Hey, it's time for another PCP interview. It's been God knows how long since the last one. I don't remember. Like a year and a half, at least, right? Yeah, they were all done relatively within a reasonable timeframe of each other. And they're not ever again. And then I think Nate and Mumki had one. But now it's your turn. Yes.  I'm Tom Oliver, and I do 3D stuff mostly now. Tommy Oliver Says. On Twitter. Tommy Oliver Blogs. On The Tumblr. Tommy Oliver, what's your Instagram? Just a poll station or two. Yeah. And then YouTube is Tommy Oliver Says. C slash Tommy Oliver Says. Anything happening on Facebook? Not yet, but I'm definitely going to move there eventually. I consider you sort of like the reason that I think you're like a very underappreciated, invaluable asset to the PCP in a backroom sense that maybe even viewers wouldn't appreciate is that you know social media. Like you know what's big. You know what's hot. You know tech. Why?  I'm just really interested in it. I've just been interested in technology for my entire life. Like I remember being a little kid when I was like, I got a Game Boy for the first time. And I'm like, can I make this do anything else besides play games? Like I'm just really fascinated. Like I'm super addicted to cell phones, but I wanted a cell phone before cell phones existed. Like I was the kid in like seventh grade who had no like actual life, but got a PDA. Just thought it was cool to have a computer in my pocket. So everyone else like everyone else was listening to iPods and stuff. And I got a PDA and like got an SD card and put music on that. But also like could play little video games and could do like things.  Like this is so cool.  Like did you actually keep schedule on it?  I didn't have a schedule, but if I did I would have put it in there. Cause I never went for anything like that cause I am so bad at like, I love writing in a planner, but I never look back at it. You know what I mean? Like I love writing a list of what I'm gonna do today and then I never look at it. When I do it though, it's super effective. Oh my God, it can be. If you fucking, like if you have scheduled time for videos and stuff and you can like pre-produce them ahead of time, that's like a huge boost. My big thing, my hardest thing with production is that I can't start. As soon as I start I get in the rhythm and I'm fine. But I will like sit for like four hours and be like, should I do something? Oh yeah, that's the hardest.  Like when you have those moments where you listen to a sentence and you're like, there is no way to make this creative and fun to watch that I am capable of. So I guess it's just gonna be 30 seconds of footage from whatever show is relevant. And that's when you wanna get up and take a break and go outside and you know. Not exist anymore. Exactly. That's me for the entire editing process start to finish. Cause as soon as I get to that point, like I've been doing the Y3D Anime Fail series. I did the first two. It's been written out since I wanna say maybe August of last year. I have like this huge document. You read it, you read the whole thing pretty much. I sent it to you like a year ago. Which document? The Y3D Anime Fails like for each. Oh yeah, yeah, yeah. That long ago? It was a long time ago. Oh fuck, I didn't feel like that long ago then. Yeah, and it just sits there cause I don't wanna edit it. Yeah, that video series.  That one in particular, I didn't think it was gonna be huge. I thought it was gonna do way better than it did. Yeah, I thought so too. And I think that the only reason it didn't was like just didn't get spread around enough. And honestly like I kind of wished you had just made it one big video. I mean it probably just never would have gotten done if that had been the case. Yeah, I'd still be working on it. Originally it was gonna just be one big video. Yeah, but I think the issue is that because it's in smaller parts, people were interested but wanted to know more and then it took a long time before they learned any more. Here's the thing, I think there's three things. The first thing is that my channel is dead. So we just talked about how like only. You should discuss that. So explain this to me because this is something that YouTubers are always trying to keep track of the algorithmic changes. Matt Petz, the only person who seems to completely understand it, but he does not reveal all secrets. He has a whole consulting business around it so of course he's not gonna talk about it. Right, so he's not gonna just spill everything. There's a lot of things we all know and that we all copy. But there's a lot of things we don't know that we have to theorize about. Like my theory that my turntable channel won't get promoted to music channels because it's only watched by my fans. So like you told me about this part of the algorithm none of us knew about and it's apparently happening to your channel. I think it's happening to everybody's channel. It's just like there's a lot of people complaining like no one's seeing my video or whatever. And I found out, watching some videos, I've been doing a lot of research on Instagram because I mean I'm trying to use Instagram a lot now because I just like the platform. I think it suits my current work pretty well. But they have, everything now has an algorithm and how it kind of like filters content and stuff. And they were talking about how on Instagram, the algorithm on Instagram is that the most crucial window for your content on Instagram is the first hour. So depending on how well your content performs, how many likes it gets, how many comments it gets in the first 60 minutes is how it ranks for the rest of time. Because most people when they open Instagram just look at the first few things and then check off. So like if you get a bunch of like traffic on your posts in the first 60 minutes it goes to the explore page. And then it also can get ranked in the hashtags. So like every hashtag on Instagram it has the top nine posts for the day in the hashtag. So if you do really well you can get pushed to there and then everybody sees it. And there's constant chances right on like Reddit. But unlike Reddit it is self promotion and not you having to like weirdly, circuitously only promote other people's content. Another really interesting thing about Instagram is that the how big the account is that likes your photo affects your photo as well. So if you have like 500,000 followers and you like a photo and boost it because what it does is that there's also the explore page. So like it's kind of like the search function in Instagram but before you search for anything it just shows you a bunch of content it thinks you'll be interested in. And that's based on who you follow. So if you're an account that has 500,000 followers and you like my posts and I have like 500 like a portion of your 500,000 followers will see the posts you liked in their explore page. Oh shit, is that how the, that's how Twitter works too with the likes then right? I think it's similar to that. I think it has to do, I think on Twitter it has to do with how many interactions you've had with the person.  I just hate it. I haven't looked into Twitter's algorithm all that much. The only reason I even know about this YouTube thing is because they mentioned it in these Instagram videos but for YouTube it's not the first 60 minutes it's the first 24 hours and the first 24 hours only sends it out to 10% if you're following and depending on how well it does with that 10%, it'll either keep sending out to the rest of your audience or drop it off completely and no one else will see it. Clarify what does it mean your audience? So your subscribers. So like it's public and anybody who like searches for terms and stuff can still see it but it, you know how like cause but will it be different?  So I think maybe it just shows me.  So it means you're gonna watch them. And like the only times I ever like for a very long time I've had people who will show up to my video and be like, huh, somehow missed this didn't show up in my feed but like it would be only a couple of comments and like most people seem to see it and all the people who are regular subscribers see it but like the people in my Discord for instance they are literally racing to see who can publish my video in the Discord first after it comes out. So YouTube obviously is just gonna recommend them everything in their feed but like I think if you have an account that's not like that maybe there's more of a chance that it's you know I mean they keep it all close to the chest obviously right cause someone like Nate Nate doesn't even watch subscriptions like he doesn't subscribe to channels he just goes to them occasionally when he wants to watch their videos weird. Why does he do that? He just doesn't like use YouTube like he doesn't like go there and go to the subscriptions tab and see what the new videos are like most people do he'll go to trending and do that or he'll go to like the homepage and just like watch some recommended stuff but he mostly just- I use the homepage a lot but I hate that I do it I hate, I get sucked by that.  Is there any of that online? I mean I don't think any of it's online anymore Was it any good?  Sure I think I really enjoy my favorite things like ever since I was a little kid like stories and like experiencing stories have been really thing I think one of the my very very very very first influences was Animorphs that scholastic book series like everybody laughs at them for the covers that book series was fucking crazy like people were killed You just re-read that a couple years ago I did I really I bought I bought the whole series again to re-check it out and like the writing is super basic but like it's about like high school kids being traumatized by war like that's what the entire thing is about and like the book ends super solemnly there's no happy ending they don't win shits bad Oh that's like they end up like spoilers for Animorphs I'll actually warn you this time they end up like repelling the aliens and everything but the book the last book is like 15 years later one of the characters has post-traumatic stress disorder nobody knows where he is he just dropped off face the planet the like ship that was through the entire book Cassie and Jake never happens they break up because Jake is like not able to like parse like not being in war so they can't work out and like it's just like super like just like how like soldiers they never recover yeah and so like the book ends with like Jake like going back into space to go on another mission and like that the book ends with them encountering some other aliens and like it's like do they live or die we don't know that's some heavy shit yeah like like the thing is like they like get stabbed and murdered and like severed and like like there's one point where like like one of them gets cut in half and they have to like de-morph back to human because when you your wounds recover when you go back to your regular form so like they almost die a bunch of times there's like torture and murder and like all this crazy shit that's not I never actually read any of those it's so good oh god I really wish they was like like an adult revision of this because the way it works is that there's these aliens called the yurks and like they're parasites they go into your ear and they take they wrap around your brain and take over your body and so there's like these aliens everywhere like parasites they're parasitic aliens and they have like these they've taken over tons and tons of worlds and now they're coming to earth because in this world earth is like or basically we breed like cattle so like there's like we're billions of people on earth that like doesn't happen like all these other planets there's a couple million of both species but here it's like a goldmine for this alien race I'm like we're super underdeveloped but our bodies are like really great for them so they're like trying to take over the planet and then there's other aliens called the andelites who are fighting them and so the way they fight them have this to basically for espionage is morphing so you can like acquire the DNA of an animal by touching it and then for two hours you can transform and become them but if you don't demorph in two hours you're trapped in that form forever so the characters don't have like a specific animal they morph into they just can morph into animals you can pull a bunch of different ones and once you acquire the DNA it's more like a beast boy power because essentially yeah but the interesting thing is when you transform into an animal the first time you have to fight its instincts because it can take over your mind and you just become oh shit does that ever happen to any characters it does it does temporarily like one of the scariest things is like when they they have to morph into ants and like ants are just like automata so for like 15 pages they're just like they find another ant colony and like they're they're describing what happens but they have no control of themselves they're like biting other ants and have it having a huge colony war and like halfway through it they realize what's going on and like they demorph in the middle like they burst through a wall and like fall out and it's like they're all traumatized and like like 20 30 books later they're like well it's never more from ants again ever no no no but one of the kids Tobias like he the very first book he gets stuck trapped in the form of a hawk so for like half the series he's just a hawk whoa and so he lives he lives in the woods he and like for the first like 20 or 30 books like people are like he'll like go to like Jake's house and like he'll like feed him like a hamburger or something because he has to just eat meat now because he's a bird and eventually he just like he's been in the hawk so long like he just succumbs to the the instinct and he starts hunting and like killing like they describe in great detail he finds a mouse rips it open it starts feasting on its intestines and he has like a fucking panic attack but eventually like his like subplot is like willing to just accept the fact that like this is who he is now narrates through this yeah this hawk and every every book changes narration it's first person narration but every single book it changes from one of the five one of the six man characters so this is one of his books where he just describes it like yeah I just ate this thing and it was fucking great so like he just starts doing that and like at the end in the last book in the series they're like because he never he's just a hawk so like they're just like we don't know what happened to Tobias like hawks only live for a few years he could be dead we don't know he just disappeared that's nuts it's it's it's so fucking good but like that's like that and Digimon are probably like my two big like super big influences in the beginning because those are like the only things that have like a continuous narrative that kept going on um so all right well I guess we kind of got to the heart of your uh your influences unless there's any other like are there any influences that aren't really like art related but are like way more than most people realize like affect your life you know I don't know I mean like I watched a lot of like like YouTube like I really like Gary V he's fucking dope never heard of him he does like business and like social media and personal brand development stuff he's super cool I'm about to read his new book what would you say your biggest influences as a YouTuber holy shit I don't know I really don't I mean it's just kind of an amalgam of like yeah it's just like I don't styles that have sort of sprung from the primordial ooze of the biggest one that we both had in the beginning was uh a sequelitis like that's where our whole format initially came from pretty much was just like trying I mean he took it from Mr. Plinkett so it's really he's like the forefather of this current style you know yeah um in terms of like I really liked just like tech YouTubers when I was doing Rebel Pixel it's a lot of MKBHD and like Austin Evans and and and like pocket now and like all the all the big ones you definitely had MKBHDs like attitude towards tech which is like these everything should be like kind of sleek and modern and like I mean it's unfortunate that you were filming it in a basement as compared to his fucking studio I mean not that he always had that but like you know you have you you branded it very strongly to look like that kind of channel like everything is like modern and cool and yeah I mean that's what I went to school for so yeah tell me more about that because again a lot of the things about you that fascinate me the most are the things that have nothing to do with YouTube at all such as your graphic design and website design history because you make good what how the fuck did you make the Sorceress Lost website the motion comic site a lot of work it was just like all I mean I still have the file you can look at it's all hand coded just like those aren't like GIFs or no they're uh bands or anything they were video files with no audio and then you there's an HTML5 they have like a video in bed like I don't even remember the word before it is at this point just like a option you can do in case anyone doesn't know what we're talking about go to the Sorceress Lost site it's still up unfortunately some of the fonts don't work anymore because like Dropbox I was hosting a bunch of stuff for it on Dropbox and then Dropbox changed the way their file system works so you can't link out to other files anymore so all the web fonts and stuff I was hosting all don't work so it's like in times New Roman it looks 10 times worse than it used to but yeah it's just uh and then I went into the player you can edit the properties of the player so I set it to autoplay and then to hide the controls so they look like GIFs they act like GIFs but their video files so like a tenth of the size of the GIF that would be but you can scroll over it and like yeah when you scroll over it the controllers they pop up right it's really sleek looking and I'd never seen anything presented that way but I assume that the bottom line is it is not worth the amount of effort to tell that story that way I mean now that I can do 3D it would be so much easier to do the same thing yeah do you still think you might take that direction with uh it's very sourceable I really to go back to the question that you initially asked was how do I reconcile wanting to do visuals but being a very narrative centric person the reason I started writing for a while is because like I came to the conclusion like all I really care about is telling a story yeah why not just do that and the problem not even the problem but like what I realized through doing that is that I really like visual storytelling I like being able to like move the camera around and like do things without just I hate description yeah like every time I gotta get to a book and like when they have to describe all this shit like like the Scootaloo book that I wrote it doesn't have the words said in there ever I never made sure an active decision to never have a said tag because I hate that so fucking much the word said yeah so every time instead of like saying like they said I'd be like you know that the opposite is what is preached is correct and right right right well the thing is because they say don't change said to like he replied or he did so what I did instead is I would use what's called an action tag so instead of being like saying like hey digi I said or something I'd be like I picked up the can off the table hey digi and then yeah so it was I don't put any saids in my stories usually either but I'll just like full paragraph break for dialogue yeah I mean write it like a script you know the thing that's how I usually start when I would write all those chapters like because the dialogues the part I love doing the most I just write the dialogue out and then like okay I guess what what I'm going to do while they're talking and then just go back through and like slowly piece a scene together yeah um that's interesting but that but doing all that like I loved writing the dialogue I loved coming it up with this story conceptually but I would get super bogged down and like trying to A writing like descriptions of things because like I'm like I could just draw this and then B like transitioning from scene to scene was also tricky I don't I don't know how to like I don't know if it's just that back in the old times when you had to read books I think people had a just more ability to imagine what those places looked like because when I read like a long descriptive part of a book I cannot picture it at all like I just come up with whatever I think it might but I'm just like this doesn't feel right the same way that just seeing a picture a picture whoever said pictures worth a thousand words underestimated the worth of a picture right like a thousand words ain't that much and you can tell a fucking big story with a picture like just show a picture of someone's room and you can tell me like a thousand things about that character you know so I totally agree that like with certain scopes of stories like a big fantasy story like it's real hard to be able to like write enough minute details without it bogging down like a lot of fantasy novels and shit I have a great example of this in Sorcerous Lost depth that of why like this is actually one scene in the beginning of SL that I don't think I'm going to use anymore but at the time in the first revision I was working on really made me like think fuck I don't really think I can work with books the way I want to because there's a shot that I had that in the beginning of the story Sarah was going to go to like the docks and meet somebody who was coming in for her mentor and pick up these scrolls that that he needed so I what I want to do she was going to sit down on like a bench wait for the ship to come in and then they're like we got sound like the ship's coming into dock she turn around and like it was the camera would zoom out and you see that not only is that ship coming to dock the islands like floating in the sky being suspended by magic so there's like this airship coming into dock not just a regular ship so it zooms out you have this big glory shot and I was like oh this is so cool but then I switched to a book I'm like how the fuck am I gonna do this scene there's no way to give the camera pants out and like it would sound so like but that's how I think you have the mind of a visual artist so I'm like I can't write it like it's exactly I can write the dialogue just fine but like in terms of like it's telling the story and just telling stories in general I'm thinking like a director and not often when I was trying to write the the book that I wrote back in 2010 for a nano-remo like it took me two years to get it to the stage of a novel because the initial idea I had was just of like a scene of someone firing a bullet and then like time stopping and the character like flicking it around and shooting it back or something like that but the only way it made sense in my head was visually it's like no one will understand how cool this power looks if I describe it in text because you don't see the bullet stop you know so it won't this story can't be told that way yeah eventually it just changed the story so that worked for me yeah I cut that scene out of the the written version it's up on tumblr you can read it it doesn't happen like that but like I don't I mean every time someone makes a youtube video about any adaptation of anything they're like oh mediums can't be crossed like it's new information but like you do kind of have to keep reminding people including yourself like hey some of your ideas just won't be yeah doable I mean to in defense of books something that's really easy to do with books that's harder to do with other visuals is engage even not even exposition thing I was gonna say is engage all the senses yeah you can describe easily how things smell how they feel without having to like like if you're gonna do that in a visual thing like you can either imply it with visuals or you're gonna be like hey it stinks in here you know you can't really like elegantly integrate senses like you can in a book I think the best thing about text is just that like a character can easily give their reactions to a situation yeah and I think that like a lot of the reason that adaptations from like books to film always end up so bad is that like the book the book is not focused on the visual element because it can't do that well right it's focused on the fucking thoughts in the character's head so like most books are more focused on character development well I think and like something that I was noticing while I was writing because I was trying to figure this out myself is that like any visual medium kind of always like has the issue of time yeah right because like most the most of a movie is done basically like each scene is in real time whereas in a book like in between two people talking like one sentence and another the character can have a thought that goes on for like 16 pages yeah exactly and like there's no way to you can't just like stop the frame like and then the character thinks right like it feels totally weird and what are you gonna show right you can't really do anything like you like like you'd have to like go into their head and like animate all this stuff but like it feels awkward because like nothing shot like that yeah and I mean obviously there's lots of books that like like House of Leaves there's no way to make not a book because like it's constant notations and active reader participation you could maybe make it a visual novel but not yeah not a book you know but um yeah so so Sorceress Lost is still in the works would you say for sure okay I just finished like a rewrite like a month and a change ago I have the first chapter be done so how like glued to this universe are you of Sorceress Lost I like really enjoy it and depending on how I mean my plan initially was like I would want to have like any future stories I do take place in Salon as well which is like the name of the world yeah I uh speaking as one former aspiring author who gave up on his world to another because for me the hardest thing about any project is I have an idea for the next project and so like it becomes I don't want to let this project take up too much of my time because I want to move on to the next one do you ever feel that way about Sorceress Lost like is there another project like underneath that waiting to get out or is it more like this is my thing and I want it to fucking happen the weird thing for me and like this almost undermines everything I've been saying so far is that I and like this is something I've been dealing with a lot recently and trying to figure out and I think I've kind of understood it is that because I have like all these self-esteem problems like my projects don't feel real or as special like I can't be as passionate about SL as like how I got I can't be as into SL as I was into like MLP or something like that just because like because it's from me it feels tainted almost yeah like intrinsically but like the way I'm trying to like get around that is I've found that some of my best work and the things I can get most hype about that I work on is when I'm working as a group because then the project transcends just me and it becomes bigger and more important Did you watch my Dear Artists video? I did because I you inspired that video I figured when I was like the first photo to come up as like artists struggling I was like I think I think I was watching did you recent like in the last week put out like a hyperbolic wine chamber or something?  Art Pologees yeah in the Art Pologees podcast Munchy was talking about how you need to get your early work out of the way because it's always going to be your worst and like you can keep making it better but then the paradox that the longer you work on it the better it gets but in a lot of ways you've just created multiple stories like by the time the the story I wrote as a as a novel like I said originally it was going to be a movie I spent like two years redeveloping it until it was a book and by that point it was yeah vastly better than the pre than what it would have been and if I made it again now it would be two but it would also just be another story like the same character is the same plot but it's not the same story you know right yeah I mean I've written other stuff so it's not like this is my first rodeo on writing a story right and it's also but I'm just saying that like even if none of this stuff has been published like silently in the background you're grinding the power level which used to be how it was like sure most people didn't crack the scene till they were of a certain power level now it's like all your old shit can be on your deviant art and some people try to cover that stuff up but I I'm one of those people yeah all my old deviant arts are gone you'll never see them what's the farthest back of your content that's viewable online well I actually just axed all my pony work off of deviant art a couple weeks ago so like two years ago it's the longest it goes back is that true on like all social media or the okay but to clarify the reason that I decided to to get rid of the pony stuff wasn't even because I was super embarrassed by it it was because I didn't want that metadata to fuck up marketing anything that's going forward because I still that's why I I didn't I didn't remove my pony videos out of embarrassment either it was just like for a while I'm like an anime channel that has like three rows of anime videos and then pages of pony videos and I was like these all need to go that was the thing because like I'm rebranding is like all those 3d stuff and then you go back and there's all this pony stuff and it doesn't make any sense and like because like all these things are driven by algorithms now traffic to that is going to fuck up yeah directing where you're supposed to go god they're ruining the internet it's really bad they're ruining the fucking internet it's really bad and the only reason that the only thing that's going to save it is that everyone knows they're doing it yeah and that's why we can all escape all right how long how far are we into this could I am running out of questions okay um well is there anything anything because I I don't want to ask you about any broad topic stuff because we talk about enough of that on the PCP right now is there anything else you want to share um I guess like going back to what we're saying about like how we feel about like society or whatever like how that shit goes I think there's a lot of negative that comes on with this whole internet shit but like we were saying before like you know the last generation couldn't do what we're doing like there's no way that like can you imagine like like like the ridiculousness of like oh like five friends are sitting around a table having a discussion and you get like almost a grand for it I mean like the this whole setup that we're currently in right now is exceedingly strange yeah it's kind of ridiculous renting a house to make like to fly six guys in and make youtube videos for 10 days like it's utterly nuts and definitely it couldn't have existed before yeah so this period I know I we all give social media a lot of shit but like I I'm also like really just grateful that like I'm I really I like being the age that I am because I'm like young enough to be able to take advantage of all this but old enough to understand like how important it is oh yeah how like to not take it for granted right yeah so but at the same time I feel as though we are just too old to understand certain like why things become trendy on social media for sure there's definitely a distinct like that's every once in a while I'll just like hear some new song that's like all over vine and I'm like why and like why this that this is just is not my generation I guess you know that's I definitely am terrified of growing old just because of like I'm terrified of death in general I gotta remember that like you know there's always people your age like people people act like if you I mean granted like teenagers are the most interested in art because they need it to like understand the world around them and they have tons of free time but like adults still consume it and they want shit for them I'm just terrified of dying yeah well that's pretty bad I mean we're all terrified of dying me I think just because I haven't done what I want to do yet like I think if I can get enough shit out of me I'd be like if I died tomorrow like it it takes a lot mostly on the table for me there's so much well that's a whole problems like there's there's I'm never my brain's never gonna turn off there's always gonna be another idea so like I'm gonna die unfulfilled I really want you to read um or maybe I sent this to you I don't even remember did you read a thing by this comic artist about like how he wasted 14 years or whatever drawing this comic that was only supposed to take five and like his tips on how to not do that um possibly was it youtube video no it's recent it's fairly recent it was a it was a blog post but it was a I saw a video kind of similar to that or no it was a youtube video I'm wrong it was a youtube video I think I watched that it was like it was like kind of like an edutainment video but it was a yeah yeah a guy who was a comic artist who had spent like an obscene amount of time over a decade drawing like this three volume comic and it was because he copied the style of like oh yeah because he did all that super insane matching and stuff yeah I did watch it that's fascinating but then he talks about like where you need to cut to like he's like you pick your battles like this shot was not important and didn't need to be shot in a location that had four layers of detail I will not do that next time but the most fascinating part was when he was talking about like so this took me this many years and that means that if I only do three more comics than that or if I if I keep doing comics at this rate I will only get three done before I die right and I have more than three ideas and uh do you ever find yourself like do you worry about that especially with like Sorcerous Lost all the fucking time that's like my number one thing like I remember yesterday when I was on my way here I was like do I really have a week to spare like should I just be working right now because I have like two models like that have just been in limbo I feel very similar because like two weeks for the last two weeks I have done nothing but read the Guilty Gear Wiki for this goddamn fucking lecture and I still have all of XR to get through for me it was the dick show like days and days and I was like sick of it and I was I was I was talking to my friend he's like why the fuck are you even doing this all fighting game stories are retarded I'm like I mean you're right but that's the fun of it said I do it Kingdom Hearts story is retarded it's got 150,000 views dude this lecture the first the first half an hour is 100 years before the first game because that's you need to know all of that it's really dope oh boy but uh yeah yeah I too was like at the at the like very beginning of like the project that is going to define my career for the next year and I'm like gotta not work on that yet let's go to Radcon but like it's been really frustrating because I'm just like I want to keep going on that right but you're you've been talking about you and Munchie inspiring each other to try to work here so yeah no it won't be a total I've those those two files have just been open for like the last two weeks just like be sure are you sure God that feeling of having it open and like or especially if you have something for a project on a tab in your fucking chrome yeah and it's there for days or like a half finished movie and you're just like I'm never gonna finish this movie it's the worst yeah all right well uh I think we're about done here because I am sick of sitting in this chair and I've run out of questions all right so that's the interview with Tom hope you all enjoyed interviews are not like back there's only like two that need to be done it was you and mage I think yeah and now this one's knocked out so uh hope you enjoyed it with video and look forward to more Radcon video because there's a thousand of them we've literally filmed like like probably over 20 vlogs today or 20 pieces of entertainment today yeah look forward to everything peace


From Hollywood, the Mutual Network and Cooperation with Family Theatre presents Portrait of Cynthia with Bob Hope as host. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we're to win peace for ourselves, peace for our families and peace for the world. Family Theatre urges you to pray, pray together as a family. And now to our drama, Portrait of Cynthia featuring Virginia Gregg as Cynthia. Cynthia Todd was a young widow and most extravagantly lovely. She had two children, Bill and Betty, who were most extravagantly lively. They all lived most extravagantly on Park Avenue. That is, they did until one day when Cynthia called a famous dress salon. Hello, this is Cynthia Todd. I must speak to Madame Reynard at once. Very well. Just a minute. Madame Reynard, this is Cynthia Todd. Why has my evening dress been delivered as you promised? Betty, I knew you'd break that vase. Do you know what I'm going to do? Uh-huh.   And if I were the kind of a mother you deserved to have, I would.  OK. Hello. I'm sorry, Madame. A little trouble here. Now, about that dress, you say the check came back insufficient funds. Well, that's impossible. Well, I'll call my bank at once and call you back. I'll utterly preposterous. What's the matter, Mama? The bank has made some silly old mistake about my checking account. Be sure to get all that glass. Yes, Mama. The banks make mistakes. This one certainly did. Insufficient funds. Well, I'll call them up right now. No, I think I'll go down there. Mama, may we go with you? No, Betty. This is a business trip. But if you'll stay here and behave yourselves reasonably well tomorrow afternoon I'll take you both to the circus. Oh, goody, it's a deal. Mom, you swell. You real George. Oh, thank you, Billy. But I'm much too indulgent and you know it.  Oh, we'll go up to be all right. Sure, Bill's going to be a deep sea diver and I'm going to be an airline hostess. Yeah. I'm going to fight up to pussuses. And I'm going to marry a millionaire. Then I'm sure you'll both be very happy. Now try to be quiet until your governess gets here. I'll have lunch downtown, but I'll see you for dinner, darling. I'm sorry, Mrs. Todd, but this statement is correct. You have no funds in your checking account. Well, I thought I had plenty of money. But when my husband died and the estate was settled, I had over $70,000 in this account. How long ago was that? Five, no, six years ago. Well, that's a little over $12,000 a year, about $1,000 a month. And if you glance through this list of your checks, you'll see that you've been spending at least that much in quite often more. Mr. Parker, do you mean I'm broke? Well, that depends. You have a safe deposit box here, don't you? Yes. Any stocks or bonds in it? Yes, the ones you told me to hold on to when the estate was settled. Good. As I recall, there were $5,000 or $6,000 worth of good, solid investments. Now we can cash some of those and put the money into your account. And after I spend that, I will really be broke. I'm afraid so. Mr. Parker, what shall I do? Well, Mrs. Todd? Don't tell me to go to work. I've never worked in my life. And I have two children. Then get married. You mean marry someone with money? It's been done, Mrs. Todd. No, I couldn't be so. A commercial? It didn't be that at all, Mrs. Todd. After all, there are many fine gentlemen in the upper brackets. And it's just as easy to fall in love with a nice millionaire as a nice poor man. Yes, I suppose so. But I don't know any millionaires, except Tony, of course. And I don't like him well enough to marry him. Tony? Tony Atkinson. Oh, yes. The man who owns the racing stables. You don't know anyone else? No. You see, my husband's death was quite a shock to me. I didn't want to fall in love again and be hurt like that. So I haven't encouraged anyone. And they all drifted away eventually. I see. Well, I still say, get married. Even if it has to be Tony? Well, now wait a minute.  He might be able to help you. You mean he's a millionaire? On the contrary. He's as poor as the proverbial church mouse. But his work is finding favor among the society crowd. And he's going to hold a one-man show of his works at Bar Harbor in the middle of the millionaire colony. What does that have to do with me? The young fellow was in here yesterday. He said he was trying to find a ritzy-looking lady to do a portrait of. I beg your pardon. Now, please don't get angry. You do look very aristocratic, Mrs. Todd, and very beautiful. Well, thank you. You see, Stanley, that's the fellow's name, Stanley Wakefield, wants to include a portrait of a very distinguished lady in his one-man show, hoping that some of the millionaire's wives will see it. And they will commission him to do their portraits, too. Exactly. But I still don't see. A lot of very wealthy young men will see your portrait, who do not have wives. Oh. Oh, you mean. Exactly. I think you have the idea. Yes, Mr. Parker, but really, I don't. Now, I'm not suggesting anything so crude as deliberately marrying for money.  They should have a father, Mrs. Todd. And as I say, it's just as easy to fall in love with a nice rich man as a nice poor man. So what do you say? Mr. Parker, where is Stanley Wakefield's studio? You talk to him while I get the matches. Matches? What for? Hot foot. OK. Hi, Betty. How's my little girl? I'm not your little girl. Well, you don't mind if I sit down? No, here in this big chair. Thank you. Betty, why do you always lead me to this big overstuffed chair? Because when you scoot right back like you always do, the dimes and quarters slide out of your pocket. I mean, Billy, get them after you've gone. So that's it, eh? All right, I'll scoot your way down in the chair.  No, she had to go to the bank. It was something about insufficient fun. What's that? Oh, insufficient funds. That's what happens when your outgo is greater than your income. Oh, is that good? Well, yes and no. I was wondering when it was going to happen to your mother. Maybe a good thing, a very good thing. When's she coming home? Around dinnertime. Well, in that case, I'd better be.   It was nice of you to take me out to dinner, Tony. I did it in self-defense.  Well, I don't know what I'm going to do with them. I know what I'd like to do with them. Cynthia, you and I are going to have a showdown. Are we, Tony? We are, right here, right now. I happen to know that, financially speaking, you're about at the end of your rope. Who told you? I mean, I don't know what you're talking about. Oh, yes you do.  I am not. I have stocks and bonds and what business is it of yours?  I want to help you. You could use a couple of thousand right now, Tony, take me home immediately. Now, now, wait a minute. Hold on, hold on, sit down. I answer my question. You could use a few thousand, couldn't you? Tony, if you don't take me home. Couldn't you? I'm not rolling in wealth, if that's what you mean, but I have resources. I'll get along. Well, let me loan you a little.  No, your check would have a string to it. Cynthia, if it did have a string, I'd be tied to the other end of it. What do you say? When I get to the end of my rope, Tony, that will be the time to talk about strings. It would be the third floor. What an awful place. Oh, and this must be the door. Beg your pardon, I'm looking for Mr. Stanley Wakefield.  Sir?  Oh, very well. I'm not used to being shouted at. Then why did you come barging in here? Because I want to see you. Are you Stanley Wakefield? Yeah. I'm Cynthia Todd. Mr. Parker of the Avenue Bank told me about you. I want you to paint my portrait.  He said you were looking for an aristocratic type of person to pose. Yeah, a snooty-looking dame.  I'll say that for you. That does it. I'm not going to stay here and take insults from a conceited, spoiled, unmanally boor of a painter. Hey, wait, lady, wait. I, uh, I'm sorry. I apologize. Please stay. Well, all right. But I shouldn't. I'm sorry, Mrs. Todd. It's Mrs. Todd. Mrs. Todd.  I can understand that. But you didn't have to call me snooty. Well, look at yourself in that mirror. You've had your nose at a 45-degree angle ever since you came in here. It's that garlic on the second floor in the odor of cabbage across the hall. Oh, no. Those wonderful smells. I'm sorry. I apologize, too, Mr. Wakefield. Stand. Stand. Now, you'll get used to making Schultz's cabbage. That is, if you come back anymore. Oh, I certainly will. If you'll paint my portrait. Hmm. I'll stand under the skylight here. Turn sideways. Hmm. Now the other side.  Well?  Yeah, I think you'll do. Oh, good. When do we start today? Hey, not so fast. In the first place, this has to be a big canvas. And I, uh, well, I haven't got the money to get one.  OK. I have a special reason for wanting you to paint my picture. It may mean as much to me as it will to you, so will you let me pay for the canvas? Cynthia, I'd like to. All right, stubborn. Will you let me lend you the money for the canvas? That I can do. That I will do. It's a deal, my friend. And I'm getting out of here right now before we have another fight. Hello, Billy. I'm not going away. Where are you going, Mama? I'm not going anywhere. I'm simply going to have my portrait painted. But you're taking all your dresses with you. Yes, because the artist Mr. Wakefield wants to look at some of my evening gowns. Why, Mama? To see which one he wants me to wear when I have my picture painted. Mama, why are you having your picture painted? Well, darling, Stan, uh, Mr. Wakefield is a very fine artist. And his paintings will be on exhibit this summer at Bar Harbor, where all the millionaires are. Your picture, too? I hope so. Perhaps some nice millionaire will see it and fall in love with the original. Would you like to have a millionaire for a father? Could he buy me a pony? He certainly could. Then I'd like it fine. Of course, I'm only kidding, sweethearts. At least I think I am. Things like that happen only in books and plays. But, well, I don't know what to do. Well, I can dream, can't I? This would happen. Try joining on your ignition. I have it on. Oh, then look at your gas gauge. I guess I have enough sense to. Oh. Oh, what? No gas? No gas. Well, come on, get in my car. Oh, no. I'm going away over on the other side. Never mind where. I'll take you. Well, all right. Just a minute. I have some evening gowns on the back seat. Oh, are you going to a party? Perhaps. Good. I'm glad to see you're getting out again, Cynthia. You kept yourself cooped up too much, too long. I've just begun to realize that myself, Tony. And from now on, this little chicken is going to sprout wings and fly around a bit. Let's go, Tony. I'm late now. You must have the wrong address. No, Tony. This is the place. But it is. It's a dump, a shabby old tenement building. I can't help that. This is where I'm going. Then I'm going in with you. No, you're not. I shouldn't have let you bring me here. You can say that again. What's this all about? If you must know, I'm going to have my portrait painted. In that hovel? It's not a hovel. It's an apartment building. What kind of an artist would live in a place like that? A very fine artist, Stanley Wakefield. Oh, Wakefield. I've heard of him. He lives there. Yes. And he wants to paint your picture? Indeed, he does. He's having a one-man show at Bar Harbor this summer and he wants to feature a portrait in the hope of getting some commissions. What are you getting out of it? Is he paying you to pose? Certainly not. I know what I'm doing, Tony Atkinson. Before I get to the end of my rope, I may have a few strings of my own. What a relief to be able to move again if I can move.  Yes. I don't spare myself. I don't spare other people. If you don't like it, you can walk out. How do I know if I like it or not? You haven't let me see the picture yet. May I pose? No. I'm not going to show it to you until I'm satisfied with it. And I'm not satisfied yet. But you've been painting on it for two whole weeks. Yes, and it may be another two weeks before I let you see it. And I get back in a chair. So soon? Can't we have coffee or something? No. I'm trying to get an effect here and I may not have the same light tomorrow. Sit down, please. No, I won't. I'm tired and I want to... Sit down! Yes, Dan. No, Suri.  Hello, Betty. Hello. Is your mother in? No, she's still having her picture painted. But she says it's going to be finished today. Well, is that so? How does it look? We don't know. We haven't seen it.  No, she hasn't. She says we'd wreck the joint. And I bet we would, too. Oh, no. She just didn't want you to see the picture until it was all finished. Now that it is finished, I'll bet she'd be glad to have you go over there. You think so? Gee, we'd sure like to. Well, then come on. I'll take you over. Oh, goody. This is better than being surrounded by Indians. Sure, a lot better.  Why so? Yes, this is going to be quite a surprise to several persons, I hope. I'm simply starved. Hold still a little longer, Cynthia. I'm almost... Mm-hmm. That's it. I'm through. All through? Oh, there's little work to do on the background yet, but the portrait itself is all finished. May I... May I see it now, Stan? Yes, of course. Come on over. Here she is. Oh, it's lovely. It's glorious. Is that me? That's you, Cynthia. The beauty on the surface and the sweetness underneath. I tried to get them both. Well, Stan, I... I can't begin to tell you how... how utterly gorgeous it is. Mm-hmm. It'll do. Someday I hope to do a better one. Now, let's get out of here. Where are we going? To eat, my dear lady. To eat. We'll go to Max's just around the corner and have a real celebration. And then we'll come back here? Of course we'll come back here. Because I want to spend at least an hour just gazing at myself and dreaming that I really do look as lovely as my portrait. The door's open. Well, let's go in. Maybe they went out to eat or something. I guess so. Smells like turpentine. Sure does, silly. That's paint. Oh, look. There's Mama's picture. Oh, it's pretty. It looks just like her. Of course it does. That's what they painted it for, didn't it? Well, I think it's nice. I don't know about that. He's got her eyes too close together. Do you think so? Sure. I bet I could paint better eyes than that. Well, if you know so much, Mr. Smarty, there's a paint. Let's see what you can do. Okay, I'll show you. Billy, not on that picture. Make one of your own. Uh-oh. What do you mean, uh-oh? You did it that time. Now you've got her looking car guy. Well, you shouldn't have grabbed my arm. I'll fix it. Give me the leg. Okay, careful. It's all turpentine. I'll wipe it off and... Hey, this stuff smears. I'll say it smears. You'd better get busy and paint it back again. Okay. Boy, won't Mom be surprised when she sees her picture. The marvelous dinner that was, Dad. Well, I don't finish your portrait every day, you know. Portrait like that, anyway. I can hardly wait to see it again. Take it easy, Cynthia. These steps are steep. Oh, I know. I lost five pounds coming up here these last few weeks. Well, here we are.  Betty, what are you doing here? We came to look at your picture. Well, young man, you can ju... Cynthia, what's the matter? Look. Oh, Gray, you... Who did that? I... Guess I did. You little vandal, I'll teach you to spoil the finest painting I ever did. I'll ruin my picture with a little... Take it. You help him ruin that painting. No, I'm writing over my painting the mustache on. Oh, mustache. It's your children. Yes, and they're not brats. Well, take them home before I murder the little him. Why, you brute! I got a good notion to spank you, too. You wouldn't. She ain't. She said, and I quote, if I ever see that Tony Atkinson again for a million years, that will still be six weeks too soon. Well, I guess that settles that. Where is she? She's in her room, crying her eyes out. She knows you took us there.  Yes, I'm beginning to think so myself, William. Better stay away for a while. Sure, get lost, big boy, get lost. You know, I bet he thinks we don't like him. Well, we don't. I'm sure Glad Mommy ain't gonna marry him. Boy, did we lost things up. We sure did. I'm kind of sorry I messed up that guy's painting. It was awful pretty. Yeah, and when I got through, it was pretty awful. Well, how can that guy spank? You know something? Even when he bawled us out, I thought he was kind of nice. He's a real George guy, all right. Maybe we should apologize to him. Yeah, I... I guess we should. Matthew. I'll go see. Hello. It's that painter man. Mr., if you've come to spank our mother, we will let you do it. No, Betty, I've come to apologize. I'm sorry I lost my temper and spanked you, Bill. You should have spanked me, Mr. Just call me a stamp. I shouldn't have called you to a couple of little brats. I know, that's what we are. Is your mother... She's in a room, and she's crying. I don't suppose she'd... Well, you could try. That room there. Yeah, thanks. Cynthia? Cynthia, it's me, Stan. I never want to see you again. She doesn't want to see me. Well, I guess I'd better go along. You don't know women very well, do you? Half the time they don't even know what they say. You think I ought to... Sure, go on in. If she throws you out, we'll catch you. Okay, what am I going to lose? Cynthia, please let me... I told you I didn't want to see you. Go away. I'll go away, and I'll never bother you again as soon as I apologize.  You had no right to punish a poor, innocent little... innocent, the little devil ruined the best picture I ever painted. But I shouldn't have spanked him because I was glad he spoiled it. If you think for one minute you were glad? Yes, because I knew if I exhibited that lovely creature at Bar Harbor, some millionaire would fall in love with you. And I didn't want that to happen because... Well, go on. Because I'm in love with you myself. Oh, Stan. Cynthia, you don't mean you, too. Mm-hmm. Darn it, yes. Oh, darling. Little kissy, silly, ain't it? Darling, Mr. Parker was right. It's just as easy to fall in love with a nice rich man as a nice poor man. But why did I have to pick the poor one? You know, I've traveled a lot in recent years, in and out of our own country, from Alaska to North Africa, from Scotland to Texas, even to Cleveland. And I've found that people are pretty much alike. They're all worried. And I've got the impression that folks are more restless now than they've ever been before in history. Now, why? Well, they write big books and high-brow articles to tell us why, but the more they tell us, the more complicated it gets. But really, the answer is very simple. Remember a few minutes ago at the start of this program, we heard that family theater's only purpose was to urge everyone to pray, to pray together as families. And that figures. Besides the good it does for individual families and the individuals in the family, there's a big public factor involved. The factor of peace, of stability, of the chance of a little happiness perhaps for the whole wide world. That's the answer and the one that a lot of the big books don't give us. It isn't so very complicated. In fact, it's as simple as the heart of a child. Family theater believes, and I agree with them, that that is what we've lost. Simplicity, family unity, dependence on God. And that is why, every week over this station, family theater tells us over and over, without ever getting tired of repeating it, that if we want to get back to God's plan, we've got to meet the plan halfway. That a nation is only as strong as its families. And that means the ones that don't break up. And that the family that prays together stays together. Let's all get in the act.  The Family Theater has brought you Portrait of Cynthia. Bob Hope was your host. Featured in the title role was Virginia Gregg. Others in our cast were Whitfield Conner, Howard Culver, Bob Bence, Peter Vortrian, and Mary McGovern. The script was written by Harry Lawrence with music composed and conducted by Harry Zimmerman. And was directed for Family Theater by Joseph F. Mansfield. A portion of this program was transcribed. This series of Family Theater broadcasts is made possible by the thousands of you who feel the need for this type of program by the mutual network which has responded to this need. And by the hundreds of stars of stage screen and radio who give so unselfishly their time and talent to appear on our Family Theater stage.  This is Tony LaFranco expressing the wish of Family Theater that the blessing of God may be upon you and your home and inviting you to join us next week when Family Theater will present Man of the House starring Jeff Chandler and Joan Evans. Join us, won't you? Better at broadcast throughout the world and originates in the Hollywood studios of the world's largest network. This is the Mutual Broadcasting System.


Hello, thank you for joining me. It's 7.30 in the morning. I'm at a campsite about a mile away from Skipton Today we're going to go on the staycation express It's the local train which runs over the Cesson Carlisle starts here at Skipton It runs to Appleby has a class 37 at the northern end and a class 47 at the southern end So I'm looking forward to a real good bit of diesel bashing, but first I've got to walk into Skipton It's about a miles walk along the canal So let's go along the canal to skipton station. I'm just leaving the campsite now The walk along the canal is going to be quite interesting. This leads to Liverpool canal. What do you like? How we exit it? We've got this swinging bridge here So whenever a boat wants to come along the bridge Pith it like this and let the boat through. I've got to carry on along there towards Skipton You can see the main one of the bypass roads of Skipton and the railway line It's over there. We can't quite see it So we're going to be travelling back in that direction when we get on the train So now I've got a very present walk for about a mile towards Skipton along the leading of the canal I've just come a couple of hundred yards along the canal This is the bypass bridge over the canal It's quite nice in a way. I just like how it sweeps across So if you have a look, it's quite a nice reflection too So we are 97 miles away from Liverpool and we're 30 and a quarter from Leeds Although here Leeds would be that way So that is how far we are. Obviously that's as the canal goes not as the crow flies And the railway line runs just over there And just going off in the distance it's pretty hard to see But that's where the line to Coln went which is keep talking about reopening I wish it would have happened so Skipton you'd have a direct line to Coln and down south towards Manchester I'm going to carry on that along the canal soon a bit to the station That was a very pleasant walk along the canal for about 20 minutes We're nearly at the station now with another swing bridge just here Taking people to the west across to that area of the town So this is where we leave the canal and the railway station is going to be just across the road So it's a bit like how it used to be. So it started off with canals and then we're moving on to trains Although it's not steam train, there we go. It says railway station And there is the railway station just across the road So we're going to go, we're going to get on the train I don't think the train has arrived yet so I'll film that ride thing And we're looking forward to this. This will be the first time though I've not done the Seton Carlisle on a steam train. I've only ever done it on rail trains I've never done it on a passenger train So that man wanted to be featured by the looks of it So yeah, I've never done it on a passenger train I've only ever done it on a steam train So here we are at Skipton station So my first diesel train on Seton Carlisle So here we are at Skipton station 158 has just arrived. I think the train we're going on will have been following this one down Seton Carlisle because it actually stables our Applebee overnight and see the EMU's which work the trains from here to Leeds It's nice with all the flowers hanging up, the hanging baskets and everything I just know just coming down here Over there is a train of wagons We must be going to Rye Stone, not Colliery, Quarry It's one of the CAF units, number 353-016 There is also a 66 or possibly a 59 up there But we've got time to walk up and have a look It's 333-005 So our train should be arriving very soon And then we're going to fresh on up to Seton Carlisle Let's see if we can come this far We'll walk to the end of the platform See that 66, look at that, that's really nice Power of flowers on the platform So the MSN Bolton Abbey railway ever extends to Skipton Their trains have come down the hill where those wagons are So maybe one day I'll be back here saying today we're going to Bolton Abbey But that's probably some way into the future Here's the 66, it's number 66-771 So from a more modern diesel I'm going to go back down there and wait for an old diesel class 37 Or actually be the 47 that brings the train in and then we'll be leaving behind the class 37 Train has arrived, we have a 47 at this end So this is going to be on the rear now This is 47-593 and I'll show you what's going to pass this spot Well away princesses, great price for me on the side Large logo livery Down the other end we've got class 37 in BR Green livery So we'll see more of that at the other end I just want to show you the carriages So these are the carriages which ran on the line from London to Norwich So the Great East, the main line up until actually earlier this year These are all first class carriages I used to travel up and down to Norwich in their latter days, quite a few times on the 90s or I never went in first class So today I'm going to get my first opportunity to travel first class because they're all first class carriages that gives more space for social distancing etc You might hear the yang-yang-yang-yang-yang of a class 66 just slightly visible above the wall So that's on a train down from Railstone quarry So let's go and find our seats Our class service is limited Actually, let's go and have a quick look We've still got 10 minutes before we go I'm going to show you the loco because there might be a lot of people at Applebee so it's pretty easy to show it to you here So this loco's in a must in an older livery It's got its pre-tops number so it's the 6th, 8th, 1st, 7th It's the three that would have sort of This is our class 7, let's go and take some to Applebee Now let's go and get on the train It's going to be a really nice day out I think it's a lovely day Sun shining At Applebee station quite a lot on Steam Charters' Watering but I've never ever actually been into Applebee Town Centre So I'm also looking forward to that So I know I'm in coach A So I'm going to get on and find my seat So, on we go So here we have I'm going to go and find my seat and sit down and enjoy the ride So here we are on the Staycation Express sitting in the X 1st Class Mark 3 carriages It's nice, it's very comfortable Still got the Greater Anglia Moquette on the seats so it provides a reminder of the carriages' former career and it's really nice and pleasant As for wearing a mask, I've taken my mask off They've said while you're sitting down at your seat you don't need to wear a mask, you need to wear it when moving about the train and it's both on station So that's why I'm not wearing a mask I'm now going to continue enjoying the ride and soon we'll be at Applebee where we can have a nice day exploring Applebee Just approaching Ribblehead Station and we're going to very soon pass over Ribblehead 5 which is just ahead of us as we pass over Ribblehead 5 and the station is just coming up now It'll be a very nice walk to do especially when there's trains running Just passed over Ribblehead 5 and it's just coming up in a moment It's the signal watch It's still on British Rail network but it must be quite a nice place to be if you're a signal man There's the foot bath which must be a really nice walk If I got too long here I just wonder if I'll come here on a train It's bleeding more signal Now it's bleeding more signal watch than the signal man's house so we can't carry on enjoying the journey now towards Applebee So we've arrived at Applebee behind the Class First 7 It looks like there's some signals in the train going out into the siding so when I watch the train go out into the siding then we're going to have a look down the town So here we are at Applebee the train's gone now headed back to Skipton with another load taking one lot of people on the trip to Skipton and then it'll bring another lot of people for sure today back to Applebee and then it'll go back to Skipton bring that lot back and then we'll get on it and head back to Skipton so here we are 10 minutes ago we should look up the road there though we're going to walk up there because up there is the site of the other Applebee station so what I'm going to do I'm going to run down that ramp there and I'll take you up to the other Applebee station and just walked up from Applebee station which is over there I just wanted to quickly show you the site of the other Applebee station this was a northeastern railways station at Applebee I've not been on it yet but it's something I'd like to do in the future to get to here I'm just seeing the road here is the track the track is actually there but it's been tarmacked over and here is the old Goodshed and the track is actually all through there all through the undergrowth but you can't see much so that was the other Applebee station and if we cross the road we can clearly see the track is still in situ so that does connect up with the settle in Carlisle via the sidings where the train we've just come up on went to so what I'm going to do I'm going to go back to the station now and see the train arrive again so I've seen where the other Applebee station was coming back to the current Applebee station there's a couple of things I want to show you here then I'm going to go and explore the town because I've always wanted to come to this town but I've been through it many times so I've never actually seen the town so the town centre is down quite a steep hill that way but before we go down there you can see the lovely railway station railway sleeper here's the quite nice little old fashioned Auckland lights are coming on old fashioned style waiting room now we'll go over the other side have a little look around there and then we'll go and look around the town we can go over the lovely old lattice footbridge the bridge is disappearing across the country but here the station is still fully accessible she's got a ramp each side and that's why they haven't got this so we're going to be soon heading off down the hill down now I've already seen the church at the bottom of the hill so I'll show you inside the station building we can go in thanks to the office quite nice things to have there's a nameplate Bishop Eric Tracy he was a railway photographer and he photographed many trains in steam days and into preservation on such a car railway there's an early scale they're weighing scales so I think now it's time plus to go and explore Appleby so it's not far now I'm going to head off down the hill to Appleby so let's go and explore the town just come down the hill from the station and found the river Eden Appleby town centre is where there's the church it's just over the bridge over there so we're going to walk over the bridge and have a look around the town centre see what there is to see there is the castle up on the hill I don't think we'll be going to the castle today because with the current times you have to pre-book a visit perhaps another time almost immediately we're on that bridge so we'll go up here over the bridge and we'll get a nice view here of the river Eden that's where I was the moment ago it's just a really beautiful river so the station is up up over there not a huge amount to see on that side it's a more wooded section of the river coming down here to take us into the town centre can do a really nice river side wall probably do that when I finish recording takes you around there you can go around the river that way and you can cross over and come back on the other side of the river I've always wanted to come down here to this part of like I said I've never left the station before so it's really nice to come down and explore the town centre see what they have to see and explore it really see what there is we're just coming to the main town centre now so here we are, here's the main market square castle is up there we've got this rather interesting building here which will take us through where the church is I'll let you see the church I'm not expecting it to be open but we can certainly see it from the outside and then I'm going to walk up over the hills to the castle down to the river so there we are there is the parish church of St Lawrence so now I'm going to walk to the top of the hill I'm going to go up over the hill and we're going to go down and find the river at a more quieter spot away from the town centre I've just come down this lane which took us down round the back of the castle and we come back to the river so there's the river I'm going to take you along here there's a jubilee bridge here which they built to take us across the river so we haven't got to go through that rather long forward and it also will provide us with very nice views over the river and then from there I'm going to find another way up that way back up to the station so that will have sort of been around the whole of Applebee wouldn't it so you can see it's a really beautiful sight here we've got a weir here, another weir there and that is a ford who can drive so just doing it unless you have a lard on either or a land rover and then you get a view looking downstream on the river even I think it's a very nice part of Applebee a bit out of the town a bit of a walk too but you know when you come on this trip you get a real good amount of time here in Applebee so it gives you the opportunity to really explore the town beyond the actual town itself so come down here, there's one thing I want to show you down here well I believe that building there is the old Bond Gate Mill and as you get off the bridge comes down to here and there you are, gets a view off the Jubilee Bridge there which is just hot there's a stone sculpture here there's a few of these along the river so I thought we'd just have a quick look at that and then I'm going to head back I'm going to follow the lane up that way and find a way back to the station so there's a big giant tether of a flower so I'm now going to head that way towards the station I've had a great day on the Staycation Express it's been a really nice trip really enjoyed exploring Applebee it's a very pleasant town by the river and now here we are back at Skipton so why not come up here and do this if you live in the area then obviously just come and book and have the ride or do what I did, travel up from the south and have a great day out on the Staycation Express or you can get on the Applebee come down to Skipton, have a day out in Skipton so there's really a lot of options here so as I said I've had a great day hope you enjoyed watching please do feel free to like, subscribe, comment I've got to now walk back along the canal back to the campsite so thank you very much for watching I'll charge services for a great day thanks very much, goodbye