#how to find and replace formatting in excel

[phoenixyfriend]

Accountant of Theed

Read on AO3

After all is said and done, someone needs to balance these books, and nobody actually told the accounting department how they paid for this new hyperdrive. Mimi really hopes it's not a loan from the Hutts.

Disclaimer: I am not an accountant, but I work in an adjacent field (and have been considering getting a certification, but that's neither here nor there). While I did take some courses on it, I asked an Accounting Person to look over the excel sheet before I went forward with the rest of the fic to make sure it's internally consistent. Thank you to @gnomer-denois for confirming my balance on these works!

The reconciliation sheet does NOT follow contemporary guidelines in terms of format etc, but that is because it is:

In space! Standard practice differs from Modern United States or what have you.

Not the primary balance sheet, just the simplified version made to show to Queen Amidala.

If you'd prefer to view the Excel sheet in a more easily navigable form, there is a google drive link available. This is also your best option if using a screen reader.

-----------------------------------------

Theed is safe. They are rebuilding. There is even financial support, aid, from the Republic.

It comes with strings attached. Oversight. Auditors.

Wouldn’t want Naboo to misuse funding after that nasty mistake with the Trade Federation, right? Sure, Naboo wasn’t the one at fault, but one can never be too careful...

Mimi, as an accountant for the government of Naboo, does not in fact want to commit fraud, or enable corruption, but the rolling audits do feel a little like the Republic is punishing them for getting invaded.

“Hey, boss?”

That tone. Mimi does not like that tone. “Please tell me it’s not another unauthorized purchase with a missing receipt. Which account did they pull from this time?”

“Um... we don’t know?”

Mimi gives them a moment. No elaboration is given.

“You don’t know?”

“We don’t know,” the younger employee repeats.

“What do you mean?” Mimi asks. “People charge things to accounts or cards. They forget to submit receipts. We hunt them down for receipts, and make sure nobody is skimming off the top. That’s how it goes. Unless this is a purchase on a personal and we need to reimburse—”

“Um, maybe?”

“In which—what? That’s just... okay. There’s a process for reimbursements. You aren’t following it, which means... what? What do you mean, you don’t know? Did they use cash, or pull from an account?”

The younger employee looks down at their datapad. Looks back up at her. Looks baffled and a little scared. “Um, it’s... we still don’t have a receipt, but we also don’t know where the money for it came from? But nobody’s put in a reimbursement request and I can’t imagine anyone on the mission had those funds on them, not even the Queen herself.”

“The money for what?”

“Um. It sort of just... showed up?”

“So, it’s some kind of gift?” Mimi presses.

“Too big,” the younger mumbles, refusing to meet her eyes. “It would have to be disclosed.”

“I am giving you five seconds—”

“It’s a hyperdrive!” they yelp.

“...Explain.”

“One of the mechanics was looking over the Royal Cruiser, and found that there was unrecorded repair work to the hyperdrive. The ship took enough damage during the escape that he wasn’t surprised, but then he noticed that it was from an earlier run of the part, and when he checked, the serial number was completely wrong. The hyperdrive was completely replaced.”

Mimi closes her eyes and takes a breath. “The mechanic doesn’t know?”

“He said there’s nothing in the records that matches it at all, and it’s a big enough part that there’s no way it would just slip through the cracks, not when it’s that expensive and going on the Royal Cruiser.”

“So,” Mimi says, “we have a part worth almost as much as the rest of the cruiser combined, that just... came out of nowhere, and nobody claiming for reimbursement.”

“Yes, ma’am. That’s what it looks like.”

Mimi has no interest in fraud.

“Find out who was piloting when Queen Amidala escaped, and see if they have any answers,” Mimi tells them. “If we can keep it to just the hangar staff without drawing in the Royal Retinue, it’ll be easier on all of us.”

“Here’s hoping, ma’am.”

(Continue on AO3)

[nimonabigbang]

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A Big Bang is a collaborative fandom event that results in an explosion of new fanwork. Writers are paired with artists, who create fanart for the new fanfic written for the Bang.

For the Nimona Big Bang, we're asking for a 5,000 word minimum for fanfics and two art pieces. Participants can take on up to two possible roles: writer, artist, beta reader (to help proofread draft fics), writer pinch hitter (in case a writer needs to drop out), or artist pinch hitter (in case an artist needs to drop out).

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We hope you sign up today and are looking forward to all the wonderful fic and fanart!

[bluejayblueskies]

the lust of the flesh, the lust of the eyes, and the ambition of the world | phynoma

[ID: Two pictures of two hand-bound books, the first of which shows their front covers and the second of which shows their spines and part of their front covers at an angle. The leftmost book is bound in yellow bookcloth and has a hand-embroidered smiling mouth with bloody teeth on the bottom portion of the front and back cover. The title, "the lust of the flesh, the lust of the eyes, and the ambition of the world" is in the top right corner in black as well as the words "volume one" in maroon. The rightmost book is bound in red bookcloth and has a hand-embroidered ribcage on the lefthand side of the front cover and the righthand side of the back cover. The title, "the lust of the flesh, the lust of the eyes, and the ambition of the world" is in the top right corner in black as well as the words "volume two" in white. Both volumes have stitching across the spine that joins the embroidery on the front and back covers so that the design stretches across the spine. /End ID]

It's finally time to share the books I made for the 2023 Rusty Quill Big Bang, hosted by @pilesofnonsense! This year, I was paired with the wonderful @phynoma, who wrote a post-circus AU entitled the lust of the flesh, the lust of the eyes, and the ambition of the world where Jon is marked by an entity known as the Consuming that feeds off hunger and desire and focuses, in Jon's case, around sexual hunger and desire. It's a truly spectacular fic with excellent worldbuilding, spot-on characterization, and a wide variety of sexual encounters of all flavors, and I highly recommend it!

As this fic is written in transcript format, I wanted to go with an open-spine binding style that would have the advantage of both lying extremely flat when opened and giving the fic a more screenplay-like appearance. Also as a consequence of the transcript format, the final page count ended up being large enough that I split the fic into two volumes, the first of which covers season three and the second of which covers seasons four and five.

[ID: Two pictures of the same hand-bound books, the first of which shows volume one and the second of which shows volume two. Both books are fully open to display their front and back covers touching. We can see that the embroidered design, half of which is on the front cover and half of which is on the back, forms a complete picture when the book is fully open. /End ID]

Each volume has hand-embroidered front and back covers, with titles done in black, white, and maroon gel pen. The covers were designed so that when the book is fully open, the front and back cover designs come together to form one single cohesive image. Additionally, when the book is closed, the spine stitching was done so that the design stretches across the spine, thus making the full design complete whether the book is fully open or fully closed. I'm really proud of how these covers turned out, and even though the embroidery took much longer than I anticipated it taking, it's definitely something I would do again!

More description and pictures of the interior of the books are below the cut:

I went with a visually simple yet technically complex design for the typeset of this fic. Microsoft Word's styles were very much my friend, as well as its advanced find-and-replace feature, to automate a lot of the formatting for this fic. The most complex bits were the group chat excerpts and making sure all the profile pictures were positioned correctly, as well as the email chain excerpts in volume one. The text messages were done separately in an HTML workspace and then included via screenshots, and because I had an HTML/CSS text message code already sitting around from a previous project, those were relatively simple to format!

[ID: Eight pictures of the interior of the hand-bound books from previous photos. The first picture shows the title page of volume one, which has the title and author name in black and "volume one" in red, as well as a picture of a ginko tree. The second picture shows the title page of volume two, which has the title and author name in black and "volume two" in red, as well as a picture of a cherry blossom tree. The third picture shows the colophon and table of contents for volume two, highlighting the binder logos--a bluejay and a bookpress--and the faux-label table of contents title. The fourth picture shows the chapter header page for the chapter "voyeurism" in volume one, featuring brackets around the notes, content warnings, and pairings for the chapter as well as a quote from the confessions of augustine, which is separated from the warnings with an open eye graphic. The fifth picture shows the beginning of the chapter "hunger in the garden" in volume two, displaying the transcript formatting of the text as well as the faux-label chapter name on the top left. The sixth picture shows text messages in volume two, which are formatted the same as text messages on an iOS system with blue and gray bubbles and a name header that says "Jonathan Sims." The seventh picture shows some chapter text as well as a faux-office memo, done in a sans serif font, written from Elias Bouchard to the Archives team. The eighth picture shows on the left page faux emails, done in an iOS style with profile pictures for each email, and on the right page a faux-group message with profile pictures for each member and a header that labels the groupchat as the Snarkivists. /End ID]

The fonts used for this typeset were chosen based on those used for the unofficial Magnus Archives transcripts--DejaVu Sans Mono for the chapter intro pages and Libre Baskerville for the body text. I'm not 100% sure that those are the actual fonts used for the unofficial transcripts, but based on the reverse font search I did, those seem to be a close match for it.

This was a big project for me, and I'm so happy to finally see it to completion! Once again, a big thanks to Phynoma for being such a wonderful partner to work with--I'm excited to send you these books so you can see them in person 💜

[yen-sids-tournament]

Quotable Disney Round 1 Group 7 Poll 2/8

***Please vote on the content of the quote not the format of the picture***

Newsies:

excellent turning point song, very uplifting!

All Our Quotes

Full Quotes Below

"Promise me you'll be here. Always. Even when I'm a hundred?" "How old shall I be then?" "Ninety-nine." "I promise!...forever and ever."

~Christopher Robin and Winnie the Pooh, Pooh's Grand Adventure: The Search for Christopher Robin (1997)

Yen Sid Comment: This quote was used to replace another Winnie the Pooh quote ("If you live to be a hundred...") which we could not find a Disney use of. The propaganda for that quote is the following:

Hmm, not sure how to properly explain why I like a quote about wanting to never experience a day in a world where someone you love no longer exists. Probably because it seems obvious. Also the movie is underrated but still a wonderful addition to the Winnie the Pooh cinematic universe.

"Get those kids to see we're circling victory. And watch what happens. We're doing something no one else had even tried. And yes, we're terrified. But watch what happens."

~Jack Kelly, Katherine Plummer, Davy Jacobs, & Les Jacobs, Disney's Newsies: The Musical (2011)

[killerandhealerqueen]

✨ weekend wip exposure club ✨

rules: post 7 sentences/a snippet of an unfinished work

@hyperbolicgrinch and @theotherwhybietoldmeso (Happy Weekend my lovelies!)

Very excited for this weekend wip, mainly because this week was just so good (probably one of the best weeks I've had in months) so...please enjoy

Another snippet from my fic Die Trying

A little while later, Jiang Yuelou and Chen Yuzhi arrived at the Longhouse to find all of the villagers waiting for them.             “Good morning” Chen Yuzhi greeted, making all of the villagers look at him in surprise.             “Dr. Chen” one of the villagers breathed as the smile fell from Chen Yuzhi’s face and a hardness that they had never seen before replaced it.             “I want three lines, so line up.  All of you” he barked.  The villagers blinked before they quickly rushed to get into formation, all of them standing straight as Chen Yuzhi began to pace before them.             “Now, I know that you all are not fighters like Commander Jiang and I, but we are here to change that.  So, for the next couple of weeks, we will train you in every aspect of warfare that we believe is necessary.  Today, we will start off with hand to hand combat” he declared before he looked over at Jiang Yuelou.             “Commander Jiang?” he requested.  Jiang Yuelou nodded.             “Sure” he replied before he clasped his hands behind his back and looked at the villagers.             “Alright, so.  Like Commander Chen said, we’re going to start with hand to hand combat and for that, we need to start with the basics” he declared, just as one of the young children raised their hands.             “Commander?” he asked.  Jiang Yuelou and Chen Yuzhi looked at him.             “Yes?” they replied.               “Why do we need to know hand to hand combat?  Won’t they have guns?” the child inquired.  Jiang Yuelou smiled.             “Excellent question.  While yes, the Motherworld soldiers will most likely have guns and other weapons, it’s wise to know how to fight them hand to hand in the case that they somehow lose their weapon in the fight” he explained before he turned and looked at Chen Yuzhi.             “Commander?” he asked.  Chen Yuzhi nodded.             “Of course” he replied before he slid into a horse stance and raised his hands into a defensive position as Jiang Yuelou slid into a horse stance as well, both men staring at each other for a moment before Jiang Yuelou suddenly lashed out with a fist, causing Chen Yuzhi to quickly block it before he returned a strike of his own.  They then fought for a moment, their fists and strikes strong and powerful, before Chen Yuzhi landed a swift punch to Jiang Yuelou’s jaw, sending him to the ground.  As he crashed to the ground, Jiang Yuelou hissed and clutched at his jaw, just as Chen Yuzhi descended upon him and suddenly pressed a knife to his throat, causing him to freeze and the villagers to gasp before Chen Yuzhi pulled the knife away and pushed himself to his feet.             “And that’s why it’s important to learn hand to hand combat” he declared, making all of the villagers look at him in shock as he looked down at Jiang Yuelou and held out his hand, Jiang Yuelou staring back at him before he smiled and took his hand, allowing him to help him to his feet.             “Thanks” he thanked before he looked over at the villagers and crossed his arms.             “So.  Who’s ready to try?” he inquired.

Tagging: anyone who wants to play

[indignantlemur]

Hey :) watching the Canada nationals today and it struck me: andorians would probably love figure skating?? Thoughts?

I've had some thoughts about this myself, actually! Thanks for the ask!

When I look at Andorians as I've written them and consider how they would view various activities, ideas, etc, I go through three questions which I feel would have informed their historical mindset:

(1) Does it contribute to the safety and prosperity of the Clan or the Empire?

Historically, Andorians couldn't afford to waste much in the way of time, energy, or resources. This had a huge impact on their attitudes towards anything deemed frivolous or reckless or wasteful, which is much more severe than the average Human might expect; if it doesn't serve the Clan or the Emperor, then it's not important enough to waste resources on. That sort of ingrained thinking is slow to change. In fact, it's really only been in recent centuries, starting just after the Unification of Andoria, that their cultivation of the arts and leisurely pursuits has really taken off. They experienced a wild renaissance period shortly after the Unification, during which resource-intensive but culturally vital accomplishments were made and traditional artforms were refined and popularized on a much wider scale than ever before.

This new peace brought about by the formation of the Federation has set the stage for a second renaissance, though what this new era will bring to Andoria and its people is yet unknown.

(2) Does it burn more resources than it earns?

Rapid metabolism, life in high energy-cost environments, and resource scarcity do not do the Andorians any favours. Historically, the Clans had to be very choosy about where they invested time, food, materials, and people. Anything that didn't help to provide for the Clan was dismissed as fanciful at best, and a dangerous waste of resources at worst. Life.in recent centuries has been much less harsh, allowing for a great deal of leeway where none existed before, but old attitudes linger nonetheless.

(3) Does it fulfill some cultural or religious need which might make it exempt from the previous two requirements?

Historically, calculated expenditures of valuable resources were made to boost morale, to strengthen bonds between families, and to create a sense of community. Festivals, rites, fêtes, you name it. If it could keep the populace happy, the Clans would find a way to make it happen. For the longest time, these events were the sole exceptions to the first two points - and for good reason. Even the most wretched of peoples need more than the bare minimum to thrive. Andorians are no different than anyone else in that regard.

So: figure skating. Let's take a look at it.

On the one hand, I feel like Andorians would be excellent at figure skating between their inherent strength and balance (their antennae being integral to their sense of balance, our course), and Andorians are certainly well known in canon lore for being big on the arts. Post-Unification Andorians place a huge emphasis on art and culture, which bodes well for the adoption of figure skating as an art form.

On the other hand, however, figure skating is a huge energy sink in a culture that has a significant stigma against wasting precious resources. Andorians are most suited for short, brutal bursts of activity as a result of their average metabolic rate. Developing in a resource scarce environment as they did, this shaped the Andorian view on acceptable activities and pastimes. Sustained activity, such as marathons, would be done when necessary (and certainly Imperial Guardsmen would have to meet a bare minimum endurance requirement to qualify for field assignments) but otherwise not pursued recreationally on a large scale.

Consider also that a number of Andorian-origin sports developed as a replacement for their ancient raids and battles. Post-Unification, sports and displays of martial prowess were an outlet for a people with a great deal of natural aggression and nowhere to direct it. Eventually, as time passed and the old ways of constant warfare lost their hold on Andorians as a whole, competitions of skill became as much about prestige and honour as cooperation and unity.

Looking at the question from that perspective, I could see a number of winter sports being popular with Andorians - cross-country skiing, sledding, ice climbing, even speed skating. I suppose it would come down to a question of whether or not figure skating would be considered a sport in their eyes versus an artform based on dancing.

Based on how I've written Andorians, I think they'd initially dismiss figure skating as Human nonsense based on their own cultural mores, but perhaps would gradually warm up to the idea over the decades until younger generations embraced it. It might start as a novelty for rebellious teens, or maybe as a niche hobby for a select few that would eventually gain traction with the wider populace. Certainly, by the time we hit the TNG-era, it might be fully adopted and embraced as a pastime amongst Andorians.

...I think that was all mostly coherent and sensible. Feel free to ask follow up questions! ❄️🇨🇦⛸️

[discussionswithgyetti]

Blog Post #8 (4/10)

How does social media encourage people from other ethnic groups to engage in resistance of common social narratives online? 

In Dr. Lee’s (2017) article, we know that one of the main findings was that the use of hashtags were used to critically push back against narratives in traditional media, stating that the victims of police brutality deserve what happens to them because they are criminals. Not only was this found amongst African American userbases, but we also see activism amongst white participants with the #crimingwhilewhite thread that shed light on racial injustices in the prosecution of white people vs people of color. I think has the potential to, therefore, encourage and lift outergroup commentary about social issues through its engaging nature. It is more easily accessible to listen to the experiences of marginalized racial groups and act accordingly as a group with more institutional and social privilege, unveiling unjust experiences. 

How can the surveillance and organization on social media act as a double-edged sword? Are there ways to combat this, disburse information, and keep it away from people who can use it negatively?

In Dr. Lee’s (2017) article, we learn that social media, especially black Twitter, was used during protests and boycotts to disburse information amongst protestors. Although this was very useful for people actively participating in these protests, we also know that it poses a potential threat to protestors because officers can collect their information. This can potentially threaten online political organizations; if people are too afraid to speak up online, it limits the protest pool. To get the best out of social media information disbursement, announcements for group formation should be made on bigger platforms, with an active goal of organing individuals in smaller, more thread and text-based networks (such as Discord or any platform with encryption). 

What are some issues of individual journalism online, especially when discussing prejudice and injustice for other populations?

As discussed by the speaker on Wednesday, we know that social media can play an excellent role in spreading awareness of social injustice and knowledge about social movements. However, the perspective of these social movements may be taken away from the main affected populations and replaced by interpretations from outside views. This is a similar issue with mainstream media. However, the positive of online political engagement is, that the voices of the main affected populations can be amplified. 

How has more consumitory and less participatory social media possibly impact the ability of people to engage in political movements in real life?

In the Fuchs (2014) passage, we know that Twitter, Facebook, and Twitter tend to create opportunities for people to choreograph movements, with people being led to different social movements and information online. As Castel argues, social media has been used for mass communication as a main catalyst for social movements. However, in recent politics, we see a lack of young people going out to protests in real life, even though social media consumption is high. It may be possible that as social media becomes less participatory and more consummatory, people have been unable to utilize the organizational power of social media. 

Work Cited

Lee, L. (2017). Black twitter: A response to bias in mainstream media. Social Sciences, 6(1), 26. https://doi.org/10.3390/socsci6010026 

Fuchs, C. (2014). Social media: A critical introduction.

[denimbex1986]

'Andrew Scott’s success did not arrive overnight. His has been a slow and steady ascent from supporting player to leading man. But his status is now assured: at 47, the Irishman is among the most talented and prominent actors of his generation, on stage and screen.

Dublin-born and raised, Scott first took drama classes at the suggestion of his mother, an art teacher, to try to overcome a childhood lisp. At 17 he won his first part in a film, Korea (1995), about an Irish boy who finds himself fighting in the Korean War. By 21, he was winning awards for his performance in Eugene O’Neill’s Long Day’s Journey into Night, for director Karel Reisz, no less, at The Gate. He arrived in London, where he continues to live, at the end of the 1990s, and worked regularly, with smaller parts in bigger TV shows (Band of Brothers, Longitude) and bigger parts in smaller plays (A Girl in a Car With a Man, Dying City). By the mid-2000s he was well established, especially in the theatre. In 2006, on Broadway, he was Julianne Moore’s lover, and Bill Nighy’s son, in David Hare’s Iraq War drama, The Vertical Hour, directed by Sam Mendes. In 2009, he was Ben Whishaw’s betrayed boyfriend in Mike Bartlett’s Cock, at the Royal Court. He won excellent notices for these and other performances, but he was not yet a star. If you knew, you knew. If you didn’t know, you didn’t know. Most of us didn’t know; not yet.

That changed in 2010 when, at the age of 33, he played Jim Moriarty, arch nemesis of Benedict Cumberbatch’s egocentric detective, in the BBC’s smash hit Sherlock. The appearance many remember best is his incendiary debut, in an episode called “The Great Game”. When first we meet him, Moriarty is disguised as a creepy IT geek, a human flinch with an ingratiating smile. It’s an act so convincing that even Sherlock doesn’t catch on. Next time we see him, he’s a dapper psychotic in a Westwood suit, with an uncannily pitched singsong delivery and an air of casual menace that flips, suddenly, into rage so consuming he’s close to tears. Such was the relish with which Scott played the villain — he won a Bafta for it — that he risked the black hat becoming stuck to his head. In Spectre (2015), the fourth of Daniel Craig’s Bond movies, and the second directed by Sam Mendes, Scott played Max Denbigh, or C, a smug Whitehall mandarin who wants to merge MI5 and MI6, sacrilegiously replacing the 00 agents with drones. (If only.)

There were other decent roles in movies and TV series, as well as substantial achievements on stage, and he might have carried on in this way for who knows how long, even for his whole career, as a fêted stage performer who never quite breaks through as a leading man on screen.

But Scott had more to offer than flashy baddies and scene-stealing cameos. His Hamlet, at The Almeida in London, in 2017, was rapturously received. I’ve seen it only on YouTube, but even watching on that degraded format, you can appreciate the fuss. Scott is magnetic: funny, compelling, and so adept with the language that, while you never forget he’s speaking some of the most profound and beautiful verse ever written, it feels as conversational as pub chat.

Another banner year was 2019: a memorable cameo in 1917 (Mendes again) as a laconic English lieutenant; an Emmy nomination for his performance in an episode of Black Mirror; and the matinée idol in Noel Coward’s Present Laughter at London’s Old Vic, for which he won the Olivier for Best Actor, the most prestigious award in British theatre.

The second series of Phoebe Waller-Bridge’s phenomenal Fleabag, also in 2019, proved to a wider public what theatregoers already knew: Scott could play the mainstream romantic lead, and then some. His character was unnamed. The credits read, simply, “The Priest”. But social media and the newspapers interpolated an adjective and Scott became The Hot Priest, Fleabag’s unlucky-in-love interest, a heavy-drinking heartbreaker in a winningly spiffy cassock, and an internet sensation.

Fleabag began as a spiky dramedy about a traumatised young woman. Scott’s storyline saw it develop into a bittersweet rom-com, brimming with compassion for its two clever, funny, horny, lonely, awkward, baggage-carrying heroes, lovers who can’t get together because, for all the snogging in the confessional, one of them is already taken, in this case by God.

It was the best and brightest British comedy of the 2010s, and Scott’s fizzing chemistry with Waller-Bridge had much to do with that. The ending, when she confesses her feelings at a bus stop, is already a classic. “I love you,” she tells him. “It’ll pass,” he says.

Over the past 12 months, in particular, Scott has piled triumph on top of victory, and his star has risen still further. At the National, last year, he executed a coup de théâtre in Vanya, for which he was again nominated for an Olivier. (He lost out to an old Sherlock sparring partner, Mark Gatiss, for his superb turn in The Motive and the Cue, about the making of an earlier Hamlet.) For Simon Stephens’s reworking of Chekhov’s play, Scott was the only actor on stage. On a sparsely furnished set, in modern dress — actually his own clothes: a turquoise short sleeve shirt, pleated chinos, Reebok Classics and a thin gold chain — and with only very slight modulations of his voice and movements, he successfully embodied eight separate people including an ageing professor and his glamorous young wife; an alcoholic doctor and the woman who loves him; and Vanya himself, the hangdog estate manager. He argued with himself, flirted with himself and even, in one indelible moment, had it off with himself.

It’s the kind of thing that could have been indulgent showboating, a drama-school exercise taken too far, more fun for the performer than the audience. But Scott carried it off with brio. In the simplest terms, he can play two people wrestling over a bottle of vodka in the middle of the night — and make you forget that there’s only one of him, and he’s an Irish actor, not a provincial Russian(s). An astonishing feat.

For his next trick: All of Us Strangers, among the very best films released in 2023. Writer-director Andrew Haigh’s ghost story is about Adam (Scott), a lonely writer, isolated in a Ballardian west-London high-rise, who returns to his suburban childhood home to find that his parents — killed in a car crash when he was 11 — are still living there, apparently unaltered since 1987. Meanwhile, Adam begins a tentative romance with a neighbour, Henry (Paul Mescal), a younger man, also lonely, also vulnerable, also cut off from family and friends.

Tender, lyrical, sentimental, sad, strange, and ultimately quite devastating, All of Us Strangers was another potential artistic banana skin. At one point, Scott’s character climbs into bed with his parents and lies between them, as a child might, seeking comfort. In less accomplished hands, this sort of thing could have been exasperating and embarrassing. But Scott’s performance grounds the film. He is exceptionally moving in it. He was nominated for a Golden Globe for Best Actor, losing to his fellow Irishman, Cillian Murphy, for Oppenheimer. Earlier this year, he made history as the first person to receive Critics Circle awards in the same year for Best Actor in a film (All of Us Strangers) and a play (Vanya).

Finally, last month, the title role in Ripley, a new spin on the lurid Patricia Highsmith novels. That show, which unspools over eight episodes on Netflix, was a long time coming. Announced in 2019, it was filmed during the pandemic, at locations across Italy and in New York. Scott is in almost every scene and delivers an immensely subtle and nuanced portrayal of Highsmith’s identity thief, a character previously played by actors including Alain Delon, Dennis Hopper, and Matt Damon in the famous Anthony Minghella film The Talented Mr Ripley, from 1999.

The fragile almost-charm that makes Tom Ripley such an enduring antihero is there in Scott’s portrayal, but so is the creepiness, the isolation, the fear and desperation. His Ripley can turn on a smile, but it quickly curdles. Filmed in high-contrast black and white, Ripley is a sombre, chilly work by design, but doggedly compelling, and not without a mordant wit. Again, critics swooned.

So the actor is on a hot streak. Later this year he’ll appear in Back in Action, a Hollywood spy caper, alongside Cameron Diaz and Jamie Foxx, above-the-title stars with dazzling, wide-screen smiles. But could they play Chekhov single-handed? They’ll need to be on their toes.

Before our shoot and subsequent interview, in April, I had met Scott briefly on two previous occasions, both times at fancy dinners for fashion brands. Compact, stylish, dynamic, he is impishly witty and charismatic: good in a room. Also, obliging: the second time I met him, he took my phone and spoke into it in his most diabolical Moriarty voice for a wickedly funny voice message to my son, a Sherlock fan.

At the Esquire shoot, on an overcast day in south London, Scott again demonstrated his good sportiness: dancing in the drizzle in a Gucci suit; generously sharing his moment in the spotlight with an unexpected co-star, a local cat who sauntered on to the set and decided to stick around for the close-ups; and entertaining the crew — and hangers-on, including me — with rude jokes. At one point, while for some reason discussing the contents of our respective fridges, I asked him where he kept his tomatoes. “Easy, Tiger,” he said.

At lunch the following day, upstairs at Quo Vadis, the restaurant and members’ club in Soho (my suggestion), the actor arrived promptly, settled himself on a banquette, and we got straight to business. It’s standard practice now for interviews published in the Q&A format to include a disclaimer, in the American style: “This conversation has been edited for length and clarity.” (Well, duh.) In this case, we talked for close to three hours. Inevitably, paper costs being what they are, and Esquire readers having busy lives, some of that verbiage has ended up on the cutting-room floor. But not much! I’ve tried to let it flow as much as possible, and to keep the spirit of the thing, in which we toggled, like all good performances, between light and dark, comedy and tragedy.

In early March, a month before this interview took place, Scott and his family suffered a terrible and unexpected loss: his mother, Nora, suddenly died. He went home to Dublin to be with his dad, Jim, his sisters, Sarah and Hannah, and their family and friends.

As an interviewee and, I suspect, as a person, Scott is thoughtful, convivial and solicitous: he doesn’t just answer questions, he also asks them. He is not above the occasional forearm squeeze when he wants to emphasise a point. He seems to possess a sharp emotional intelligence. Perhaps one should expect empathy in a great actor, but in him it seems particularly marked.

Before we began talking, there was some studying of the menu. Scott wondered, since I eat often at Quo Vadis, if I had any recommendations. I told him I had my eye on the pie: chicken, ham and leek. “Why would you not have the pie?” wondered Scott. A good question.

So, how was your morning? Where have you come from?

This morning I’ve been at the gym, Alex.

Are you working out for a specific reason or are you just a healthy man?

Just trying to keep it going. Exercise is so helpful to me. I don’t know if you know, but my mum died four weeks ago.

I did know, and I’m so sorry.

Thank you. So, yeah. Just trying to keep it going. They say your body feels it as much as your mind.

The grief?

Yeah, the grief. My friend said a brilliant thing last night. She’s been through grief. She said, if you think of it like weights, the weight of it doesn’t decrease, but your ability to lift the weights does. So, if you go to the gym and you’re completely unpractised you won’t be able to lift the weight. But the more you get used to it, the more you can lift. There’s a slight analogy to grief. I’m just learning about it.

Have you been through grief before?

Not really. A little bit, but not to this extent. And it’s a strange thing because, obviously, I’m in the middle of having to talk a lot [promoting Ripley] and making that decision of whether to talk about it or whether not to talk about it. I’m finding myself talking about it, because it’s what’s going on, and without giving away too much of it she was such an important figure. It feels right. It’s such a natural thing.

Is it helpful to talk about it?

I think it has to be. I feel very lucky with my job, in the sense that, all those more complex, difficult feelings, that’s what you have to do in a rehearsal room; you have to explore these things. So strange: a lot of the recent work that I’ve done has been exploring grief. With Vanya, and All of Us Strangers. So it’s odd to be experiencing it this time for real.

I wasn’t planning on making that the focal point of this piece, so it’s up to you how much you feel comfortable talking about it.

I appreciate that.

Was it unexpected? Did it happen out of the blue?

Yes. She was very alive four weeks ago. She just deteriorated very quickly. She got pneumonia and she just… it was all over within 24 hours.

What sort of person was she?

She was the most enormously fun person that you could possibly imagine. Insanely fun and very, very creative. She’s the person who sort of introduced me to acting and art. She taught me to draw and paint when I was really young —that’s another big passion of mine, drawing and painting. She was amazing with all of us. My sister Sarah is very talented in sport, she’s now a sports coach. And my sister Hannah was very artistic and she’s an actor now. So, she was really good at supporting us throughout all our different interests. What I say is that we’ve been left a huge fortune by her. Not financially, but an emotional fortune, if you know what I mean? I feel that really strongly. And once this horrible shock is over, I just have to figure out how I’m going to spend it. Because I think when someone else is alive and they’ve got amazing attributes, they look after those attributes. And then when they die, particularly if they are your parent, you feel like you want to inhabit them, these incredible enthusiasts for life. She just made connections with people very easily. I feel enormously grateful to have had her. Have you had much grief in your life?

My mother died, during Covid. She had been ill for a long time, so it was a very different experience to yours. But I think they are all different experiences, for each of us. I don’t know if that loss would be in any way analogous to yours. But like you, I love art and books and music, and that’s all from her. Last night, I watched a rom-com with my daughter, who is 14. And I don’t know if I would like rom-coms so much, if it wasn’t for my mum.

Love a rom-com! What did you watch?

Annie Hall.

Did she like it, your daughter?

She absolutely loved it. She was properly laughing.

Oh, that’s great!

And she’s a tough one to impress. But she loved it, and my mum loved Woody Allen. My mum can’t recommend Woody Allen to my daughter now, but I can, and that’s come down from her. So it goes on.

That’s what I mean. Your spirit doesn’t die. And I’m sure you went to bed going, “Yes!”

I did! It was a lovely evening, it really was. Tonight we’ll watch something else.

Are you going to watch another Woody Allen? Which one are you going to watch?

I thought maybe we’d watch Manhattan? More Diane Keaton.

Or Hannah and Her Sisters? That’s a good one. Insanely good. Yeah, it’s amazing that legacy, what you’re left with. My mum was so good at connecting with people. She was not very good at small talk. She was quite socially bold. She would say things to people. If she thought you looked well, she’d tell you. She’d always come home with some story about some pot thrower she met at some sort of craft fair. Being socially bold, there’s a sort of kindness in it. When someone says something surprising, it’s completely delightful. My mother sent me something when I was going through a bad time in my twenties. It was just a little card. It said, “The greatest failure is not to delight.” What a beautiful quote. And she was just delighted by so many things, and she was also delightful. And like her, I really love people. I really get a kick out of people.

I can tell.

But there’s a kind of thing, if you become recognisable, people become the enemy? And it’s something I have to try and weigh up a little bit. Because people are my favourite thing about the world. I think it’s part of my nature. My dad is pretty sociable too. And so it’s weighing that up, how you keep that going. Because certain parts of that are out of your control: people treat you slightly differently. But this phase, the past four weeks, it still feels so new. Just thinking about legacy and kindness and love and the finite-ness of life. All that stuff.

Big stuff.

Yeah, it’s big stuff. And it’s very interesting, talking about grief. Because it’s not all just low-energy sadness. There’s something galvanising about it as well. I don’t know if you found that, too?

One of the things about someone else dying is it makes you feel alive.

Yes, exactly. Even though we have no choice, it does that. It’s that amazing thing, the year of magical thinking.

[Waiter approaches. Are we ready to order?]

We are.

I think so. Are we two pie guys?

We’re two pie guys!

We’re pretty fly for pie guys.

Are we salad guys? Tomato, fennel and cucumber salad?

Yeah.

And chips, maybe?

Listen, you only live once.

So, the year of magical thinking…

You know, when you’re walking along, are you allowed to have a surge of joy? Or are you allowed to just stay home and… It’s extraordinary when it gets you.

Like a wave of emotion?

I had one on the rowing machine today. I’m glad of it, though.

That was sadness.

Just loss, yeah. Just loss.

So, there’s two ways to do this. You can choose. We can do the usual interview where we start at the beginning with your childhood and go all the way through to now. That’s totally fine. Or, I can throw more random questions at you, and see where that takes us?

Random!

Shall we random it?

Let’s random it.

OK. That means I might sometimes read questions off this piece of paper.

Reading takes just slightly away from the randomness of it, Alex…

That is a very good point. You are quite right. But I don’t read them out in order! They’re just prompts.

[Sardonically] Oh, I see!

Talk me through what you’re wearing.

Oh, this is so old. What does it say?

[I peer at the label on the inside of his shirt collar. It says Hartford.]

What colour would you call that?

I’d call it a bit of a duck egg, Alex, would you?

I’d go with that. And it’s like a…

Like a Henley?

And these [pointing to trousers]?

Mr P trousers. And a pair of old Nikes.

And sports socks.

When I am off duty, I think I dress slightly like an 11-year-old. You know, when you’re just plodding the streets, I wear, like, a hoodie and trainers.

And you have a chain round your neck.

This is a chain that I bought in New York. No, maybe I bought it in Italy. It was a replacement chain. I’ve worn a chain for years. Sometimes I like to have it as a reminder that I’m not working. When you’re in character, you take it off. Because when you’re in a show or a play, they sort of own you. They own your hair.

They own your hair!

Or sometimes you have to walk around with, like, a stupid moustache. Or, worse, chops. Actors fucking hate that. Like, nobody suits that, I don’t think. Right? I’m trying to think of someone who suits that.

Daniel Day Lewis, maybe? He can carry it off.

He’s got the chops for chops!

What’s something about you that you think is typically Irish?

It goes back to that people thing. When I go home to Ireland, I’m aware that people talk to each other a lot more. And I think there’s a sense of humour that Irish people have that I love. And I suppose a softness, too, that I love. Those are the positive things. And then the guilt and the shame is the negative stuff.

Catholic guilt?

Catholic guilt. I feel very strongly, though, that I’ve worked to emancipate myself from it. There’s a certain unthinking-ness to guilt. Your first thought, always: “What have I done wrong? It’s gotta be me.” That doesn’t benefit anyone. And with shame, I don’t feel shame anymore. I think I probably did before. But in a way, it’s an irrelevant thing for me to talk about now. The thing I prefer to talk about is how great it is not to have that anymore. Rather than how horrible it was. The thing I feel enthusiastic about is how there are so many beautiful and different ways to live a life that aren’t centred on the very strict, Catholic, cultural idea of what a good life might be. Namely, 2.4 children and certain ideas and a very specific life.

Are there positives to be taken away from a Catholic education?

The rituals around grief, I think, are really beautiful, having gone through what I’ve just been going through. And the community that you get in Catholicism. Because that’s what Catholicism is about, in some ways: devotion to your community. The amount of love and support you get is to be admired. It’s the organisation that has been the problem, not the values. Random question number 16!

When’s the last time you were horrifically drunk?

Good question! I was in New York doing press recently for Ripley. And I met Paul Mescal. He had a negroni waiting for me. Love a negroni. And then we went dancing.

Are you a good dancer?

I’m pretty good, freestyle. Slow on choreography but once I get it, I’m OK. I love dancing.

I love dancing.

Do you really? Do you do, like, choreographed dancing as well?

No! But I’m a good dancer.

Do you have moves?

Oh, I have moves.

Ha! I love that!

It’s so freeing, so liberating.

It totally is.

And it’s sexy and fun.

Exactly! It’ll get you a kiss at the end of the night.

It’s sort of showing off, too, isn’t it?

But it’s also completely communal. It connects you with people. Also, you can learn so much about someone by watching how they connect with people on a dance floor. How much of communication do they say is non-verbal? An enormous amount.

If you didn’t live in London, where would you most like to live?

I suppose Dublin. I do live a wee bit in Dublin. But one of the things I feel really grateful for is that I have sort of been able to live all over the place. I lived in Italy for a year, during the pandemic.

You were making Ripley?

Yeah, we were all over. Rome, Venice, Capri, Naples… A bit of New York. I’d love to spend more time in New York. I was very lucky recently to have my picture taken by Annie Leibovitz. We were outside the Chelsea Hotel, and this woman came up. [Thick Noo Yawk accent, shouting]: “Hey, Annie! Why don’t you take a picture of this dumpster? It’s been outside my block for two months! Take a picture of that!” There’s something about that New York-iness that I love. It still has such romance for me.

How old do you feel?

Really young. I don’t have an exact age for you. Thirties?

Some people feel in touch with their childhood selves, or almost unchanged from adolescence. Others seem to have been born an adult.

That’s really true. I think of playgrounds for children: you’re actively encouraged to play, as a kid. “Go out and play!” And I hate that at some point, maybe in your mid-twenties, someone goes, “Now, don’t play! Now, know everything. Now, turn on the television, acquire a mortgage and tell people what you know.” I have to play for a living. It’s so important, not just in your job, but in life. It’s a great pleasure of life, if you can hold on to that. Talking about my mum again, she had an amazing sense of fun.

She was a funny person? She made people laugh?

Absolutely.

That’s important, isn’t it?

It’s really important. I think having a sense of humour is one of the most important things in life. It’s such a tool. And you can develop it. My family were all funny. Laughter was a currency in our family. Humour is a magic weapon. It separates us from the other species. Like, I love my dog. I think dogs are amazing. And he can have fun, but he’s not able to go, “This is fucking ridiculous.” He’s not able to do that! So it’s a real signifier of your humanity, in some ways.

Also, being a funny person, or someone who can connect with people through humour, that’s how we make friends.

I think actors make really good friends. Because you’re in the empathy game. And because you’re making the decision to go into an industry that is really tough, you need to have your priorities straight: “I know this is tough, I know the chances of me succeeding in it are slim, but I’m going to go in anyway.” It shows a sort of self-possession that I think is a wonderful thing to have in a friend. Also, actors are just funny. And a lot of them are sexy!

Funny and sexy: good combination.

I know! Not that you want all your friends to be sexy, that’s not how you should choose your friends.

Oh, I don’t know. It’s not the worst idea.

It’s not. But I think it’s something to do with empathy. And it’s a troupe mentality as well. You’re good in groups.

It’s a gang.

I love a gang. Do you like a gang?

I do. Magazines are like that. A good magazine is a team, a great magazine is a gang. And the thing we produce is only part of it: you put it out there and people make of it what they will. The process of making it is the thing, for me.

Oh, my God. That’s something I feel more and more. Process is as important as product. I really believe that. You can have an extraordinary product, but if it was an absolute nightmare to make then, ultimately, that’s what you’re going to remember about it. You make good things that are successful that everybody loves? That’s lovely. But also, you make stuff that people don’t respond to. So, if you have a good time in the process, and the attempt is a valiant one, and there’s a good atmosphere, if it’s kind and fun, that’s the stuff you hold on to. One of the reasons I love the theatre is you don’t have to see the product. You just do it, and then it’s done. It’s an art form that is ephemeral. There’s a big liberation, too, in discovering you don’t have to watch any of your films if you don’t want to.

Have you watched Ripley?

I watched Ripley once.

And?

It’s a lot of me in it! Jesus!

Is that a problem?

I find it hard to watch myself. I do. There’s something quite stressful about looking at yourself. Have you ever heard yourself on someone’s answering machine? Horrific! You’re like, “Oh, my God, that can’t be me. How do they let me out in the day?” It’s like that, and then it’s your big, stupid face as well. Mostly, I have a feeling of overwhelming embarrassment.

On a cinema screen, I can’t even imagine. Your face the size of a house!

The size of a house, and there’s 400 people watching you.

Nature did not intend humans to ever experience this.

That is so true. It’s not natural.

I mean, even mirrors are to be avoided.

Maybe looking in the sea is the only natural way?

Well, Narcissus!

Yeah, true. That didn’t turn out well. I’d love for that to be a tagline for a movie, though: “Nature did not intend humans to ever experience this…”

But equally, nature didn’t intend the rest of us to gaze upon you in quite that way. We sit in the dark, staring up worshipfully at this giant image of you projected on a screen for hours. Is that healthy?

Without talking about the purity of theatre again, when you’re in the theatre, you, as the audience, see someone walking on the stage, and technically you could go up there, too. There’s not that remove. It’s live. There’s a real intimacy. That’s why I feel it’s the real actor’s medium. Your job is to create an atmosphere. I always find it insanely moving, even still, that adults go into the dark and say, “I know this is fake, but I don’t care: tell me a story.” And they gasp, and they cry, or they’re rolling around the aisles laughing. It’s so extraordinary, so wonderful that it exists. I really do believe in the arts as a human need. I believe in it so deeply. During the pandemic, our first question to each other was, “What are you watching? What book are you reading?” Just to get through it, to survive. It’s not just some sort of frivolous thing. It’s a necessity. As human beings, we tell stories. Expert storytellers are really vital. No, it’s not brain surgery. But, “Hearts starve as well as bodies. Give us bread, but give us roses.” I love that quote.

Tell me about playing Hamlet. Was it what you expected it would be?

It’s extraordinary. Loads of different reasons why. From an acting point of view, there’s no part of you that isn’t being used. So you have to, first of all, have enormous physical stamina, because it’s nearly four hours long. Our version was three hours, 50 minutes. And you have to be a comedian, you have to be a soldier, you have to be a prince, you have to be the romantic hero, you have to be the sorrowful son, you have to understand the rhythm of the language, you have to be able to hit the back of the auditorium — there are just so many things about it that require all those muscles to be exercised. You know, it’s so funny that we’re talking about this today. Because at the beginning of Hamlet, it’s two months since his dad died. His mother has already remarried, to his uncle! What are they doing? I mean the idea that next month my dad might marry someone else is so extraordinary! So, Hamlet’s not mad. Of course he would wear black clothes and be a bit moody. The more interesting question [than whether or not Hamlet is mad] is, who was he before? I think he’s incredibly funny. It’s a really funny play, Hamlet. And it’s a funny play that deals in life and death: the undiscovered country from which no traveller returns. It’s about what it is to be human. And what it’s like to be human is funny, and sad. The language is so incredibly beautiful and it’s also incredibly actable. And it’s also a thriller.

And a ghost story. It’s supernatural.

It’s a supernatural ghost story. And because the character is so well-rounded, I always think of it like a vessel into which you can pour any actor or actress. So, your version, the bits you would respond to if you were playing Hamlet, would be completely different to mine or anyone else’s. It can embrace so many kinds of actors. So Richard Burton can play it or Ben Whishaw can play it or Ruth Negga can play it or I can play it, and it’s going to bring out completely different sides. Did you do much Shakespeare at school?

I did. I studied Hamlet.

I remember Mark Rylance said…

[The waiter arrives with our pies and we both take a moment to admire them before breaking the crusts… The following passages are occasionally hard to make out due to enthusiastic chewing.]

You were about to say something about Mark Rylance. I saw his Hamlet in… must have been 1989, when I was doing my A-levels. He did it in his pyjamas.

I’ve heard. He came to see [my] Hamlet. He said, you feel like you’re on a level with it, and then in week four, you plummet through the layers of the floor and you’re on a deeper level. He was exactly right. Something happens. It’s just got depth.

Does it change you? Do you learn something new about yourself, as an actor?

I think because it’s such a tall order for an actor, it’s sort of like you feel you can do anything after that. Like, at least this is not as hard as Hamlet. You know you have those muscles now. We transferred it from The Almeida on to the West End. So, we did it loads of times. That’s a big achievement.

How many times did you play him?

One hundred and fifty. Twice on a Wednesday, twice on a Saturday. Eight hours [on those days]. Even just for your voice, it’s a lot.

We keep coming back to theatre. Is that because you prefer it?

It goes directly into your veins. It’s pure. You start at the beginning of the story and you go through to the end. When you’re making a movie, it’s a different process. Your imagination is constantly interrupted. You do something for two minutes and then someone comes in and goes, “OK, now we’re going to do Alex’s close-up, so you go back to your trailer and we’re going to set up all the lights and make sure that window across the street is properly lit.” And that’s another 20 minutes, and then you try to get back into the conversation we’ve just been having… And so the impetus is a different one.

The Hot Priest…

What’s that?

Ha! I watched Fleabag again, last week. It’s so good. But The Hot Priest, he’s a coward. He gets a chance at happiness with the love of his life and he doesn’t take it.

Well, not to judge my character, but I suppose there’s an argument that he does choose love. He chooses God. That’s the great love of his life. Whatever his spirituality has given him, he has to choose that. Is there a way that they could have made that [relationship] work? Of course there is. We’re seeing it from Fleabag’s point of view, literally, so of course it feels awful [that Fleabag and the Priest can’t be together]. But I think we understand it, the thing that is not often represented on screen but which an awful lot of people have, which is the experience of having a massive connection with somebody, a real love, that doesn’t last forever. I think somebody watching that can think, “I have my version of that. And I know that I loved that person, but I also know why we couldn’t be together.” And that doesn’t mean those relationships are any less significant. It just means that they are impossible to make work on a practical level. Not all love stories end the same way.

Annie Hall.

There you go! La La Land. Love that movie.

The Hot Priest is damaged. There’s a darkness there. Journalists interviewing actors look at the body of work and try to find through lines that we can use to create a narrative. It’s often a false narrative, I know that. However, that’s what we’re here for! Let’s take Hamlet, and the Priest, and Adam from All of Us Strangers, and, I guess, Vanya himself, even Moriarty. These are not happy-go-lucky guys. Ripley! These men seem lost, lonely, sad. Is it ridiculous to suggest that there’s something in you that draws you to these characters — or is it a coincidence?

That’s a really good question. I think it can’t be a coincidence. Like, even when you said “happy-go-lucky”, right? My immediate instinct is to say, “Show me this happy-go-lucky person.” With a different prism on this person, there would be a part of him that’s not happy-go-lucky, because that’s the way human beings are. If we could think now of a part that’s the opposite of the kind of part [he typically plays], a happy-go-lucky character…

How about the kinds of roles that Hugh Grant plays in those rom-coms? Yeah, the character might be a little bit repressed, a bit awkward at first, but basically everything’s cool, then he meets a beautiful woman, it doesn’t work out for about five minutes, and then it does. The end.

[Chuckles] OK, yeah. I’d love to have a go at that.

Wouldn’t you like to do that?

I would! I really would.

Why haven’t you?

I don’t know! It’s weird. That is something I would really love to do. Because I love those films. There’s a joy to them. It’s something I would love to embrace now. When I was growing up, as a young actor, I did want to play the darkness. With Moriarty, I was like, “I’ve got this in me and I’d like to express it.” And, conversely, now I think the opposite. I know that’s a little bit ironic, given I’ve just played Tom Ripley. Ha! But I have just played it, and I have spent a lot of time in characters that are isolated. And I was in a play [Vanya] that was one person. I don’t feel sad doing those things. It’s cathartic. But I would love the idea of doing something different.

Also, you don’t strike me as a person who is especially morose.

No! No, no, no. I’m not. But again, we all contain multitudes. My mother’s legacy was so joyful. Not that she didn’t have her soulful moments, because of course she did. I mean this as the opposite of morbidity, but it doesn’t end well for any of us, it really doesn’t. So bathing in the murkier waters, it’s wonderful to be able to explore that side of you, but also the opposite is true, the idea of joy and fun and lightness is something I’m definitely interested in. Like a musical! I’d love to be in a musical. I’ve just done a cameo in a comedy that I can’t talk about yet. It was just a day, with someone I really love, and it just lifted me up. But of course, there’s the stuff that people associate you with, and that’s what brings you to the table.

You played a baddie really well, so you get more baddies.

Yeah. You have to be quite ferocious about that. You have to go, “Oh, wow, that really is a great film-maker, that’s a lovely opportunity…” But how much time do you have left and what do you want to put out to the world? I feel like I want to be able to manifest what I have within me now. That’s a wonderful thing to be able to do. It’s such a privilege. And I feel so grateful for the opportunities I’ve been given. But why not get out of the hay barn and play in the hay?

Ripley has been well received. Do you read reviews?

I read some of them.

Why?

I’m interested in the audience. You know when people say, “You should never care about what other people think?” Of course I care what people think.

Ripley is excellent, but it’s quite gruelling to watch. Was it gruelling to make?

Yeah.

Because you have to inhabit this deeply unhappy person?

Maybe not unhappy. But very isolated, I think that’s key. It was hard. There was a huge amount of actual acting. Doing 12-hour days for almost a year. I’m not necessarily convinced you should act that much.

Ripley is himself an actor. He puts on other people’s identities because he doesn’t like his own. He doesn’t like himself. Some people think actors are people who don’t like themselves so you pretend to be other people, assume other identities. Or maybe it’s that actors are hollow shells. When you’re not acting, there’s no one there. No you. Sorry to be rude.

No, it’s not rude at all. I totally understand it. But I find it to be completely the opposite of what I’ve learnt. The essence of acting, for me, the great catharsis of it, is that you’re not pretending to be somebody else, you’re exploring different sides of yourself. You’re going, who would I be in these circumstances? Some of the darkest, most unhappy people I know are the people who say, “I don’t have an angry bone in my body.” Then why do I feel so tense around you? People who have no anger… I remember I used to have it with some religious people when I was growing up. People proclaiming that they’re happy or good or kind, that does not necessarily mean that they are happy or good or kind. That’s the brand they’re selling. I’ve always liked that expression: “fame is the mask that eats into the face.” How do you keep a healthy life when you’re pretending to be other people? You do it by going, “I’m going to admit I have a dark side.” It’s much healthier to shout at a fictional character in a swimming pool [as Moriarty does in Sherlock] than it is to be rude to a waiter in a restaurant, in real life.

You find that therapeutic?

Yes, you’re still expressing that anger. I think it is therapeutic.

So playing Tom Ripley every day for a year, were you able to exorcise something, or work through something?

Well, that’s why I found Tom Ripley quite difficult. He’s hard to know, and a harder character to love. If you think of Adam in All of Us Strangers, you go, “OK, I understand what your pain is.” What I understand with Tom, the essence of that character, is that he’s somebody who has a big chasm that is unknowable, perhaps even to himself. We’re all a little bit like that, we’re all sometimes mysterious to ourselves — “I don’t know why I did that…” — but to have empathy for someone like that is difficult. You know the boy in your class who gets bullied, and it’s awful, and you try and understand it but he doesn’t make it easier for himself? That’s the way I feel about Tom Ripley. It’s a thorny relationship. Your first job as an actor is to advocate for the character. That’s why I hate him being described as a psychopath. Everyone else can say what they like about him, but I have to be like, ‘Maybe he’s just… hangry?’ So you have to try and empathise, try and understand. When we call people who do terrible things monsters — “This evil monster!” — I think that’s a way of absenting yourself from that darkness. Because it’s not a monster. It’s a human being that did this. You can’t look away from the fact that human beings, sometimes for completely unknowable reasons, do terrible things. And that’s why it’s interesting when people talk about Tom Ripley. They say, “Have you ever met a Tom Ripley type?” The reason the character is so enduring is because there’s Tom Ripley in all of us. That’s why we kind of want him to get away with it. That’s [Highsmith’s] singular achievement, I think.

I find reading the Ripley books quite unpleasant. It’s a world I really don’t want to spend any time in. I read two of them preparing for this. She’s a great writer, but they’re horrible characters; it’s a depressing world.

I agree. That’s what I found most challenging. Where is the beating heart here? How much time do I want to spend here? And when you do, well, it took its toll. It did make me question how much time I want to spend with that character, absolutely. That’s the truth.

The way you play him, he’s very controlled. You didn’t play him big.

I think it’s important to offer up difference facets of the character to the director and he chooses the ones he feels marry to his vision. And those are the ones [Steven Zaillian] chose. And he executed those expertly.

Are you a member of any clubs?

Yeah, I’m a member of the Mile High Club. No, no…

That’ll do nicely.

OK, that’s my answer.

What’s your earliest memory?

Do they still have, I think it’s called a play pen?

Sort of like tiny little jails for toddlers? What a good idea they were!

I remember being massively happy in it. My mother used to say she just used to fling me in that thing and give me random kitchen utensils. I don’t know, like a spoon. I’ve always been quite good in my own company. I really remember being left to my own imagination and being very happy.

Do you live alone now?

Yeah.

Is that not lonely?

Of course I’ve experienced that but, ultimately, no. I don’t know if that’s the way I’m going to be for the rest of my life. But I certainly don’t feel lonely. I’ve got so much love in my life.

Would it be OK if you lived alone for the rest of your life?

Yeah. It would be OK. One of my great heroes is Esther Perel.

I don’t know who that is.

Esther Perel. She’s a sort of love and relationships expert, a therapist, and she’s a writer. A real hero, I think you’d really dig her. She talks about relationships and the mythology around them. The difference between safety and freedom. She talks with real compassion about both men and women; she talks about this idea of what we think we want, and what we really want. And how there’s only one prototype for a successful life, really, or a successful relationship. Which is: you meet somebody, da-da-da, you fall in love, da-da-da, you have kids, da-da-da. And that prototype just can’t suit every person in the world. There are some people who live in the world who might see their partner every second Tuesday and that suits them. And to be able to understand and communicate your own preference at any given time is really the aim. To be able to say, “At the moment I’m happy in the way I am, but maybe at some point…” I’ve lived with people before, and maybe I will again, but at the moment it feels right to sort of keep it fluid.

The difficulty, of course, with relationships, is there’s another person with their own preferences. Maybe you’re OK with every second Tuesday, but they need Thursdays and Fridays, too…

But isn’t that the beauty of love? That you construct something, like a blanket. You stitch all these things together. One of the things about being gay and having a life that ultimately is slightly different from the majority of people’s, is you learn that you can create your own way of living, that is different and wonderful. A homosexual relationship doesn’t necessarily have to ape what a heterosexual relationship is. That’s a very important thing to acknowledge. I mean, of course, if you want to do that, that’s brilliant. But you don’t have to. To me, the worst thing is to be dishonest or uncommunicative or unhappy or joyless in a relationship. It’s much more important to be able to have a difficult conversation or a brave conversation about how you feel or what you want. So many of my gay friends, I feel very proud of them, really admiring of the fact we have these conversations. It seems very adult and very loving to be able to acknowledge that the difference between safety and freedom can be real torture for some people. How do I love somebody, and still keep my own sense of autonomy and adventure? That’s a real problem. That’s what Esther Perel says. It’s one of the biggest causes of the demise of a relationship. That people coast along, they can’t have that conversation, and then the whole bottom falls out of the boat.

I wasn’t necessarily going to ask you about being gay. One tries to avoid labelling you as “gay actor Andrew Scott” instead of “actor Andrew Scott, who happens to be gay”. But since we’re talking about it already: because you’re famous, you become a de facto spokesperson for gay people. People look to you for the “gay opinion.” Are you OK with that?

I’ll tell you my thoughts on that. If I talk about it in every interview, it sounds like I want to talk about it in every interview. And, of course, I’m asked about it in most interviews, so I’m going to answer it because I’m not ashamed of it. But sometimes I think the more progressive thing to do is what you’re saying: to not talk about it and hopefully for people to realise that if you had to go into work every single day and they said, “Hey, Alex! Still straight? How’s that going?”… I mean, being gay is not even particularly interesting, any more than being straight is. But I understand, and I’m happy to talk about it. I suppose it depends on the scenario. I just don’t want to ever give the impression that it isn’t a source of huge joy in my life. And at this stage in my life, rather than talk about how painful it might have been or the shame, or not getting cast in things [because of it], actually, I’m so proud of the fact that I’m able to play all these different parts and, hopefully, in some ways it demystifies it and makes people — not just gay people, but all people — go, “Oh, yeah, that’s great that it’s represented in the world, but being gay is not your number-one attribute.” The problem is it becomes your schtick. Frankly, I feel like I’ve got just a bit more to offer than that.

Two reasons I think you get asked about being gay. One is just prurience — you’re famous and we want to know who you’re shagging — and the other is that identity politics is such an obsession, and so polarising, and we hope you’ll say something controversial.

I think that’s right, I think that’s what it is. But sometimes people think there’s just one answer, in 15 characters or less. That’s something I resist, slightly.

All of Us Strangers is about loads of things, about grief, love, loneliness, but it’s also very specifically about being gay. To me, anyway.

Yes, it is.

I thought, in particular, that the scene with Claire Foy, where your character comes out to his mother, was incredibly moving.

Isn’t it extraordinary, though, that you, who is not a gay person, could find that so moving? There’s no way you’d find that moving if it was only about being gay. I always say that coming out has nothing to do with sex. When you’re talking to your parent, you’re not thinking, “Oh, this is making me feel a bit frisky.” Anyone can understand that this is about somebody who has something within them — in this case, it’s about sexuality — that he hopes is not going to be the reason that his parents don’t speak to him anymore. And I think we all have that: “I hope you still love me.” And the great pleasure about All of Us Strangers is that it’s reached not just a particular type of audience, but all types of people. And I love they’re able to market it to everyone. Usually they do this weird thing where they pretend the film’s not gay…

Right. There would be a picture of a woman on the poster.

Exactly. Someone who’s playing the neighbour! But now you’re able to market a film with Paul [Mescal] and I, and the fact is that that’s going to sell tickets. I know there’s a long way to go, but that is progression. Before, that wasn’t the case. This time, no one gave a fuck. Nothing bad happened. The world didn’t explode. Family didn’t collapse.

Identity politics question: there’s an opinion now frequently expressed that gay people ought to be played by gay actors, and so on. What are your thoughts on that?

The way I look at it, if somebody was to make a film about my life — it’d be quite a weird film — would I want only gay actors to be auditioned to play me? I would say that I’m more than my sexuality. But there might be another gay person who feels that’s incredibly important to who they are and how they would like to be represented on film. How do we balance that? I don’t know. I don’t have an easy answer on that. I think it’s a case-by-case thing.

You’ve played straight people and gay people. You’re Irish but you’ve played English people and American people. I would hope you would be able to continue doing that.

The question I suppose is opportunity, and who gets it. It was very frustrating to me, when I was growing up, that there were no gay actors.

Well, there were lots of gay actors…

But not “out” gay actors. Now there are more. Representation is so important. So I think it’s complicated, and nuanced. And talking about it in a general way rather than a specific way is not always helpful. It depends which film we are talking about. Which actor.

You were spared the curse of instant mega-fame, aged 22. Would you have handled that well?

No. I think all that scrutiny and opinion, it’s a lot. Now I’m able to look at a bad review or somebody saying something really horrible about the way I look, or even someone saying really nice things about that, and go [shrugs]. Before, when that happened, it was devastating. But I survived and it was fine, and I got another job and I was able to kiss someone at a disco, so… Whereas if you’re 22 and you don’t have that experience behind you, you go, “Oh, my God. This is horrible, what do I do?” And also, there’s much more scrutiny now, so much more. I think that must be really hard. Social media is a crazy thing, isn’t it?

I think it’s a horrible thing, on the whole.

That thing you were saying about cinema, about how it’s not natural to see yourself, or other people like that… The amount of information that we’re supposed to absorb and process? Wow. You wake up in the morning and you’re already looking at it.

They used to say that the fame of TV actors was of a different order because they are in your home. People felt they knew the stars of Coronation Street in a much more intimate way, while movie stars, Cary Grant or whoever, these were much more remote, almost mythical creatures. People who are famous on Instagram or TikTok are in the palm of your hand talking to you all day.

And it’s so interesting what people on social media choose to tell you about their lives, even when nobody’s asking them any questions. Like, is that person insane? It’s a very dangerous thing. I find it troubling.

Do you think things are getting better or are they getting worse?

That’s such a good question. I have to believe they’re getting better. I don’t know what that says about me.

It says you’re an optimist.

I think I am an optimist.

What’s the weirdest thing you’ve ever put in your mouth?

Fucking hell. Do you know what I don’t like? Any food that you don’t have to put any effort into eating.

Give me an example.

Custard.

Yes!

I don’t mind ice cream, because it’s got a bit of texture. But I don’t like mashed potato. I don’t like creamed potatoes, or creamed anything.

Risotto?

Absolutely borderline. So if it’s got a little bite to it, it’s OK. But baby food. Ugh! Makes me feel a bit sick.

What’s your favourite of your own body parts?

Ahahah! What do I like? What have we got? I don’t mind my nose? My eyes are OK. Like, my eyes are definitely expressive, God knows. Fucking hell. I remember I was in rehearsal once, and the director said, “Andrew, I just don’t know what you’re thinking.” And the whole company started to laugh. They were like “You don’t? What the fuck is wrong with you?” Because I think I’ve got quite a readable face.

Which is a tool for an actor, right?

It can be a tool for an actor. But you have to learn what your face does, as an actor. On film, your thoughts really are picked up.

What’s your favourite body part that belongs to someone else?

I like hands. And I like teeth. Someone with a nice smile.

Are you similar to your dad?

Yeah, I am. He’s pretty soft-natured, which I think I am, to a degree. He likes fun, too. And he likes people. He’s good at talking to people. He’s kind of sensitive, emotional. He’s a lovely man, a very dutiful dad to us, very loyal.

Would you miss the attention if your fame disappeared overnight?

I definitely think I would miss an audience, if that’s what you mean. The ability to tell a story in front of an audience, I’d miss that. Not to have that outlet.

Before you got famous, you were having a pretty decent career, working with good people, getting interesting parts. Would it have been OK to just carry on being that guy, under the radar?

Oh, my God, yes. Absolutely.

Would you have preferred that to the fame?

The thing is, what it affords you is the opportunity to be cast in really good stuff. You get better roles, particularly on screen. And I’m quite lucky. I have a manageable amount of fame, for the most part.

Some people are born for fame. They love it. They’re flowers to the sun. Others should never have become famous. They can’t handle it. You’ve found you’re OK with it.

Do you know what I feel? I feel, if I was in something I didn’t like, if I was getting lots of attention for something I didn’t feel was representative of me, I think I’d feel quite differently. I feel very relaxed, doing this interview with you today. I feel like, whatever you’re going to ask me, I would feel self-possessed enough to say, “Alex, do you mind if we don’t talk about that?”

Shall we leave it there, then?

Thank you. That was lovely.'

[youngestrunningleek]

Urchin and the Heartstone

We’re going back to Mistmantle, baby!

Today’s review is The Mistmantle Chronicles, Book 2: Urchin and the Heartstone. This was published in 2006, written by M. I. McAllister and illustrated by Omar Rayyan.

Content warning: this review will mention vomit and ableism (again)

This is the first sequel I’ve reviewed. I was not very detailed about the plot in my first review, but this one will get more in-depth. I’m also not going to explain the premise as much since I covered that in the last book.

In this book, the protagonist Urchin is kidnapped and brought to another island called Whitewings. All the while, the Heartstone that Mistmantle needs to crown a king is missing.

I really liked this book’s focus on the difficulties of running the island. The Heartstone is missing because of the bad guy from the last book. And some of the problems on Whitewings are caused by all the soldiers that Mistmantle exiled at the end of book one. It felt like the right balance between new challenges and connecting to the first book. It’s not as simple as replacing a bad king with a good king.

This book had two issues that the first book also had. For one thing, the middle bit is kind of boring. There’s a lot of “character A B C finds out that character X Y Z is doing something”. And we have to talk about the number of characters.

During this book, I started writing a character guide on a bookmark. It was simple things like “Whittle, training as lawyer and historian”. By the end, my scrap of paper was running out of space, with 18 characters, and I was still having double-take moments near the end of the book.

I wonder how this would go over as a visual format. Comics, TV shows, etc tend to be able to get away with more characters.

One other issue I have is with the A and B plots. For a book called “Urchin and the Heartstone” it’s not really about Urchin doing anything with the Heartstone. It’s moreso a book about Urchin, which also has some parts about the Heartstone. Because we had Urchin kidnapped on an entirely different island, it was very hard to care about the Heartstone search on Mistmantle. It sort of just deus ex machina’s itself into appearing, once he’s back home.

And speaking of deus ex machina, the bad guys' castle sinks into the ground at the end. There's no final confrontation.

Urchin is kind of a MacGuffin in his own way. People on Whitewings want a Marked Squirrel, so they take Urchin because his fur is mostly white. He's central to the plot because the bad guys decided he was central to the plot. It does make me wonder why the cover doesn’t show him that way, though. He’s pretty obviously a plain red squirrel on the cover.

All that said… I loved this book. It’s an excellent sequel to an excellent book!

So, let’s list some of the great things.

For one, the reunification at the end of the book really is delightful. Too many characters or not, I love this cast. And it’s so heart-warming to see the whole island celebrating the heroes’ return. After he spends so much of the book trapped alone in a tower, Urchin “was back among animals who hugged you and squashed up beside you and didn’t mind much what you smelled of”. D'aww.

Another cute image is children making snow-squirrels with tails that fell off.

I also think it’s very notable that this book doesn't have many evil disabled people. So often in children’s books, especially in animal books, villains have scars or mental illnesses. There is some of that, but it’s much better than the average story in my opinion.

Ableism, or generally fear of difference, is always a villainous trait. Urchin is called a freak on Whitewings, even though his fur is just a different color.

There’s also a pattern where the priests of islands have some kind of disability, like Brother Fir on Mistmantle having a limp. Juniper is another priest-like squirrel. He was hidden away from the culling because of his turned-in paw, and he also has a lung condition.

Generally, I admire that McAllister tells a solid good-versus-evil story. There’s powerful imagery of dust, decay and death for the bad guys. But, there are still gray areas, such as Scatter the squirrel deciding to be loyal to Mistmantle instead of Whitewings. That doesn’t mean she’s automatically innocent, though. The book doesn’t put everyone into a box of either good or evil, and it doesn’t completely ignore someone’s problems if they’re on the side of good.

I do feel obliged to address the inter-species biases… But frankly, I think this book handles them excellently! There’s a moment early on where a squirrel says otters and moles would rather be in the water, or underground, than rule the island. That got my hackles up.

But, after a second reading, it’s not the text itself saying that. It’s the characters. They’re not treating that opinion as fact.

Later, there’s an attempted coup by hedgehogs. I was very surprised about how firm the book is about their “hedgehogs are the only ones who should be in charge” rhetoric. Basically everyone, hedgehog or not, shuts them down immediately.

I appreciate that because, in real life, there are biases. There will be prejudice, and it’s more realistic to show people working through it than to show none at all.

Also, it’s cool that the dynamics vary over time and in different places. Whitewings has moles, hedgehogs and squirrels, but no otters.

A cool piece of worldbuilding from this book was the way the Heartstone works. It jumps out of your hands unless you’re worthy. Also, the reason people can take mole tunnels between islands is that the tunnels predate the water. Cool! Wind Waker made me love anything where the current world is just a flooded version of the old one.

This book had swans, like the last one. But here they are basically mounts. I don't even think we directly hear dialogue from them, even though last book had an island ruled by swans. Weird.

Also, I am pretty sure these guys are human-sized with human lifespans. But, they mention a dead sparrow on a kind of stretcher, at one point. Not sure what that means. Are sparrows the same size as the people? A human doesn't need a stretcher to carry a dead sparrow.

One final note, since I talked about it in the last review: an early chapter of this book had a squirrel throwing up. Wow… they don’t just have human abilities of language and tool-making, they can also vomit like us…

My rating: 4

Overall rating: 4

[sedexcertification]

How to Keep Your Check Sheet in 7 QC Tools Current and Move It Forward

In the world of quality control and continuous improvement, the 7 QC tools are the foundation for solving problems and enhancing processes. Among these tools, the Check Sheet in 7 QC tools is one of the simplest yet most powerful methods for collecting real-time data in a structured, visual format.

However, just creating a check sheet once isn’t enough. To keep it valuable and relevant, you must update, improve, and align it with your changing process needs. In this blog, we’ll explore how to keep your Check Sheet current and how to enhance its effectiveness over time.

✅ Why Check Sheets Matter in Quality Control

A Check Sheet helps collect data at the source—during inspections, operations, or even customer service. It’s a tool to track:

Defects and error types

Equipment failures

Downtime causes

Frequencies of events

Inspection results

Used correctly, it helps teams spot trends, make decisions based on evidence, and take corrective actions. But if the format is outdated or misaligned with current operations, it loses effectiveness.

✅ Steps to Keep Your Check Sheet Current and Effective

1. Revisit Your Quality Objectives

Begin by asking: What are we trying to measure or control?

As business priorities shift—new product lines, new machines, or different customer complaints—your Check Sheet must reflect those changes. Update your data categories, frequencies, and timeframes to match your current quality goals.

2. Validate the Categories and Data Points

Are you still tracking the right issues? A Check Sheet created months ago may be collecting data that’s no longer useful.

✔ Eliminate outdated categories ✔ Add new defect types or failure modes ✔ Clarify ambiguous terms ✔ Ensure frontline operators understand each category

3. Keep the Format Simple and Clear

A cluttered or confusing Check Sheet leads to inconsistent data collection. Stick to these principles:

Use plain language

Keep columns/rows organized

Avoid excessive detail

Use tick marks or symbols for faster recording

Consider using digital versions (spreadsheets or apps) for efficiency

4. Align Check Sheets with Process Changes

Have you changed tools, materials, or workflows recently?

Update your Check Sheet to reflect these adjustments. For example, if you’ve introduced automation, you might need to track machine error codes instead of manual defects.

5. Standardize Across Shifts and Teams

Inconsistent data ruins trend analysis. Make sure everyone uses the Check Sheet the same way by:

Providing short training or refresher sessions

Using standardized formats across shifts and departments

Clarifying who fills it out and when

Reviewing entries regularly for completeness

6. Review Data Trends and Take Action

A Check Sheet isn’t valuable unless you do something with the data.

Summarize data weekly or monthly

Identify defect patterns, peak times, or recurring failures

Share findings with relevant teams

Link data to corrective actions, Kaizen events, or root cause analysis

7. Digitize for Better Insights

While paper-based Check Sheets are still useful, digital versions offer advantages like:

Real-time data capture

Easy filtering and analysis

Automatic charts and graphs

Remote sharing with quality teams

Consider using tools like Excel, Google Sheets, or quality management software.

✅ When to Revise or Replace Your Check Sheet

Your Check Sheet may need a revamp if:

The same issues have been solved and no longer occur

New types of defects are emerging

Operators complain it’s too complicated

The data collected isn’t helping decisions

The process being monitored has changed

Don’t be afraid to revise or rebuild your Check Sheet—it’s a living tool.

✅ Benefits of Keeping Your Check Sheet Updated

Ensures accurate, real-time data collection

Helps identify trends before they become major issues

Supports faster problem-solving

Increases operator engagement and ownership

Provides valuable input for other QC tools like Pareto Charts or Control Charts

✅ Conclusion

A Check Sheet may look simple—but when updated and used effectively, it becomes a powerful tool for improving quality. By regularly reviewing and refining it, you ensure it continues to support real-time decision-making, reduce defects, and drive continuous improvement.

Remember, in the spirit of the 7 QC tools, quality is not a one-time act—it’s a habit.

[musikdesmittelalters]

Can Trauma-Informed Therapy Online Really Help? Here’s What to Know

Trauma informed therapy online has become an essential support system for individuals navigating emotional wounds and past distress. This therapeutic approach is rooted in understanding the widespread effects of trauma on the brain, body, and behavior. Offering the convenience of remote access, trauma informed therapy online provides clients with compassionate care while respecting their pace and boundaries. Therapists are trained to recognize trauma responses, promote emotional safety, and foster trust even through a screen. This method ensures individuals don’t need to travel or face in-office stressors, making healing more accessible. It’s a meaningful step toward recovery from deeply rooted pain.

How Trauma Impacts the Mind and Body?

Trauma can profoundly alter the way individuals think, feel, and interact with the world, often leading to chronic stress, anxiety, or physical symptoms. Trauma informed therapy online helps individuals understand how past traumatic events may influence their current behavior, emotional responses, and relationships. By exploring the neuroscience behind trauma, therapists educate clients about the fight-or-flight response, hypervigilance, and dissociation. This knowledge is empowering—it removes shame and replaces it with self-compassion. With trauma informed therapy online, clients gain the tools to reconnect with their bodies, regulate emotions, and rebuild their inner world with clarity and control.

Trauma-Informed Therapy Online Offers Flexible Support Options

One of the biggest advantages of trauma informed therapy online is the flexibility it provides to those struggling with unpredictable emotions or demanding schedules. Sessions can be accessed from anywhere, allowing individuals to choose a safe, familiar environment where they feel most comfortable opening up. Whether through video calls, messaging platforms, or phone sessions, therapists adapt their techniques to suit each client’s needs. This flexible format is ideal for individuals who may find in-person therapy overwhelming or logistically difficult. With trauma informed therapy online, help is always within reach—consistent support is no longer limited by distance or mobility.

Building Trust Is Key to Effective Trauma Recovery

In trauma informed therapy online, establishing trust is foundational to the healing process. Many trauma survivors have experienced betrayal or harm from others, making it difficult to form secure relationships. Online therapy focuses on creating a compassionate and nonjudgmental space where clients feel safe and respected. Therapists build trust through attuned listening, validating experiences, and allowing clients to set the pace. Over time, this trusting relationship becomes a safe container where individuals can begin to share difficult memories and emotions. Trauma informed therapy online demonstrates that even through a screen, genuine human connection can facilitate profound emotional healing.

Online Sessions Provide a Safe and Private Environment

Privacy and safety are critical elements of trauma recovery, and trauma informed therapy online excels in offering both. Being able to access therapy from one’s home helps reduce anxiety and creates a sense of control over the environment. This level of safety encourages deeper honesty and emotional vulnerability, which are vital for effective trauma work. Whether someone lives in a rural area or simply prefers the discretion of online services, trauma informed therapy online ensures secure communication platforms and confidential care. Clients can focus on healing without the fear of being judged, observed, or misunderstood in traditional settings.

Consistency and Compassion Drive Healing Progress

Healing from trauma takes time, patience, and continuous support. Trauma informed therapy online enables clients to receive regular, consistent care in a format that respects their emotional state. Weekly sessions, routine check-ins, and responsive messaging help clients stay connected to their therapist and feel seen during challenging moments. Compassion is the core of this therapeutic approach—therapists acknowledge clients’ pain without rushing their process or minimizing their experiences. This unwavering support fosters emotional resilience and encourages individuals to reframe their narrative. With trauma informed therapy online, consistency and compassion work hand-in-hand to build a sustainable path toward healing.

Trauma-Informed Therapy Online Helps Identify Emotional Triggers

Identifying and managing emotional triggers is a key goal in trauma recovery, and trauma informed therapy online provides a structured, empathetic space to explore these patterns. Therapists help clients recognize what events, words, or environments evoke distress and how those triggers relate to past trauma. With gentle guidance, clients learn grounding techniques, self-soothing strategies, and healthier coping skills. These insights empower individuals to respond thoughtfully instead of reacting impulsively. Trauma informed therapy online also offers the advantage of real-time application—clients can reflect on recent triggers in the context of their daily lives, deepening the therapeutic impact and self-awareness.

Healing Is Possible with the Right Tools and Guidance

Though trauma may leave lasting scars, healing is always possible with the right tools and compassionate guidance. Trauma informed therapy online equips clients with mindfulness practices, emotional regulation skills, and empowerment strategies tailored to their personal journey. This therapy encourages individuals to reclaim agency, foster self-trust, and move forward without being defined by their past. Online access ensures ongoing support, even during setbacks. Whether someone is processing childhood abuse, grief, or PTSD, trauma informed therapy online offers a structured, gentle roadmap to recovery. With each session, clients gain confidence in their capacity to heal and create a fulfilling future.

Conclusion

Trauma informed therapy online offers a life-changing opportunity for individuals to begin healing on their terms, with flexibility, compassion, and privacy at the forefront. It honors the complexity of trauma while making expert support accessible and consistent. Through safe virtual spaces, clients can learn to manage triggers, build trust, and regain control of their lives—all without the barriers of traditional in-person therapy. Whether you are beginning your healing journey or seeking deeper emotional clarity, trauma informed therapy online stands as a powerful, modern path to recovery. With the right support, emotional healing and personal growth are always within reach.

[whatarenicotinepouches]

Shisha Vape Price in UAE Best Shisha Hookah in Dubai 2025

Searching for a Shisha Hookah Disposable Vape Collection? Discover our whole selection of shisha vapes, which are tasty, portable devices made for long-lasting performance and convenience of use.  We have everything you need in the UAE, whether you're looking for a high-capacity electronic shisha pen or a disposable shisha vape.

These vapes provide ease and diversity to your shisha sessions without the trouble of coals or cleanup, making them ideal for social gatherings, personal use, or as a cigarette substitute.

➔  Browse Our Disposable Vape Collection

Key Features of Shisha Vapes

No Charcoal or Water Needed

Ready to Use No Setup Required

Up to 10000 Puffs with Some Models

Available in Multiple Flavors and Nicotine Strengths

Lightweight and Travel Friendly

These vapes provide ease and diversity to your shisha sessions without the trouble of coals or cleanup, making them ideal for social gatherings, personal use, or as a cigarette substitute.

What Is a Shisha Vape?

The rich, silky vapor feel of a conventional hookah is replicated by a portable vaping device called a shisha vape.  These vapes use pre-filled e-liquid and battery-powered heating mechanisms in place of water and charcoal.

Popular Devices and Puff Count

Whether you’re new to vaping or transitioning from hookah, here are popular options to consider:

Mild (3%) Great for light or casual users

Strong (5-10%) For those reducing smoking but still need a nicotine hit

Top-selling flavors include Grape Mint, Double Apple, Lemon Mint, and Blueberry Ice all available in high-puff disposable formats.

Disposable Vape in Dubai & UAE Where to Buy?

You can find premium Disposable Vape in our online store at Vape Here Store:

Services: Fast delivery to all the Emirates.

Location: Available in Abu Dhabi Branch Vape Here Store

WhatsApp & Dialing: Simply contact us on WhatsApp or dial on this number +971 50 304 8660

Try Trusted Brands

Get your favorite pouches from Al Fakher, MY SHISHA, Ghost Shisha, Hookalit Olit, or HQDall delivered across the UAE. ➔ Shop Now

Shisha Vapes devices and similar options are perfect for those looking to simplify their experience while keeping the flavor.

Benefits and Trade-Offs of Shisha Vapes

Benefits: • No complicated setup use instantly • Authentic shisha flavor in a compact form • Nicotine control from 3% to 10% • Easy to carry for travel or outings • No ash, smoke, or charcoal mess

Trade-Offs: • Disposable cannot be refilled • Limited flavor switching • Must dispose responsibly after use • Doesn’t fully replace extended traditional sessions for heavy users

If you value convenience and portability with a shisha-style flavor experience, a Shisha Vapes is an excellent alternative.

FAQs:

1. What is a shisha vaping? A shisha vape is an electronic device that vaporizes flavored e-liquid to replicate the traditional shisha experience without charcoal or water.

2. How long does a disposable shisha vape last? Disposable shisha vapes typically last several days to weeks depending on usage and puff count.

3. Is it legal to use shisha vapes in the UAE? Yes, they are legal when purchased from authorized sellers and used according to local regulations.

4. Are shisha vaping safer than traditional hookahs? They don’t produce smoke or tar, so they are generally considered less harmful than traditional hookahs.

5. Can disposable shisha vapes be refilled? No, disposable shisha vapes are single-use and cannot be refilled or recharged.

[smartpartsexprts]

Find the Best Yamaha Genuine Parts at Smart Parts Exports

Top performance and removing any potential problems on your Yamaha motorcycle or scooter can only be achieved with the use of Yamaha Genuine parts. It does not matter if you own an R15, FZ, MT-15 or still ride a Fascino, original components will always be helpful in safety and efficiency for the long run. Smart Parts Exports have become leaders in supplying Yamaha spare parts globally at unmatched prices and reliable service.

Yamaha motorcycle owners can expect bang for their bucks in terms of quality and design. With vets handling the machinery, expect smooth operations in handling and riding. To maintain performance standards, steer clear from cheap aftermarket services.

Why Choose Yamaha Genuine Parts?

As one of the most trusted exporters in India, we deliver a complete range of Yamaha spares—from engine parts and brake systems to clutch plates and body panels.

Designed specifically for Yamaha vehicles

Tested for quality, safety, and performance

Backed by warranty, ensuring peace of mind

Perfectly compatible, leading to easy installation and better durability

From spark plugs to engine oils, filters, and throttle cables, each part is crafted with precision and care. Using Yamaha genuine parts not only enhances your vehicle’s performance but also reduces maintenance costs over time.

Wide Range of Yamaha Spare Parts Available

At Smart Parts Exports, we offer a huge selection of Yamaha spare parts for all types of motorcycles and scooters. Whether you need parts for a 100cc commuter or a high-performance sportbike, we’ve got you covered. Our inventory includes:

Engine Components

Clutch and Brake Parts

Suspension and Forks

Fuel Tank Caps and Body Kits

Filters (Air, Oil, Fuel)

Electrical Components (Spark plugs, CDI units, Coils)

Exhaust Systems

Chains and Sprockets

All our Yamaha spares are genuine and come with proper part numbers and quality certifications. We never deal in fake or duplicate items—only 100% authentic products sourced directly from Yamaha-authorized dealers and suppliers.

Affordable Yamaha Spare Parts Price List

One of the most common concerns among bike owners is the cost of replacement parts. At Smart Parts Exports, we believe in offering premium quality at reasonable prices. That’s why we provide a detailed and transparent Yamaha spare parts price list so our customers know exactly what they are paying for.

Our Yamaha spare parts price list includes:

Competitive wholesale and retail pricing

Price comparisons for different models

Updated rates for the latest parts

Bulk order discounts for dealers and service centers

Whether you're buying for personal use or bulk export, our pricing helps you save more while getting the best value. You can contact our team anytime to get the latest Yamaha spare parts price list in PDF or Excel format.

Yamaha Spares Exporter – Why Choose Smart Parts Exports?

With years of experience in the auto parts industry, Smart Parts Exports is proud to be a reliable and professional supplier of Yamaha spares from India. Our expertise in spare parts logistics and sourcing makes us a preferred partner for customers in Africa, the Middle East, Asia, Europe, and Latin America.

Here’s what makes us the top choice:

Wide inventory of original Yamaha spare parts

Quick and safe global shipping

Custom packaging and export documentation

Experienced support team for technical help

Affordable pricing and transparent dealings

Whether you are a garage owner, bike parts dealer, or Yamaha bike enthusiast, you can trust us to supply genuine and long-lasting parts for your two-wheeler.

Ordering Yamaha Spare Parts from India Made Easy

Our team at Smart Parts Exports ensures a smooth and secure ordering process for our global clients. Here's how it works:

Send us your requirement – Part numbers, model names, or images

Get a quote along with the latest Yamaha spare parts price list

Confirm your order and make payment via secure channels

Track your shipment until it arrives at your doorstep

Our customer-centric approach and dedication to service make us one of the most trusted exporters of Yamaha genuine parts from India.

Final Thoughts

Owning a Yamaha means investing in performance and quality. And to protect that investment, using Yamaha genuine parts is the smartest decision you can make. Whether you need a full engine rebuild kit or just a few replacement items, Smart Parts Exports is your reliable source for Yamaha spares with worldwide shipping and competitive pricing.

We invite you to browse our wide collection of Yamaha spare parts and request the updated Yamaha spare parts price list today. Let us help you keep your Yamaha bike in perfect condition—powered by genuine parts and supported by trusted service.

Get in touch with Smart Parts Exports now to place your order or get a custom quote on bulk purchases. Ride safe, ride strong—with authentic Yamaha parts from India’s leading exporter.

[kirtishiva]

Unlock Precision: Why the Nikon D800E is Still a Legend – Only at CashyGo

In a world saturated with fast-paced innovation, some tools transcend time and trends. The Nikon D800E is one of them—a true icon in the world of professional photography. Here at CashyGo, where quality meets value, we’re proud to offer photographers the chance to own this legendary DSLR at unbeatable prices.

What Makes the Nikon D800E So Special?

Released in 2012, the Nikon D800E was Nikon’s answer to a growing demand: ultra-high-resolution, full-frame image capture with professional-grade performance. Even over a decade later, it continues to impress professionals and enthusiasts alike. So, what makes it stand out?

1. Unmatched Resolution

The D800E is equipped with a 36.3-megapixel FX-format CMOS sensor that omits the optical low-pass filter (OLPF) for enhanced image sharpness and detail.This absence of an anti-aliasing filter gives the D800E the edge when it comes to razor-sharp image detail—ideal for landscape, studio, and fine art photographers.

2. Professional Build Quality

Built like a tank, the D800E’s magnesium alloy body offers robust durability while maintaining a manageable weight. Weather sealing ensures that it holds up even in harsh shooting environments. Whether you're hiking through forests or capturing fashion in the rain, this camera performs reliably.

3. Dynamic Range That Delivers

The sensor on the D800E provides stunning dynamic range, making highlights and shadows easier to recover in post-processing. With 14-bit RAW files, you retain massive amounts of data to play with in Lightroom or Photoshop—empowering your creative control.

4. Precise Autofocus

The 51-point autofocus system is fast and accurate. Even though it's not the newest on the market, it’s time-tested and trusted by many working photographers for its consistency, especially in studio setups and controlled environments.

5. HD Video with Full Manual Control

While it may not replace a cinema camera, the D800E’s Full HD 1080p video at 30 fps still impresses. More importantly, it offers full manual exposure controls, making it a great tool for hybrid shooters who need both high-end stills and video footage.

Why Buy from CashyGo?

At CashyGo, we specialize in premium pre-owned gear and hard-to-find classicsWhether you're a veteran professional or an enthusiastic hobbyist, we understand how crucial it is to find the perfect camera at a price that fits your budget.

✅ Competitive Pricing

We price our Nikon D800E units far below new-model alternatives, giving you maximum value for every dollar.

✅ Quality Guaranteed

Every camera undergoes a comprehensive multi-point inspection to verify sensor cleanliness, shutter precision, and complete operational performance.

 What you get from CashyGo isn't just a used camera—it's a tool you can rely on.

✅ Expert Support

Need help deciding? Our photography-savvy support team is available to guide you in choosing the right body, lens, or accessory for your style of shooting.

Who Should Buy the Nikon D800E?

The D800E isn’t for everyone. It shines brightest in the hands of:

Landscape photographers looking for rich detail and edge-to-edge sharpness

Studio professionals who need consistent, high-res output

Product and macro photographers where every pixel counts

Fine art creators working on large prints and gallery-quality images

If you're a sports or wildlife photographer who needs ultra-fast frame rates and cutting-edge autofocus tracking, newer models like the Nikon D850 or Z9 may be more suited to your needs.

But if detail, tonal range, and reliability are what you’re after, the D800E still delivers in 2025.

Final Thoughts: Classic Excellence, Unbeatable Value

The Nikon D800E represents an era of camera craftsmanship that's hard to find today—no-frills, performance-driven, and built to last. At CashyGo, we believe in bringing these exceptional tools into the hands of creators who can still make the most of them.

Ready to shoot with legendary precision?

👉 Shop the Nikon D800E now at CashyGo and unlock your photography potential.

[makemywebsite1]

Essential Tips to Use ChatGPT for Better SEO

Are you trying to improve your content and search engine optimisation (SEO) strategies? It’s time to investigate ChatGPT’s potential benefits for your digital marketing endeavours if you are an SEO expert in Melbourne and haven’t already used it to raise your rankings. This post will walk you through using ChatGPT to increase your search engine presence and produce audience-engaging content.

Are you prepared to discover how AI can let you stand out in the congested online market? Let’s explore the doable actions you can take to use the potential of generative AI to optimise your SEO efforts.

How ChatGPT Relates to Marketing?

ChatGPT can be viewed as a valuable assistance for digital marketing. It greatly increases your productivity while creating SEO-friendly material, but it cannot replace the special touch of an experienced marketer. ChatGPT excels at rapidly sifting through massive volumes of data, allowing you to see patterns and comprehend customer preferences without devoting hours to research.

Furthermore, ChatGPT excels at managing crucial SEO duties for content marketing. When tailoring your content to fit what your audience is actively searching for, it can conduct in-depth keyword research and produce a list of pertinent keywords. Additionally, it may help you create a thorough content strategy and generate meta descriptions, saving you a great deal of time on these frequently time-consuming activities.

Use ChatGPT for SEO

1. Master Prompts

Asking the proper questions is crucial to get the most out of ChatGPT. You can get the most accurate and helpful answers from the AI if you know how to formulate your questions. Try out several prompt formats and concentrate on being precise and unambiguous.

For example, accuracy can be crucial while conducting SEO keyword research. Ask a more targeted question, such as “Generate a list of long-tail SEO keywords related to organic gardening solutions,” rather than one that is too general. This strategy will produce more relevant and focused keywords and increase the likelihood that your content will rank highly in search results.

2. Employ Sophisticated Keyword Research

Use ChatGPT to filter your keyword research. Below is a concise outline of how to target specialised audiences and increase the search engine rank of your content.

Select a wide-ranging subject: Begin with a general subject relevant to your company, for example, “skincare products”.

Make it more specific: Focus on one subtopic, such as vegan skincare products”.

Employ specific prompts: Request keywords from ChatGPT specifically and explicitly. Rather than asking for “keywords for skincare,” be more precise: ” find keywords long tail for eco-conscious consumers who want to buy vegan skincare products.”

Examine the recommendations: Next, look at the keywords which are advised by ChatGPT. Submit them to your choice of keyword research tool (e.g., Ahrefs, Moz, Semrush). To be successful with your ranking, go for extremely relevant yet not highly demanding.

Use keywords wisely: Create thoughtful content by using the keywords you’ve chosen. Use them on your product pages, for your blog titles and meta descriptions to enhance your SEO in Melbourne and the audience you’re selling to.

Step 3: Optimise Content Structure

Additionally, you may use ChatGPT to optimise the SEO structure of your material. A draft of your content should be entered into ChatGPT first. Next, request particular improvements for SEO components like headings, meta descriptions, and the general structure of your content. The question “Suggest improvements for the meta description of this post on sustainable travel” is one example.

After that, use ChatGPT’s feedback to make specific changes to your content. This will assist you in making sure that your Melbourne SEO material is straightforward and easy to read, contains pertinent keywords, and has well-structured headings.

Step 4: Conduct a Competitive Analysis

1. Begin by enumerating the main rivals in your specialty. For instance, if you work in the travel business, identify the travel blogs currently ranking highly for your search engine keywords.

2. Ask targeted queries focusing on particular SEO elements to get the most out of ChatGPT. For example, ask, “What are the latest SEO best practices used by top travel blogs for enhancing meta descriptions?” rather than a generic query.

3. Next, request assistance from ChatGPT in examining these rivals’ keyword usage, meta tactics, and content organisation. For instance, “Examine the keyword strategy used by the top-ranked eco-friendly travel blogs.”

4. It’s also critical to comprehend how your rivals construct backlinks. ChatGPT can ask inquiries like “What kinds of websites typically link back to leading travel blogs?”. You can use this information to help you develop your link-building plan.

5. Lastly, examine the data that ChatGPT has given you and contrast it with your existing tactics. Seek out areas for improvement or novel approaches that your rivals haven’t used.

Step 5: Build Links Strategically

As we already know, a solid link-building plan is essential for SEO since it raises your website’s authority and search engine ranking. Fortunately, ChatGPT and other agentic AI tools can help automate outreach and other complex tasks.

However, how precisely do you use ChatGPT to build backlinks? Begin by requesting that it locate possible locations for collaborations or guest posting. Then, utilise it to assist in crafting outreach messages that are tailored to each site’s unique interests. Have ChatGPT create follow-up messages if you don’t hear back. Use it to generate ideas for material that will likely create backlinks, which will help you maintain a focused and successful SEO approach.

Since constructing links is very important, it is very important to focus on high-authority websites because they can help legitimise and give visibility to your site. These backlinks are, in essence, votes of confidence from one site to another, which will tell the search engines that your content is not only trustworthy but also valuable. If one takes the time to properly post their material on quality sites, one can reach a larger audience and build a better Melbourne SEO foundation.

Use ChatGPT for Enhanced SEO

When using Chat GPT in your holistic SEO marketing strategy, you will realise that it saves you time in time-consuming, tiresome activities, and you will optimise your content to reach the suitable audience. This enhances your online presence by following the SEO guidelines more faithfully. AI is also rapidly gaining ground in software-oriented areas such as Chat GPT software development, where AI-powered solutions are incorporated in a wide range of commercial applications.

[xaltius]

How to utilize AI for improved data cleaning

Ask any data scientist, analyst, or ML engineer about their biggest time sink, and chances are "data cleaning" will top the list. It's the essential, yet often unglamorous, groundwork required before any meaningful analysis or model building can occur. Traditionally, this involves painstaking manual checks, writing complex rule-based scripts, and battling inconsistencies that seem to multiply with data volume. While crucial, these methods often struggle with scale, nuance, and the sheer variety of errors found in real-world data.

But what if data cleaning could be smarter, faster, and more effective? As we navigate the rapidly evolving tech landscape of 2025, Artificial Intelligence (AI) is stepping up, offering powerful techniques to significantly improve and accelerate this critical process. For organizations across India undergoing digital transformation and harnessing vast amounts of data, leveraging AI for data cleaning isn't just an advantage – it's becoming a necessity.

The Limits of Traditional Cleaning

Traditional approaches often rely on:

Manual Inspection: Spot-checking data, feasible only for small datasets.

Rule-Based Systems: Writing specific rules (e.g., if value < 0, replace with null) which become complex to manage and fail to catch unexpected or subtle errors.

Simple Statistics: Using mean/median/mode for imputation or standard deviations for outlier detection, which can be easily skewed or inappropriate for complex distributions.

Exact Matching: Finding duplicates only if they match perfectly.

These methods are often time-consuming, error-prone, difficult to scale, and struggle with unstructured data like free-form text.

How AI Supercharges Data Cleaning

AI brings learning, context, and probabilistic reasoning to the table, enabling more sophisticated cleaning techniques:

Intelligent Anomaly Detection: Instead of rigid rules, AI algorithms (like Isolation Forests, Clustering methods e.g., DBSCAN, or Autoencoders) can learn the 'normal' patterns in your data and flag outliers or anomalies that deviate significantly, even in high-dimensional spaces. This helps identify potential errors or rare events more effectively.

Context-Aware Imputation: Why fill missing values with a simple average when AI can do better? Predictive models (from simple regressions or k-Nearest Neighbors to more complex models) can learn relationships between features and predict missing values based on other available data points for that record, leading to more accurate and realistic imputations.

Advanced Duplicate Detection (Fuzzy Matching): Finding records like "Tech Solutions Pvt Ltd" and "Tech Solutions Private Limited" is trivial for humans but tricky for exact matching rules. AI, particularly Natural Language Processing (NLP) techniques like string similarity algorithms (Levenshtein distance), vector embeddings, and phonetic matching, excels at identifying these non-exact or 'fuzzy' duplicates across large datasets.

Automated Data Type & Pattern Recognition: AI models can analyze columns and infer the most likely data type or identify entries that don't conform to learned patterns (e.g., spotting inconsistent date formats, invalid email addresses, or wrongly formatted phone numbers within a column).

Probabilistic Record Linkage: When combining datasets without a perfect common key, AI techniques can calculate the probability that records from different sources refer to the same entity based on similarities across multiple fields, enabling more accurate data integration.

Error Spotting in Text Data: Using NLP models, AI can identify potential typos, inconsistencies in categorical labels (e.g., "Mumbai", "Bombay", "Mumbai City"), or even nonsensical entries within free-text fields by understanding context and language patterns.

Standardization Suggestions: AI can recognize different representations of the same information (like addresses or company names) and suggest or automatically apply standardization rules, bringing uniformity to messy categorical or text data.

The Benefits Are Clear

Integrating AI into your data cleaning workflow offers significant advantages:

Speed & Efficiency: Automating complex tasks dramatically reduces cleaning time.

Improved Accuracy: AI catches subtle errors and handles complex cases better than rigid rules.

Scalability: AI techniques handle large and high-dimensional datasets more effectively.

Enhanced Consistency: Leads to more reliable data for analysis and model training.

Reduced Tedium: Frees up data professionals to focus on higher-value analysis and insights.

Getting Started: Tools & Considerations

You don't necessarily need a PhD in AI to start. Many tools and libraries are available:

Python Libraries: Leverage libraries like Pandas for basic operations, Scikit-learn for ML models (outlier detection, imputation), fuzzywuzzy or recordlinkage for duplicate detection, and NLP libraries like spaCy or Hugging Face Transformers for text data.

Data Quality Platforms: Many modern data quality and preparation platforms are incorporating AI features, offering user-friendly interfaces for these advanced techniques.

Cloud Services: Cloud providers often offer AI-powered data preparation services.

Important Considerations:

Human Oversight: AI is a powerful assistant, not a replacement for human judgment. Always review AI-driven cleaning actions.

Interpretability: Understanding why an AI model flagged something as an error can sometimes be challenging.

Bias Potential: Ensure the AI models aren't learning and perpetuating biases present in the original messy data.

Context is Key: Choose the right AI technique for the specific data cleaning problem you're trying to solve.

Conclusion

Data cleaning remains a foundational step in the data lifecycle, but the tools we use are evolving rapidly. AI offers a leap forward, transforming this often-tedious task into a smarter, faster, and more effective process. For businesses and data professionals in India looking to extract maximum value from their data assets, embracing AI for data cleaning is a crucial step towards building more robust analyses, reliable machine learning models, and ultimately, making better data-driven decisions. It’s time to move beyond simple rules and let AI help bring true clarity to your data.