Application For Pupil Leave Of Absence From: Fill & Download for Free

March 3, 2021The principal, (or the teacher on the subject)Metropolitan Utopian school,Station Road,………Dear Sir/Ma’am/Miss,Subject: Application for leave from attending the school and examination.With profound regrets, I write this to express sincere apology for my inability to attend my classes and the examination to be held today.(You can explain the circumstances that made you miss the examination. Some examples are given for guidance).I have been running temperature, accompanied by cough and sore throat—ominous symptoms of Covid-19—since last evening. I have made an appointment with the hospital for coronavirus test.I am laid up in the bed with fever and cold from the last afternoon, with body temperature rising up to 102° Fahrenheit.I attended a gala birthday party of a friend and, I'm ashamed to say, couldn't hold back myself from overheating. The result was disastrous—-frequent trips to the toilet and intermittent loud sounding flatulence. I couldn't risk the embarrassment it could cause in the exam hall.I once again offer my apology and request you to grant me leave of absence for today/2 days/3 days and excuse me from attending the examination/s.(If the school authority requires a note from the doctor, you should attach or promise to submit it at a later date).Your pupil,(Your name)Roll No 42Class VIIGuardian’s signature

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time. The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. After being orphaned at age 10, he lived for five years with his eldest brother Johann Christoph, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar, where he expanded his organ repertory, and Köthen, where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened during some of his earlier positions, he had difficult relations with his employer, a situation that was little remedied when he was granted the title of court composer by his sovereign, Augustus, Elector of Saxony and King of Poland, in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750 at the age of 65. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue. Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals (and later also websites) exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including, for instance, the Air on the G String, and of recordings, such as three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death. Bach was born in 1685 in Eisenach, in the duchy of Saxe-Eisenach, into an extensive musical family. His father, Johann Ambrosius Bach, was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, and his brother Johann Christoph Bach taught him the clavichord and exposed him to much of the contemporary music. Apparently on his own initiative, Bach attended St. Michael's School in Lüneburg for two years. After graduating, he held several musical posts across Germany, including Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, and Thomaskantor in Leipzig, a position of music director at the main Lutheran churches and educator at the Thomasschule. He received the title of "Royal Court Composer" from Augustus III in 1736. Bach's health and vision declined in 1749, and he died on 28 July 1750. Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. He was the eighth and youngest child of Johann Ambrosius, who likely taught him violin and basic music theory. His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–1693), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach's mother died in 1694, and his father died eight months later. The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach (1671–1721), the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg. There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private, and blank ledger paper of that type was costly. He received valuable teaching from his brother, who instructed him on the clavichord. J. C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob Froberger; North German composers; Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, and Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium. By 3 April 1700, Bach and his schoolfriend Georg Erdmann—who was two years Bach's elder—were enrolled in the prestigious St. Michael's School in Lüneburg, some two weeks' travel north of Ohrdruf. Their journey was probably undertaken mostly on foot. His two years there were critical in exposing Bach to a wider range of European culture. In addition to singing in the choir, he played the school's three-manual organ and harpsichords. He came into contact with sons of aristocrats from northern Germany who were sent to the highly selective school to prepare for careers in other disciplines. While in Lüneburg, Bach had access to St. John's Church and possibly used the church's famous organ from 1553, since it was played by his organ teacher Georg Böhm. Because of his musical talent, Bach had significant contact with Böhm while a student in Lüneburg, and he also took trips to nearby Hamburg where he observed "the great North German organist Johann Adam Reincken". Stauffer reports the discovery in 2005 of the organ tablatures that Bach wrote, while still in his teens, of works by Reincken and Dieterich Buxtehude, showing "a disciplined, methodical, well-trained teenager deeply committed to learning his craft". In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen, Bach was appointed court musician in the chapel of Duke Johann Ernst III in Weimar. His role there is unclear, but it probably included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ and give the inaugural recital at the New Church (now Bach Church) in Arnstadt, located about 30 kilometres (19 mi) southwest of Weimar. In August 1703, he became the organist at the New Church, with light duties, a relatively generous salary, and a new organ tuned in a temperament that allowed music written in a wider range of keys to be played. Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir. He called one of them a "Zippel Fagottist" (weenie bassoon player). Late one evening this student, named Geyersbach, went after Bach with a stick. Bach filed a complaint against Geyersbach with the authorities. They acquitted Geyersbach with a minor reprimand and ordered Bach to be more moderate regarding the musical qualities he expected from his students. Some months later Bach upset his employer by a prolonged absence from Arnstadt: after obtaining leave for four weeks, he was absent for around four months in 1705–1706 to visit the organist and composer Dieterich Buxtehude in the northern city of Lübeck. The visit to Buxtehude involved a 450-kilometre (280 mi) journey each way, reportedly on foot. In 1706, Bach applied for a post as organist at the Blasius Church in Mühlhausen. As part of his application, he had a cantata performed on Easter, 24 April 1707, likely an early version of his Christ lag in Tödes Banden. A month later Bach's application was accepted and he took up the post in July. The position included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. Bach was able to convince the church and town government at Mühlhausen to fund an expensive renovation of the organ at the Blasius Church. In 1708 Bach wrote Gott ist mein König, a festive cantata for the inauguration of the new council, which was published at the council's expense. Bach left Mühlhausen in 1708, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians. Bach and his wife moved into a house close to the ducal palace. Later the same year, their first child, Catharina Dorothea, was born, and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729. Three sons were also born in Weimar: Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Gottfried Bernhard. Johann Sebastian and Maria Barbara had three more children, who however did not live to their first birthday, including twins born in 1713. Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and include influences from abroad. He learned to write dramatic openings and employ the dynamic rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still regularly performed. Bach was particularly attracted to the Italian style, in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.In Weimar, Bach continued to play and compose for the organ and perform concert music with the duke's ensemble. He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier ("clavier" meaning clavichord or harpsichord), consisting of two books, each containing 24 preludes and fugues in every major and minor key. Bach also started work on the Little Organ Book in Weimar, containing traditional Lutheran chorale tunes set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Market Church of Our Dear Lady. In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a church cantata monthly in the castle church. The first three cantatas in the new series Bach composed in Weimar were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, which coincided with the Annunciation that year; Weinen, Klagen, Sorgen, Zagen, BWV 12, for Jubilate Sunday; and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 for Pentecost. Bach's first Christmas cantata, Christen, ätzet diesen Tag, BWV 63, was premiered in 1714 or 1715. In 1717, Bach eventually fell out of favour in Weimar and, according to a translation of the court secretary's report, was jailed for almost a month before being unfavourably dismissed: "On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on 2 December was freed from arrest with notice of his unfavourable discharge." Leopold, Prince of Anhalt-Köthen, hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well and gave him considerable latitude in composing and performing. The prince was a Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular, including the orchestral suites, cello suites, sonatas and partitas for solo violin, and Brandenburg Concertos. Bach also composed secular cantatas for the court, such as Die Zeit, die Tag und Jahre macht, BWV 134a. A significant influence upon Bach's musical development during his years with the prince is recorded by Stauffer as Bach's "complete embrace of dance music, perhaps the most important influence on his mature style other than his adoption of Vivaldi's music in Weimar." Despite being born in the same year and only about 130 kilometres (80 mi) apart, Bach and Handel never met. In 1719, Bach made the 35-kilometre (22 mi) journey from Köthen to Halle with the intention of meeting Handel; however, Handel had left the town. In 1730, Bach's oldest son, Wilhelm Friedemann, travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not take place. On 7 July 1720, while Bach was away in Carlsbad with Prince Leopold, Bach's wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 16 years his junior, who performed at the court in Köthen; they married on 3 December 1721. Together they had 13 more children, 6 of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–1781); Johann Christoph Friedrich and Johann Christian, who both, especially Johann Christian, became significant musicians; Johanna Carolina (1737–1781); and Regina Susanna (1742–1809). In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig, which provided music for four churches in the city: the Thomaskirche and Nikolaikirche (St. Nicholas Church) and to a lesser extent the Neue Kirche (New Church) and Peterskirche (St. Peter's Church). This was "the leading cantorate in Protestant Germany", located in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. During that time he gained further prestige through honorary appointments at the courts of Köthen and Weissenfels, as well as that of the Elector Frederick Augustus (who was also King of Poland) in Dresden. Bach frequently disagreed with his employer, Leipzig's city council, which he regarded as "penny-pinching". Johann Kuhnau had been Thomaskantor in Leipzig from 1701 until his death on 5 June 1722. Bach had visited Leipzig during Kuhnau's tenure: in 1714 he attended the service at the St. Thomas Church on the first Sunday of Advent, and in 1717 he had tested the organ of the Paulinerkirche. In 1716 Bach and Kuhnau had met on the occasion of the testing and inauguration of an organ in Halle. After being offered the position, Bach was invited to Leipzig only after Georg Philipp Telemann indicated that he would not be interested in relocating to Leipzig. Telemann went to Hamburg, where he "had his own struggles with the city's senate".Bach was required to instruct the students of the Thomasschule in singing and provide church music for the main churches in Leipzig. He was also assigned to teach Latin but was allowed to employ four "prefects" (deputies) to do this instead. The prefects also aided with musical instruction. A cantata was required for the church services on Sundays and additional church holidays during the liturgical year. Bach usually led performances of his cantatas, most of which were composed within three years of his relocation to Leipzig. The first was Die Elenden sollen essen, BWV 75, performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant. Of the more than 300 cantatas which Bach composed in Leipzig, over 100 have been lost to posterity. Most of these works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724 and composed only chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 62, and Wie schön leuchtet der Morgenstern, BWV 1. Bach drew the soprano and alto choristers from the school and the tenors and basses from the school and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets. As part of his regular church work, he performed other composers' motets, which served as formal models for his own. Bach's predecessor as cantor, Johann Kuhnau, had also been music director for the Paulinerkirche, the church of Leipzig University. But when Bach was installed as cantor in 1723, he was put in charge only of music for festal (church holiday) services at the Paulinerkirche; his petition to also provide music for regular Sunday services there (for a corresponding salary increase) went all the way to the Elector but was denied. After this, in 1725, Bach "lost interest" in working even for festal services at the Paulinerkirche and appeared there only on "special occasions". The Paulinerkirche had a much better and newer (1716) organ than did the Thomaskirche or the Nikolaikirche. Bach was not required to play any organ in his official duties, but it is believed he liked to play on the Paulinerkirche organ "for his own pleasure". Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by Telemann. This was one of the dozens of private societies in the major German-speaking cities that were established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions". Year round, Leipzig's Collegium Musicum performed regularly in venues such as the Café Zimmermann, a coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and keyboard concertos. In 1733, Bach composed a Kyrie–Gloria Mass in B minor which he later incorporated in his Mass in B minor. He presented the manuscript to the Elector in an eventually successful bid to persuade the prince to give him the title of Court Composer. He later extended this work into a full mass by adding a Credo, Sanctus, and Agnus Dei, the music for which was partly based on his own cantatas and partly original. Bach's appointment as Court Composer was an element of his long-term struggle to achieve greater bargaining power with the Leipzig council. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach held the directorship of the Collegium Musicum. In 1735 Bach started to prepare his first publication of organ music, which was printed as the third Clavier-Übung in 1739. From around that year he started to compile and compose the set of preludes and fugues for harpsichord that would become his second book of The Well-Tempered Clavier. From 1740 to 1748 Bach copied, transcribed, expanded or programmed music in an older polyphonic style (stile antico) by, among others, Palestrina (BNB I/P/2), Kerll (BWV 241), Torri (BWV Anh. 30), Bassani (BWV 1081), Gasparini (Missa Canonica) and Caldara (BWV 1082). Bach's own style shifted in the last decade of his life, showing an increased integration of polyphonic structures and canons and other elements of the stile antico. His fourth and last Clavier-Übung volume, the Goldberg Variations, for two-manual harpsichord, contained nine canons and was published in 1741. Throughout this period, Bach also continued to adopt music of contemporaries such as Handel (BNB I/K/2) and Stölzel (BWV 200), and gave many of his own earlier compositions, such as the St Matthew and St John Passions and the Great Eighteen Chorale Preludes, their final revisions. He also programmed and adapted music by composers of a younger generation, including Pergolesi (BWV 1083) and his own students such as Goldberg (BNB I/G/2). In 1746 Bach was preparing to enter Lorenz Christoph Mizler's Society of Musical Sciences [de]. In order to be admitted Bach had to submit a composition, for which he chose his Canonic Variations on "Vom Himmel hoch da komm' ich her", and a portrait, which was painted by Elias Gottlob Haussmann and featured Bach's Canon triplex á 6 Voc. In May 1747, Bach visited the court of King Frederick II of Prussia in Potsdam. The king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach obliged, playing a three-part fugue on one of Frederick's fortepianos, which was a new type of instrument at the time. Upon his return to Leipzig he composed a set of fugues and canons, and a trio sonata, based on the Thema Regium (theme of the king). Within a few weeks this music was published as The Musical Offering and dedicated to Frederick. The Schübler Chorales, a set of six chorale preludes transcribed from cantata movements Bach had composed some two decades earlier, were published within a year. Around the same time, the set of five canonic variations which Bach had submitted when entering Mizler's society in 1747 were also printed. Two large-scale compositions occupied a central place in Bach's last years. From around 1742 he wrote and revised the various canons and fugues of The Art of Fugue, which he continued to prepare for publication until shortly before his death. After extracting a cantata, BWV 191, from his 1733 Kyrie-Gloria Mass for the Dresden court in the mid 1740s, Bach expanded that setting into his Mass in B minor in the last years of his life. Stauffer describes it as "Bach's most universal church work. Consisting mainly of recycled movements from cantatas written over a thirty-five-year period, it allowed Bach to survey his vocal pieces one last time and pick select movements for further revision and refinement." Although the complete mass was never performed during the composer's lifetime, it is considered to be among the greatest choral works in history. In January 1749, Bach's daughter Elisabeth Juliane Friederica married his pupil Johann Christoph Altnickol. Bach's health was, however, declining. On 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer, fill the Thomaskantor and Director musices posts "upon the eventual ... decease of Mr. Bach". Becoming blind, Bach underwent eye surgery, in March 1750 and again in April, by the British eye surgeon John Taylor, a man widely understood today as a charlatan and believed to have blinded hundreds of people. Bach died on 28 July 1750 from complications due to the unsuccessful treatment. An inventory drawn up a few months after Bach's death shows that his estate included five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, along with 52 "sacred books", including works by Martin Luther and Josephus.And Zoe thought she was being notorious.

Pros:Having Sasuke as a good guy. The first time I watched Naruto and Shippuden all the way through, I kept waiting for Sasuke to join the good guy side again…and waiting…and waiting. I was surprised that he was only redeemed at the very end of the show. At first I was disappointed, although now I think it’s a great conclusion to the story, but I do feel like Sasuke’s character arc isn’t fully complete by the end of the manga. That becomes clearly obvious in arcs like the Sasuke Shinden arc and in Boruto, because Sasuke’s character is still growing and needs this development. Boruto has done a great job handling Sasuke’s character, and I could even say that Sasuke’s character development is what makes a sequel even necessary at all. Those who like Sasuke should appreciate his excellent character growth and development in the sequel series. Besides, I had really wanted to see Naruto and Sasuke work together as friends, so seeing that in Boruto is a real treat.Seeing the “happily ever after”. A lot of fans complain about the “boring” setting of Boruto, but I enjoy seeing the peaceful shinobi world. If Naruto and his friends had suffered and fought for so long only to have a world was just as bad as the one they had grown up in, the entirety of Naruto/Shippuden would have been totally pointless. As is, it’s extremely satisfying to see the peaceful and safe world that Naruto and his friends work so hard to build, and it’s pleasing to see that Naruto and his peers are FAR more responsible than the adults they had around when they were kids themselves. It’s cool to see the characters we love and know all grown up with families of their own. It’s especially rewarding for those who were the loneliest and had some of the harshest lives but now have families of their own, particularly characters like Naruto, Sasuke, Sai, and Gaara. It’s great seeing everyone in the shinobi world working together to maintain the peace and everyone wanting to protect and support Naruto and his dream. I really like the new families and I enjoy getting to see the parents interact with their kids and seeing how the kids differ or are similar to their parents is cool.Its themes and lessons. Boruto does a great job at handling some themes that are more applicable to current issues, like the distance between different generations, which unfortunately seems to be a problem. Boruto allows viewers to be sympathetic to both generations on the side of an issue: we can sympathize with Boruto for wanting his dad to spend more time with him and his family, but we also know Naruto and that the Hokage is a busy position, and we can sympathize with the busyness caused by the importance of his role. Rather than taking a “one generation is right and the other is wrong” approach that most stories cling to, Boruto takes a more balanced approach of having the kids do better with some things while other times the adults understand things better. And I think this is more accurate, since in real life both generations have things they can learn from each other – it’s not just a “one generation is always right, the other is always wrong” problem that many other literary stories make it out to be. Boruto captures this real-life problem that causes conflict and judgement between people from two different generations. Since Naruto and Boruto grew up in very different eras, the problems Naruto’s generations faced may have been more extreme or harsh than Boruto and his classmates’ problems, but that doesn’t mean that the new generation’s problems aren’t any less real. Sumire had it rough, Sarada has it rough with her father never being around, and Boruto has it rough with constantly being in his dad’s shadow and having to deal with his own’s parents’ absence. Are their problems as bad as Naruto’s generation? No, but a different era calls for different problems, and it doesn’t mean that the new generation’s problems are meaningless, because to the kids, they’re real. Both generations should respect each other and learn what they can from each other rather than write each other off because of age or circumstance, and Boruto does a good job capturing this theme. There are other great themes hammered away in Boruto as well, such as in the Shin arc Sarada learns that being part of a family is more than blood ties. There are lessons about how technology should be used (or not be used) in today’s world, how people shouldn’t take shortcuts or go the easy way but rather work hard to earn what they have, learning to rely on one’s friends, the importance of family, learning to make time to spend with one’s family, working to maintain harmony in a world constantly begging for conflict, etc.Expanding on the Otsutsuki threat. Creating the Otsutsuki clan as major threats in the sequels is a brilliant and natural way to up the danger level. When Kaguya appeared, I thought she was the only one of her kind and it never so much as crossed my mind that she would hail from an entire clan. Of course, it only makes sense that she came from somewhere, so it’s a brilliant follow-up to have the shinobi world facing the problem in Boruto. Not only is the Otsutsuki clan interesting, but it makes Kaguya a more interesting villainess as well. I thought she was a bit bland at first, but now she’s more intriguing thanks to the aspects of her character’s past that are developed in Boruto. I’m hoping that the Otsutsuki clan will continue to be the main villains in the future because resolving the Otsutsuki threat is the most natural way for the story to go and it holds a lot of storytelling potential.Getting to see Naruto and Sasuke’s legacy. This is a point that could still go sour, since we won’t be able to see how Boruto and Sarada turn out until the end. Right now, Boruto and Sarada are just kids and we won’t see how impressive they are or how much they grow until later. Boruto is Sasuke’s pupil, and Sarada will likely one day become Hokage, so it’s obvious that these two will one day become Konoha’s next protectors. It’s neat seeing Naruto and Sasuke grooming the next generation and I hope that Boruto and Sarada will show themselves to be worthy successors.The advances in technology. Boruto does a good job with adding technological developments to its world and showing how the economy of the world has changed thanks to peacetime. This is nice world-building, because realistically worlds will continue to advance technologically. Boruto still has remnants of the past crop up as well, such as the whole thing with Sumire, Shin Uchiha, or the issues with the feudal lords, which again shows attention to detail. Even though things have changed greatly for the better, there is still a lot of room for improvement and things from the past that need to be swept away and that are still negatively impacting the present.Cons:Boruto is an overbearing protagonist. I like Boruto Uzumaki, but I do wish that instead of giving him the classic “the shonnen protagonist gets all the glory and has to do all the major stuff” role, it would be nice if the other characters would get a chance to shine more.Naruto isn’t in character. While I think there are some things that seem spot-on with Naruto’s character, there is a lot more that isn’t. Naruto seems disappointingly uninvolved with a lot of things, and Boruto could do a lot more to show what changes Naruto has implemented as Hokage or what he actualy does now that he’s the village leader. I know Boruto is aimed towards a younger audience, but it couldn’t hurt to throw in a political scene here and there to show us that Naruto is still actively working to better his world and that he is actually doing something with his job.Lack of focus on the older generation in favor of the new generation. Now I think the new generation should receive a good deal of focus, but there could be equal focus on the new generation and the old generation. Fans all love the old characters and want to see them more in action as adults. I also want to get to know the next generation. The show needs a balancing act of giving problems to both the new generation and the old generation, that way the show can focus on both groups equally while the kids handle their problems and the adults handle their problems. This would also make the world more realistic and the adults would appear more competent and responsible if they handled the bigger issues while the kids handled the smaller problems that are more their level.The power levels need to be fixed. The kids in Boruto should be less powerful, and the average jonin and adults need to be more powerful. I get that Boruto’s generation are mostly all from prestigious clans and have powerful parents and are naturally gifted, but their power still needs to be taken down a few notches. I understand that they need to be strong otherwise they would be capable of doing almost nothing in the show, but they don’t need to be handling things that Kage should be handling either. A lot of the kids are too overpowered, and a lot of the adults have been nerfed, and the power levels need to be handled better.While I know most people complain about filler, this is neither a pro or a con for me. I would label filler more as a pro than a con, because it adds more substance to the story. I know filler aren’t as exciting as the main story and they don’t push the plot forward in noticeable ways. However, filler can be useful in fledging out the story or developing characters in more normal settings that you don’t typically get to see them in, which can be very helpful for getting a better grasp on a character. Filler can be great or awful, good or bad; it all depends on the episode and story, same as with anything else. Some filler episodes are among my favorites in Boruto, while some of them are bad. For the most part, I like most of the episodes in Boruto, which is why I’ve leaving filler as a neutral category, because filler can be good or bad depending on the content per each episode.