon has tripled the size of the Consumer Products team and arranged distribution deals with Walmart, and to sell Netflix-inspired clothes, toys, beauty supplies and housewares, Walmart inspired by Netflix’s . -branded merchandise is a . came aboard Target Amazon sells merchandise Over the Moon Stranger Things common sight at Target Simon that Netflix.shop will operate as a boutique, with Netflix instead focusing its efforts on more deals with store chains and fashion brands. “Practically speaking, the revenue will come more from those partners around the world in terms of sheer footprint and number of locations and magnitude,” he said. told The New York Times But Netflix.shop gives Netflix a way to tap into the popularity of fast-rising shows and drop merchandise faster than it could working with a retailing partner. This way, Netflix can stoke the fires of cultural relevance with its content and brand. For instance, when Netflix sees it has a trending show like on its hands, the company can quickly move to sell merchandise on its own site rather than through a partner such as clothing company Phenomenal, by selling merchandise such as sweatshirts. If Netflix sees a show trending on social media, it can move nimbly – an approach Nike is taking by building its . Bridgerton as it did recently Bridgerton Nothing But Gold site The need for speed influenced Netflix’s decision to work with Shopify to run Netflix.shop. Shopify President Harley Finkelstein, told that Shopify understand how to handle big merchandise drops ranging Taylor Swift albums to sneaker releases,  “We’ve been battle-hardened around some of the largest flash sales on the planet,” he said. The New York Times Publicly traded Netflix does not break out how much it actually earns from merchandising, but it’s probably a small amount – for now. As of 2021, , but we’re still in the early going with merchandising. subscription fees constitute its main source of revenue Why Netflix.shop Now? Why did Netflix decide to make a more serious run for a merchandising operation especially after Reed Hastings downplayed its role only a few years ago? A few reasons stand out: . After enjoying a subscribership surge during the pandemic, Netflix a sharp decline in growth for its most recent quarter. The company’s stock value is doing just fine. But the company needs to satisfy investors who worry about the slowdown in subscriber growth. Netflix has resisted pressure to introduce an ad-supported tier as other streaming services have done. Relying on subscription fees alone is increasingly a tough strategy to sell. Netflix needs to monetize its subscriber base reported . Selling licensed products is a revenue opportunity too big for a content creator to ignore. Sales of licensed products tied to shows, films and characters were about $49 billion in the United States in 2019, and $128 billion globally, the most recent study of the industry by Licensing International, a trade group. Since advertising is not on the table as an option (so far), merchandising is more appealing according to . Disney rakes in billions from the sale of merchandise spawned by its movies and shows. The company has already turned its Disney+ streaming service into a cash cow for branded products inspired by shows such as . In 2020, Disney’s Consumer Products division in 2020 – and that was during a down year. Amazon, meanwhile, basically treats its Amazon Prime Video streaming service as a platform to keep Amazon Prime members shopping on the Amazon retail site; and Amazon has 200 million Prime members. Prime members spend reportedly annually than non-Prime members. As Jeff Bezos once , “When we win a Golden Globe, it helps us sell more shoes.” Netflix cannot claim any of Disney’s or Amazon’s advantages. Netflix is feeling the competitive pressure The Mandalorian earned $16 billion 133 percent more said These are compelling reasons, and Netflix – one of the world’s most – is well positioned to grow its eCommerce business. But the company also as challenge: it’s one thing to cash in on a show such as that builds enormous buzz . But other shows can take time to build the kind of fan loyalty that translates to a steady stream of merchandise sales. And lately Netflix has been quick to cancel shows in their infancy. In 2020 alone, Netflix canceled 18 original series, prompting Ken Renfro of Insider.com to note that “ .” The company may need to be more patient to allow shows to become merchandise-friendly brands. Lupin early on Netflix has a TV-show problem What’s Next? Even with the disruption caused by the Covid-19 pandemic, Netflix has a ist of original titles dropping in 2021 – 69 in July alone. What will be the next – a show that not only goes viral but influences behavior? , the compelling story of chess prodigy, also inspired a . Next time around, Netflix is counting on Netflix.shop to sense and respond to these rapidly changing consumer behaviors and drop merchandise quickly – perhaps not chess boards, but clothing and personal wear that can be designed and manufactured quickly. formidable l The Queen’s Gambit The Queen’s Gambit surge in sales of chess boards Netflix’s ace in the hole is its ability to use artificial intelligence to personalize content by anticipating your tastes. The next challenge: using AI to quickly spot trends in consumer tastes and drop merchandise. And this is where Shopify’s may help. The ideal state for Netflix is "speed to insight/market/value" as described in this by product development executive and educator : using AI to understand consumer trends faster than your competitors can and develop products; relying on a platform (in this case, Shopify) to take those products to market; and offering those products through highly personalized experiences that create enduring value. AI engine blog post Mike Edmonds Don’t look for Netflix to challenge Disney anytime soon (nor would Netflix aspire to do so). But Netflix is now playing to win. Let’s see how quickly the company can apply its keen sense of cultural tastes to consumer products. In addition, by making its content more diverse as it has promised to do, Netflix may enjoy a dividend down the road: a larger, more diverse customer base. Note: I invest in Amazon, Disney, and Netflix.

The Modern Day Black Samurai and The Potential of Netflix's New Merchandising Shop 

(ML) in its literal terms implies, writing algorithms to help Machines learn better than human. ML is an aspect of Artificial Intelligence (AI) that deals with the development of a mathematical model which is fed with training data to identify patterns in that data and produce an output. Machine Learning In other words, ML is concerned with the utilization of data to train machines (e.g., computer) to learn things (e.g., identifying different dog breeds) and produce an accurate output when fed with a test data (e.g., this dog is a terrier). The machine gets better (in terms of accuracy of the output) with time and/or with more data. The goal of ML is to make machines that act like humans, to make man’s tasks easier. Who can study ML? Anyone with basic understanding and interest in computer science, statistics, and data structure can study Machine Learning. Brief History ML is not new! Indisputably, it's the trend today because businesses have realized it prediction potential, so they are throwing in grants and funding to encourage ML researchers to explore it and make findings that will help businesses stay ahead of the competition. On the contrary, Its potential is still yet to be maximized. Researchers hold somewhat different views about ML start date. Hugo Mayo recorded that the first case of ML was in 1943 when Warren cCulloch and Walter Pitts decided to create a model of neurons using an electrical circuit, and it was coined the neural network (NN). On the contrary, in the words of Dataversity's , Keith D. Foote "ML model was created in 1949 by Donald Hebb in a book titled (PDF), which represent Hebb's theories on neuron communication." The Organization of Behaviour The common opinion held by researchers was that Alan Turing created the "Turing Test" to measure computer intelligence in 1950. Subsequently, In 1952, Authur Samuel wrote the first computer learning program and named it "Machine Learning". Since then, researchers such as Frank Rosenblatt, Gerald Dejong, Terry Sejnowski, etc., and tech-inclined companies such as Facebook, Amazon, Google, Microsoft have also been exploring ML till date and progressing. Application of Machine Learning to Civil Engineering The application of ML to Civil Engineering began in the 1980s when ML techniques were applied for knowledge extraction from Civil Engineering (CIE) data. The field of civil engineering is rife with the problem of uncertainties in areas not limited to construction management, safety, design, and decision making; the solution to these problems depends on calculations and experience of practitioners. The procedures to finding the solution to these complex problems are tedious, expensive, and time consuming, as such civil engineers decided to provide solutions to this problems by taking advantage of Machine learning ability to imitate experts. Kansas State University's Hani Melhem reports that the two most commonly used ML techniques are: Learning from Examples (or Inductive Learning) and Learning from Observation (or Conceptual Clustering). Again, the Hong Kong Polytechnic University's Amos Darko reported that genetic algorithms, neural networks, fuzzy logic, fuzzy sets, and machine learning have been the most widely used AI methods in the Architecture Engineering and Construction (AEC) industry to address pressing topics like Optimization, simulation, uncertainty, project management, and bridges. Tel Aviv University's explained that there has not been significant practical progress in using single ML techniques as regular tools by engineers due to the complexity of practical problems, as such ML researchers postulated the use of multiple ML techniques (termed multistrategy learning e.g., Bridger, MOBAL, MLT, and MCS). Further, Reich explained that there have been studies: Yoram Reich on knowledge extraction (e.g., the feasibility of wind bracing and environmental impact assessment) about solving problems in which learning played a major role (e.g., cable-stayed bridge design and monitoring water treatment plants) that employed learning as part of their operation (e.g., steel bridge design, highway truckload monitoring, transmission line towers design, and architectural design). directed at information modelling to create estimation models (e.g., material stress-strain relations and properties of composite materials) on modelling aimed at improving the understanding of a phenomenon (e.g., decision procedures and material corrosion behaviour). Overall, Civil engineering has only explored a small number of ML techniques, and past studies were limited to little or no standardized testing and no follow-up work. It was evident that ML was still in its infancy. Today, ML has experienced some maturity because lots of grants and funding have gone into automation of civil engineering domain among other fields. For instance, ML researchers have developed: Alex-net Neural Network to monitor the structural health Back-Propagation Neural Networks to assess slope failure Artificial Neural Network (ANN) to predict the compressive strength of concrete. Similarly, in alignment with the report by the University of Bridgeport's Manu Mitra, Darko reported that Convolutional Neural Networks (CNN) have only in this modern time been classified and applied as vision and learning-based methods for solving problems such as damage detection, facility operations and management, construction sites safety monitoring, concrete compressive strength estimation, structural health monitoring (SHM), maximum gradient (MG) and decision-making. ML researchers are currently looking into the visual inspection of civil infrastructures and collaborative research inspired by the challenging problems faced by visual inspectors in civil, structural and earthquake engineering. This brings into line with Darko's conclusion that there are future research opportunities in using CNNs and robotic automation for solving civil engineering problems. As a green researcher looking to apply ML to your research, I hope this write up provides you with information about a relevant aspect of ML to apply to your research. Kindly drop a comment below if you have questions, comments or criticism. Thank you!

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