TOP 5 MUSICAL EPISODES

We've been on a bit of a hiatus, but that's because our studies have this annoying habit of throwing exams in our faces every couple of months. But I remembered I had this article already written, so I may as well share! :)

I am a big fan of musicals which covers as well my enthusiasm for musical tv-series and, even  more importantly, a sheer joy I feel every time I discover that the show I am watching/have watched has a musical episode. I don't really know what it is about character dancing and singing out of the blue, apart from the pleasure of listening to some nice tunes performed by the actors I enjoy, but it has some magic to it. One thing for sure, it totally changes the pace of the series and even though by now it's rather common for comedic series to have one episode like that (it’s usually so out of character that it’s hard to pull it off in a serious series), it still makes it feel like if it's something absolutely new, brilliant and fresh.

Obviously the list is absolutely personal, but as usually, I tried to be as objective as it was possible. So I scrutinised the role of the episode's plot in the context of the whole season, the level of actor's performance, the explanation behind the musical format and, last but not least, I was judging if the episode in general was enjoyable. 

05. GREY'S ANATOMY: "SONG BENEATH THE SONG" (07 x 18)

favourite songs:

"Running on Sunshine":

"The Story" (Sara Remirez) 

"Grey's Anatomy" has one of the rare examples of musical episodes which are actually very dramatic in style; the songs are not used to ease the tension, but on the contrary, they add to it. And if there is anything in the show, it's tension - episode starts with Callie Torres (Sara Remirez) has a car accident and ends up in a coma. If that wasn't enough, her pregnancy is endangered and the doctors have to make a decision if they should deliver the baby or not, and whether she would survive if they didn't.

During a whole episode we see Torres in a double form: one is her physical body in the hospital bed, covered in bandages and pipes, and the other one is a healthy, normal version of her, who appears near the body and is some kind of astral personification of Torres' soul - she's the one who sings, and who hears everyone as if they were singing; only people who are in her hearing distance are portrayed as singing. So her head trauma serves for a nice explanation (though not completely original, as you'll see below).

It's pretty obvious why it was Sara Remirez who was chosen to be the main character in this kind of episode; she pulls off the singing gig perfectly: her voice is passionate, strong, and together with great acting it sends shivers down my spine. You can see it especially in "The Story" that she has a full control over the viewer, who feels exactly what she wants him to.

The rest of the songs are more similar in style, all epic and emotional. I need to make a special notification of Owen Hunt's (Kevin McKidd) "How we operate" - his deep, emotional voice really does the trick in creating the mood and raising the tension (which is already pretty high). Around middle of the episode we get "Runnin' on sunshine", which serves as the only comedic relief, and is my personal favourite. It shows various couples from the show, on various stages of involvement, who take a break from the drama to just be together, sexually, emotionally, intimately. In the presence of Callie and Erica's drama, they feel the need of just being with their loved ones (or just a pretty nurse in case of this one patient), and of getting away from the hospital for a moment. Even though it may be seen as unnecessary and even irritatingly off-topic, I like the song and I like that it gives the viewer a moment to catch his breath instead of being crushed by the horror which is playing in front of him.

The biggest "but" would be the simplicity of the plot. The whole episode concentrates on saving Torres' life and the emotions of other staff members. The episode is made for the songs, not songs for the episode, and around second half I got bored a little bit. This is why, despite high artistic performance, "Song Beneath the Song" is not going higher on the list.

04. XENA: "THE BITTER SUITE " (03 x 12)

favourite songs:

"War And Peace/Gab Is Stabbed" (Kevin Smith and others) 

"Dead?/Hearts Are Hurting (Part 1)" (Lucy Lawless, Susan Wood) - (unfortunately the video dissapeared from YT :c )

"Xena: the warrior princess" is one of the first shows to do the musical episodes, and an incredibly rare example of a show that did more than one. "The Bitter Suite" was a first one, and in my opinion the way, way better one, while "Lyre, Lyre, Hearts on fire" of season 5 makes absolutely no sense, starting with incredibly out of character song and has little to none plot (unless you count a fantasy-world Eurovision a plot).

"The Bitter Suite" is again, just like the "Song beneath the song", enters into the very rough moment for the main characters, and even though the songs aren't here just to provide the entertainment, because are more serious in their nature, they allow the viewer to watch those extreme emotions without having their hearts broken. Xena's and Gabrielle's friendship was almost destroyed when Xena's son was killed by Gabrielle's daughter. Xena's heart is broken and she's so furious she even tries to kill Gabrielle at the beginning of the episode, but that's when things get weird and they got sucked into the twisted Land of Illusia. Here they have to face what they feel and who they are to each other… and everyone knows that nothing lets you open your heart like an amazing song, right? It probably helps too, that the only way for the girls to escape the magic land is to forgive the other one and find the love we all know they had for each other.

The songs are quite epic, but they wouldn't be the same if it wasn't for Lucy Lawless' voice, which is so perfect that it almost makes others' seem bleak and unimpressive. Maybe it's not true in the case of Kevin Smith (series' Ares; and no, no the one who plays Silent Bob, silly!), whose deep, sweet voice is what can make a person's knees tremble. The whole "War and Peace" reminds me heavily of Disney's "Hunchback of Notre Dame's" soundtrack for some reason.

It's not a bad thing though.

03. BUFFY: "ONCE MORE WITH FEELING" (06 x 07)

favourite songs:

"What you feel" (Hinton Battle, Michelle Trachtenberg) 

"Walk through the fire" (Hinton Battle and the whole cast) 

I already know that this is a one position that is going to be the most controversial and I already hear all the outraged questions about why I haven't placed "Buffy: the vampire slayer" at the top of my list. Don't get me wrong, it IS one of my favourite shows ever, and it's given that I am going to mention it more than few times on the blog, but even though I was absolutely thrilled about the fact my beloved characters started to sing - and mock the fact themselves! - I am surprised to say their performance leaves a lot of place for improvement. It's unbelievable, really, because both Anthony Head (Giles) and James Marsters (Spike) are musicians as well as actors, and I would expect something much more mind-blowing. At the same time, as Ziemia pointed it out to me, the imperfections in their voices show it's real people who have to sing under the influence of the spell so the fact they are not always on the Broadway levels only adds to the probability of the story arc.

Plot-wise the episode is extremely interesting and fits perfectly both into the character developement from 6^th season and the monster-of-the-week format "Buffy" has been following since the very beginning.

While unhappy Dawn (Michelle Trachtenberg) feels like no one notices her, she accidentally summons Sweet (Hinton Battle) - a dancing, red-skinned, singing demon which turns the whole Sunnydale into a musical. Despite what she hoped for he's not "a happy demon who brings fun", as the constant dancing may end in the deaths of the unwilling dancers. Also, he wants to make Dawn his bride in the underworld.

In the meantime, the emotions happen. Giles tries to figure out what would be the best way to support Buffy, and he decides he has to leave her so she could become fully independent; Tara finds out that Willow cast a spell on her to erase the memories of their quarrels, marking another step in Willow's dark powers addiction arc; Spike continues to be torn out by what he feels for Buffy.

What I like about the musical numbers is their variety. Some push the plot forwards and are used to explain the emotions, some are completely random examples of how the spell is cast on all the community (a song about mustard staining the shirt is really something you don't usually see in the musical episodes/shows), up to the short, metal song about the bunnies (yes, Anya was still afraid of them), which again, makes the episode - like the whole show - a very unique production.

02. "PSYCH: THE MUSICAL" (07 x 15/16)

favourite song:

"Santa Barbara Skies" (James Roday & Dulé Hill) 

"I've heard it both ways" (James Roday & Timothy Omundson) 

 The two-parted special which was aired after the 7^th's season finale, marking 110th episode of the series, chronologically takes place between 6^th and 7^th episode of that season. This unfortunately means several continuity errors if one watches it in the order in which it was broadcasted. When watched in the middle of the season though it makes perfect sense.

When the insane playwright Z (Anthony Rapp) escapes from the mental institution for criminals, after the play he killed for is being renewed by the same crew he once worked with, the police department might find itself in a need of help of someone they didn't expect to work with. Mr. Yang (Ally Sheedy) proves to be a useful source... when bribed with a song. Of course the story can't be that simple and Shawn (James Roday) would have to use all his vocal and detective skills to find out who whether Z is really the killer.

The show has always been known for it's gag reels called "psych-outs", which included not only bloopers, but also cast having fun, singing songs etc. James Roday was right when he called the episode "generally one big psych-out" because that's exactly what it is. From the very first moments, when Shawn and Gus (Dulé Hill) burst into epic song number it's obvious this thing is going to be an every fan's dream fulfilled. Both "Santa Barbara Skies" and "I've heard it both ways" are brilliant: funny, well sung, well danced, totally in character and flat out funny (wow, Timothy Omundson!).

Ok, but there has to be a "but", right? The second half seems to loose it's pace and even though it still has few absolutely wonderful songs (Roday really nails it at "Shawn Hears the Theme / The Breakdown"). But I blame it more on the fact it's already 7^th season which lost a big chunk of the beginning's charm. But "Psych: the Musical" is definitely a good way to apologise for lack of form and to ask for a second chance.

01. SCRUBS: "MY MUSICAL" (06 x 06)

favourite songs:

"Welcome to Sacred Heart" (Ken Jenkins and others) 

"the Rant" (Stephanie D'Abruzzo, John C. McGinley's, Zach Braff, Neil Flynn) 

The comedy show "Scrubs" honoured it's 123th episode by turning it into a musical, and they did a great job - the episode was named one of 100 best episodes in tv ever by "Tv Guide" in 2006, and it won one out of five nominations to Emmy.

The explanation for the characters singing is similar as in "Gray's anatomy", but while "Scrubs" did it first, it's also executed better. When Patti Miller  (Stephanie D'Abruzzo) faints in the park, she discovers that suddenly everyone appears to be singing (and dancing), which makes dr. Cox believe her problem is more psychiatric than psychical (didn't turn out to be true). She becomes a witness to the problems of the main characters, turning those of their quarrels and discussions which he heard and saw into the songs. Plot includes: Carla who is trying to decide if she should go for a maternity leave ("Gonna Miss You, Carla") and Elliot (Sarah Chalke) who decides to move out from the flat to the house, without J.D. as her flatmate ("When the truth comes out"). Apart from that we have few songs portraying the relationships between characters (John C. McGinley's "Rant") or dealing with some reoccurring issues ("For the last time, I'm Dominican").

The episode has a great pace, the songs are fun, and they so deliciously fit the characters. What I really liked is that, like in "Buffy" we hear almost all characters singing, which is very important for a show with a collective hero. Not all actors are equally talented of course, but actually most of the actors did sing on Broadway or in other musicals at some part of their career. There are some gems too: we already knew that Sam Lloyd (Tedd) has absolutely outstanding voice, and it's not surprising that Stephanie D'Abruzzo, who after all has been cast especially for this part, has the strongest voice, but even Ken Jenkins' (dr. Kelso) solo at "Welcome to Sacred Heart" is sweet and funny. The brilliance of the producers and composers showed in the way they covered some of the lesser talents by putting them in hilarious song - it makes us laugh, and we want to listen to it again and it doesn't really matter if the vocal could be better. My favourite here has to be "Rant" because it is so in Cox's character, but I have to mention iconic by now "Guy's love".

To sum up: the episode is a true part of the series, which always liked to look for the ideas out of the box. Thanks to the comedic, but sometimes bizarre because of J.D.'s fantasies format of the series, this episode blends in with the whole series, saying "yeah, I am different, but that's exactly what makes me right" and it makes it the most unique out of all musical episodes.

So that's all for now, and remember - these shows won't watch themselves!

PS: Coming soon: "Warehouse 13's" season 5 review and "Orphan Black" season 2 review!

                                                                                                                    - Aga

Why aren't they together yet?

Beware: spoilers for Bones, Castle, Dark Angel (season 2), Friends, How I met your mother (the finale), Psych (season 5), Sex and the City.

[unless pointed otherwise the spoilers apply for the relationship of the main characters during the whole series]

Kate: "I am telling you. Something happened. Something changed. It's been weird between us lately."

Lanie: "Lately? Kate, it's been weird for four years"

(Castle 4 x 20)

It’s the oldest story in a book. You know it, and I know it. These two were meant for each other?. From the very first moment they laid eyes on each other their hearts started to beat faster, and they became obsessed with the other person. It’s the Holy Grail of the heterosexual script, the ultimate dream – to find the One True Love™ and Live Happily Ever After™. Let's not dwell too much on what I think about that and whether there really is something like a love from the first sight. For all intents and purposes, let’s pretend that we all believe in a fairy tale, just like the tv-series producers seem to. Because love, pretty much like sex, is the thing which drives humans, which means, taken more materialistically, that people are going to watch these series which have a touching love story and they are going to invest more into the characters who struggle to get their precious someone.

The longer the suspense and the more cruel the clifhangers, the more viewers and more money for the people responsible for the title. Sad? Maybe. But if it wasn’t exactly what we want, there wouldn’t be so many of those we-love-each-other-but-can’t-be-together-because-of-reasons couples! And while almost every title has some kind of love story, majority of these are One True Love type.

It all usually starts with the characters meeting in the first episode, which is followed by way too many seasons of them chasing each other. The poor bastards sometimes don't even realise they like each other until their cosy existence is threatened by some Big Event™ (like being threatened by death of the other one, new rival or some other generic Plot Twist™). They grow closer and fall apart and then again grow closer just to drive each other away, but no one fools the audience who quickly falls in love with them (even if sometimes the line between love and hate becomes too thin). They are our precious little babies, and we enjoy that vague chemistry they have going there, but on the other hand could they bang already, jeez, how hard that could be? Sometimes you just want to smack them in a head with something hard.

OK. So we got used to that situation, and we even can admit that we enjoy watching characters torturing each other. But we want them to end up together, right? That’s the whole point of waiting, after all. But here appears the biggest problem. The tensions, the struggles, the perfect mixture of “oohs”, “aahs”, “awws” and eye-rolling was the best fuel for the series, and once that is over, so is the show we loved. The on-screen chemistry totally changes, and the series does as well. After that we might not even recognise it a s series we loved to begin with.

Let’s take a closer look at The One True Couple syndrome and the types of shows that can be diagnosed with it.

First genre is of course that type of comedic series which focuses on romantic and sexual part of life, which usually includes a bunch of close friends who all hang together. I will write some other time about how similar these series really are, but what is important to us now is that there is always one character who can be labelled as “main” and who is cursed with the task of pursuing the perfect Woman/Man: Ross loves Rachel (“Friends”), J.D. loves Elliot (“Scrubs”), Carrie obsesses after Mr. Big (“Sex and the city”), Leonard crushes on Penny (“Big Bang Theory”), Ted dreams about Robin (“How I met your mother”). In the meantime their friends have their own emotional struggles which usually are much more interesting or at least more surprising (we knew all about Ross and Rachel, but Chandler and Monika, that one we didn’t see coming).

If we were judging how melodramatic our main couples can be, we could count the number of times they were involved. Then we would give the first place ex aequo to Ross and Rachel ("Friends") and Carrie and Mr. Big ("Sex and the City") with 5 hook-ups and 4 break-ups.

Because the latter had a long time of being friends with benefits rather than a couple, I decided to count how many times they’ve been involved rather than how many times they had sex. Both winners end up together at the very end of the show, though Ross and Rachel cheated with the classical order: got married first, then divorced, then had a kid together and finally hooked up in the last episode. I guess that shows how desperate they are about each other and how horrible at relationships, at the same time.

While writing the first draft of this article, I pointed out that “How I met your mother” was an interesting exception from the rule, because while Ted and Robin meet all the criteria of being a proper True Couple, we all knew Ted was going to end up with someone else. But that was before the finale in which the lovely Mother gets killed off and Ted ends up wit his dream girl, just like “it should be”… I guess. One of the very few positive voices about this ending is that “we would all be disappointed if they didn’t end together” and maybe though the disappointing for many ending just shows how strong is the need to have this one True Love Pairing.

The second genre which loves to deny it's characters the emotional satisfaction are crime/detective/police/FBI series. In this case the series concentrates on the more morbid part of life, and it tries to avoid the topic of love so they don’t have anything in common with a mushy chick-flicks. The women working with the polices, secret services etc. usually have more guts than an average man, so they can’t play the stereotypical role of a emotion-driven soft female. And when both sides are “manly”, then there is no one left to pursue the love. So it just lies somewhere in the corner, waiting for a miracle.

Don't get me wrong, I love detective series a lot, but the main love affair tends to be so horrible and so unnaturally prolonged that after some time I can't stand it, rolling my eyes every couple of seconds. I am exaggerating maybe a little, but let’s look at few of the main couples and how obvious they are.

Sociopathic Bones IS going to end up with Booth ("Bones") even if the show doesn't throw it on us with such an intensity as the romance series,

                             

while Castle and Beckett ("Castle") themselves know that they love each other but just can't start dating for some reason.

Interestingly enough there are slightly different rules for the Main Couple in crime series than they were in the romantic ones. In the latter the characters were getting together and splitting up, but their final hook up was happening around the very end of the series, providing a happy ending. Here there is one major hook-up, which changes everything. Therefore we have to deal with the effect I mentioned earlier, which causes the series to loose it's rhythm and character - it is especially visible with Bones, because the creators of the show worked very hard to show her as a sociopath who doesn’t really get emotions. So when suddenly the need for love kicks in, it’s impossible to keep both her sides balanced and when she becomes a different person, she changes the series as well.

Love didn’t work on the advantage on the series in “Psych” too. I’ve never been a fan of Juliet, so I wouldn’t care about Shawn finally winning her over, but when he did, he deprived the show from one of it’s most important gags. I miss the awkward and absurdly funny ways in which Shawn was trying to flirt with her.

At the end I need to mention one more genre, in which the love affairs usually go more smoothly and the separate rules of the dating are not shown as explicitly, but when it comes to creating obstacles for the couple, there is nothing worse. I am talking about s-f, which unfortunately gives the authors the very powerful weapon of “do what the fuck you want, it’s all made up after all”. Now they can keep the love-birds apart for really absurd reasons. So you are not only rolling your eyes, you are screaming at the computer. Yes, I am thinking about you, “Dark Angel”. SERIOUSLY though, a virus that attacks ONLY Logan and is transmitted ONLY when he touches Max? I am not going to calm down about that, because that was some serious line crossing and for me it really ruined the otherwise enjoyable series: in the second season the couple’s problems became unbearable to watch.

One True Pairing is just one of many, many relationships we see in tv-series, but it’s probably the most annoying one. In the same time, just because of the intensity of emotions it brings, it’s the one type that always has the most followers, and the biggest number of fans. Let’s face it though: we are hardly watching their struggles to learn how it’s gonna end, we just like to watch them torture themselves to prove to ourselves that it’s not only us who is not able to handle that thing called “relationships”. 

 by Aga

TOP 10 OPENINGS

By Aga

I started my adventure with tv series by being obsessed with anime, and openings were always my favourite part of the episode. Ok, it may be an exaggeration, but in anime openings play quite a different role from the one they have in western tv-series. In japanese animation they are longer, more carefully planned, so they can serve as a real business card of the show. In American and British tv-series the opening sequences get shorter and shorter up to the point where they become just a few-second flash of the title. "Supernatural" is probably the only one who pulled it off, with the title card changing from season to season (with few special episodes having their own design), but always maintaining the spirit of the series.

OK. So what makes a good opening for me? First of all, it has to share the atmosphere of the series. If the whole season is cute, let's make it cute, if it's funny, I want to crack a smile, and if it's is creepy, I want to feel shivers down my spine during these few seconds or a minute. Secondly, as an aesthete, I want something pretty, with the visuals that match the catchy or captivating song. Last but not least, it can't be something you get sick of after three or four times.
Remember though, it's a very personal list, which gives you a full right to both agree and disagree. You are welcome to share your opinion whichever it may be. If you have another candidates, leave a comment too! :)

10. Sex and the city

song : "Sex and the city theme song" by Douglas J. Cuomo

One more thing: I prefer when used part of the song includes lyrics, because it usually makes the whole clip more dynamic and interesting. That's why the opening for "Sex and the city" took it sweet time to grow on me, but when I did, I started to adore it. It's short, it's dynamic, and without words it lets us know everything we need to know about the main character - she's famous, but clumsy when it comes to handling her own life. Plus it indicates the show's gonna be pink, fluffy and funny at times. All of these things prove to be true, so congrats.

09. True Blood

song: "Bad Things" by Jace Everett

Okay. I may not be the fan of the series, but this opening is something beautiful. Mostly because of the soft, sweet voice of Jace Everett, which contrasts with the creepy images in such a delicious, twisted way. The video part is strange, but I love how it shows both the brutal/morbid and the overly sexual side of the show in a very tasteful way.
My main reproach is that the opening suggests something deeper, more exciting and, above all, more elegant than the show delivers.

08. Veronica Mars

song: "We Used to Be Friends" by The Dandy Warhols 

The deep, sexy vocal captures the attention at the very first seconds of the song, but it's not even my favourite part - it's the lyrics, which match the plot of the first season so unbelievably accurately. It sums up the relationship between Veronica Mars and rest of the world in just three lines. Additionally, the visuals are great too - both sweet, with the spirit of the teen show, but with the hint of something darker (the doodles on the pages), which is exactly what that show was.

07. New Girl

song: "Hey Girl" by Zooey Deschanel

I know, I know. It's not something that you can usually see on this kinds of lists, but you know what? I don't care. This intro actually meets all my criteria: it's sweet and funny just like the show, makes you expect something slightly weird, but light-hearted, while the song is catchy and thanks to the sudden ending, it makes you wanna listen to it over and over again.
(Also Zooey Deschanel is cute.)
(Shutup.)

06. Friends

song: "I'll be there for you" by The Rembrants

Probably the most famous opening on my list. The lyrics capture what we loved in the show: the life sucks, but the friends are there for you. Simple enough, but combined with a catching tune and quite a lovely and charming choreography performed by the cast it's really something you don't want to rewind, no matter if it's the first or tenth season.

05. Orange is the new black

song: "You've got time" by Regina Spektor

"Orange is the new black" is one of a kind for so many reasons, opening being just one of them. It's main idea is to show collage of faces of female inmates who are the characters of the show, concentrating on how different they are, while revealing their similarities which go deeper than appearances - it's the similiarity of the situation, and of the emotions they might feel. After all, they are all just women, just people, trapped in the prison for their mistakes. I think it is a nice summary of what the show is.
(The deep, sexy vocals are not a drawback either!)

04. Firefly

http://www.downvids.net/firefly-opening-credits-355636.html
(sorry for the outside link, but youtube provides only the song :c )

song: "the ballad of Serenity" by Sonny Rhodes

Probably my favourite song on the list, one I listened to many, many times and still love it as much as the first time when I've heard it. The brown and yellow colour scheme fits with the western-ish style of the whole series and even though the opening introduces the characters in the least unique way possible (and one that Whedon clearly likes), it actually doesn't bother me, because the whole thing keeps the pace and remains entraining.

03. Pretty Little Liars

song: "Secret" by The Pierces

If the list was called "the creepiest openings I've seen", this would be a number two. It's short, and very, very suggestive. Even though Alison's funeral is what brings the main girls together in the first episode, her death is treated rather symbolically in the series; in the opening it's anything but. There is something almost abominable in how plastic, waxen is the body prepared for it's own funeral, but it's kept just on the edge of tastefulness. It's not the images that make me flinch, it's the thought behind them.
Song is catching, and the atmosphere is captured brilliantly.
A special bonus: the Halloween episodes tend to include a slightly different version of the opening - the lips, or eyes of the dead girl are different, there are some extra sounds in the background that make it more scary.

02. Psych

song: "I Know You Know" by The Friendly Indians

Short, down-to-the-point with the not-so-random sync of the line "they just don't have any clue" (0:11) with the perplexed detective Lessie, is cheerful and funny, just like the show.
A special bonus: "Psych" does one of my favourite things ever when it comes to the opening sequences. It changes the song according to the theme of the episode, and with the criminal shows, that means endless opportunities. It has been sung in spanish (twice), in hindi (for bollywood-themed episode), a cappella, had a christmas version and slower version for a Twin Peaks-inspired episode. The visual side was mixed with too. All of it, apart from being simply awesome, adds to the really-not-so-serious atmosphere of the show.



and the winner is...

01. Dexter

song: "Dexter Main Title" by Rolfe Kent

I haven't seen "Dexter", because I am way too scared, and let's face it: the opening is partially here to blame. Even when I KNOW that no one dies in there, I still can't watch it all without flinching. But if I had the guts to watch a show, I know I wouldn't be able to resist watching to the opening every single time. It's original, it's brilliant, and it's beyond creepy.




Ok, so that's all. There are many openings I love, but didn't make to the "top ten" like the awesome Scrubs' opening, which just missed the list, or energetic Buffy: the vampire slayer's. It was hard enough to pick 10 and trying not to play favourites with the shows they are from!

                                                Stay positive and remember to watch something before going to sleep!
                                                                                                                                - Aga.