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33:10 with depression and PTSD and the like. You know, done

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31:01 great depression, we didn't have it. You didn't know we

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16:11 a great depression, they wouldn't take commodities. They raised their

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26:24 stopped by the postmaster not long after the Great Depression

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1:17:12 their anxieties and depression with excitement, you can get them 1:31:00 way I just when I feel anxiety, depression or war,

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39:27 and putting them into a depression and covering them with dirt,

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11:21 has autism. Okay, we see Nicholas's all the son's Nicholas.

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07:08 don't know. I don't know this. That is depression a woman.

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09:04 Depression

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39:34 depression

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15:41 Nicholas

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27:11 depression

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05:00 Depression

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49:06 have been struggling for the last month with some depression,

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04:27 in the past that's where depression lies, and the future

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31:37 Sound design, mixing and scoring by Nicholas Alexander, Additional engineering 31:52 by Louisa Gristin and Nicholas Alexander. The series artwork was 31:42 by Daniel Kempson, Music supervision by Anna Sinfield and Nicholas Alexander.

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28:36 Sound design, mixing and scoring by Nicholas Alexander, Additional engineering 28:51 by Louisa Gerstein and Nicholas Alexander. The series artwork was 28:41 by Daniel Kempson. Music supervision by Anna Sinfield and Nicholas Alexander.

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28:51 and scoring by Nicholas Alexander, Additional engineering by Daniel Kempson, 28:57 Music supervision by Anna Sinfield and Nicholas Alexander. Original music 29:05 Gerstine and Nicholas Alexander. The series artwork was designed by

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08:05 Music supervision by Anna Sinfield and Nicholas Alexander. Original music

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00:42 of the Great Depression, Lucky would finally be brought down

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26:39 point five million people during the depression, even when it

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10:01 was starting to recover somewhat from the Great Depression, but 11:49 of necessity towards the end of the Great Depression because

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31:54 of right after the Great Depression. So you have this 32:06 going through this massive depression where there are food riots

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05:52 There seems to be a great deal of depression in trade.

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21:40 dealing with the early years of the economic depression and 22:41 the Depression wore on. In nineteen thirty two, the year 33:39 the Great Depression was actually good for Americans because it

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1:05:13 It's not a four year and four month long stay on a tropical island, right? 1:01:01 Four years passed in that time, Selkirk had two close calls with death. Once he chased a goat into the undergrowth, only to realize too late that the thick plant cover had concealed a ravine. He only managed to survive the fall by the miracle of landing directly on top of the goat. He had to crawl back to his hut and spent days drifting in and out of consciousness before he had healed enough to be able to walk again. Later, a party of sailors came ashore looking for provisions. If they had been english, Selkirk would have welcomed them warmly. If they had been french, he would have surrendered himself. But he knew from their helmets that these men were Spaniards, and Selkirk feared that they would send him to the silver mines like the original maroons. He decided the solitary life of the wilderness was better than slavery. He hid up in the tree canopy and waited for them to leave. At last, long after he had given up any real hope of rescue, a pair of english ships, privateers, came to the island. Just like Selkirks own ship, they had come here to rest and repair after a long and difficult voyage. By an extraordinary coincidence, the pilot of the lead vessel was none other than William Dampier, who recognized Selkirk as another survivor of his own failed expedition. They offered Selkirk a place in the squadron second mate, and he accepted. This expedition proved far more successful than the first, and by the time they returned to England, going the long way across the Pacific to Guam, Indonesia, round the Cape of Good Hope and back up the coast of Africa, they had taken enough prizes to make the whole crew rich. He returned to England on October 11, 1711. Besides being rich, his experiences, the time on the island, and the daring privateering that had followed it made him a minor celebrity in London society. But he had nothing to do, and he missed the solitude and clarity of life on the island. He visited his family in Scotland. At first, they didn't recognize him. He spent some time in the old village. He tried to teach his brothers housecats to dance. He found a small cave on a nearby hillside with a view of the bay and enlarged it until it could serve as a small refuge when he needed somewhere to go to weep for his lost paradise. After a year or two of this, he had had enough. He enlisted in the Royal Navy. Five years later, he was dead, some tropical disease, and buried at sea off the coast of Africa. Marooning fell out of fashion in the latter 17 hundreds, so much so that when, in 1807, Captain Warwick Lake of the HMS recruit marooned one of his seamen, it caused a minor scandal that resulted in his being hauled before a court martial and dismissed from the service. The matter was even raised in parliament by the MP Francis Burdett, who described it as a most inhuman act of wanton and deliberate barbarity and a tyrannical occurrence. Somehow I doubt we'll ever see Tassilo Wago dragged in front of a Bespa board of inquiry to explain his actions here. I suppose that means we can calculate Zanskars regard for human life as being no greater than that of a 17th or early 18th century pirate and significantly less than that of the Royal Navy in the early 19th century. As for Farrah Griffin, her prospects for survival seem significantly less than a historical maroon. 54:03 My bit fully spoiled. But Robinson Crusoe's experience learning how to survive and then thrive on a tropical island, equally dangerous and idyllic, does closely follow the experiences of several real castaways and maroons, including those of the scottish privateer Alexander Selkirk. Selkirks is one of the best documented cases of marooning, and in many ways extremely typical of the practice in its heyday, Selkirk was a privateer, sailing during the latter part of the golden age of piracy. The son of a shoemaker in Fife, Selkirk took to the sea when he was 17, very possibly to avoid prosecution for acting indecently in church. It's possible that he actually took to the sea earlier, but the best data we have for this is based on a criminal prosecution against him, where it's said that he did not appear in court because he had gone to sea. And that was around when he was 17. When the war of Spanish Succession began, England was once again eager to enlist private ships to raid spanish shipping and colony towns in the Americas. Privateering like this was dangerous business, but it had a romantic nationalist allure, and a successful voyage could make the whole crew rich beyond anything they could hope to earn on land. Huge numbers of men were needed for one of these voyages, and if most of them had never been to sea before, well, they would either learn or they would die. Certain positions did need to be filled by experienced sailors, and perhaps the most crucial was that of sailing master, responsible for navigation, setting the course, supervising the sails, rigging anchor, and the arrangement of the items in the hold. In short, if the captain decided where the ship went, the sailing master decided how it ought to get there and made sure that it did. By this point, Alexander Selkirk had been sailing for nearly a decade, and although he had not entirely shed the quarrelsome habits of his youth, he had blossomed into a skilled sailor and a more than adequate navigator. In 1701, the same year the war started, he signed on to a privateering expedition led by the famous explorer William Dampier, and he was made sailing master of the second, smaller ship under Captain Charles Pickering. They sailed in 1703, bound for South America. But Captain Pickering died of scurvy off the coast of Brazil, and he was replaced by 21 year old lieutenant Thomas Stradling. The 21 year old captain and the 27 year old sailing master clashed immediately. A year of tough sailing for the sake of a handful of raids, mostly unsuccessful, did not improve the relationship. In mid May 1704, the captains, stradling and dampir, quarreled and agreed to split up the expedition. Stradling, with Selkirk, would go his own way. By this point, their stores were running low, and the ship was in bad condition. The masts were cracked, the sails shredded, the leather on the bilge pumps was worn through, and the hull was full of wood boring worms. She needed to be careened, dragged up onto shore, turned on her side, and given a thorough going over for this purpose, Selkirk guided them to an uninhabited archipelago called the Juan Fernandez Islands, about 360 nautical miles, or 120 english leagues, due west of Santiago, Chile. It was September by the time they arrived. When they had finished collecting wood and water from the island, Stradling announced that careening the ship would be too dangerous. If a spanish naval patrol spotted them while the ship was on the beach, they would be helpless. But Selkirk insisted that the ship was in no condition to sail, much less fight. He swore hed rather stay on the island than try to sail in that leaky tub. Who can say now if Selkirk really meant it? Perhaps he expected the other sailors to support him against the captain, but they didnt. We can imagine a nasty smile spreading slowly across Stradlings face as the troublesome sailing master announced that he would rather stay behind. Stradling, called Selkirks bluff. Once they had finished collecting water, food, and firewood from the island, he and a few of the other men took Selkirk ashore in a small boat. They gave him some food and water, a musket, some shot and powder, and left his sea chest on the rocky shore. Selkirk waded out into the shallows and called after them, begging his former shipmates to come back. Straddling just jeered at him. A few hours later, the ship raised anchor and sailed out of the bay, never to return. Of course, Selkirk did not know they weren't going to return. He was the sailing master, the navigator. Surely it was only a matter of time until they realized how much they needed him. He waited on the beach in a crude hut to be sure he didn't miss their returning. He found a freshwater stream nearby, ate his biscuits, and waited. When the biscuits ran out, he got desperate, eating mussels, crabs and lobsters raw. Once the intestinal distress subsided and he was able to move around properly again, he tried cooking them. Weeks went by like this. Eventually, he moved off the beach in search of better shelter. At first, he settled in a cave with its entrance above the tree line so that he could still watch the bay for a passing ship. By this point, he had probably given up hope of straddling having a change of heart. Selkirk could not have known and would have gotten little joy from the knowledge, but in fact, he had been exactly right. The ship had not been seaworthy, and Stradling's remaining crew had not been equal to her handling. They had foundered only a little while after marooning Selkirk. Only the captain and five or six others survived out of an original crew of more than 60. The survivors fell into the hands of the spanish authorities and were dragged to Lima, where they would remain in harsh imprisonment for years. But Selkirk was doing all right. He slept a great deal. He sang to himself, explored, experimented with different kinds of sea turtles, bird eggs, wild berries and roots. In the interior of the island, he found edible plants growing in great turnips. Cabbage, oats, radishes, parsnips, pumpkins. What they had been left behind after a failed attempt to colonize the island about a century before. He made plum jam and found peppers he could use to season his food. He hunted the islands goats, first with his musket, and then, when he had exhausted his ammunition, he learned how to run them down and catch them with his bare hands. He built a pen and kept his own little herd. In the mornings and evenings. He passed the time by reading the only three books he possessed, a bible and his geometry and navigation textbooks. His health improved, and the hot temper of his youth finally cooled. He moved out of the cave and built himself a proper, comfortable hut. He even learned how to hunt the massive sea lions that came to the island to mate, but found them poor eating. He found a litter of newborn kittens in the woods and brought them back to his hut, fed them on milk from the goats, and when they were big enough, he set them loose around the hut to keep the islands rats at bay. At night, he would hold their little paws and dance with them.

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04:03 Most popular film overall was the american Sci-Fi movie Terminator two. And yet Gundam F 91 grossed a mere ¥520,000,000 at the box office, less than half of what Shah's counterattack had pulled in three years earlier. It probably didn't help that the movie was unfinished. The final version that we watch today includes five minutes of new scenes added after the theatrical run concluded, as well as a significant number of redrawn scenes and re recorded sound and voice work. It was also unfinished in the sense that the story ended without much resolution, just a line of text on screen reading. This is only the beginning. At the time, Tomino and his team hoped to fulfill that promise in a tv sequel series that would pick up where the movie had left off, continuing the stories of Seabok, Cecily, and the other frontier four survivors in their ongoing struggle against the nefarious and genocidal aristocrats of Cosmo Babylonia. But he wasn't exactly feeling confident about it. In 2002, reminiscing about f 90 one's failure, he said that at the time he was sure Gundam was finally dead, but he was still talking to his managers at sunrise about making a sequel, and Ishigaki Jr. A young mecha designer who had stepped up to assist on f 91 after the hospitalization of lead mecha designer Okuara Kunio, was himself already hard at work on exploratory designs for mobile suits that might be included in the anticipated f 92, or whatever it might eventually have been called. They were both surprised when orders came down from on high to abandon f 92 and begin work at once on a wholly new Gundam tv series, the first in six years, and a second attempt to reinvigorate the faltering Gundam brand. The new series would also need to plug a crucial demographic gap that had opened up. SD Gundam had taken off in a huge way among kids in the six to nine year old age group. Within two years, overall sales of SD Gundam merchandise had eclipsed those of socalled real Gundam products in sales volume, and for the four year period from 1989 through 1992, Bondi sold more than twice as many SD kits every single year. Uda Masuo, a producer who later became the managing director of Studio Sunrise, described the studio as horrified by the SD sales figures. SD Gundam, as Ueda explained, was not really theirs in the same way that real Gundam was. But while SD Gundam Mania had brought in a new generation of young fans, Sunrise, Bondi, and the other sponsors were struggling to get them interested in real Gundam. And it definitely did not help that the only recent real Gundam productions, f 91 and the then ongoing ova series 83 Stardust memory were expensive prestige projects meant to appeal to the more mature tastes of high school aged fans and adult otaku. In order to succeed as a commercial project, the new series would need to appeal to older elementary and middle school aged kids, catching them as they outgrew SD Gundam's wacky hijinks, and ideally, transforming them into lifelong Gundam fans. And of course, it would need to move a lot of plastic. It was time to go back to Gundam's roots, selling toys to children. By December 1991, presumably while he was overseeing the finishing touches on the final home video cut of f 91, Tomino had established the basics of the setting and many of the major characters, as well as the title for this next Gundam series, Victory Gundam. With the basic outline of the story set, the first order of business would be to assemble the staff. Tomino's prior Gundam works going back to Zeta had all been made in Sunrise's studio two, managed by producer Uchida Kenji. But Uchida, having witnessed Tomino surpassing himself again and again with his work on original projects like Dunbine or Elgheim, wanted his longtime collaborator to have the chance to make new things. Sending him back to Gundam was just a waste. So Uchida went to the higher ups and told them that he refused to work on another Gundam show. If Tomino was directing it, this did not have the effect he hoped for, but it did mean that Tomino would need to work with a different producer, so victory would now be made in studio three, overseen by Ueda. Masuo Masuo describes the process of how he was chosen to be the producer for victory as follows. During a meeting of Sunrise's executive leadership, including Ueda and two other senior producers, someone raised the question of what they were going to do with Gundam after 83 finished. At the time, the company as a whole was doing well. SD Gundam was booming, the royalties were rolling in, and their work for the toy makers Takara and Tomi was going well. Given the timing of this meeting, I assume that Ueda is talking about Zetai Muteki Raijino for Tomi and brave fighter of legend Dagarn for Takara, despite all of these positive indicators, the question of Gundam's future cast a paw over the meeting. The company president wanted them to focus on making a new tv series. But when he asked the assembled producers who was going to take charge of the project, nobody volunteered. After a short, and I suspect uncomfortable silence, he said, okay, then. It's yours, Ueda. So by the start of 1992, with the director and producer in place and the show's debut still more than a year away, it was time to assemble the principal designers, who would collectively establish the visual identity of the new show. They picked three men to design the show's mecca. The veteran Okawara Kunio, designer of the Zaku and the original Gundam, Ishigaki Jr. A relative newcomer and former assistant to Okawara, who, as I said, had stepped up late in the production of f 91 when his boss was hospitalized and was now working in Sunrise's behind the scenes planning office. And Katoki Hajime, another relatively new face who had made a name for himself with his designs for the 1987 photo novel Gundam Sentinel before landing a job designing mobile suits for 83. The allimportant question which of the three would design the titular victory Gundam was to be decided in a headtohead competition. Each of the three was asked to produce a design which, like the original Gundam, could split into three sections centered around a core fighter. Other than that, the designers were free to interpret the Gundam as they pleased. Kotoki's design, which followed the style of the f 91, maintaining the smaller 15 meters size class and some distinctive elements like the beam shield, ended up winning. He would handle the Gundam and its associated support equipment as a consolation prize. Okawara and Ishigaki were tasked with designing the rest of the Mecca, enemy and allied alike. A few months later, there was a similar competition to select the character designer, but here, Tomino went rogue. The producer, Ueda had dug up some archived concept art from an old cancelled project and showed it to the director as a reference. It turned out to be exactly what Tomino was looking for and the artist responsible, Osaka Hiroshi, got the job. Osaka, who died of cancer in 2007 when he was only 44 years old, was not really a character designer. Before this, he had worked his way up from animator to animation director and had only one character design credit to his name, the 1987 pornographic ova cream Lemon special, Dark. In fact, like Osaka, Katoki and Ishigaki, much of the staff for Victory would turn out to be young and relatively inexperienced in their roles of the show's. Twelve episode directors, eight had less than five years experience in the role, and three made their debut on Victory. The animation directors followed similar lines, with at least two starting out as animators and getting promoted to animation director during the show's run. Nishimori Akira, who wound up storyboarding 18 episodes more than any other artist, only had a single storyboarding credit to his name when he was hired. Writer Godo Kazuhiko got his first writing credit the year before Victory started airing. Oka Akira, who wrote roughly half of the show's episodes, had a bit less than ten years experience as a screenwriter, but that was almost exclusively working on shows for young kids like Doriman, Kyutaro, and Obocamakun. In interviews both at the time and retrospectively, Tomino has said that he wanted to revitalize Gundam by entrusting its future to a new generation of creators, but there are some less flattering explanations for this as well. More established anime professionals with more options may well have been avoiding both Tomino and Gundam at this point. Uweda described the attitude in his studio as heavy, and Tomino likened the experience of making victory to sinking into a swamp. The pressure to generate a hit was intense, and very few people actually seemed excited to work on a new Gundam show. Also, Tomino's reputation as a workaholic perfectionist with a quick temper and a sharp tongue had only grown over the years, and the Gundam franchise itself had now developed a notoriety within the industry for the quantity and difficulty of the work. Ever since Shar's counterattack, every Gundam project had gotten more and more complex to animate more lines, more movement, flashier effects. There was even concern within the studio that they wouldn't be able to find outside companies willing to take on specialist tasks like finishing, which is the final inking and painting of the animation cells before they're photographed. Partly to counter this, partly to avoid direct and unflattering comparisons to f 91 and 83, and partly to appeal to the show's younger target demographic. Tomino and his team decided on a deliberately simplistic aesthetic inspired by the long running World masterpiece theater series. That series, which consisted of anime adaptations of classic western children's stories, had been running for so long that Tomino himself had worked on it during the early part of his career, when he was cutting his teeth as a freelance storyboard artist, he had worked on shows like Heidi, Girl of the Alps, Anne of Green Gables, Dog of Flanders, and Moomin alongside fellow anime legends Miyazaki Hayao and Takata Isao in fact, he worked on it right up until Gundam catapulted him into the spotlight. The last episode Tomino storyboarded for Anne of Green Gables actually aired a month after first Gundam's debut. The other major visual touchstone for the new show would be 1970 Eight's future Boy Conan, the first show directed by Miyazaki and another of Tomino's freelance storyboarding gigs. For the younger animators working on victory, though, it represented something more. Character designer Osaka would later recall that it had been future Boy Conan, with its deceptively simplistic designs and amazing movement, that made him and many of his contemporaries fall in love with animation in the first place. In practice, what this meant for the mecca and character designers of victory was a declaration of war against lines. Every additional line in a design translated directly into more work. For the animators and colorists downstream, any line that could be removed was removed. This emphasis on design simplicity was coupled with a series of labor and cost saving measures. Shading was to be emitted from all scenes except when specifically called for by the chief director himself. Animation was to be limited to eight frames a second, which is called shooting on threes because each frame has to be repeated three times in order to get up to the 24 frames per second of broadcast television. Normally, a show's frame rate varies from cut to cut depending on what is happening, with more intense moments being shot on twos or twelve frames per second, or even drawn at what is called full animation or 24 frames per second. Victory was to have none of that. Even the most exciting, complex and fast paced scenes were to be animated at a mere eight frames a second, and the effects, like explosions, were to be achieved by swapping in painted backgrounds instead of being animated. This was a process that had been used back in the 70s, but by the early 90s had become so antiquated, most of the animators had no idea how to even do it. And Tomino claimed to have forgotten. But even with all this, they struggled to find enough animators to actually make the show in its simplified form. These cost cutting measures were not ordered just for the sake of the animator's wrists. By the point these decisions were being made in 1992, Japan's asset price bubble had fully burst, and the easy money of the late eighty s, which had enabled so many studios to take chances on ambitious projects, was gone. Sunrise may have been doing better than many studios, thanks in large part to the royalties brought in by SD Gundam merchandise, but resources were tight everywhere, and the team was really feeling the pressure to make victory a commercial success. The sponsors, Bondi in particular, wanted to be sure they got the product they were paying for, and they were increasingly willing to interfere in the production in order to get it, even threatening to remove Tomino from the project if he didn't make the changes they wanted. I won't spoil the nature of these dictates, including one that Tomino considered to be such an egregiously bad idea that he kept it secret from the staff until the last possible moment, very probably out of fear that they would revolt and abandon the project once they found out. But we'll talk about them when they show up later in the season, I promise. Tomino, however, was not the only one keeping secrets. By this point. The owners and tiptop management in sunrise were involved in secret negotiations to sell the studio outright to Bondi, their most important sponsor. The exact timeline of the buyout, who knew what when, is a little murky. Negotiations appear to have begun before work began on victory. So sometime in 1991 or before, Ueda and some of the other producers first learned about the deal at some point in 1993, but were not allowed to tell their teams until sometime later. He doesn't remember exactly when some of the other producers, the ones who handled shows sponsored by Bondi's competitors, pushed back. They were rightfully concerned about what the deal would mean for the studio's relationships with its other clients, but their objections came to nothing. Negotiations continued through victory's broadcast run, but Tomino was kept in the dark, possibly right up until the formal transfer of shares was completed on April 1, 994, one week after the end of Victory's tv run. Takamatsu Shinji, who was directing Brave Express Mike gain at the time, said that Tomino was furious over the perceived betrayal and that Q-K-A jino Satsuga kangayeta, he thought about murdering the former management team. This sounds like exaggeration for humorous effect, but it is not the first story I have heard from this period about Tomino threatening to murder a coworker. So, like he probably said it, he might have seriously thought about it. And the worst part of it for him might have been that victory Gundam itself turned out to have been a precondition of the sale. Bondi wanted Gundam back on tv, and Sunrise's managers had obliged. Tomino had just spent a year of his life sinking into a miserable depression, all to unwittingly help his bosses sell the company and the Gundam franchise, a franchise inextricably linked to his name, his artistic career, and his legacy to the very sponsors that he had once called the true enemies of Gundam. But back in the summer of 1992, ignorant of the deeper currents driving decisions within the studio, Tomino and his staff started production. The details of that production are going to be more relevant to us as we progress through the show, but there is a quote from an interview that Tomino gave during the production about his philosophy for the new show, and I'm.

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01:34 Keeping tropical fish at home can have a calming effect

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00:23 I could borrow, but he was Nicholas.

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01:40 Louis suffer with depression because they all live in Missouri.

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01:02 Whoever stole my depression medication? I hope you're happy? Now?

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06:46 All she does is yap about this orange tropical fruit.

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02:24 then it goes to bargaining depression.

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05:00 a language spoken by yellow, red pear shaped tropical fruit.

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04:43 and clinical depression.