Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Martin Parsons about his choice of Image of the Fendhal (4/4)

Transcript

Talks to Martin Parsons about his choice of Image of the Fendhal (4/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:33
  Hamster with a blunt pen knife for doing quicker quicker.
• 0:37
  Welcome back to Hamster with a Blunt Pen Knife, the Doctor Who
• 0:40
  Commentary Podcast. I'm Martin Parsons, and with me
• 0:44
  is the host with the most the man who knows good head and
• 0:47
  isn't afraid to ask Mr. Joe Ford.
• 0:50
  You only have to ask, well, services are available at all
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  times, as 85% of fandom will tell you, not as much as, sigh,
• 1:01
  95% of have met him down a dark alley.
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  I mean, look, this is the first time we've spoken, right?
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  And we sort of came together here at 8:00 this evening.
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  I've been, I feel as if I've known you for 10 years.
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  One of those long, dark nights of the soul.
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  Of the soul, you say? Of the soul of the soul.
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  But I'm having the best time talking about image of defender.
• 1:25
  Oh, it's great. Whacking story to talk about,
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  yeah? So, so much fun to talk about.
• 1:29
  Yeah, really, really great. You know, I have some
• 1:33
  unfortunately to tell you that by the end of this, I don't know
• 1:36
  if you know the format, but we have to name our three fabulous
• 1:40
  things to recommend it. OK, so maybe just keep that in
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  mind while we go for Episode 4. OK, Well, do you want to count?
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  Should I, should I count us into the episode?
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  Do you want to count us into the episode?
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  I can't. Remember who did it last time?
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  Do you want? Hang on, who started this?
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  You did? Yeah.
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  I'll do it. You did?
• 1:58
  Yeah. All right.
• 1:59
  You ready? Yes.
• 2:01
  In 5432, one off we go. Fend our part 4, right?
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  So according to us, we're ditching intelligence for horror
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  tropes now. Yeah, lots and lots of, I was
• 2:16
  going to say shooty fingers, not shooty fingers, but lots and
• 2:18
  lots of pointing and and dying. It's a.
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  Staggering amount of salt in fetch Priory isn't there.
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  And a lot. It's a very yes.
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  It's a very salty place. What does that need all that
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  salt for? That's when she comes back with
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  a trolley. I love that she gets a trolley
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  as well. I'm sorry I just found this and
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  salt on it. Oh, Doctor, that dream, you're
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  right. Yeah.
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  What dream? Yeah, it's like, I mean, that
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  dream. Yeah.
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  That would have been really powerful if we had any clue what
• 2:43
  it was like. That's that dream.
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  OK, cool. That Fender Fendoline is being
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  lit differently this way. It's now it's being under lit
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  yeah, it's a bit more effective. It's.
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  More effective and just not seeing that's the sloppy tail.
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  You know it's it's better when you're looking at it.
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  Up he shoots it with the salt, right?
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  And it goes. But that was wonderful, thank.
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  You but anything's better when it's, you know, you do that
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  thing of shooting lighting and shooting from below like the
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  Daleks. You know, when you do that
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  thing, they they come in, you look upwards, it looks better.
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  I mean that's but that lighting is incredible.
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  Time walking into the. Green light is is absolutely
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  amazing. Oh no, but just turn the light
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  off when it's showing. No, no, keep it low.
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  Keep it low and green. Let's just let's just do that.
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  Yeah, see the direction there was.
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  She's just screaming. I can't move my legs.
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  I can't. It's not quite as.
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  No. I don't know, I can't, I can't
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  really explain it. But now here we are, back to
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  Thea and. And yeah, the pentagram looks
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  incredible. This is a nice overlay.
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  Like, you know, it's, it's, it's well done.
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  I mean, look at that gown, man. She could go to any gala,
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  couldn't she? On the red carpet today we have
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  Thea Ransom in her death goddess robe.
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  But that is just her rising like that on the Pentagon.
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  Is it? Is it a doll?
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  I can never tell. I think I'd say is it Stuart
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  Fell. Is it like?
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  One of the some people, Stuart. We've got to put you in gold
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  makeup now. That's definitely.
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  Her there? Yeah.
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  That's her there. That's her there.
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  Oh, Theo, I like that you get because Colby's like, you know,
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  oh, here I thought we might have a thing going on.
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  And it's like, oh, now you're a, now you're a demon wherever you
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  are. You're an evil deaf goddess
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  that's about to murder a load of people.
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  I don't think we've got a future.
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  I'm not sure about but this stuff is like OK this is good
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  but at this point I want to see a smoking corpse crash to the
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  ground. I want more like Hinchcliffe in
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  it at this point. Because you get a smoking sticky
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  Willy. A smoky, sticky Willy, but it's
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  not quite. And the little phentoline I
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  mean. I know I'm going to say now to
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  any gay men that are listening. All right?
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  Have you ever seen a bum hole like that?
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  I've run a mile. All right, you're going to be at
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  the clinic on Monday. I like I like that wander
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  anthems like movements. I think it's really good.
• 5:16
  The hair I'm not sure about. I mean, I don't the.
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  What is it supposed to be? Sort of Medusa.
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  Like, yeah, that's. Oiled snakes.
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  Yeah, but the smile is good. The.
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  Smile is very good. And the eyes, I mean a lot.
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  Bloody mango eyes, aren't they? They're so.
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  Massive done for the what is I want?
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  To say like the Frederick Jaeger in Planet of Evil effect.
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  Yes, yeah. What do you call the thing where
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  you shine? Is it from Axial?
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  Projection. OH.
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  My God, Fappin that's. Many ways we have the same mind,
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  Martin. But I wish there's a film, I
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  don't know if you've said there's a, there's a Spanish
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  horror film called Horror Express with them, Peter Cushion
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  and Christie. All of these recommendations.
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  Oh, Horror Express. If you're not seeing it,
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  absolutely fantastic, it's gone. Hang on, is it set on a train?
• 6:00
  On a train, yeah. Have they got like a big crate,
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  but they're. Transporting.
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  Have you seen it? But they do that where they all
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  get possessed and they do it with like red eyes, glowing red
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  eyes that are done with I think from the axle projection.
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  But it looks great and I'm. Going to guess though, you know
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  Hammer had a bigger budget than Doctor Who.
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  No, it's not even Hammer. I don't even know who did it,
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  but yes. Yes.
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  Is it Amicus? No, it's, I think it's one of
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  those like just a load of random people got together and decided
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  to make a film. I think because it's like a
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  Spanish Co production. Don't you love the fact that you
• 6:31
  could see the power line going down the stairs, but it's
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  because the skull is being connected to the time scanner,
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  you know? But what?
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  We haven't got a power line there and it.
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  Don't. They've got a reason.
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  Yeah, because the whole. Time the shit did you see that
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  you could see under the stage there did you see that when the
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  camera came around the corner you could see how it was a
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  raised stage and then all of the sort of wooden bits underneath
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  but we'll. We'll, we'll pretend they've
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  been doing some Amdram theatre. This is like the stage that's
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  always down. There, well, you look at Thea
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  Ransom, she is doing some interpretive dance over there.
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  But then I mean this the the styles that it is brilliant.
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  I mean, all of it is excellent. I like the direction.
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  I like Colby Dean. Like, come on.
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  Doctor giving him the gun the. Gun.
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  Dark. It's so dark.
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  It's. Dark, but it's one of those
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  things where I know some people get a bit upset about it, but
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  for me, it's totally in character.
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  Yeah, I but I think it goes back to that sort of thing of like
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  with when people have the problem with the 13th doctor
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  being like, Graham, I don't have time to talk about your cancer
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  right now. And for me, that's a really
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  doctorish thing. It is.
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  It's like, sorry, like this isn't.
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  I can't get concerned about this because like, there are other
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  things to think about and there's fun to be had and it's
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  always like that. I think the doctor is operating
• 7:48
  on a different plane, but in. So many, so many reasons with
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  that cancer one that I think that was a great scene.
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  Oh yeah. Because it upset a lot of people
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  and it got so many people talking about.
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  It. Oh yeah.
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  That was the point, I think. And that was the point, yeah.
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  But I think, but this, I think again, it's like the doctor
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  would like that he needs help essentially.
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  And this is the way to help him. And it's a nicer thing than
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  letting him get turned into a Fendoline and.
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  Went into a snake. I think it works really well.
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  I think it's. I think it's got very.
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  Far more questionable things. Oh God.
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  Holland's time, you know, when he's cyanide shock eyed to death
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  and things like that. Yeah.
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  Whereas this ultimately it's a kindness and I think that's sort
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  of very doctor ish, but you know, not necessarily the
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  methods, but. You Swede bashing Christian
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  Swede bashing. But everyone just attacks Colby.
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  They're like, you nearly got us killed down there.
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  He's not, not really. I said like one thing.
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  She still gives him a kiss. Though has been mentioned.
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  And if you get a kiss from Jameson, you're winning at life.
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  Yeah, definitely. Oh, Mark Tyler, man, just go in
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  the TARDIS, please. You know, Do you remember our
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  parting line? You know, John, it's going to
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  come a time when I'm too old for this sort of thing.
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  But it's almost like you, it's one of those stories again where
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  you sort of cut like for me, Colby's almost like companion
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  material because he is just taking everything really like,
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  and when he starts being like, oh, the Time Lords and he just
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  accepts it, he's like, that's great.
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  Oh, he would have been great. Imagine him and Mary Tam
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  together in the next. Season.
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  Oh, absolutely incredible to just bitching at each other.
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  Oh, Doctor, why are you hanging around with this primitive?
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  Primitive. And he's.
• 9:26
  Just constantly try to get his underwear and she's like, no, I
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  don't, I don't. I don't want, I don't want any
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  part of this. I've rescued you again, Roman.
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  Oh, dear. Stuck hanging off a Cliff face,
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  are you? I don't know if you've noticed
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  them or when that fendoline was sort of dead on the floor.
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  They were actually pumping dry ice down the middle of it.
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  It was coming out the mouthpiece.
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  Yeah, there's a smoking corpse I was hoping for because.
• 9:53
  It's not quite. Not quite what I wanted.
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  Oh, poor old Leela trying to say gestalt.
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  Yeah. Oh, he goes now.
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  A gestalt is a group creature. Yes.
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  Thank you, Colby. But also, I like that, yeah,
• 10:07
  he's sort of he, he teases Jack a bit, but he's like ultimately
• 10:11
  that he's that they sort of get on.
• 10:13
  What I really want to know is, apart from all the orgy stuff,
• 10:16
  what is their relationship with Mark Tyler?
• 10:19
  Who is she to them? Like does she bring them their
• 10:22
  shopping? And make some food and.
• 10:24
  Make some food, but like, but like she but she doesn't live at
• 10:27
  the house. Like why is she just on the
• 10:29
  estate? I never quite understand.
• 10:31
  Like what they all but they all know her.
• 10:32
  Like they're like, oh, you know, Mark Tyler, She's always around.
• 10:35
  She's got the best balm in the world.
• 10:37
  You know which they use as loud for the orgies.
• 10:41
  She's like, I don't know why they keep asking for my bomb.
• 10:45
  I pulled it from the SAP of the old trees.
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  Oh, look at her, Mark Tyler, as much salt as you can.
• 10:53
  Off you go. She's great.
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  She's loving it. Did you see as well as well when
• 10:58
  he was giving us all that clunky exposition about because so
• 11:02
  entity Jack just went. He reads a lot, you know, that's
• 11:08
  great if you can hang a Lantern on it.
• 11:09
  Like with a witty line. Wonderful.
• 11:12
  And I think that's it. Like we said, like they but they
• 11:14
  all, they all get it. They're all doing exactly what
• 11:16
  they need to do to make it work. They're not sending it up
• 11:20
  either. Like it's all very much like
• 11:21
  they're following the script and the tone, but it's.
• 11:23
  Witty. But it's witty, yeah.
• 11:25
  It's a hard line to sort of run, to be scared and to be funny,
• 11:31
  you know? Yeah.
• 11:32
  It's something that Doctor Who does at his best, really.
• 11:35
  But Colby here, yeah, he's sort of doing almost like the
• 11:37
  companion, you know, try out being like, you know, do I
• 11:41
  understand what the doctor said to me?
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  Can I repeat it back? Yes.
• 11:45
  It ate life Master in all life, including that of his own kind.
• 11:48
  I mean, it's great exposition this though, because it's
• 11:51
  summing up everything we've learned so far.
• 11:53
  Yeah, and, and I think it, and it's, it's enough of a kind of
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  like that's really creepy. You don't really need to get
• 11:58
  into the detail. It's like it just it devours
• 12:01
  everything. Fuck, you know, he looks so hot.
• 12:03
  Then when he went about the Time Lords, he went, you know,
• 12:05
  they're not supposed to do that sort of thing.
• 12:06
  And it's like. But when he says it, he's like
• 12:08
  the he's just, yeah, he's talking about Time Lords as if
• 12:11
  that's totally normal. It's like Colby, get in the
• 12:13
  TARDIS, let's go. And Martylla.
• 12:16
  And Martylla, come on guys, everyone.
• 12:18
  And can we take Beatrix name in next week as well please?
• 12:22
  Come, I won a hole. The more the merrier.
• 12:24
  There's so many great guest characters in the Williams Time,
• 12:26
  Ben Roe, The Heretic and You Go. Come on, let's go.
• 12:29
  Oh, Mr. Fibbuli, off you go. We could have a whole team.
• 12:35
  They probably would nowadays, but it's the crew, the children
• 12:38
  of time. Are you saying that the skull
• 12:40
  created man? No, no, no, no.
• 12:42
  I'm saying it may have affected his evolution.
• 12:43
  Which going back to where we were at the beginning, I mean,
• 12:46
  full quaint mass in the pit, RIP off.
• 12:48
  But it you know, you know, if you're going to RIP up, RIP off,
• 12:50
  RIP off from the best, this is the way to do it.
• 12:54
  And just do it in a really Doctor Who Y way.
• 12:56
  Oh yeah, in a domestic setting with a load of eccentric
• 13:00
  characters. But when when you watch the
• 13:02
  Stone Tape, you'll see which is all about scientists in an old
• 13:05
  house doing their research sort of inexplicably in an old house.
• 13:09
  Yeah, there's. I was, I was really impressed
• 13:11
  when I watched Quite a Mass and I did it because I knew I was
• 13:13
  going to talk to Toby about this.
• 13:14
  I watched the whole lot and I did find it really very well
• 13:20
  made for the time and very well written.
• 13:22
  It doesn't have that sense of action adventure that Doctor Who
• 13:25
  has. No.
• 13:26
  Oh, definitely not. No, no, no.
• 13:27
  And I think Nigel Neil, like, wouldn't have wanted to.
• 13:30
  Know from it down at doctor. Who?
• 13:33
  Oh God, do you? Remember when Derek Sherwin
• 13:35
  asked him in the early 70s, Do you want to come out?
• 13:37
  Not right that nonsense. And I, I think he probably would
• 13:41
  have been actively annoyed if he'd seen this being like, yeah,
• 13:44
  all right, but. I mean, I couldn't believe the
• 13:46
  opening scenes of That's Spearhead from Space.
• 13:50
  Well, literally the opening things took quite massive.
• 13:53
  Yeah, yeah, yeah. I mean, I, I think, I think
• 13:56
  there's place in the world for. But did did you see the final
• 13:59
  quaint of mass? Did you do that one?
• 14:01
  The 1712 No. No, I didn't do that. 1.
• 14:04
  That's a. With a weird sort of kiddie
• 14:06
  cult. Yeah, that's another experience.
• 14:08
  Like it's, it's I like it as well, but it's very different.
• 14:11
  But yeah, that's that's an interesting sort of yeah way of
• 14:15
  doing the character. Martin, you said you'd never
• 14:17
  been to a convention. I'd like to think, you know, if
• 14:19
  you and I go to a convention, you'll dress up as sort of Thea
• 14:23
  Fendale and I'll dress up as one of the Fender lean.
• 14:26
  We can go around together. Perfect.
• 14:30
  OK, I'll. Work on my moves.
• 14:31
  I'll try and get a date in for that.
• 14:34
  I'll get my costume made. You've only got to wear a gold
• 14:36
  lame frog. Yeah, Oh, mine's easy.
• 14:39
  Actually, they might think you're Faroon from Time and the
• 14:41
  Rani as well. Man, Wanda Venter definitely had
• 14:47
  a look in Doctor room. Oh, here she comes with a
• 14:49
  trolley full of salt. Come on.
• 14:53
  I love battle stations. I just say it's the same in
• 14:55
  Lagopolis Battle stations. Such a great.
• 14:57
  So, Doctor Hui, Gwen, come on now.
• 14:59
  You 2, back to the cottage in quite a mass.
• 15:05
  It's like we're going to Westminster Abbey.
• 15:06
  All right. No, no, You 2, back for the
• 15:09
  cottage. That's Doctor Who.
• 15:13
  But again, like Colt at this point, Colby, it's almost like
• 15:18
  he could be killed off at this point.
• 15:20
  And I really like that he isn't because it's that thing of, you
• 15:23
  know, Colby, go and do this, send him off to a room on his
• 15:26
  own. And you know, because I'm I've
• 15:29
  always felt sort of devastating every time you watch horror of
• 15:32
  Fang rock and skin sail goes back to the diamonds and you're
• 15:35
  like, no, don't do it, don't do it.
• 15:36
  And then it's like. When Vince dies it again Vince,
• 15:39
  I love Vince. Yeah.
• 15:40
  And it's and it's that. But in this, it's kind of you
• 15:43
  can see that we're kind of almost moving away from that
• 15:46
  darkness in some ways because Colby at this point and they
• 15:49
  even sort of I think they play with it deliberately in this bit
• 15:52
  in a second. You think he's gonna die?
• 15:54
  Yeah. Yeah, yeah, 'cause he.
• 15:56
  Just and then he, he literally turns it off and goes like, I
• 15:59
  hope I've given you enough time. Right?
• 16:01
  Let's. Go and I think and, and, and I
• 16:03
  like that. I'm really happy that he makes
• 16:05
  it out. When he goes to the cottage,
• 16:06
  they like, come on professor under the table and they're all
• 16:09
  there together. And it's pretty cute.
• 16:13
  I mean, you just wouldn't have that in any kind of horror.
• 16:15
  These no mad people under a table, you know.
• 16:19
  But it is not. And I thought about it when you
• 16:20
  said it, but then it's so weird that then they don't get a
• 16:23
  goodbye with the doctor and that's it.
• 16:24
  Like they're just, they're just under their table.
• 16:26
  It's a bit, yeah. It's a shame.
• 16:28
  Does it cut to a console scene? I can't remember was.
• 16:30
  It oh God, it's a dreadful final series.
• 16:32
  Just exposition. Oh, it's just.
• 16:34
  No, it's playing with canine. It's the light 0.
• 16:38
  That's. Right, it's not it's not a good.
• 16:41
  This is a. Terrible bit of director, bless
• 16:43
  them. They're throwing salt at this
• 16:45
  thing missing and the creatures just sort of wobbling and it's
• 16:49
  that they have to move. Forward enough that it's sort of
• 16:52
  out of frame, but it's not because it's too big and so they
• 16:55
  can't. It's really hard for them to get
• 16:56
  past it. It's that's yeah, it's.
• 16:58
  Where the limitations of Doctor Who are very clear.
• 17:00
  Yeah, yeah, actually look at how the skulls lit there.
• 17:06
  It's great. It's really great.
• 17:08
  Where are those little phentolins now?
• 17:10
  I want one. Not for nefarious purposes, I
• 17:14
  just want one. Who's for the shelf, you know?
• 17:17
  Oh, that one had a steaming backside, did you say?
• 17:20
  Yeah. But again, it's like what, what
• 17:22
  I, what I don't like is that they're not dangerous, these
• 17:25
  ones, they're just sort of there for set decoration and I, I
• 17:29
  don't really understand it. So yeah, they really what you
• 17:32
  want is like CGI ones that snap at you, Yeah.
• 17:35
  That's. Exactly.
• 17:37
  They just sort of rock back and forth.
• 17:39
  It's a bit like the cat with the paws, you know, like the
• 17:42
  ornaments. Or if it were like bigger ones
• 17:44
  getting closer, that would be difficult on on a set this size.
• 17:48
  But you know, anything sort of encroaching threat.
• 17:50
  But it's not really that. It's just little twiggly things.
• 17:53
  It's not really that scary. Maybe we were seeing the best of
• 17:56
  George Benton Foster when he was doing those dialogue.
• 17:59
  Things I do think that that is, although I like this, I like and
• 18:03
  this is better, I think than the Having the floaty, superimposed
• 18:07
  figure is nicer than having the Fendoline slithering around.
• 18:11
  I think that. The camera fixed and it just
• 18:15
  didn't move there. No.
• 18:16
  And then it waits until they're out of shot, and then the
• 18:19
  ceiling falls in. And also I'm like why is the
• 18:21
  ceiling falling in? It's almost like Graham Williams
• 18:25
  is going, mate, you just got to shoot this in a hurry, right?
• 18:27
  We're running out of time, I think.
• 18:28
  And I think that's probably true.
• 18:30
  Like it's probably what happened.
• 18:31
  And then I'm not sure how I feel about this thing of fear just
• 18:34
  appearing in all the different places.
• 18:35
  You're like, yeah, OK, I suppose get a bit of get a bit more
• 18:38
  time. I.
• 18:39
  Wonder if they're in the library.
• 18:40
  Yeah, I'll kind of it in there. I'm going to go back to the Star
• 18:44
  now. Yeah, they're there.
• 18:45
  No, they're not there. OK.
• 18:48
  No, I mean, just to see that star again is nice.
• 18:50
  It does look. Great, this bit now sort of goes
• 18:52
  round and around and she looks really sad.
• 18:54
  Yeah, and that's that. This is where it's.
• 18:57
  You almost expect there to be a bit where she's like, no, I
• 19:01
  reject you, Fendall or whatever, but you don't get it.
• 19:05
  It's like, I love the shot of them running away.
• 19:07
  Looks great the way that's lit. And all the lightning the.
• 19:10
  Lightning looks great. I mean, it's all horror tropes
• 19:14
  now, which now we've got lightning, we've got slathering
• 19:18
  monsters. I mean, it's they're throwing
• 19:20
  everything possible at you. I'm sure the kids were very
• 19:22
  happy. The trouble is, so mine is like,
• 19:25
  once you've created a villain so scary, it's death itself, right?
• 19:31
  It can only be an anticlimax, right?
• 19:34
  How do you defeat death? Well, apparently you grab the
• 19:36
  skull and do an unexplosion. And how do you deal with, yeah,
• 19:42
  what that means? Which again, I think going back
• 19:44
  to the spin offs, Keldor City, that final episode where it's
• 19:48
  like not you don't know whether it's happening or not on Storm
• 19:51
  Mine I thought was really good was that thing of like, who am
• 19:55
  I? What am I becoming that that I
• 19:57
  thought worked incredibly well? I mean, visually, I think this
• 20:00
  explosion is great because they've reversed the flames and
• 20:03
  they've got this sort of weird sucking music that makes it feel
• 20:07
  like the music's in reverse. No, I think.
• 20:09
  In terms of impact, it's good. I just don't really know what's
• 20:12
  happening. No, no, I like vanishing
• 20:15
  Priories take a lot of explanation.
• 20:16
  That's a great line. That's really, really good.
• 20:20
  Eating the best plum cake off her best China.
• 20:23
  Oh, where's my line? It's going to come a time where
• 20:26
  I'm too old for this sort of thing.
• 20:30
  Now how is he going to explain all this?
• 20:31
  Colby? Now all of them are date.
• 20:33
  This is the Yeah, that it's just the thing.
• 20:35
  It's like what happened in that research project.
• 20:38
  It's like, oh. Layla, man, she's had enough
• 20:41
  time to shampoo her hair. But then this is like, we're
• 20:45
  getting just exposition to end it, and it's like, yeah, we're
• 20:47
  going to throw it into a star, all right?
• 20:49
  Oh, but she's back in her other livers, thank.
• 20:51
  God, and just immediately looks so much better.
• 20:54
  It's like, why? We're just thinking this?
• 20:56
  What were we doing? Yeah, it was a bizarre look back
• 21:01
  into the tatty console, the poor old central rotors.
• 21:06
  Yeah. Wobbling up and down isn't it?
• 21:08
  It is a bit depressing. It's.
• 21:10
  Not funny this as well where he's trying to say je Northeast
• 21:12
  Sequoia. No, it's really odd and it's
• 21:15
  just like, I don't understand. I don't like any of the comedy
• 21:19
  tag scenes that they do ever, really.
• 21:21
  But it's an odd way to finish the story.
• 21:25
  And she goes, oh, you know, you always don't finish your
• 21:27
  sentences. It's really annoying.
• 21:29
  No, he doesn't like. No, what are you talking about?
• 21:32
  He has done that once in the story.
• 21:33
  No, the whole thing about calling Canine him, it's like,
• 21:35
  yeah, we did that in that one scene, but it wasn't very funny
• 21:37
  and. Canine has had no part in this
• 21:40
  story, so no, we're bringing him up now.
• 21:42
  Yeah. Such a weird scene.
• 21:44
  No, it's such a pointless thing. That would have ended on the
• 21:47
  joke. You know the.
• 21:48
  Yeah. Or I'm too old for this?
• 21:51
  Now or even just be like, let's go back to the cottage and have
• 21:53
  cake with those guys. You know, something like just
• 21:55
  let's, let's do something slightly.
• 21:57
  Bit like the end of Shardy, you know where they're all in the in
• 21:59
  the study at the end. Would have been lovely that
• 22:02
  anything like that would have been.
• 22:03
  It's sort of like, yeah, I don't really get why we bothered not
• 22:05
  doing like, why didn't we do that?
• 22:07
  I don't know. Now I realise we've been a bit
• 22:09
  down on episode 4, but that's only because the setup was so
• 22:13
  good. Yes, and it's not that uncommon
• 22:16
  to have the episode 4 where you're a bit like and it's all
• 22:20
  sort of just ending now I'm. Going to say something that's
• 22:23
  going to make people hiss at me. But especially not when it's
• 22:26
  script edited by Robert Holmes. Those episode 4 in Hinchcliffe
• 22:30
  time are. Pretty.
• 22:34
  Yeah, yeah, yeah, yeah. Or at least anticlimactic.
• 22:39
  Anticlimactic. Yeah.
• 22:40
  And it's sort of like, I think that a lot of it does work.
• 22:45
  I do like like Thea going round just sort of killing people.
• 22:51
  I do think that works. I think what I really think it's
• 22:54
  missing is that moment of her getting any kind of agency of of
• 23:00
  any kind, just anything. It's like, yes, she's been taken
• 23:03
  over. That's brilliant.
• 23:03
  That's really scary, but then that's it, which is where again
• 23:07
  that thing when RTD said, you know, I should have done a
• 23:10
  direct sequel and mentioned like bringing back one of Anthony
• 23:13
  like that's actually I would really like that like.
• 23:17
  You're right as well. That would have been such a much
• 23:20
  more satisfying conclusion if she said no.
• 23:23
  Yeah, You know, no, I'm not going to let you do.
• 23:25
  This, I think it's if she said it or if Fendleman did it, it
• 23:29
  would would be one of the two that because it could be OK.
• 23:31
  Yeah, she's been taken over. That's really horrible.
• 23:33
  But Fendleman's like, no, you know, this, this is I'm sort of
• 23:38
  responsible for this inadverted commas, and I don't want them.
• 23:40
  It's gone down the bloodline, not not to take him to that
• 23:44
  point to activate the skull, but for him to stop this, Yeah.
• 23:48
  Which is kind of what they do in the Big Finish, which I did.
• 23:50
  I didn't love the story, but I did quite like the fact that
• 23:53
  it's like she's like I'm a fed. I'm yeah, it's it's my family
• 23:56
  thing. I've got to sort of end this.
• 23:58
  I like that. I thought that was well done.
• 24:02
  I did always. We do get to spend time with my
• 24:04
  Mark Tyler, so I can't. No, this is the thing.
• 24:07
  It's like, let's not. I really don't want to complain
• 24:09
  because I think it is a really, really good story.
• 24:14
  Yeah. I, I just, I think overall it's,
• 24:17
  it's great. I think it should be better
• 24:20
  loved than it is, despite Part 4 being a little bit flat maybe.
• 24:27
  I'm going to go back about half an episode and say somewhere in
• 24:31
  the middle of Part 3 it it's less a conceptual horror and it
• 24:36
  becomes for half an episode, just a weird diversion in the
• 24:42
  TARDIS. Yeah, yeah, just.
• 24:44
  Just a horror in that last episode.
• 24:48
  Yes, there's nothing wrong with just a horror, but what they
• 24:52
  were setting up before was so interesting.
• 24:54
  Yes, that I think that's the problem and I think the they
• 24:57
  manage the sort of techno bubble quite well.
• 24:59
  But then there isn't like I say, for me, it's that there isn't
• 25:02
  any kind of emotional pay off and it's almost like much though
• 25:07
  I would have hated it. But maybe maybe one of those
• 25:12
  like the fact that the three that that Jack and Martylla and
• 25:15
  Colby all survive. I'm sort of like, oh, that's
• 25:18
  that seems like a lot of survivors in some ways.
• 25:20
  Like could could one of them not have been zapped by a fenderly
• 25:24
  like something because otherwise because a fenderly ultimately.
• 25:27
  Mark Tyler play. Not Mark Tyler, no, but although
• 25:30
  you know, if you want Mark Tyler that stood like to blow up the
• 25:34
  house at the end, that would also be pretty good like a a
• 25:36
  last stand, but. Rambo, MA Tyler.
• 25:41
  Yeah, or she just sort of emerges from the wreckage and
• 25:44
  she's like, luckily I surrounded myself with salt and survived
• 25:47
  the implosion. Someone give her a series, come
• 25:51
  on. Oh God, Ma Tyler adventures.
• 25:53
  Yeah. I'm gonna say it just one more
• 25:55
  time. The Old Ladies Detective Agency,
• 25:57
  MA Tyler, Miss Hawthorn, Amelia Rumford and of course that
• 26:03
  fabulous broad from Caesar Doom. Amelia Duca.
• 26:06
  Amelia Duca. Fantastic.
• 26:07
  I might even throw in Auntie Vanessa as well, just for fun.
• 26:10
  I'll. Go on then.
• 26:11
  Yeah, just for, just for a bit of what's the word,
• 26:13
  international spice all. Mad eccentrics going round the
• 26:17
  world together solving cases. It would be goals have there.
• 26:21
  Been any in the in new Who have there ever have there have we
• 26:25
  had that kind of eccentric character?
• 26:28
  Older character. Older character I'm trying to
• 26:30
  think of because the closest I think you get is like Bernard
• 26:33
  Cribbins being the older sort of slightly kooky character, but
• 26:38
  it's not really the same thing. No, I know what you mean.
• 26:41
  No, no, like that. Proper serious old idiosyncratic
• 26:45
  madwoman. Yeah.
• 26:47
  And I don't think, I can't think.
• 26:49
  Of June Whitfield in that tiny bit, she was.
• 26:52
  A tiny little bit, yeah. I don't think so.
• 26:57
  But I'm even is there. I'm trying to think if there's.
• 26:59
  Any there's a naturalism to the new series, which I think means
• 27:02
  you don't really get proper kookiness.
• 27:06
  That's true. That's true.
• 27:07
  And also I feel like there's a bit of a, a lot of the time, I
• 27:10
  mean, even though they have quite snappy dialogue sometimes,
• 27:13
  there's a lot of, there seems to be a bit of a fear of comedy in
• 27:15
  New Who. But I think they sort of they're
• 27:18
  like, oh, we've got we've got to be serious.
• 27:19
  It's like, yeah, but I'd be totally happy to have some
• 27:22
  outright comedy episode, you know, give me like a one Doctor,
• 27:25
  give me like something that's that's fully silly.
• 27:29
  I've just thought of 1 Martin. I've got truly mad decrepit
• 27:34
  eccentric in the new series. Oh.
• 27:37
  My God, go on, who is? It Janet Fielding in Power of
• 27:39
  the Doctor. She was bonkers.
• 27:44
  Do you remember looking at her phone?
• 27:47
  I can't see you. Ice.
• 27:48
  Ice. I'm in Romania.
• 27:51
  Whatever it was, oh God, that was that was.
• 27:54
  Why is he sent me a Russian doll?
• 27:57
  I don't have good memories of the Cyberman ICE.
• 28:00
  Oh, that was that was absolutely fantastic.
• 28:02
  Yes, I would like to go into the Tardis.
• 28:05
  I did think recently, I was watching hand of fear recently
• 28:07
  and I was like, actually the thing that they the the way I
• 28:11
  wish. I I mean, it's a lot to get
• 28:13
  into, but I I don't like the whole Sarah Jane was in love
• 28:17
  with the Doctor thing they do in the new series.
• 28:19
  But actually, if anything, they should have written Sarah Jane
• 28:22
  the way they wrote Tegan Impact. You know, being like, yeah, I
• 28:25
  will come into the Talos actually, because you just
• 28:27
  fucking dumped me being way more pissed off.
• 28:29
  What did she say in the state? No, some things are worth having
• 28:32
  your heart broken for. Yeah, but no, it's like I, I
• 28:36
  would have preferred her to be a lot more like prickly, just
• 28:38
  that, no. Fortunately we got over that
• 28:40
  quick and she was in that lovely attic house in Banneman Rd.
• 28:45
  Doing, doing all her stuff. Yeah, that was, thank God.
• 28:49
  She was a right cow in that first one.
• 28:51
  Invasion of the bayonet. Oh, that.
• 28:52
  Was brilliant. I mean, that was in fact that
• 28:53
  whole first series. I really like that they do the
• 28:58
  sort of like as I call a scary Jane where she is just not that
• 29:02
  nice, which is a part of why I like the character.
• 29:05
  Maria, go home and leave me alone, all right?
• 29:07
  All that stuff when she's just sort of like, yeah, no, I
• 29:10
  shouldn't have got you involved in all of this.
• 29:11
  Like a like, yeah, you're all just little fucking children and
• 29:14
  whatever. Like brilliant.
• 29:15
  And even better was what the neighbor Chrissy?
• 29:18
  Chrissy, come on, I'm not having a Sontaran setting up house in
• 29:23
  Des Rez. The best, the best bit.
• 29:26
  I thought the best that character bit was in the first,
• 29:28
  the one where they have the the arcade where they're kidnapping
• 29:32
  the kids and and, and there's the and there's like and could
• 29:35
  like, yeah, and there's the kids that they're all teasing called
• 29:38
  he's called Lance. They're all calling him Lance
• 29:40
  Corporal. And then she's like his dad died
• 29:42
  in Iraq. Do you think he finds that
• 29:43
  funny? And they're all like silence.
• 29:45
  And you're like, oh fuck. She's genuinely does that like
• 29:48
  angry mum thing so. Well, you're just like this is.
• 29:51
  Although and also has the best guest character of anything
• 29:55
  ever. The woman who works at the laser
• 29:58
  quest. SAP those drones.
• 30:02
  Welcome to the unique gaming service Laser Tech 30.
• 30:08
  She's wonderful. How did?
• 30:10
  We get here. No, she's like all around,
• 30:12
  around the houses. Talk about eccentric.
• 30:14
  A woman, she was wonderful. I mean Sarah Jane, she's a mad
• 30:17
  eccentric by the end. True.
• 30:19
  True. Gosh, Yeah.
• 30:20
  What are we saying? Yeah.
• 30:21
  So let's they're coming out for the first time, our free
• 30:25
  fabulous thing. I don't think it's going to be
• 30:27
  too hard, but there were so many things we mentioned.
• 30:28
  But would you like to go first? Okay, I'm going to go 1st and
• 30:32
  I'm going to take Adam Colby. Of course.
• 30:35
  Gods. Dead one.
• 30:37
  What other thought is that? I mean, he is genuinely, like I
• 30:40
  said, I've never, I don't think I've seen him and anything else
• 30:43
  the actor. I just think it is one of my
• 30:45
  favorite performances in the whole of Doctor Who because,
• 30:50
  okay, I mean, some of the lines may be a little bit OTT, but the
• 30:55
  whole the fact that I do genuinely know people that are
• 30:57
  like that in life, they are sarky constantly.
• 31:01
  They've always got a bit of a smoke.
• 31:03
  And I just think it's great. And it's the kind of character
• 31:05
  that you don't really get in Doctor Who that much.
• 31:07
  I mean, until you get to basically Donna where you've got
• 31:10
  somebody who is just like taking the piss out of everything.
• 31:12
  And I just think it's great. And I like his relationships
• 31:14
  with the other characters. I think he just fits really well
• 31:17
  in the story and I just think he's hilarious.
• 31:21
  Do you mean over the top dialogue you sweet bash?
• 31:25
  Oh no, that's brilliant. That's 100.
• 31:27
  Percent, I'm going to use that now it's.
• 31:29
  More the What is it you're going to raise the devil, huh, I
• 31:35
  think. You can play Adam Colby in the
• 31:39
  Finish adventures. You know I'm going to get
• 31:41
  Catherine Tate on the blower. Oh God, I I mean, I could not be
• 31:46
  happy if they did that. I would be absolutely thrilled.
• 31:49
  I really would. Well then, since you chose the
• 31:52
  character, I will choose the character and Ma Tyler, Daphne
• 31:56
  heard just exquisite in the role.
• 32:00
  Arena dogs dumb enough to bite me.
• 32:05
  I mean, she's just glorious. She knows exactly what she is
• 32:10
  playing. She is playing the most cliche
• 32:14
  character possible within a horror and yet plays that role
• 32:18
  with dignity and and everybody respects that character that we
• 32:23
  need to respect her. And as a result, she's just the
• 32:26
  most impressive person in it. I think.
• 32:28
  Very funny, tons of agency and just a bloody woman.
• 32:33
  A great woman in mid 70s Doctor Who.
• 32:37
  Hallelujah. In its, yeah, in itself, thank
• 32:39
  God. But I mean, I think I think
• 32:41
  you're right. But I mean, I think she gets
• 32:42
  everything right. She's funny when she needs to be
• 32:45
  funny. She's serious when she needs to
• 32:46
  be serious. She's sort of, you know, pit
• 32:48
  them. What's the word pitiable?
• 32:50
  You know, you really feel for her when she gets attacked and
• 32:52
  it's. Trout here that bait the way to
• 32:57
  make a podcast. Which is, yeah, those could say,
• 33:02
  yeah, that that's I should have, should have had the fruit cake
• 33:04
  is another choice, but. You've got another one.
• 33:07
  Off you go. But so my second one is you
• 33:09
  mentioned that being a horror. And like we said, it's one of
• 33:12
  the sort of last gasps of the proper, proper horror.
• 33:15
  I'm going to choose the woods is the second thing that I love
• 33:19
  because I just think that, you know, a creepy wood is a is a
• 33:23
  sort of classic horror trope. And it's been done in Doctor Who
• 33:26
  before, but I don't think it's ever done quite as well as it's
• 33:31
  done in this. It's the night shooting, it's
• 33:33
  the smoke, it's the smoke machine, the dry ice, it's the
• 33:36
  way it's lit as well. I just don't think there's
• 33:41
  anything better. I think the shots of the hiker,
• 33:43
  which we sort of, we were too busy chatting over them, but the
• 33:45
  shots of the hiker at the beginning are really genuinely
• 33:48
  creepy. The shot of the doctor being
• 33:51
  approached is really, really good.
• 33:54
  And it is sort of like proto Evil Dead style running, just
• 33:58
  running forward with a camera. And later on as well just kind
• 34:03
  of move it. Like you see the cultists just
• 34:05
  kind of moving through the woods in the dark, which you don't see
• 34:07
  much of. And maybe again, this was some
• 34:09
  of the film work that they lost, I don't know.
• 34:12
  But I just think it's really incredibly atmospheric.
• 34:15
  So the Woods is my second choice I think.
• 34:18
  That always gets me is the bit where the hiker suddenly notices
• 34:22
  the monster, so he jumps and then he screams and then it cuts
• 34:26
  to the torch falling to the floor.
• 34:27
  And I'm like, God, that is from a horror movie that.
• 34:30
  Yeah. Oh yeah.
• 34:31
  Fully 100%, yeah. Well, then my next thing is
• 34:36
  going to be the fact that it's a complaint that we make, that the
• 34:41
  fourth option really don't make too much of an impact on the
• 34:45
  narrative itself. But I love the fact in Episode 1
• 34:49
  and 2 that a load of space is given over to the guest
• 34:52
  characters and their dynamics and their relationships because
• 34:56
  we kind of did the doctor and earlier every week.
• 34:58
  This is they're unique to image of the Fender of this group of
• 35:01
  characters. And it's not often I'd say this.
• 35:06
  I think there's legs for some sort of a show with this bunch.
• 35:11
  Unfortunately, yeah, most of are bumped off by the end of this.
• 35:14
  That's out the window. But I yeah, like we make jokes
• 35:17
  about orgies and all sorts and you can make funny readings or
• 35:20
  whatever kind of readings you can.
• 35:22
  But at the end of the day, it's an interesting dynamics.
• 35:25
  It's great dialogue that they're given and they're exquisitely
• 35:29
  cast. So it's a a group of guest
• 35:33
  characters, you know, Jesus Christ, I watched Death to the
• 35:35
  Daleks the other week. I don't remember a fucking thing
• 35:37
  about those space people in those Space Marines in that, but
• 35:41
  I'll never forget Colby and Thea Ransom and Star and Fendelman.
• 35:45
  Just really beautifully crafted characters.
• 35:50
  Yeah, and I'm so and leading off from that, then I think my, my,
• 35:54
  my final choice is Chris Belcher.
• 35:56
  I just think that, which exactly for the reasons you've just
• 36:00
  mentioned, the writing is sparkling like it is.
• 36:04
  And it's the same as he does in Robots of Death.
• 36:07
  It's that thing of you've got witty repartee from characters
• 36:11
  who you sort of believe have a life outside of where we're
• 36:14
  seeing them right now. He does world building in a very
• 36:19
  subtle but effective way in ways that and and as we've seen
• 36:22
  robots death calibre city's been built on loads and loads and
• 36:25
  loads in the spin offs. The concept of the Fendale has
• 36:28
  been examined like a lot as well as spin off media.
• 36:31
  I think he is great at that kind of economical but effective.
• 36:36
  Same in his Blake 7 work as well.
• 36:39
  And I think he writes horror really well, which I think a lot
• 36:44
  of the time Face of Evil is the one that gets a bit.
• 36:47
  It's sort of like robots is great, Fendal's ground Face of
• 36:50
  Evil. But there are bits in Face of
• 36:51
  Evil where it's that kind of existential horror that works
• 36:53
  really well as well. And the way he deals with
• 36:55
  religion and sort of faith is, is is really good in that as
• 36:59
  well. And the idea of losing yourself
• 37:02
  and your mind that he does with the the with Zoanon is also
• 37:06
  really interesting and gets dealt with again in image of the
• 37:08
  Fendal. So I think, yeah, Chris Balcher
• 37:09
  is, I think, just a very, very good writer.
• 37:12
  I think it's a real shame he didn't write anymore later on,
• 37:16
  but it was. Blake 7's game.
• 37:19
  But it was a buyer country. But yeah, Blake 7.
• 37:21
  I mean, the the the sort of radical and I'd say and just to
• 37:26
  switch to Blake 7. But I think the the way that *1
• 37:29
  works as a season finale is exceptional.
• 37:32
  I mean, it is one of the best season finales of sort of
• 37:36
  anything. I think the way that it builds
• 37:38
  the puts the characters in a certain place, that they are
• 37:41
  forced to do certain things, I think works just incredibly
• 37:45
  well. I don't think that there's ever
• 37:47
  been a more epic set piece, you know, spearheaded by a load of
• 37:51
  colanders and saucepans, as you see at the end of *1.
• 37:55
  But. Paper clips have never looked
• 37:58
  so. Nice.
• 37:59
  We've had Dudley Simpson score all over it.
• 38:02
  Oh, wonderful. It's great.
• 38:04
  It's nothing you're saying with Avon going fire.
• 38:07
  By and it and it and it is. But for me, there's AI think
• 38:10
  there's a very close comparison to the cliffhanger in next
• 38:14
  generation of Best of both Worlds where it's, you know, the
• 38:18
  same thing. It's fire essentially.
• 38:19
  It's the same thing again, Mr. Wharf.
• 38:21
  Open fire, whatever he says. But I think the difference is,
• 38:24
  but in Blake 7, everyone can act and their reactions are sort of
• 38:29
  like, yeah, this is probably how you'd react.
• 38:31
  Oh, people are unfair about Jam Chapel, I think.
• 38:33
  But I I think it's because Kelly exists on a higher plane and
• 38:36
  she's like, I've seen war before, so I'm not really
• 38:38
  reacting. But everyone else?
• 38:40
  Poor trouble Marina Service has, you know, the ethereal being.
• 38:44
  The ethereal being, but it's, I think there's lines of and OK,
• 38:47
  if you're willing to be very generous, then perhaps that
• 38:51
  Jonathan Frakes, he's he's controlling his emotions
• 38:54
  perhaps, but it's like there's a there's a level, but I think
• 38:56
  it's a very similar thing to do. But I think it works so much.
• 38:59
  And the cut to the credits is just like Avon fire, Bam Bam is
• 39:04
  so, so good. And I think a lot of that is
• 39:06
  it's from the writing that puts them in that place as well.
• 39:08
  Absolutely. He understands how to like
• 39:11
  structure an episode, but like as well.
• 39:15
  He's such an intelligent writer and I think there is a lot of
• 39:18
  intelligent writers. I think David Fischer is a very
• 39:20
  intelligent. Very well.
• 39:21
  Yeah. Yeah, absolutely.
• 39:22
  Douglas Adams is about to come along.
• 39:25
  And Anthony Reed, actually. I think Anthony Reed is an
• 39:27
  intelligent writer, definitely. But I think Bush might be on
• 39:31
  another level in face of evil. He has really interesting things
• 39:37
  to say about religion. Yeah, definitely.
• 39:39
  Spirituality in the Robots are Deaf, about psychology, that
• 39:44
  whole Robophobia angle, and then in this, I think he's got really
• 39:47
  interesting things to say about mythology, science and things
• 39:51
  like that. So he's he he doesn't want to
• 39:53
  tell a Doctor Who story, does want to populate it with fun
• 39:56
  characters, but he wants to say something as well.
• 39:59
  And that's definitely really refreshing.
• 40:01
  Yeah. What a shame we didn't get a
• 40:03
  fault from him. My last thing then is going to
• 40:06
  be, I wanted to say George Spence and Foster, but I think
• 40:09
  we actually did sing his praises quite a lot for.
• 40:12
  Yeah, I think he knows how we feel about him.
• 40:16
  Barry is the right lovely and we talked a bit about Rebos as
• 40:20
  well, but actually I'm going to talk about a directorial choice.
• 40:24
  But my last thing is Dudley Simpson's music.
• 40:27
  Yeah. Because in episode 1, there
• 40:30
  isn't a musical cue, I think for 17 minutes, which is unheard of.
• 40:34
  And Swinton Foster, I think wanted that first episode music
• 40:38
  free just so he could build up tension, you know, with the
• 40:41
  scanner noises and the wood noises and things like that and
• 40:45
  really create atmosphere and ambience out of the special
• 40:49
  sounds, which I think is such a great move because there is it's
• 40:52
  thick the atmosphere in that first episode and slow scenes to
• 40:57
  start building up. If you sort of slap an oboe and
• 41:00
  a clarinet over it, it might lose the impact.
• 41:03
  But then when he does do music, like the bit where Thea turns
• 41:08
  into the ethereal and it's going falls to the walls, Hammer
• 41:15
  Horror with that, you know, music, it's just wonderful.
• 41:22
  Yeah. They just know how to make good
• 41:23
  TV. Mid, mid 70s, Doctor Who.
• 41:25
  They just, they didn't always get it right, but man, when they
• 41:28
  did it fucking sang. Yeah, absolutely.
• 41:32
  And I think, I think Fendall again as I keep saying, I think
• 41:36
  it's, it really is underrated because it gets so much more
• 41:40
  right than it gets wrong. Like you know, the it's 75%, you
• 41:43
  know, just excellent. And then the rest of it there
• 41:46
  are. Entertaining, but oh.
• 41:49
  Yeah, it could have done. Better.
• 41:51
  You're never bored, but but yeah, probably could have been
• 41:54
  done better. But I do get the the feeling
• 41:56
  that for the final episode, there probably were timing
• 41:59
  issues. There's a lot that you're trying
• 42:00
  to do. Dealing with those huge monster
• 42:02
  costumes in a small studio is not easy for anyone.
• 42:06
  So we can criticize. But I think ultimately, like, I
• 42:08
  think Spencer Foss did a really good job.
• 42:11
  I think everyone I say lighting and design that I don't know
• 42:13
  anything about either of those people, but they did a great
• 42:17
  job. They did a really good job.
• 42:19
  Yeah, they're like, we're going to end this with a Bally big
• 42:21
  explosion. And Graham, well, we do that
• 42:24
  every week. Don't you worry.
• 42:25
  This week, we're going to do it in reverse.
• 42:27
  Yeah, it's going backwards. It's an implosion.
• 42:29
  That's. Done.
• 42:29
  Dudley, could you do the music in reverse?
• 42:31
  Well, I'll give it a go. Yeah.
• 42:32
  You know, we'll try and suggest we're doing something different.
• 42:35
  But it's the way I don't think we commented.
• 42:37
  It's the way that Tom Baker sort of goes pretty big.
• 42:41
  It's like it's like it's like, yeah, that's that's that's
• 42:44
  really nicely. I think also like we, I mean, we
• 42:46
  haven't really touched on it. We touched on it a bit.
• 42:48
  But I think Tom Baker, despite the fact that apparently he was
• 42:51
  pissing off George Benson Foster with his little ad libs and
• 42:54
  stuff, I think they all work here.
• 42:56
  There's nothing that feels excessive.
• 42:59
  All the Doctor E bits like they, they work so well.
• 43:03
  I love fruitcake. Like it's just brilliant.
• 43:06
  Like it's the asides work really, really well.
• 43:09
  It's really like the Doctor just working sort of firing on all
• 43:13
  cylinders. Like when he gets when he gets
• 43:15
  creepy, he's creepy. When he's funny, he's funny.
• 43:18
  But you know that all of that's like that final TARDIS scene can
• 43:21
  fuck off a bit, but that's just sort of like, but that happens
• 43:24
  in every. I mean, that's the 80s every
• 43:26
  week. Oh, God, yeah.
• 43:27
  And even stories that for me are kind of absolute top, top, top,
• 43:32
  top, bang it. Like even that Seeds of Doom,
• 43:34
  that scene at the end, Oh God, I just are.
• 43:38
  We yet to come I. Don't know, it's like fuck off
• 43:41
  both of you get back in the. Time.
• 43:42
  You didn't even go. I didn't go.
• 43:44
  There, Fuck off, Sarah James, stop trying to make beaches
• 43:49
  happen. It's not going to go.
• 43:51
  Go. Away.
• 43:54
  Well, look, actually, I think as well spenton Foster very
• 43:58
  cleverly. He got a sussed out Tom, I
• 44:01
  think, and they're like, right, let's bring in Mary tab.
• 44:04
  She'll keep him in line. He does Rebos next, doesn't he?
• 44:07
  You know, and of course he's on the best behaviour around her.
• 44:10
  No one's gonna miss. I mean, she's so beautiful.
• 44:13
  And then he's like right. He works well with good, strong
• 44:16
  actors. You know, he likes to give his
• 44:17
  best. Let's bring in Ian Cuthbertson.
• 44:19
  Let's bring in, you know, Nigel Plaskett and Paul Seed and fuck
• 44:24
  me, it works. Well, then I've got a
• 44:26
  suggestion. Yeah.
• 44:28
  All this love for the Rebus operation.
• 44:32
  Should we head there next? Yes.
• 44:34
  Yes. And let's face the terrifying
• 44:38
  graph. Vinder K Not H or J.
• 44:41
  No. No.
• 44:42
  No K. I mean, how do you feel about
• 44:46
  that? Oh God, absolutely.
• 44:48
  They're with bells on. Absolutely.
• 44:49
  I love the Key to Time season in general.
• 44:52
  I think Rebos is absolutely brilliant.
• 44:54
  Yes. Do you promise to shake your
• 44:57
  bones though? Yeah, absolutely 100.
• 45:00
  Percent. Jesus.
• 45:02
  We'll do it tomorrow then. Martin, thank you very much.
• 45:05
  It has been one. It's been such an easy
• 45:08
  conversation. I knew you was deep in stock
• 45:12
  through, but now I know just how deep nothing is beyond you.
• 45:16
  It's a problem, yeah. There's no way back.
• 45:19
  Now I can use some of the hamster Patriot money to pay for
• 45:24
  your therapy bill, right? Yes, okay.
• 45:27
  How much do you need? Cars is going to be a lot.
• 45:29
  How how's how's the Patreon doing?
• 45:32
  Well, pretty well, you know, like yeah, I'm sure we can get
• 45:36
  you sorted out in 10 years. Start transferring.
• 45:38
  Where can people find you online should they wish to discover
• 45:42
  mine parcel? Should they wish to discover.
• 45:44
  So I'm on Twitter X as Martang, 66 and on Instagram as well.
• 45:52
  It's not very interesting. There's if you have access to
• 45:56
  academic journals. Most of my stuff isn't really
• 45:59
  widely available, but if you're an academic you can get some of
• 46:01
  my stuff via academia.edu or ResearchGate.
• 46:06
  I've got an interview with Kevin John Davis about Shakedown
• 46:09
  Return of Sontarans which is quite interesting and I feel
• 46:14
  like I should plug as well. I have a short story which is in
• 46:17
  a an anthology which is the 10th BHF book of horror films which
• 46:23
  was a website called the British Horror films website BHF.
• 46:27
  And years ago along in 2000 and six, 2007, we had a forum which
• 46:34
  had creations of, of people on the forum.
• 46:37
  And they basically decided the guy who ran the site decided to
• 46:40
  self publish these as a collection.
• 46:42
  And it we did a few back in the day.
• 46:46
  And then another guy, Darryl Buxton, who's a great writer,
• 46:49
  horror writer, writes a lot of really interesting books about
• 46:52
  films. He decided to bring it back and
• 46:55
  said, and it's just so it's been carrying on in the 10th.
• 46:58
  I think they're up to 11 now. But the 10th 1 was a Christmas
• 47:00
  special that came out I think a year ago.
• 47:03
  And I have a short story in there.
• 47:05
  And proceeds go to Alzheimer's UK.
• 47:08
  It can be found on Amazon. It's called Advent of Doom.
• 47:12
  I think if you say it's the bit, it's the. 10th of a great title.
• 47:15
  It's, it's the 10th, the 10th BHF book of horror stories.
• 47:18
  And I'm really, I'm always really happy because I'm in the
• 47:20
  David Quantic wrote a story for it.
• 47:23
  And I basically grew up. I wanted to be David Quantic
• 47:26
  when I grew up. And I had I interviewed him for
• 47:30
  an article I wrote about Big Finish and he was like, oh
• 47:32
  really? You want to talk to me about the
• 47:33
  dark Husband? I was like.
• 47:34
  Yeah, oh boy. Jesus.
• 47:37
  Christ. But it's imagine Doctor Who
• 47:39
  became men behaving. Yeah, I'm going to say, I'm
• 47:42
  going to say that his story in the anthology is better than the
• 47:44
  Darkness. I certainly hope so.
• 47:47
  But yeah, I feel like I should. I always forget to plug in.
• 47:49
  I feel like I should because there's some really great work
• 47:51
  in there and some lovely illustrations, including one for
• 47:54
  my story by a guy called RJ Wren, which I thought was, I
• 47:56
  just sort of said, if anyone wants to illustrate my story,
• 47:58
  can you? And he did this gorgeous
• 48:00
  illustration for it. So where can you find that?
• 48:02
  Did you say? So you can get it on Amazon, You
• 48:04
  can get it I think in if you're in the USI think you can get it
• 48:06
  through Barnes and Noble. You might be able to get it
• 48:09
  through water stone so I don't. Know try get ahold of it, you
• 48:12
  know, cover it. One of my book clubs.
• 48:14
  If you Google it, yeah, the 10th BHF book of horror stories,
• 48:18
  Advent of Doom. I think I'm right about that,
• 48:20
  that subtitle. But yeah, I've got a story in
• 48:23
  there. I'll, yeah, I'll, I'll send you.
• 48:25
  I'll send you a copy of my story.
• 48:27
  You know, you just said something there about, you know,
• 48:29
  there are any academics listening.
• 48:30
  You've spent 4 hours with me now and you know, you've heard how
• 48:35
  truly stupid I am. But it's astonishing the amount
• 48:38
  of academics that guests on this thing.
• 48:43
  I think they just like having their Iqs lowered a little bit.
• 48:46
  I was. Going to say I'm always, I'm
• 48:47
  always waiting to see who uses their title and who doesn't.
• 48:50
  I mean one thing I find is. Doctor Simon next does, yeah.
• 48:54
  It's the problem is that in France they don't at university,
• 48:56
  they don't use titles. So sometimes my students will be
• 48:59
  like, oh, Mr. Parsons, I'm like, it's actually the.
• 49:02
  Right. Honourable Nathan Bottomley
• 49:04
  occasionally comes on. James Lark, PhD, You know, BSc.
• 49:09
  Yeah. It's astonishing really.
• 49:12
  The people that I attracted this absolute fucking madness.
• 49:16
  I'm adding you to the list now. So you're doing something right,
• 49:18
  Definitely. Well, floating mostly.
• 49:22
  It works every time. Martin, thank you so much.
• 49:26
  Thanks for talking about this story because it's a great one
• 49:28
  to talk about. Oh, it's been an absolute
• 49:29
  pleasure. Thank you for having me.
• 49:31
  But until next time, when we head to the planet Rebus in the
• 49:36
  constellation of I can't remember Now, Do you remember?
• 49:40
  Sorry. Well, let's get our furs on, all
• 49:44
  right. Oh yeah.
• 49:45
  And I'm wearing the merry Tam thing.
• 49:47
  Sorry, was that not what we agreed?
• 49:48
  Could. Have been my my long way.
• 49:51
  I'm looking like a pluck chicken.
• 49:54
  So happy I'll come in a big fur like Garen.
• 49:59
  But do remember all right on the back of that podcast.
• 50:03
  All but one doomed to die. Thus written.