Shadowing Practice: INSIDE OUT 3 A NEW EMOTION! ๐ŸŽฌ๐Ÿฅฆ๐Ÿ”ฅ - Learn English Speaking with Video

ื‘ื—ืจ ืžืฆื‘ ืชืจื’ื•ืœ

ื›ืœ ืžืฆื‘ ืคื•ืชื— ื—ื“ืจ ืชืจื’ื•ืœ ื‘ืžืกืš ืžืœื.

144 ืžืฉืคื˜ื™ื
ืื ื”ืžืฉืคื˜ื™ื ืงืฆืจื™ื ืื• ืืจื•ื›ื™ื ืžื“ื™, ืœื—ืฅ ืขืœ ืขืจื•ืš ื›ื“ื™ ืœื”ืชืื™ื ืื•ืชื.
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From Riley is actually director's own daughter to Jill Anderson is Gru's daughter.
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Today we're breaking down hidden details from Inside Out 2 that even true fans completely missed.
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If you love Riley, drop a comment below.
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And if you're a fan of Joy, make sure to hit that subscribe button right now.
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Number 1.
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Riley's mom Jill Anderson is actually Gru's daughter.
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In Despicable Me 2, if you look closely at Lucy Wilde's license plate, it says Minnesota.
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That's the same state where Riley Anderson and her family lived before moving away.
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Then, fans notice something else.
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Jill looks a lot like an older Margot Grew.
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And in Despicable Me 4, the family goes into hiding with new names and new identities.
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So what if Margot grew up and became Jill Anderson?
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There's one more clue.
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At one point, Riley's mom daydreams about an old boyfriend with a charming Spanish accent.
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Some fans think that sounds a lot like Carlos.
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Would these two movie worlds really be connected?
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Probably not.
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There's no official evidence, and this is just a fun fan theory.
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What do you think?
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Coincidence?
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Or a hidden connection?
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Number 2.
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Did you know Riley was inspired by the director's own daughter?
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Nine years ago, Pete Docter, the director of Inside Out, shared where Riley's story came from.
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He said the idea started when he watched his daughter Ellie grow up.
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Pete explained that Ellie had also voiced young Ellie in Up.
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noticed that, as she got older, she reminded him of Riley.
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That's what inspired him to create a story about the emotions inside a growing child.
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So every time you watch Riley on screen, you're seeing a character inspired by a real moment from the director's own family.
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Number 3.
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Coming in hot, an exclusive first look at Park Pixar's Inside Out 2, produced by Disney.
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In this epic sneak peek, emotions are running higher than ever.
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Get ready to meet the voices behind the feels.
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Amy Palmer as the lovable new character, Joe, Tony Hale bringing the panic as fear, and the brilliant Maya Hawke as the all-too-relatable anxiety.
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Whether you laughed, cried, or emotionally spiraled during the first Inside Out, this is the clip that will hit you right in the core memory.
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Coming to you live in Riley's mind, it's time to greet your Team Riley!
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Woo!
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Our little girl's growing up so fast.
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I'm anxiety.
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I'm one of Riley's new emotions.
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A new emotion.
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You're just super jazzed to be here.
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What do you mean, we?
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I'm empty.
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Oh, look at your hair.
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OK, who's this guy?
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What's your name, big fella?
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That's embarrassment.
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He's a really sweet guy.
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That's on we. On what? On where? On why?
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Oh, nicknames.
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I'm gonna call you Wee Wee.
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No. Are we in a dream right now?
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Please, can somebody pinch me?
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Ow!
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We're going!
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Everybody act regular!
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Mama!
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Number four.
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4. Did you know Riley is secretly hidden in other Pixar movies?
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If you watch Pixar movies closely, you'll find a fun hidden cameo.
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In Finding Dory, there's a school field trip visiting the aquarium.
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Look carefully.
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One of the kids looks just like Riley from Inside Out.
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But that's not all.
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One of Riley's classmates is there too.
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If you zoom in, you'll notice he's wearing a shirt with the number 86.
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That's a hidden tribute to 1986, the year Steve Jobs bought Pixar and help turn it into the legendary animation studio we know today.
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Pixar loves hiding little secrets like these in their movies.
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Number 5.
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Did you know Pixar has already created secret emotions that never appeared and they'll finally show up in Inside Out 3?
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First is Guilt, who carries a huge backpack because Guilt feels like a heavy weight.
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Then there's fascination, a super curious emotion.
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Pixar even made two versions, one as a cute baby and another as a young surfer to show how Riley's curiosity grows.
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Another is Humiliation, who appears when Riley feels embarrassed or not good enough.
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Pixar almost used this emotion twice but removed it both times.
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There's also Obsession, who takes over when Riley can't stop thinking about someone or something she loves.
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And the biggest fan favorite is Love.
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Pixar hasn't revealed this emotion yet, but the Inside Out 2 director hinted that love could have a Spanish-inspired personality
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and may help Riley through her very first crush.
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If Inside Out 3 arrives around 2030, these hidden emotions could finally become part of Riley's mind.
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Number 6.
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Did you know Inside Out changed a scene for different countries?
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In the original US version, Riley's dad puts broccoli on her plate and tells her she can't have candy until she finishes it.
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But in the Japanese version, Pixar changed the broccoli into green peppers.
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Why?
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Because Pixar wanted the scene to feel more relatable to kids in Japan.
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Many Japanese children don't dislike broccoli the same way American kids often do, but green peppers are a food that many kids there commonly avoid.
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It's a tiny change, but it shows how Pixar adjusts small details to connect with audiences around the world.
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Sometimes the smallest changes make a story feel more personal.
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Number 7.
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These fun facts you missed in Inside Out.
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Number 1.
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Did you know the emotions live almost like real people?
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They have beds to sleep in, cook food using anger's fire, and even breathe the oxygen inside Riley's brain.
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Number 2.
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Riley really wants to fit in with Val's group.
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She even copies Val's hairstyle because she thinks it will help her belong.
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Number 3.
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One of Riley's old pizza memories gets left behind.
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It's sad because little Riley used to love pizza until someone put broccoli on it.
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Number 4.
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Have you noticed that both anxiety and fear have floating eyebrows?
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That's because the two emotions are very similar.
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They both worry about danger, so Pixar gave them matching features to show how closely they're connected.
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Number 8.
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Did you notice Joy finally gets angry?
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Everyone is talking about this scene.
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Joy is always positive, but then she suddenly snaps and says, Do you know how hard it is to stay positive all the time?
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That made fans ask one big question, can Joy actually feel anger?
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Some fans think Joy has her own emotions inside her others believe she's slowly changing
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and becoming a more complex emotion just like riley is growing up
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but there's another simple explanation as riley gets older all of
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her emotions become more realistic even joy can get frustrated sometimes what do you think was joy really angry
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or was she just frustrated number nine did you notice this
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hidden code in inside out 2 pixar hid the same secret number all over the movie.
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Look closely and you'll keep seeing R13 and RA13.
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But what do they mean?
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The R stands for Riley and 13 is her age and inside out too.
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The machine's joy and sadness use are marked R13.
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The forklift has the license plate RA13.
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The truck delivering the rumor mill also says RA13.
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Even the mine patrol vehicle has the same code.
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RA stands for Riley Anderson, and 13 reminds us that Riley is 13 years old throughout the movie.
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Pixar hid this little detail in several scenes, and most fans never noticed it.
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Number 10.
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We all know joy is the main emotion inside Riley Anderson's mind. But wait.
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Riley's mom seems to be led by sadness, and Riley's dad seems to be led by anger.
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What does that mean?
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By the end of the movie, Riley creates her first mixed memory, showing that emotions become more complex as we grow up.
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So maybe Riley's mom isn't led by sadness alone.
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Instead, sadness could represent kindness and empathy.
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And Riley's dad's anger might actually represent being protective of his family.
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It's a clever way to show that emotions can have deeper meanings as adults.
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But here's one more mystery.
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Why is Riley the only main character with both male and female emotions inside her mind?
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Pixar has never officially explained this, so fans have come up with many different theories.
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What do you think it means?
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And that's it!
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Which one surprised you the most?
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Theory?
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Or tiny details?
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Let me know in the comments!
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And if you want next part, hit that like button and make sure you're subscribed, because we're uncovering even more secrets next time!

ื”ื•ืจื“ ืืคืœื™ืงืฆื™ื”

ื›ืœ ืžื” ืฉืืชื” ืฆืจื™ืš ื›ื“ื™ ืœื“ื‘ืจ ื‘ืฉื˜ืฃ

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ืื•ืฆืจ ืžื™ืœื™ืื‘ื ื” ืืช ืžืื’ืจ ื”ืžื™ืœื™ื ืฉืœืš
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ืื•ืฆืจ ืžื™ืœื™ื ื•ื”ืขืจื•ืช ื”ื’ื™ื™ื” ืœืฉื™ืขื•ืจ ื”ื–ื”

ืฉื™ืขื•ืจ ื”ื“ื™ื‘ื•ืจ ื”ื–ื” ื‘ืจืžื” B2 ืžื‘ื•ืกืก ืขืœ ื”ืกืจื˜ื•ืŸ โ€œINSIDE OUT 3 A NEW EMOTION! ๐ŸŽฌ๐Ÿฅฆ๐Ÿ”ฅโ€. ื”ืžื™ืœื™ื ืฉื—ื•ื–ืจื•ืช ื”ื›ื™ ื”ืจื‘ื”: riley, emotion, inside, pixar, fan. ื‘ืกืจื˜ื•ืŸ ื”ื–ื” ื™ืฉ 144 ืžืฉืคื˜ื™ื ื•-1390 ืžื™ืœื™ื ืœืชืจื’ื•ืœ Shadowing. ื”ื“ื™ื‘ื•ืจ ื ืžืฉืš 8:26. ื”ื“ื•ื‘ืจ ืžื“ื‘ืจ ื‘ืงืฆื‘ ื˜ื‘ืขื™ ืฉืœ ื›-165 ืžื™ืœื™ื ื‘ื“ืงื”, ืงืจื•ื‘ ืœืฉื™ื—ื” ื™ื•ืžื™ื•ืžื™ืช. ืจืง 80% ืžื”ืžื™ืœื™ื ื ืžืฆืื•ืช ื‘ื™ืŸ 3,000 ื”ืžื™ืœื™ื ื”ื ืคื•ืฆื•ืช ื‘ื™ื•ืชืจ ื‘ืื ื’ืœื™ืช, ื›ืš ืฉืื•ืฆืจ ื”ืžื™ืœื™ื ืžืืชื’ืจ. 30 ืžืชื•ืš 144 ื”ืžืฉืคื˜ื™ื ืฉืœื• ื”ื ืฉืืœื•ืช, ื›ืš ืฉื–ื” ืชืจื’ื•ืœ ื˜ื•ื‘ ืœืื™ื ื˜ื•ื ืฆื™ื” ืฉืœ ืฉืืœื•ืช ื•ืœืชืฉื•ื‘ื•ืช ืงืฆืจื•ืช.

ืื•ืฆืจ ืžื™ืœื™ื ืžืจื›ื–ื™ ื‘ืกืจื˜ื•ืŸ ื”ื–ื”

15 ื”ืžื™ืœื™ื ื”ืžืชืงื“ืžื•ืช ื‘ื™ื•ืชืจ ื‘ืกืจื˜ื•ืŸ, ืขื ื”ื”ื’ื™ื™ื” ื•ื”ืžืฉืžืขื•ืช ืฉืœื”ืŸ:

ืžื™ืœื”ื”ื’ื™ื™ื”ืžืฉืžืขื•ืช
emotion ืฉื ืขืฆื/ษชหˆmษ™สŠ.สƒษ™n/ืจึถื’ึถืฉื
broccoli ืฉื ืขืฆื/หˆbษนษ‘.kษ™.li/ื‘ึฐึผืจื•ึนืงื•ึนืœึดื™
sadness ืฉื ืขืฆื/หˆsรฆdnษ™s/ืขืฆื‘
inspire ืคื•ืขืœ/ษชnหˆspaษชษ™(ษน)/ื”ืฉืจื”
frustrate ืคื•ืขืœ/หˆfษนสŒsหŒtษนeษชt/ืชึดึผืกึฐื›ึตึผืœ
subscribe ืคื•ืขืœ/sษ™bหˆskษนaษชb/ื ึดืžึฐื ึธื”
pepper ืฉื ืขืฆื/หˆpษ›p.ษ™/ืคึดึผืœึฐืคึตึผืœ, ืคึดึผืœึฐืคึถึผืœึถืช
classmate ืฉื ืขืฆื/หˆklรฆs.meษชt/ื—ึธื‘ึตืจ ืœึทื›ึดึผืชึธึผื”
daydream ืคื•ืขืœ/หˆdeษชdษนiหm/ื—ืœื ื‘ื”ืงื™ืฅ
eyebrow ืฉื ืขืฆื/หˆaษชหŒbษนaสŠ/ื’ึทึผื‘ึธึผื”
forklift ืฉื ืขืฆื/หˆfษ”ษนklษชft/ืžึทืœึฐื’ึตึผื–ึธื”
hairstyle ืฉื ืขืฆืืชืกืจื•ืงืช \ ืชึดึผืกึฐืจึนืงึถืช
surfer ืฉื ืขืฆื/หˆsษœห(ษน)fษ™(ษน)/ื’ึผื•ึนืœึตืฉื
aquarium ืฉื ืขืฆื/ษ™หˆkwษ›ษน.i.jษ™m/ืืงื•ื•ืจื™ื•ื, ืึทืงึฐื•ึทืจึฐื™ื•ึผื
peek ืคื•ืขืœ/piหk/ื”ืฆื™ืฅ

Phrasal verbs ืฉืชืฉืžืขื•

ืžื™ืœื”ืžืฉืžืขื•ืช
grow up ืคื•ืขืœื’ึธึผื“ึทืœ

ืžืฉืคื˜ื™ื ืฉื›ื“ืื™ ืœื—ื–ื•ืจ ืขืœื™ื”ื

ืžืฉืคื˜ื™ื ืงืฆืจื™ื ื•ืฉืœืžื™ื ืžื”ืกืจื˜ื•ืŸ ืฉืืคืฉืจ ืœื”ืฉืชืžืฉ ื‘ื”ื ื‘ืฉื™ื—ื” ื™ื•ืžื™ื•ืžื™ืช:

  • What do you mean, we?
  • What's your name, big fella?
  • Are we in a dream right now?
  • Please, can somebody pinch me?
  • What do you think it means?

ื“ืงื“ื•ืง ื‘ืกืจื˜ื•ืŸ ื”ื–ื”

ื”ืžื‘ื ื™ื ืฉื”ื“ื•ื‘ืจ ืžืฉืชืžืฉ ื‘ื”ื ื”ื›ื™ ื”ืจื‘ื”, ืขื ื”ืžื™ืœื™ื ื”ืžื“ื•ื™ืงื•ืช ืžื”ืกืจื˜ื•ืŸ:

ืžื‘ื ื”ื‘ืกืจื˜ื•ืŸ
ืžืฉืคื˜ื™ ืชื ืื™ (Conditional sentences) if + clause, will/would + verb โ€” ืชื ืื™ ื•ืชื•ืฆืื” ืฉืœื•If you watch Pixar movies closely, you'll find ยท If you zoom in, you'll notice
ืกื‘ื™ืœ (Passive voice) be + past participle โ€” ื”ื“ื’ืฉ ื”ื•ื ืขืœ ืžื” ืฉืงื•ืจื”, ืœื ืขืœ ืžื™ ืฉืขื•ืฉื” ืืช ื”ืคืขื•ืœื”be connected ยท was inspired ยท is secretly hidden
ื”ื•ื•ื” ืžื•ืฉืœื (Present perfect) have/has + past participle โ€” ืคืขื•ืœื” ืฉืงืจืชื” ื‘ืขื‘ืจ ื•ืขื“ื™ื™ืŸ ื™ืฉ ืœื” ื—ืฉื™ื‘ื•ืช ืื• ื”ืฉืคืขื” ืขื›ืฉื™ื•has already created ยท hasn't revealed ยท Have you noticed

ื”ื’ื™ื™ื” ืฉืฉื•ื•ื” ืœืฉื™ื ืœื‘ ืืœื™ื”

ื”ื“ื•ื‘ืจ ืžืฉืชืžืฉ ื‘-22 ืงื™ืฆื•ืจื™ื ื•ืฆื•ืจื•ืช ืžืงื•ืฆืจื•ืช, ื›ืžื• I'm, you're, we're. ืืžืจื• ืื•ืชื ื‘ืฆื•ืจื” ื”ืงืฆืจื”, ื›ืคื™ ืฉืืชื ืฉื•ืžืขื™ื ืื•ืชื.

  • ื”ืฆืœื™ืœื™ื ืฉืœ โ€œshโ€ ื•-โ€œzhโ€: emotion /ษชหˆmษ™สŠ.สƒษ™n/, fascination /fรฆsษชหˆneษชสƒษ™n/, emotionally /ษชหˆmษ™สŠสƒษ™nษ™li/, crush /kษนสŒสƒ/, animation /หŒรฆn.ษชหˆmeษช.สƒษ™n/
  • ืžื™ืœื™ื ืืจื•ื›ื•ืช โ€” ืฉื™ืžื• ืœื‘ ืœื”ื˜ืขืžื”: fascination /fรฆsษชหˆneษชสƒษ™n/, aquarium /ษ™หˆkwษ›ษน.i.jษ™m/, embarrassment /ษชmหˆbรฆษน.ษ™s.mษ™nt/, coincidence /kษ™สŠหˆษชnsษชdษ™ns/, curiosity /หŒkjสŠษน.iหˆษ‘.sษ™.ti/

ืฆืœื™ืœื™ื ืฉื“ื•ื‘ืจื™ ืขื‘ืจื™ืช ืžืชืงืฉื™ื ื‘ื”ื:

  • /รฆ/ โ€” ืคืชื•ื— ื™ื•ืชืจ ืžื”-โ€œืึถโ€ ื”ืขื‘ืจื™ืช, ืœื ื›ืžื• โ€œaโ€ ื‘-โ€œcupโ€: sadness /หˆsรฆdnษ™s/, classmate /หˆklรฆs.meษชt/, fascination /fรฆsษชหˆneษชสƒษ™n/, embarrassment /ษชmหˆbรฆษน.ษ™s.mษ™nt/, backpack /หˆbรฆk.pรฆk/
  • /r/ โ€” ื”ืœืฉื•ืŸ ืœื ื ื•ื’ืขืช ื‘ืฉื•ื ืžืงื•ื, ืœื ื”-โ€œืจโ€ ื”ื’ืจื•ื ื™ืช: broccoli /หˆbษนษ‘.kษ™.li/, inspire /ษชnหˆspaษชษ™(ษน)/, frustrate /หˆfษนสŒsหŒtษนeษชt/, relatable [ษนษชหˆleษช.tษ™.bษซฬฉ], subscribe /sษ™bหˆskษนaษชb/
  • ืขื™ืฆื•ืจ ืงื•ืœื™ ื‘ืกื•ืฃ ืžื™ืœื” โ€” /b/, /d/, /g/, /z/, /v/ ื‘ืœื™ ืœื”ืคื•ืš ืื•ืชื ืœืื˜ื•ืžื™ื: subscribe /sษ™bหˆskษนaษชb/, protective /pษนษ™หˆtษ›k.tษชv/

ืื™ืš ืœืชืจื’ืœ ืขื ื”ืกืจื˜ื•ืŸ ื”ื–ื”

  1. ื”ืงืฉื™ื‘ื• ืœื›ืœ ื”ืกืจื˜ื•ืŸ ืคืขื ืื—ืช ื‘ืœื™ ืœื“ื‘ืจ, ื•ืจืฉืžื• ืืช ื”ืžื™ืœื™ื ืฉืืชื ืœื ืžื›ื™ืจื™ื.
  2. ื”ืชื—ื™ืœื• ื‘ืžื”ื™ืจื•ืช 0.75ร—, ืชืจื’ืœื• Shadowing ืžืฉืคื˜ ืื—ืจ ืžืฉืคื˜, ื•ื—ื–ืจื• ืœืžื”ื™ืจื•ืช ืจื’ื™ืœื” ื›ืฉื–ื” ืžืจื’ื™ืฉ ืงืœ.
  3. ื”ืงืœื™ื˜ื• ืืช ืขืฆืžื›ื ื•ื”ืฉื•ื• ืœืžืงื•ืจ, ืชื•ืš ืชืฉื•ืžืช ืœื‘ ืœืžื™ืœื™ื ื›ืžื• emotion, broccoli, sadness.

ืžื”ื™ ื˜ื›ื ื™ืงืช ื”ืฉืื“ื•ืื™ื ื’?

ืฉืื“ื•ืื™ื ื’ ื”ื™ื ื˜ื›ื ื™ืงืช ืœืžื™ื“ืช ืฉืคื” ืžื‘ื•ืกืกืช ืžื“ืข ืฉืคื•ืชื—ื” ื‘ืžืงื•ืจ ืœื”ื›ืฉืจืช ืžืชื•ืจื’ืžื ื™ื ืžืงืฆื•ืขื™ื™ื ื•ืคื•ืคื•ืœืจื™ืช ืขืœ ื™ื“ื™ ื”ืคื•ืœื™ื’ืœื•ื˜ ื“"ืจ ืืœื›ืกื ื“ืจ ืืจื’ื•ืืœืก. ื”ืฉื™ื˜ื” ืคืฉื•ื˜ื” ืืš ืขื•ืฆืžืชื™ืช: ืืชื” ืžืงืฉื™ื‘ ืœืื•ื“ื™ื• ื‘ืื ื’ืœื™ืช ื™ืœื™ื“ื™ืช ื•ื—ื•ื–ืจ ืขืœื™ื• ื‘ืงื•ืœ ืจื ืžื™ื“ โ€” ื›ืžื• ืฆืœ ื”ืขื•ืงื‘ ืื—ืจื™ ื”ื“ื•ื‘ืจ ืขื ืขื™ื›ื•ื‘ ืฉืœ 1โ€“2 ืฉื ื™ื•ืช ื‘ืœื‘ื“. ื‘ื ื™ื’ื•ื“ ืœื”ืื–ื ื” ืคืกื™ื‘ื™ืช ืื• ืชืจื’ื™ืœื™ ื“ืงื“ื•ืง, ืฉืื“ื•ืื™ื ื’ ืžื›ืจื™ื— ืืช ื”ืžื•ื— ื•ื”ืฉืจื™ืจื™ื ื‘ืคื” ืœืขื‘ื“ ื•ืœืฉื—ื–ืจ ื“ืคื•ืกื™ ื“ื™ื‘ื•ืจ ืืžื™ืชื™ื™ื ื‘ื• ื–ืžื ื™ืช. ืžื—ืงืจื™ื ืžืจืื™ื ืฉื–ื” ืžืฉืคืจ ืžืฉืžืขื•ืชื™ืช ืืช ื“ื™ื•ืง ื”ื”ื’ื™ื™ื”, ื”ืื™ื ื˜ื•ื ืฆื™ื”, ื”ืงืฆื‘, ื”ื“ื™ื‘ื•ืจ ื”ืžื—ื•ื‘ืจ, ื”ื‘ื ืช ื”ืฉืžื™ืขื” ื•ืฉื˜ืฃ ื”ื“ื™ื‘ื•ืจ โ€” ืžื” ืฉื”ื•ืคืš ืื•ืชื• ืœืื—ืช ื”ืฉื™ื˜ื•ืช ื”ื™ืขื™ืœื•ืช ื‘ื™ื•ืชืจ ืœื”ื›ื ื” ืœIELTS Speaking ื•ืœืชืงืฉื•ืจืช ื‘ืื ื’ืœื™ืช ื‘ืขื•ืœื ื”ืืžื™ืชื™.

ื˜ื›ื ื™ืงืช Shadowing: ืงืจื ืืช ื”ืžื“ืจื™ืš ื”ืžืœื ืฉืœื‘ ืื—ืจ ืฉืœื‘ โ†’