0:06

I continue moving through

0:09

the crowd and my

0:11

gaze lands on a

0:13

magician moving through the crowd

0:15

and my gaze lands on a

0:17

magician in a bowler hat showing

0:19

his kid watches, amused, but

0:22

the magician's not smiling.

0:24

I lift my camera

0:27

to my camera to my

0:29

eye. right He looks right back

0:31

at me. It's like

0:33

a moment of confrontation. him

0:40

I capture it. me

0:48

Lulu Wang is the

0:50

acclaimed writer -director of the

0:52

film The Farewell and

0:54

the new must -see I

0:58

in today's episode. Lulu

1:00

shares the story of how she

1:02

grows up in a family with rigid

1:04

expectations. for her future

1:06

as a skilled pianist. It's

1:08

It's only when Lulu finds space away

1:10

from those expectations. that

1:13

she that she is there is

1:15

joy. joy having the

1:17

freedom to make our

1:19

own discoveries. discoveries. In this series

1:21

we combine immersive

1:23

first-person stories, breathtaking

1:25

music, and mindfulness

1:27

prompts, so that

1:29

we so that we may see our lives

1:31

with ... back to us

1:34

in other people's stories.

1:36

and that can lead

1:38

to improvements in our

1:40

own inner lives. From

1:43

wait what, this is

1:45

meditative story. I'm Roham

1:47

and I'll be your

1:49

guide. The

2:13

body relaxed.

2:18

The body breathing. Your

2:23

senses open.

2:25

Your mind open.

2:32

Meeting the world. I

2:44

follow my mom into the large

2:46

wood -paneled room. We

2:50

pass by empty folding chairs set up

2:52

for Bible study later in the week.

2:56

My family isn't really religious, but I

2:58

guess when you move to America,

3:00

you start going to church. The

3:03

fellowship hall is quiet. It's

3:07

a weekday and there's no service

3:09

today. I take a seat at the

3:11

old wooden piano at the back

3:13

of the hall. We can't afford a

3:15

piano of our own, so my

3:17

mom brings me here to practice. On

3:19

one of our first visits, the

3:21

pastor hands mom a key and says,

3:23

anytime that you guys want to

3:25

come here so Lulu can use the

3:27

piano, be

3:29

our guest. We

3:33

haven't felt such generosity from a

3:35

stranger since moving to Miami from Beijing

3:37

a year ago. I

3:41

have a complicated relationship with the

3:43

piano. I

3:46

start playing when I'm four

3:48

years old because my mom always

3:50

wanted to play a musical

3:53

instrument herself and never had the

3:55

chance. Her

3:58

parents were trying to survive. the

4:00

Revolution. They

4:02

didn't have the privilege to sit around and think.

4:05

the privilege to

4:07

sit around and

4:09

think constantly reminds me how

4:11

lucky I am to have this opportunity. My

4:13

mom constantly reminds me

4:16

how lucky I am

4:18

to have this opportunity,

4:21

but to me, piano

4:23

just I placed

4:26

my red feels on the

4:28

piano's music stand. In In

4:30

Beijing, my piano teacher would smack

4:32

my hand with a ruler if my

4:34

hand position was incorrect. my hand I

4:36

straighten my posture. I straighten

4:38

my posture and start

4:41

my churny finger exercises,

4:43

playing the same notes,

4:45

ascending, then descending over

4:47

and over. It's all

4:50

incredibly boring. As I

4:52

as I play my muscle memory kicks. kicks

4:54

in. There There is

4:56

something nice about doing

4:59

something here in Miami that

5:01

feels so Miami that feels so familiar.

5:03

Since moving from Beijing,

5:05

I felt a sense

5:07

moving from Beijing, I felt a sense of

5:09

being foreign that I don't know how

5:11

to put into words. words. I'm used to

5:14

seeing people that look like

5:16

me, people who are ahead

5:18

of me, I can see

5:20

my own future in them. future in

5:22

But now, nobody really looks

5:24

like me. like me. It's

5:27

It's hard to picture what the future

5:29

holds. the future holds. My

5:31

parents hold on to what they

5:33

on to what they recognize. And

5:36

they recognize me playing

5:38

piano. So that's what

5:40

they want me to

5:42

do. When

5:51

When I'm done with my warm -ups, I

5:53

open the the and start out the

5:55

notes to the notes to the cuckoo. My mom

5:57

sits in sits in one of the folding

5:59

chairs near... This is our bonding time.

6:01

I go to our bonding time. and

6:03

she works at a I go

6:05

to school all day and she works at

6:07

a department store, even though she was

6:10

the editor at a major literary Beijing. There's

6:12

very little There's very

6:14

little conversation between us about what

6:16

we felt since moving to

6:18

America, to where we don't speak

6:20

the language. the language, where we're

6:22

cut off from our family.

6:29

My parents have made so many sacrifices

6:31

for us to be here. for There

6:33

are a lot of There are a lot of

6:35

unsaid but my mom is more focused

6:38

is more focused on, you've got

6:40

to keep up this Even if

6:42

we don't talk about what's going on, we still

6:44

have this time together. what's going on, we

6:46

She just sits and watches

6:48

me play She just sits and watches

6:50

me play attentively. I mess up

6:52

a few Do it again, she

6:54

says. she says. At six

6:57

old, I'd rather just be playing and

6:59

exploring like other kids. exploring even

7:01

know what I'm really interested

7:03

in. don't even know what I'm

7:05

really interested in. No one

7:08

ever makes me. It makes

7:10

me restless. But I know how but

7:13

I know how important this is to

7:15

my parents. And so I keep coming

7:17

I keep coming back here day day after

7:19

school to practice P .N. piano.

7:22

Because I I don't know what else

7:24

there is. there is. because

7:30

that's

7:35

what's

7:44

A 1920s Chinese mansion

7:46

fills the giant projector

7:48

screen. The

7:50

main character comes into frame. She

7:53

looks terrified as she watches

7:55

another woman get dragged away

7:58

to her execution. I'm

8:00

eight years old and I 8 years

8:02

old and I don't think this is

8:04

the film for kids. It's dark. This dark.

8:07

of Raise screening of Raise the

8:09

Red Lantern is being is

8:11

being held by the Chinese

8:13

student organization at the University

8:15

of Miami. University a student here. My

8:17

dad's a student here. I

8:20

twist around in my seat and

8:22

scan the room. It's packed.

8:24

Everyone's capt. Everyone's

8:27

captivated. I'm

8:29

so bored. This is my parents' world. is

8:32

my a world. film. It's

8:34

a Chinese film, not American,

8:36

and not even Chinese

8:38

I let out a big sigh. I

8:40

have to go to the bathroom, I

8:42

whisper. to the bathroom. I whisper. She

8:45

has a bowl my friend Winnie. She

8:47

has a bowl cut similar to

8:49

mine. over to the bathroom, over to the

8:51

bathroom, and under the fluorescent lights,

8:53

I look down the line of

8:55

stalls. stalls. I I get an idea

8:57

and my eyes grow wide. wide. Watch

8:59

this, I tell Watch this, I tell

9:02

one of the bathroom I

9:04

go into one of the bathroom

9:07

stalls shut. the get on my hands

9:09

and knees and I get

9:11

on my hands and knees

9:13

and crawl into the unlocking the

9:15

first store. door. I do the

9:17

same thing in the next,

9:19

and then the next, and I

9:21

ask Winnie to help me.

9:23

We go down the entire row,

9:26

row locking every stall from the

9:28

inside. the inside. This is going

9:30

to be so funny. I picture everybody coming

9:32

out of the movie

9:34

and seeing all the locked

9:36

doors. all the locked doors

9:38

in the bathroom. I laugh. It

9:41

may seem It may seem. but

9:43

it's also kind but it's

9:45

also kind of hilarious. I get so tired of

9:47

I get so tired of doing

9:49

what's expected of me, of of

9:51

naturally falling in line. in line. Sometimes

9:54

my only answer

9:56

only answer is

9:58

mischief. As

10:00

I I crawl out from

10:03

under the last the I I

10:05

hear Winnie's mom yelling at

10:07

her. What are you doing? at

10:09

Winnie panics and blurts out.

10:11

It was Lulu's idea. blurts out.

10:13

It was Lulu's drags me back

10:15

to my parents. me My mom

10:17

is horrified. My She and

10:19

my dad are raising a

10:21

classically trained pianist. raising a classically want

10:23

me to be elegant, They

10:25

intellectual, be to play Brahms or

10:27

whatever. To play broms or whatever. I'm

10:30

crawling on the on the bathroom

10:32

floor. union bathroom floor. Part of

10:34

me is always seeking ways

10:36

to rebel, to not fall in

10:39

line. Yet my Yet, my

10:41

family has already gone through a

10:43

big disruption moving so far from

10:45

home. home. Part of me Part of me

10:47

deeply fears what will happen if

10:49

I abandon what's expected of me.

10:51

of me. When

11:16

it comes to how you

11:18

should be, do you

11:20

also carry the weight of

11:22

expectations from others? the

11:24

weight of Can

11:27

you feel the

11:29

weight of them in

11:31

the body? Can you feel

11:33

where they are. in

11:36

the body? Feel where they are.

11:38

What would it would

11:40

it be like

11:43

to let those

11:45

expectations go, even

11:47

for a moment? Thank

11:58

What The

12:12

main walkway of the Miami -Dade College campus

12:14

is lined with palm trees. They

12:18

cast jagged shadows on the white

12:20

cement. Standing in

12:22

the bright sun, sweat starts to

12:24

bead on my forehead. I can't tell

12:26

if it's from the heat or

12:28

from nerves. I

12:31

tug at the hem of my conservative

12:33

black dress. I feel like I might

12:35

throw up. I

12:39

often get this way before piano

12:41

competitions. It's the

12:43

pressure. I

12:46

scan line of other students waiting

12:48

outside with their parents, ready to

12:50

perform. Suddenly, a girl rushes out

12:52

of the building. Tears stream down

12:54

her face. She runs over to

12:56

her parents, crying. I

12:58

messed up. my

13:00

stomach flips. That could

13:02

be me. I'm

13:05

17. I'm a senior

13:07

at an arts magnet high school. When

13:09

I get accepted into the program, they

13:11

tell me that out of all the pianists

13:13

who auditioned, I'm their first choice. Somehow,

13:16

other students find out. Now

13:19

I constantly have to live up to

13:21

their expectations of me, on top of the

13:23

pressure I feel for my parents. Are

13:26

you ready? My dad

13:29

asks me. I shrug.

13:32

I don't think Peter's that good, my

13:34

mom says. He got second place

13:36

last year. If he can get second,

13:38

you can get first. I

13:41

don't know how to respond.

13:43

She adds, you should have

13:45

practiced more. Every

13:48

time I try telling them that I might

13:50

not want to play piano anymore, they say

13:52

what they always do, that I should be

13:54

more grateful. I

13:57

think about the piano that now stands

13:59

in our living room. It's German made with

14:01

a very warm sound. My

14:03

parents saved and saved to buy

14:05

it for me so I wouldn't

14:08

have to practice at the church

14:10

anymore. It's their very first big

14:12

purchase after moving to the U.S.

14:15

A huge representation of their sacrifice

14:17

for me. That sacrifice and all

14:19

the expectations that come with it

14:22

weigh on me. The

14:31

door to the building swings

14:33

open. A woman with a

14:35

clipboard steps out and says,

14:37

Lulu Wang? That's me, I

14:40

guess, even though that's not

14:42

how... My name is pronounced,

14:44

but it was before I

14:46

started correcting them. I follow

14:49

her into a big room.

14:51

Suddenly, I'm freezing. The AC

14:53

is on full blast after

14:55

waiting so long in the

14:57

heat. I walk

14:59

toward the huge grand piano

15:02

at the center of the

15:04

room. On my left, three

15:07

judges sit at a table.

15:09

It's covered in papers. The

15:11

score sheets. Each sheet has

15:14

precise categories, followed by the

15:16

numbers 1 to 5. I'll

15:19

be scored on stylization from

15:21

1 to 5. And so

15:23

on. I give

15:26

the judges what I hope is

15:28

a confident smile. They expect me

15:30

to be elegant, to play beautifully.

15:32

There's no sheet music in front

15:34

of me. I've practiced for months

15:36

and months and months to memorize

15:38

this piece. I played it so

15:40

many times that it's almost like

15:43

when you look at a word

15:45

for too long and it stops

15:47

making sense. There's so many notes.

15:49

What's the next one? Is the

15:51

next one an A? What note

15:53

comes after that? I feel like

15:55

I'm starting to psych myself out.

15:57

I can't think about it. I

16:00

have to let it

16:03

just be muscle memory.

16:05

I have to just

16:07

play. My fingers are

16:10

flying. It's almost fingers

16:12

are flying. It's almost robotic.

16:15

this music exactly

16:17

as I'm supposed

16:19

to play it,

16:22

exactly as expected.

16:24

I make it

16:26

through I make it through the performance. I

16:29

feel like it's not my best.

16:31

When I stand, I give a

16:33

slight bow to the judges. They

16:35

smile politely politely and thank

16:38

me, but remain poker -faced. I

16:40

have no have no idea how I

16:42

did. that it's over, I'm Now

16:44

that it's over, I'm relieved, Doing

16:46

well in these Doing

16:48

well in these competitions depends

16:50

on excelling at the technical

16:52

execution of music written over

16:55

200 years ago. ago. This

16:57

devotion to technique means I'm always doing

16:59

things in a way that's been done

17:01

before. things in a way never any

17:03

focus on. before. There's never any

17:05

focus on... What do I see?

17:07

What do I want to say?

17:09

As much as I wish I

17:11

could walk much as I wish I

17:13

could walk away from piano, I've been

17:16

doing it for so long. feel

17:18

silly feels silly to stop

17:20

now. everyone And everyone keeps reinforcing

17:22

that You're really good at

17:24

it. it. It's

17:26

as if their expectations

17:29

for me have become

17:31

my for myself. for

17:33

myself. I know I should always do well. If

17:35

I I give up piano, what

17:37

if if I'm no good

17:39

at anything else? else? What

17:41

What if I try and

17:43

fail? I'll have I'll have no

17:45

one else to blame. blame.

17:47

And And besides, if if I

17:49

give it up, all of of my

17:51

parents sacrifice. own

17:54

sacrifice. will be

17:56

for nothing. nothing. It's

18:05

a warm March day. A

18:08

vibrant parade makes its way

18:10

through the streets of Boston.

18:12

The air is filled with

18:15

loud music and the sound

18:17

of people cheering. The parade

18:19

floats are celebratory and boisterous,

18:22

but my attention is on

18:24

the people on the sidewalks.

18:26

The spectators. I see an

18:29

older woman selling jewelry at

18:31

a stand. She looks... Lively,

18:33

joyful, joyful. I cradle my

18:35

camera. The weight of it

18:38

feels satisfying in my hands.

18:40

I peer through the viewfinder

18:42

at her. The shudder snaps

18:45

with a soft click. I'm

18:47

here on an assignment for

18:49

my photography class. I'm in

18:52

my final year at Boston

18:54

College, where I'm majoring in

18:56

music and literature. I completed

18:59

all my core requirements, so

19:01

I figure I'll try something

19:03

new. This photography class is an

19:05

elective. We've only just started

19:07

talking about what makes an

19:10

image interesting, how to frame

19:12

it. I continue moving through

19:14

the crowd and my gaze

19:16

lands on a magician in

19:18

a bowler hat, showing his

19:20

card tricks to a kid.

19:22

The kid watches, amused, but

19:24

the magician's not smiling. I

19:26

lift my camera to my

19:28

eye. He looks right back

19:30

back back at me. He

19:32

looks right back back back

19:34

at me. It's like a

19:36

moment of confrontation. Him, seeing

19:38

me, seeing him. I capture

19:40

it. Shooting on film means

19:42

I won't see any of

19:44

the photos until I develop

19:46

them in the dark room.

19:48

So I don't know if

19:50

what I'm capturing is good

19:52

or bad. There's nothing for

19:54

me to compare myself to.

19:56

No one is doing the

19:58

same thing. It's freeing. I

20:01

focus on what I'm seeing. I

20:04

learn to recognize what

20:06

I'm seeing without judgment. I'm in

20:08

this moment. The dark room is another place for

20:10

discovery. It's where I dark room

20:12

is another place for discovery.

20:14

alone at night where I find

20:16

myself working alone at

20:18

night, long after the rain.

20:20

quiet. I mix chemicals in

20:23

the sink and then process

20:25

my negatives and trays on

20:27

the wide counter. I stare

20:30

at the print in my

20:32

tray and suddenly, there's this

20:34

person staring right back at

20:36

me. The caught in the middle

20:38

of his the trick as the young

20:41

boy car trick as the young boy watches

20:43

him. One by one, I hang

20:45

my photographs to dry. Time seems

20:47

to stop when seems to stop

20:49

when I'm in that dark room. by the

20:52

by the red light the the pungent

20:54

metallic smell of the chemicals. of the chemicals.

20:57

I wait. wait. I I curiously glance at

20:59

other at photos. each

21:01

with their own distinctive style and

21:03

perspective. style and perspective. a

21:05

few of my own photos few on

21:07

the line. photos drying to reveal themselves

21:10

that I don't remember seeing earlier in

21:12

the day. I don't remember

21:14

seeing earlier in the day. The texture

21:16

of a sidewalk. A foot in the

21:18

corner of the frame. Someone in the

21:20

background doing something interesting. something

21:23

interesting. remember the moment,

21:25

but it was over so fast.

21:27

so fast. and then I kept walking and it was

21:29

gone. and it was gone.

21:31

But now, it's here forever.

21:33

No one else is in the

21:36

one else is in the dark room with

21:38

me, I feel I feel like I'm

21:40

surrounded by life. I can almost

21:42

hear the sounds of the

21:44

parade all around me. There's

21:47

a secrecy to being here

21:49

too, by myself. No one

21:51

is waiting on the No

21:54

one is waiting on the other side of the

21:56

dark room be be like. Is it

21:58

good? I'm

22:01

not here to copy anyone,

22:03

or to look at sheet

22:05

music and interpret what somebody

22:07

wrote 200 years ago. I

22:09

don't strive to be judged

22:11

by fixed criteria. All I'm

22:14

thinking about is, how do

22:16

I make these images more

22:18

interesting? How do I look

22:20

deeper? It's liberating. It's as

22:22

if I'm learning how to

22:25

see for the first time.

22:28

Working with a camera is not something that's

22:30

ever been in my vision or my family's

22:32

vision for me. or my family's vision

22:34

for me. In it, there's

22:36

space for my own discoveries.

22:39

It's the most exhilarated I've

22:41

ever felt. There's

23:07

a here in the in for

23:09

Lulu. room for the

23:11

magic of being able to

23:13

do something for its own

23:15

for its own sake. Is

23:17

there something I wonder there

23:19

something I wonder more can do more

23:21

of in your life? for

23:24

just for its own sake.

23:26

because it will fix a

23:28

problem or because it's the

23:30

the right thing to do. do? I

24:06

roll up the sleeves of an

24:08

oversized button -down shirt that I stole.

24:10

I mean, borrowed from my partner. Over

24:13

top, I slip on my apron and tug

24:16

a giant farmer's hat onto my head. I

24:19

grab my shovel. With

24:22

the whole outfit, my brother tells me

24:24

I look like the gardener emoji. Stepping

24:28

into my backyard garden, I tilt

24:30

my head toward the California sun

24:32

and breathe in the scent of

24:34

earth. I

24:38

walk across the soft grass

24:40

towards the vegetable patch. I examine

24:42

the herb bed first. then

24:46

the lettuce bed. Looks like

24:48

a zucchini time again. Little zucchinis

24:50

have started popping out. I

24:54

walk around the trellis at the center

24:56

of the garden, which rises up from

24:58

a circle of earth by Perennial

25:03

and native flowers give the garden color. Purples,

25:07

deep burgundies. pops

25:09

of orange. I

25:11

breathe in their sweet aroma. My

25:16

garden has become my place to feel

25:18

grounded since my career has gotten busier

25:20

and busier. I'm 40 and

25:22

my love of photography has turned into

25:24

a love of filmmaking. I

25:27

write and direct film and television.

25:30

My work is improvisational. intuitive.

25:34

Now when I express something through

25:36

my art that someone else

25:38

recognizes, I feel seen. Even

25:41

so. it's easy to

25:43

slip into a rigid path. A

25:46

track. To

25:48

fall into someone else's agenda

25:50

with someone else's expectations. The

25:54

garden reminds me to give myself

25:56

space to follow my own curiosity.

26:00

At first, I just start

26:02

with a question. Can I

26:04

grow tomatoes? I get some

26:06

seeds, I get some bags,

26:08

I get some soil. And

26:10

bam! I get tomatoes. It's

26:12

incredible. Sun, water, seed, who

26:14

knew? I mean, I've known my

26:16

whole who knew? I

26:18

mean, I've known my whole life that... grow,

26:21

but I've never grown anything

26:23

from a seed. And then

26:26

it And then it becomes

26:28

something that I can

26:30

eat. eat. Each each each attempt

26:32

feels like a discovery. I

26:34

still find myself blown

26:36

away, like magic. The

26:38

garden reminds me that

26:41

if I plant the

26:43

seed, it will grow.

26:45

Now I've realized that

26:47

piano taught me the realized

26:49

that piano taught me the same thing. you

26:52

can get you can get better

26:54

at anything. you whether you

26:56

like it or not. not. But it's definitely more

26:58

fulfilling when you like it. when you like

27:00

it. parents have come to support my

27:02

decision not to pursue piano professionally. piano

27:05

I have the freedom to come back to it on

27:07

my own terms. on my own terms. thinking about

27:09

taking jazz piano lessons lessons and might work

27:11

on a piano score for my

27:13

next film. next film. There are ways for me

27:15

to not just play what somebody puts in front

27:17

of me, but to be part of a process

27:20

where I'm creating music to help tell a story.

27:22

to help tell a There's so much

27:24

room for me to make new discoveries

27:26

there. discoveries there. When

27:29

we up being told that there's one

27:31

way we're supposed to... one way

27:33

we're supposed to be, one path

27:35

that So many avenues for exploration

27:37

are closed off. avenues

27:39

for exploration are

27:41

closed joy in wandering

27:44

into the unfamiliar. into

27:46

the unfamiliar, just for

27:48

discover something new about

27:50

ourselves, something new about ourselves,

27:53

about people, about the

27:55

world. when we find

27:57

space away from from expectations

27:59

or Even own expectations,

28:02

we stumble into the sacred

28:04

space the free to wander.

28:07

where we're free to to

28:09

play. to play. We

28:11

can attune We can attune ourselves

28:13

to what is being asked of us. of

28:15

us, What can channel through

28:18

us, through outside of the limitations

28:20

of our own imagination? of our

28:22

own imagination. We open

28:25

ourselves up to the

28:27

joy of discovery. Thank

28:44

you, Lulu, Lulu. Lulu is a

28:46

fabulous Lulu is a fabulous

28:48

like many others, am so I, like

28:51

many others, did so grateful that

28:53

she did wander into the unfamiliar

28:55

film. into film. is one of my

28:57

absolute one of my absolute of the

28:59

movies of the past 10

29:01

years. initial training and

29:03

initial training and piano that

29:05

makes her the powerful creative talent

29:08

that she is today. Because she because

29:10

she understands discipline and

29:12

fundamentals. She She can

29:14

then let go into improvisation.

29:17

being able, as as she puts it.

29:20

to wander into the the

29:22

unfamiliar. Most of the time

29:24

in our closing Most of

29:26

the time in our closing I together.

29:28

you into I invite you into

29:30

the fundamentals. sharing classic techniques

29:33

and ideas. such as as

29:35

body awareness practices,

29:37

inquiry, concentration,

29:40

and all the rest. rest. But

29:42

but in honor of Lulu, and it is

29:44

an honor. we're going we're going

29:46

to improvise. Improvise from

29:48

our from our existing understanding

29:51

and experience of mindfulness. of

29:53

mindfulness. For some of

29:55

us, that will be that will be For others,

29:57

not so much. much. It is

29:59

matter. We're going to

30:01

improvise based on what

30:03

you know based on what the

30:05

way we'll do that is

30:08

by letting the mind

30:10

be free. by letting the your

30:12

body is right now, letting

30:15

it be like

30:17

it is. is right now, letting

30:19

it be it is. is.

30:21

The The posture, it

30:23

how it is. how

30:26

it is. as

30:28

they are. And

30:43

for the rest of this

30:45

meditation together, we're going to just

30:47

let the mind be free. just

30:49

let the mind be We're going to

30:51

give our mind permission our wander

30:53

into that unfamiliar, just

30:56

for the fun of

30:58

it. just for the different

31:00

today But different also going

31:02

to watch it also going to

31:04

letting our attention roam

31:06

free, and while

31:08

it roams, we'll watch

31:10

it. it. Just

31:12

watching where the mind goes,

31:15

the mind watching what's happening

31:17

now, and being

31:19

open to whatever

31:21

comes next. whatever comes

31:23

next. all. all.

31:25

the mind go, go.

31:28

it do what it

31:30

wants, it and watching it.

31:32

watching it. Giving the mind

31:34

freedom, and watching

31:37

with awareness, with

31:41

interest in what

31:43

comes next, what comes next

31:45

joy of The

32:08

body relaxed. relaxed.

32:11

The the body breathing. The

32:15

senses is open. The

32:17

mind open. And

32:19

just and

32:22

just watching our awareness

32:24

as it roams. watching,

32:43

watching the the cinema

32:45

screen of our mind. of

32:47

our mind, drenched

32:49

in freedom. freedom, free

32:52

of of expectation. free

32:56

of ties. noticing

32:58

any noticing any

33:00

expectations. even

33:02

the the subtle ones. and

33:05

loosening those those

33:07

two. Thank

33:23

Lulu. I'm so I'm

33:25

so excited to watch whatever comes

33:27

next. next. And thank you. I'm

33:29

excited for you to for

33:32

you to try this technique

33:34

again sometime by by yourself, maybe.

33:36

Watching whatever comes next.

33:38

Go well. We'd love

33:40

to hear your personal

33:43

We'd love to hear your personal reflections

33:45

from Lulu's episode. you How did you relate

33:47

to her story? You You

33:49

can find us on all your

33:51

social media platforms through our

33:53

handle at our handle at Meditative or you

33:56

can email us at us at hello at .com

34:01

Metative story is a way

34:03

to what story is

34:05

a executive producer producer is

34:08

The series is The series

34:10

is produced by Abrams.

34:12

Original music and sound

34:15

design by Ryan Holliday,

34:17

Lulu Wong and Eduardo

34:19

Rivera. Our script writers

34:21

are Marie Killaru, Dan

34:24

Neline, and Florence Williams.

34:26

Mixing and Brian Pew.

34:28

Our CEO and and Chairman

34:30

of the the board is Jeff

34:33

Berman. Waituart was co -founded

34:35

by June - by June

34:37

Cohen and Darren Triff.

34:39

Special thanks to Sarah

34:42

Tarta, Katie Blazing, Mariel

34:44

Karika, Nikki Williams, Kelsey

34:47

Cabotano, Tim Cronin, Sammy

34:49

Oputa, Louisa, Louisa Veliz,

34:52

Justin Winslow, Colin Howith,

34:54

Brandon Klein, Brandon Klein,

34:57

Alfonso Bravo, Bradwell, Timothy

34:59

Lou Lee, and Dave

35:02

Fisher. And I'm Rohan

35:04

Gunatilica, creator of mindfulness

35:06

creator of the

35:08

all-new Mindfulness cards for

35:11

the family, and

35:13

your host. Visit

35:15

meditativestory.com to find the find

35:17

the transcript for this episode.

35:19

episode.