Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Joe M about his choice of The Fires of Pompeii

Transcript

Talks to Joe M about his choice of The Fires of Pompeii · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:33
  Hamster with a blunt. Pen knife for doing quicker
• 0:35
  quicker. Hello and welcome back to a
• 0:38
  Hamster with a Blood Pen Knife, the Doctor Who Commentary
• 0:41
  podcast. I don't know if I should say any
• 0:44
  further than that. My name is Joe and so is the guy
• 0:46
  that I'm talking to today. He's also Joe so.
• 0:49
  Confusing, isn't it? It is.
• 0:50
  It's a little, yeah, it's a little.
• 0:53
  Hopefully will be. Our tones are different I think,
• 0:56
  so hopefully it won't be too confusing you.
• 0:58
  Sound like a simple turn. You sound like a normal human
• 1:01
  being. I don't think that's fair at
• 1:03
  all. I think you're, I don't think
• 1:04
  you're a very erudite chap. Thank you, you got to stop this.
• 1:09
  We could have our own like 5 doctors, the two Joes.
• 1:13
  Yeah, we could do that. Scrapes.
• 1:15
  Would we get up? To if he's only the two of us,
• 1:17
  it'll probably be some Tarans in Spain.
• 1:20
  I'd love to go to Spain. You seem like a wonderful
• 1:22
  company. We'd have a great time in Spain,
• 1:24
  I think. I'm sure we would.
• 1:25
  I think it would be lovely. As I was Santara and sangria is
• 1:28
  more like. Yeah, that's the that's the
• 1:30
  dream, isn't it? It was all meant.
• 1:31
  It was all the jolly wasn't. It wasn't meant to be a it was
• 1:34
  only so they go for a piss up. You can tell because of what hit
• 1:37
  the screen, you know. No.
• 1:39
  That's true. Oh, talking of a jolly overseas
• 1:42
  man, that was very well done. Yeah, yeah, very smooth.
• 1:46
  How How about heading across to Italy to film a historical epic?
• 1:51
  I well, I'd love to, but we've got to watch this first.
• 1:56
  What are we watching? Sorry, we're watching Fires of
• 2:00
  Pompeii. Oh, that one, yes, the one after
• 2:03
  the last one, the. One after the last one, it's in
• 2:06
  sequence. If we keep going like this, we
• 2:07
  could just do all of Series 4, but I think that might be a bit,
• 2:10
  I think just cutting. Off game I'll die, work till
• 2:13
  3:00 tomorrow afternoon so I can sleep anytime.
• 2:16
  Yeah, that's if I could just not sleep.
• 2:18
  I reckon I could get away with not sleeping before I go to
• 2:20
  work. I don't know if you'll still be
• 2:22
  married by the morning though, if I'm honest, if you're in here
• 2:25
  banging on about Doctor Who all night.
• 2:27
  That's true. No, everybody else is upstairs.
• 2:29
  I think they're fine. Now, far as a Pompeii, yeah, I
• 2:34
  think this is generally considered to be a very popular
• 2:38
  episode like Partners in Crime. I think they kind of did a
• 2:42
  double whammy here at the start of this season and they're the
• 2:45
  ratings came in at something like 9 million for Partners in
• 2:48
  Crime and Pfizer Pompeii, which is a big hit at the time, you
• 2:51
  know, sort of 5th or 6th for the week.
• 2:54
  Doctor Who was getting at the time, which, and you know, it
• 2:57
  still does fairly well now, Doctor Who, but in no way the
• 3:00
  sort of numbers it was getting in its heyday here.
• 3:03
  What do you think of this one? Well, you know, again, I'm not
• 3:08
  going to swim too, too strongly against the current here.
• 3:11
  I think this is a fantastic episode of Doctor.
• 3:14
  I think it's just got everything.
• 3:16
  It was so good that they decided to bring some of the guest stars
• 3:18
  back. You know, everyone put in a good
• 3:21
  performance. But yeah, I think it's a it's
• 3:24
  such a good. It's such a good way to set out
• 3:28
  the stall for who Catherine Tate's going to be throughout
• 3:30
  the rest of the show. I think it's a fantastic way of
• 3:34
  giving them that conflict and then resolving it in a way that
• 3:37
  doesn't require her to still be pissed with him later on.
• 3:41
  I think I'd forgotten that bit, to be honest, when I, I watched
• 3:45
  this again and I'd sort of when I watched it with my son, I kind
• 3:52
  of had forgotten that that was the, the twist that it kind of
• 3:55
  that comes back around on him. And I think that because I kept
• 3:59
  thinking to myself, surely she'd just be so mad at him.
• 4:01
  Like if he just, I don't know, they just it, it's just such
• 4:06
  good script writing. It's just so well put together.
• 4:08
  It just it's just great for. Me, it reminds me a bit of that.
• 4:13
  You've done the marathon through so those season 3 historicals,
• 4:18
  the myth makers, and even even the gunfights a bit in that you
• 4:25
  have the bulk of it is comedy and it's fun and it's
• 4:29
  entertaining and it's a romp. And then at the 11th hour, the
• 4:33
  rug pulls. It really isn't.
• 4:35
  It a tragedy where lots of people die and it's almost like
• 4:39
  you're lulled into a full sense of security that, ah, this is a
• 4:42
  fun, stylish romp. We're going overseas, We're
• 4:45
  having a great time. TK Maximus, you know all those
• 4:48
  silly jokes and then at the end you know the devastation that
• 4:52
  Donna faces and the the real horror of history.
• 4:56
  I think because you are softened up so much in the first half,
• 5:01
  the second-half hits big time. Yeah, like you've really
• 5:04
  relaxed, you've really shown your belly, and then suddenly.
• 5:07
  You realise you're you're in a flirtatious situation like
• 5:10
  balls. How do I pull it down?
• 5:12
  Yeah, no, it's do you know what, Mythmate?
• 5:14
  I've never really thought about it before, but yeah, Mythmakers
• 5:16
  is one of my absolute favourites as well.
• 5:18
  That was my absolute peak when it comes to the Hartnell stuff,
• 5:22
  and I never expected to be in a position where one of the ones
• 5:24
  that didn't exist was one of the ones that I was so.
• 5:26
  Funny isn't? It it's so good, it's just been.
• 5:28
  That kills me. It's the bit where Hartnell was
• 5:30
  just before he invents the great horse of Troy.
• 5:32
  And he says, you know what, Yeah, you can send the soldiers
• 5:35
  over sort of catapult sort of thing, or.
• 5:38
  And they go right fine, you first.
• 5:40
  You first, yeah. No, it's beautiful.
• 5:43
  It's so funny. I also think this is a really
• 5:46
  expensive production that holds up pretty well today.
• 5:49
  Obviously they had those movie sets that they could use so it
• 5:52
  does feel epic. But I think the special effects
• 5:56
  hold up well as well. When I watch the the whole
• 5:58
  eruption and that and the scenes of them up on the hill with the
• 6:02
  destruction going on all around them.
• 6:04
  Like there is a scale to this. Oh I'm going to say it that many
• 6:09
  RTD 2 episodes with Disney money did not have.
• 6:14
  Now I think that's fair. It's, again, I don't think I
• 6:17
  know enough about the production, about the production
• 6:19
  of this stuff at the time, because I think at the time it
• 6:22
  was coming out, it wouldn't have been something that I was
• 6:25
  especially interested in and I'd love to go back to it now.
• 6:29
  And kind of love that about you, you know, that you just watch
• 6:31
  this to enjoy it rather than to study it meticulously.
• 6:35
  It means you're a very refreshing voice on this
• 6:37
  podcast. Well, either that or it means
• 6:39
  I've got very little to say. But we'll, you know, we'll find
• 6:41
  out. I not.
• 6:42
  At all. I've I just I forgot the
• 6:47
  question. That is, that it looks epic in a
• 6:50
  way that RTD 2 often didn't. Yeah, no, absolutely.
• 6:53
  It. It's like you say it does it, it
• 6:57
  feels like a movie. Did you say they filmed it on on
• 6:59
  film sets? Yeah, so they went over that.
• 7:01
  I can't remember what it's called a Chinchita Studios where
• 7:05
  basically where they film like the big BBC production of Rome
• 7:10
  and things like that. So yeah.
• 7:11
  And unfortunately they had sequences that they were going
• 7:13
  to shoot like in a massive Colosseum style area that they
• 7:17
  had. And there was an enormous fire
• 7:20
  in the studios 2 weeks before they were going over and they
• 7:23
  thought they were going to have to abandon the shoot.
• 7:25
  But they managed to salvage like all the market and things like
• 7:27
  that. So that's why that all looks so
• 7:29
  tasty. Yeah, yeah, no, it's it is
• 7:33
  gorgeous. It's like a fully it could I I
• 7:37
  don't want to just keep repeating what you're saying.
• 7:39
  It's it it looks like a film. It looks it looks great.
• 7:42
  And I think the big, the fact that it's obviously set on these
• 7:45
  huge like locations just I don't know and everything's on the
• 7:49
  screen. I don't want to sound
• 7:51
  patronising when I say this because some people don't have
• 7:54
  an interest in this, but history in Doctor Who is that.
• 7:59
  Is that something that interests you?
• 8:00
  Because I know people that really don't like the
• 8:01
  historicals. No, I, I, I think that the, the
• 8:04
  historicals, for me anyway, the, the, some of the strongest
• 8:06
  stuff, certainly the, the, the earliest stuff, sort of
• 8:10
  certainly in the First Doctors era.
• 8:12
  I love the historicals and I think it's a real shame that
• 8:14
  they've not revisited it. I think it would have been
• 8:16
  absolutely brilliant if they'd managed to do themes of the
• 8:20
  Punjab will be an obvious one where they, they could have made
• 8:23
  that appear historical. And I think if they'd had the
• 8:24
  guts to do it, and I'm sure there'll be a reason why they
• 8:26
  didn't. And I'm sure there'll be, you
• 8:28
  know, I, I, I do wonder if there was intention.
• 8:30
  Likewise with Rosa. I don't know that you needed
• 8:34
  space racist in there for it to, you know, I know your feelings
• 8:39
  about the space racist. And I was, I thought, like.
• 8:42
  They could probably justify both of those choices, but then I
• 8:46
  think there is an alternative version that you're talking
• 8:48
  about that absolutely could exist as.
• 8:49
  Well, yeah, it would have just, it would have been interesting.
• 8:51
  I'd love to see them try it now because it just it's, you know,
• 8:54
  we've, we've had 20 years of, of aliens and the aliens might be
• 8:58
  what people come for, but equally you don't always want to
• 9:01
  be given what you came for. Interesting that you bring up
• 9:05
  those Series 11 ones, because I think those are as close as
• 9:08
  you're going to get to the William Hartnell historicals.
• 9:10
  They're told deadly earnestly like the Hartnell ones are.
• 9:14
  And the danger isn't really the aliens and things like that.
• 9:19
  The danger is racism. The danger is those horses that
• 9:24
  are coming in at the end, those people, the split of India and
• 9:27
  the ideological differences and things like that in a way that
• 9:31
  this isn't. This story is not like a heart.
• 9:34
  No historical for the 1st 2/3. It's basically asterisks or
• 9:38
  something like that. You know, it's like comedy Rome
• 9:42
  again. I think that's why the ending
• 9:43
  flaws you, because suddenly it is like a Hartnall historical.
• 9:47
  It's suddenly, yeah, hundreds of thousands of people are dying
• 9:52
  all around us and there's nothing, you know, there's kids
• 9:54
  in the in the ash at the end that Donna's trying to save.
• 9:57
  The mum grabs the kid and then you know, that kids going to
• 10:00
  die. It's horrific.
• 10:02
  Yeah, it's. And like you say, you don't have
• 10:07
  to. Well, you're saying about Moffat
• 10:13
  killing kids on a on Saturday night telly.
• 10:15
  I was yes, but you know, Russell killed off a whole.
• 10:19
  But granted, though this this historically did happen.
• 10:22
  He's not invented to kill children to kill.
• 10:23
  So maybe that's not the same thing and you never.
• 10:25
  See it on screen? There isn't a difference,
• 10:27
  though, between killing off, yeah, a child off screen in the
• 10:31
  fires of Pompeii and Daddy Pink heading into a room in
• 10:35
  Afghanistan with a machine gun, I mean.
• 10:37
  That, that was. That was a lot, to be fair, that
• 10:40
  was. A lot what?
• 10:40
  Are you doing Steven Moffett? Yeah, that was a that was a lot.
• 10:44
  That was a That's a strange choice that was made there.
• 10:46
  Well, Joe, I'd like to extend the hand to you now and ask you
• 10:50
  to step back in time with me to the Roman Empire at its height.
• 10:55
  For a jolly adventure, I don't think anything too bad is going
• 10:57
  to happen. That could be fine.
• 10:59
  Well, I mean you intro this, should I count as in?
• 11:02
  Yeah, go for it. That'll be lovely.
• 11:03
  Thank you. Well, would you like it
• 11:04
  ascending or descending? Good descending I think.
• 11:09
  Oh, you're that sort of bloke. Are you OK in?
• 11:11
  Three. Let's try and get this right 2.
• 11:17
  One off we go. OK, excellent.
• 11:19
  Are they coming out the TARDIS now?
• 11:21
  Yeah, coming out the TARDIS now, is that a, do you press on one
• 11:24
  or do you go 321-GO? That was the.
• 11:26
  Personal question, you know, but we get to know each other
• 11:30
  better. You'll find out if I press on
• 11:31
  one or not. It does.
• 11:35
  It is Goddess, isn't it? You know, it looks like it makes
• 11:38
  me think of the bit in Aladdin when there is dancing on this.
• 11:42
  Oh. Do you like Aladdin?
• 11:42
  I love Aladdin poor. And sadly, fabulous.
• 11:49
  But it's just full of extras, isn't it?
• 11:51
  You know, there's just look at the detail in the set.
• 11:53
  It's just gorgeous. Yeah, is does this, you know,
• 11:57
  when people talk about the BBC, does costume drama well, does
• 11:59
  this fond of that remit? I mean, because all the stuff
• 12:03
  that's interiors is done in the studios in Wales, so I guess so,
• 12:07
  yeah. Because I don't, I don't think
• 12:08
  there's a sizeable difference between what's being shot in the
• 12:11
  studios and what's being shot on location.
• 12:13
  No, no, it just looks for you. I think he's saying that's
• 12:15
  coming. Is it this bit here where where
• 12:17
  she's talking to the the market seller and she's like trying to
• 12:20
  speak to him in like and he's like, what are you fucking?
• 12:22
  Vinay vidi vici. Yeah, he's like, sorry, love, I
• 12:25
  don't speak French or whatever it is, he says.
• 12:28
  It's a lovely gag. No good misses, he goes or
• 12:32
  something like that. Lovely Jubbly.
• 12:34
  I sold your police box on to Kyle Kelly.
• 12:39
  Oh yeah, look like all the stuff waving, all the all the washing
• 12:44
  that's hanging. I don't know.
• 12:45
  I just think it has a a visual lushness to it and.
• 12:48
  Like you say that there's so many people in it, it's just
• 12:51
  such a it must have been such a packed set.
• 12:53
  Who was that strange member of the sisterhood of Khan I saw
• 12:56
  there? Hanging my dad, I don't know if
• 12:59
  it's important. I doubt we'll ever see her
• 13:00
  again. Enormous, great sorcer eyes.
• 13:03
  I don't think she's going to amount to much in the world, you
• 13:05
  know, I suddenly imagine her sort of all blue, don't you?
• 13:10
  Yeah, that's sort of without her trademark ginger hair.
• 13:14
  That's. Right, sort of half.
• 13:16
  Robot. Yeah, yeah, I think she'd look
• 13:19
  really great with a prosthetic eye.
• 13:22
  And a lot of fucking richer than she was on ABBC salary.
• 13:25
  Yeah, I've got a lot of time for Karen Gillan, to be fair over
• 13:29
  there. Well, we'll, we'll have that
• 13:31
  battle one day, all right? Yeah.
• 13:33
  That's I, you know her and Jumanji is something else.
• 13:37
  So that's anyway we're not talking about Jumanji.
• 13:41
  That's that shot there. So that was the studios and then
• 13:44
  with CGI buildings matted in plus the volcano, that would
• 13:48
  really impress her. I thought You can you can tell
• 13:50
  the join but who cares? Yeah, well, it's not, it's not
• 13:54
  the power of crawl, is it? So.
• 13:56
  Well, I mean, a few things are Joe who?
• 13:58
  Honestly. Nothing but you.
• 14:00
  Do if you saw that enormous great phallus coming out of the
• 14:04
  swamp towards you? Would you?
• 14:06
  Are you running towards or away from?
• 14:09
  That's the question. You know, there's certain sites,
• 14:12
  you know, with sort of big tentacles like that,
• 14:14
  pornographic sites. But no, I'll probably run away
• 14:17
  if I'm honest. I don't want to be eaten up and
• 14:19
  spat out. No, this doesn't do it for me.
• 14:23
  What cruel protect you? I know, I know I well, not.
• 14:26
  Not sexually, no. The Power of Cruel is a
• 14:29
  fantastic episode. We've got a big juicy idea
• 14:33
  though for the pre credit seekers, right?
• 14:34
  We're in Rome and it's volcano day.
• 14:38
  No, we're not in Rome, we're in Pompeii.
• 14:40
  It's volcano day. Oh, I love this.
• 14:44
  These crazy over the top women. Words of wisdom, words of power.
• 14:50
  I know I'm never, you know, is not normally a huge fan of sort
• 14:53
  of chanties stuff in the in Doctor Who.
• 14:55
  I always find it a bit like sort of chanty cults.
• 14:58
  I'm always a bit like, but I will allow the Swampy's, the
• 15:03
  Sisterhood of Calm and these guys.
• 15:06
  I mean, I feel as if Karen Gillan has absolutely watched
• 15:09
  Brain and Morbius because that crazy Ohika with the mad eyes
• 15:12
  was in that. Yeah, she's sort of doing the
• 15:15
  same performance. Although I do like their chant
• 15:17
  better though. Red flame say Chris Fire.
• 15:25
  Ah, very heart nor historical. They've lost the TARDIS.
• 15:28
  Perfect. Yeah, doesn't it?
• 15:30
  Doesn't happen often enough. Don't get clever in Latin Joe,
• 15:35
  all right? No.
• 15:38
  You speak Latin. Now I can't.
• 15:41
  I'm learning Irish, but that's not really, that's not relevant.
• 15:44
  You've ever heard my Co host Nathan Bottomley on Untitled
• 15:48
  Star Show project? He's done a few hamsters and a
• 15:50
  few strictly things. He teaches Latin for a living.
• 15:53
  Oh really? His own mouth.
• 15:54
  He says I teach a dead language to rich children.
• 15:58
  I'm very valuable to society. Do you know I once so I did
• 16:02
  photography as my degree and I went, you know, when you're
• 16:05
  going on the you go on like little open days and you try
• 16:09
  sorry, I'll do anything but talk about the actual episode.
• 16:11
  I just like telling you stories that moment I.
• 16:13
  Love the story? Please enlighten us.
• 16:16
  But the I went to Liverpool to for the open day because a lot
• 16:21
  of my friends were going and I was like oh check out the
• 16:22
  photography course there might be nice.
• 16:24
  Turns out they don't actually do photography at Liverpool
• 16:26
  University. So just went for a little wander
• 16:29
  around and one of the things that they had as a course there
• 16:31
  was Irish Studies. And the only suggested
• 16:34
  occupation that you could do following Irish studies was
• 16:36
  teaching Irish studies. And I thought, well, that's
• 16:39
  just, you know, that's. Boxing yourself in a corner
• 16:43
  there. It is a little, isn't it, self
• 16:45
  fulfilling prophecy. I mean, my wife's Irish, so I,
• 16:47
  you know, I've got some Irish studies under my belt.
• 16:49
  Who says you're not talking about the episode?
• 16:51
  Self fulfilling prophecies is what we've just been talking
• 16:53
  about in the episode. Absolutely, yeah.
• 16:57
  And so you didn't do it then? No, not in the end.
• 16:59
  Like I said, my wife's Irish, so I did study some.
• 17:02
  She was like. Irish.
• 17:04
  Oh my God, is she fiery. I love a fiery Irish woman.
• 17:09
  She if she listens to this, no, no.
• 17:12
  That's right. No, there was no flirting going
• 17:14
  on. I don't want a mad Irish woman
• 17:16
  coming after me, all right? Although can I ask you, you
• 17:19
  know, photographer, what can you do with this face?
• 17:21
  Anything you like? Oh well, you know, let's
• 17:28
  exchange numbers at the end all. Right, she's well, she's
• 17:30
  definitely not listening to it now.
• 17:33
  So now. Do you know who this woman is
• 17:35
  playing Peter Capaldi's wife. I don't know.
• 17:38
  She's the same woman. Have you listened to much Big
• 17:40
  Finish? Yeah, a good a good amount.
• 17:42
  Do you know Klein, the evil Nazi that ducks?
• 17:46
  Really. Yeah.
• 17:47
  Excellent, that's always nice to put a face to her name.
• 17:51
  She is, and she's great in this as well.
• 17:54
  Like she's a true This is how I imagine your wife is at home.
• 17:56
  You know, the matriarch of the family.
• 17:59
  Quite possibly. I think we're both.
• 18:01
  No, she's in charge, I think. You are you the meek one like
• 18:04
  Peter Capaldi, you know, sort of running around looking for ants,
• 18:07
  eggs and beetles and things. Yeah, yeah, that sounds, that
• 18:10
  sounds pretty accurate. To be honest.
• 18:12
  I largely looking for just whatever shit I've left lying
• 18:16
  around and I'm too too nervous to say excuse me darling, do you
• 18:21
  know when I've put my Because it's not her responsibility to
• 18:23
  know so I. No, no.
• 18:25
  Although don't you hate it? You know when they put things
• 18:28
  away so you know where they are and you never fucking know where
• 18:31
  they are. It's so annoying.
• 18:33
  I. Know but.
• 18:35
  Sorry, this has become about our domestic affairs now.
• 18:38
  You have a boy and a girl, don't you?
• 18:40
  Pardon. You have a boy and a girl.
• 18:42
  I do. Well, this could be you, your
• 18:44
  family in this. We should actually be quite
• 18:46
  horrified by what occurs at the end to this family.
• 18:49
  This is literally the 2.4 children of your life.
• 18:52
  On the screen, I always think just the the design of the this
• 18:55
  is the one one of the few things I didn't think that I should
• 18:58
  mention while we're watching the design of the Pyrovile.
• 19:02
  Did you ever play with Lego Bionicles?
• 19:05
  Never really played with it. My other half loves a bit of
• 19:07
  Lego though, so could you tell me?
• 19:08
  So well, basically there were a series, this is there were a
• 19:11
  series of like Lego things that came out years ago and they're
• 19:15
  like these little Knights that all have different special
• 19:16
  powers. And I can't help but think they
• 19:19
  must have been watching the same, like they must have nicked
• 19:21
  that because it looks exactly like a Lego bionicle.
• 19:24
  I don't really, if you've not seen them, it's going to be very
• 19:26
  difficult for me to explain. Oh.
• 19:28
  Have you heard how many gigs there are on this?
• 19:29
  There are plenty of Lego builders that listen to this.
• 19:32
  I mean, he's obsessed with them, right?
• 19:34
  He started digging out all of his old Lego boxes from up the
• 19:37
  loft of his mum and dad's house. And now I'm sitting there
• 19:40
  watching for our videos about all the different Lego castles
• 19:45
  that they're are. I mean, you wouldn't believe it.
• 19:46
  There's 5000 Lego different castles.
• 19:49
  Oh boy, it's a slippery slope, Lego.
• 19:52
  Yeah. Well, it's probably is it, do
• 19:54
  you think, is it financially just as bad as as Doctor Who or
• 19:58
  do you think, Oh. Worse, no.
• 20:00
  There's more Lego than Doctor Who, surely?
• 20:03
  Yeah, it's got to be stand there in one of those Lego shops
• 20:06
  picking through, you know, they've got the bits where it's
• 20:07
  just all spares. Yeah, like Holland and Barrett.
• 20:10
  You're go looking for one little Skellington or something like
• 20:13
  that. I'm like, oh, how long have I
• 20:14
  got a stand here? I'll read a book anyway.
• 20:17
  Sorry. I'll back to the sisterhood.
• 20:18
  Yeah. Yeah, yeah.
• 20:20
  Oh, I love this scabby woman. The Sibiline.
• 20:23
  Is that her name? The Sibiline.
• 20:26
  Something like that. Yeah, it's yeah.
• 20:29
  I really enjoy the the makeup. It's fantastic job.
• 20:31
  When you see the tongue coming through the scappy.
• 20:34
  Lips. Yeah, yeah, it's great, isn't
• 20:35
  it? Looks like a parrot's tongue.
• 20:37
  And she talks like this. Your knowledge is impossible.
• 20:41
  Yeah, doing the performance. I'd like to do.
• 20:44
  Yeah, dodgy old old voice acting like you were.
• 20:48
  Saying old you cheeky kit. No, her acting man, OK.
• 20:53
  You went very Butch then, man. I used to live in Sunderland, so
• 20:56
  it was here. You know what I mean, man.
• 20:59
  Yeah, if I if we see if you get Highway out of me by the end of
• 21:03
  the episode. OK.
• 21:05
  I will certainly try. I mean that's a great joke in
• 21:08
  the Catherine Tatum. So I know you said you don't
• 21:10
  like it, but when the very posh house and they've got the
• 21:14
  babysitter come round and they go Oh my God.
• 21:16
  I think she is from Sunderland. Like in.
• 21:20
  Some weird exotic place. Well, you know.
• 21:24
  Can confirm it is. It's very strange and exotic in
• 21:26
  Sunderland. Well, if you are an example a
• 21:29
  typical example of Sunderland, then it looks enticing to me.
• 21:33
  I wouldn't get too excited, but. So actually I think you can sort
• 21:39
  of tell you're in a studio now, right, because there's there's
• 21:41
  not the depth of vision that you have when you're out in the
• 21:43
  marketplace. Yeah, no, it's got, it's a lot
• 21:46
  more sort of shallow lot closer, closer together, isn't it
• 21:49
  doesn't have quite the same look.
• 21:51
  That lovely Holocaust with all the steam coming out of it.
• 21:54
  There's still atmosphere, yeah. It's just sorry, I'm like I say
• 21:59
  this is commentaries are a new thing to me.
• 22:02
  I'm doing just fine. Don't you worry.
• 22:04
  But I'm just, I'm just fascinated by all the moving
• 22:06
  pictures. That's the.
• 22:08
  Surely that's future Doctor Who Peter Capaldi on the screen?
• 22:12
  Yeah, Yeah. This is the two doctors that we
• 22:14
  were talking about before. I don't know which one you were
• 22:15
  talking about. I was talking about the one in
• 22:19
  Spain, but yes. Oh, actually, this is also a
• 22:22
  broad, isn't it? Yeah.
• 22:23
  Yeah, yeah. It's just next door, isn't it?
• 22:25
  Europe. It's still Europe.
• 22:27
  It's what? I love, I love that Donna won't
• 22:30
  take any of his shit. She's like, wouldn't you
• 22:32
  recommend that they go on a holiday spot because and earlier
• 22:36
  in the episode she went, you ain't talking to, I don't know
• 22:38
  what kids you've been hanging out with, but you're not talking
• 22:41
  to me like that. I if I want to go and help these
• 22:43
  people, I'll do it. And he's he's sort of running
• 22:45
  after it and Donna don't. Yeah, Doctor.
• 22:48
  Time Lord now, Donna. Human.
• 22:51
  Yes. Yes.
• 22:53
  Yeah. No, just gorgeous.
• 22:54
  So he needs that though. Doesn't.
• 22:56
  He he does. Well, that's pretty much what
• 22:58
  she says at the end of that runaway, right?
• 23:00
  Isn't it Like you really need someone to rein you in?
• 23:02
  She's like, not me this time because it's quite scary.
• 23:05
  And then the payoff is brilliant because at the end of this,
• 23:08
  after she makes him do something, at the end, he says,
• 23:12
  yeah, you're right, I need somebody.
• 23:14
  And instead of, like, berating him, she just smiles and goes,
• 23:17
  yeah. Yeah, if Parlors in Crime is the
• 23:20
  perfect introducing a companion episode, this has got to be one
• 23:23
  of the perfect establishing their relationship do.
• 23:27
  You know the bit that kills me in this and there's a lot of
• 23:30
  emotional bits that I really love.
• 23:32
  It's the bit where he says there's no way we'll survive
• 23:37
  this if we pull this lever. And she says, yeah, who cares
• 23:40
  about us, it's the right thing to do.
• 23:42
  And then he realises he's got the weight of the decision.
• 23:45
  And then she puts her hands on his and they do it together.
• 23:49
  And God Almighty, Russell, you really caught lightning in a
• 23:52
  bottle with this pair. You.
• 23:53
  Know Oh for sure. This this fella here I can never
• 23:56
  remember Is it Phil Davies? Yeah, Phil Davies then that
• 24:00
  teeth you don't see on American telly in it.
• 24:03
  No, yeah. I think he's gone.
• 24:04
  To the same place as Billy Piper, you know.
• 24:06
  Possibly. Maybe she took his just sharing
• 24:09
  around the same pair of false. I mean, I have heard people
• 24:12
  uncharitably say he is given a OneNote performance, but he's
• 24:16
  written as a OneNote villain. He's just supposed to spit and
• 24:19
  snarl, isn't he? Yeah, no.
• 24:21
  And I think I, I really like him.
• 24:23
  I think that the bit where they broke into it when they broke
• 24:25
  into his house later on and he's just like a new daughter of
• 24:28
  Londonium. There is something on your back
• 24:30
  is, I think it's like you say, spitting us now.
• 24:32
  And he's just great. Can I say something
• 24:34
  controversial about Peter Capaldi, who I think I think he
• 24:39
  was probably handed the worst characterisation of the Doctor
• 24:42
  in the new series, but is probably the strongest actor to
• 24:46
  play the Doctor in the new series.
• 24:48
  Yeah, I think if they had started not quite as daft as
• 24:54
  this, but more amiable like Kai Killius is, his Doctor was more
• 25:00
  like that. Season 8 would have gone down a
• 25:03
  lot better than it did because I think we get there throughout
• 25:07
  his run and in his last season. He's terribly likeable for the
• 25:11
  most part, but they really did turn him into a utter bastard.
• 25:18
  I do wonder how he feels about it because obviously you assume
• 25:21
  he was a lifelong fan, that he sort of got the offer to be in
• 25:24
  this and he was just jumped at the chance.
• 25:27
  But then when it when the offer came to come back, he must have
• 25:30
  been absolutely delighted. But yeah, like I, I again, I
• 25:34
  don't think it's a particularly, I'm swimming with the tide on
• 25:38
  this one. Season 10 is brilliant.
• 25:40
  Him and Bill are fantastic. I don't, like I said, I'm not a
• 25:42
  huge clarifier anyway. So I think Matt Smith's weakest
• 25:45
  stuff is with her. Capaldi's weakest stuff is with
• 25:47
  her. She knows you've got some taste.
• 25:51
  Yeah, you know, like, you know, she I just, I don't think
• 25:57
  there's, I just, I don't know, I just don't think she's, she's in
• 26:00
  the right fit whatever character.
• 26:01
  I think, Well, the fact that she was 3 or 4 different characters
• 26:03
  over the course of that, like she never, she's not consistent.
• 26:06
  You don't know who she is as a person.
• 26:07
  She's being told how important she was to the Doctor's life and
• 26:10
  the mythology of the show, and Oh my God, no one can be that
• 26:13
  important. No, I think it's said that they
• 26:15
  very much forgot the show. Don't tell all of it then.
• 26:17
  And it's not just stop telling us how important she is and give
• 26:20
  us some actual stuff to. Was interesting with Capaldi
• 26:24
  though, is obviously he plays this role, so we get to see him
• 26:27
  do something completely different.
• 26:28
  And he plays Mr. Frobisher in Tortured Children of Earth.
• 26:31
  Again, a total diversion from the Doctor.
• 26:35
  So we get to see all the different things he can do.
• 26:37
  And I kind of think all those things are more successful than
• 26:43
  what he does in his first two seasons in Doctor Who.
• 26:46
  And it's kind of a shame because he's so he's such a good actor.
• 26:50
  He is, I know I'm inclined to agree.
• 26:51
  I think he's the does that make him the Davison of the of the
• 26:54
  modern era? What?
• 26:55
  What? Just let down by some poor
• 26:57
  characterization? Yeah, possibly.
• 26:59
  Possibly. Fuck this scene.
• 27:02
  You are a Lord of times, Sir. All of this stuff.
• 27:05
  I love Lost in the Medusa Cascade and all of these weird
• 27:10
  sort of tilted close-ups and prophecies of doom.
• 27:14
  Yeah, that's gorgeous. I like her.
• 27:17
  I don't know if you're seeing a bit with the the young lass now
• 27:21
  doing a bit the the whatever way they've lit her or they've made
• 27:25
  her up those the way her eyes are sort of like some because
• 27:28
  she just looks so ill and I don't know.
• 27:31
  I really like that. I really like what effect,
• 27:33
  whatever effect they've made her, however they've done that
• 27:35
  there. Do you think that this is
• 27:37
  impeccably cast, that this family in particular?
• 27:41
  Again, like I said in part, I just buy the family.
• 27:44
  Yeah, it's. It's, it's, it's a great
• 27:49
  approach. It's the in fact, demons of the
• 27:51
  Punjab did exactly the same thing.
• 27:53
  It, it, it took a big moment in history and it took it down to
• 27:57
  the intimate level of focusing in on a single family and how
• 28:00
  they're affected by it. And I think that is always going
• 28:03
  to work. I I don't think you can tell the
• 28:06
  scope of a large event in Doctor Who like you could in a movie,
• 28:10
  because there just isn't the money and there isn't the scale.
• 28:14
  But if you bring it down to a really simple emotional level
• 28:17
  with characters that you like, that's a great historical, I
• 28:21
  think there. No I fully agree and even with
• 28:23
  the with the backdrop of this major like world changing event,
• 28:27
  like you don't have to see much of the event itself.
• 28:30
  You can just hang out with the 1 you know and you can tell that
• 28:33
  story. Is that not what they did with
• 28:34
  them? Was it Cloverfield where they
• 28:35
  did a couple of movies where it was the same thing, same event,
• 28:38
  but just different characters? And you could do that 1000 times
• 28:41
  and still tell a million different stories with with just
• 28:44
  different versions of it. And yeah, just zooming in on the
• 28:46
  family here is just, it's like you say, it's what Doctor Who
• 28:50
  does well. It's what this period of Doctor
• 28:51
  Who does well. I mean that's stupid Mary
• 28:54
  Poppins joke of whenever the volcano rumbles like.
• 28:58
  Positions everyone got to go grab all the pulse.
• 29:02
  To stop them falling over. It's just the third, but it's
• 29:04
  very funny. It's excellent.
• 29:06
  I mean, look at all this candlelit and the light coming
• 29:09
  up from the Holocaust. It's really atmospheric.
• 29:12
  Yeah, like you say, you can. Really.
• 29:16
  I thought they just had. They had the team who put this
• 29:18
  together really knew what they were doing.
• 29:20
  At at this point, you said it, I think in Partners in Crime is
• 29:23
  that they've perfected the formula.
• 29:25
  Now they know you sort of open up on a frothy 1, then you do a
• 29:28
  big hitter, then you usually do, it's usually the historical one
• 29:32
  second, then you do a science fictiony 1.
• 29:35
  And yeah, it's like with each subsequent year, I think they
• 29:39
  just got better at pulling that off.
• 29:42
  Yeah, I think. Oh boy, look at that.
• 29:46
  Oh my word, that young man's legs.
• 29:48
  I mean, good grief, I'm coming over a bit hot and bothered.
• 29:51
  Will you change the subject quick?
• 29:54
  Well, he'll definitely be of age now.
• 29:57
  Now he must have been then. I'm assuming he's got away on a
• 30:00
  location shoot. I reckon he's in his mid 20s
• 30:03
  there. He's just got a young face.
• 30:07
  He's like this in a minute where he's got all the.
• 30:08
  Carvings and it makes up a massive circuit like a press.
• 30:11
  Circuit, that's yeah, that's the bit.
• 30:13
  I think that's the one bit where I really have to suspend my
• 30:15
  disbelief. But I do love it like.
• 30:18
  Well, he just knocks one over and Phil Davies just going no
• 30:21
  the carvings, you know, very over the top.
• 30:26
  And I like, I like the journey that the boy here goes on in
• 30:31
  that he's just a bit loose, isn't he, at the start?
• 30:34
  And he can't be our arse. So I just want to sit around and
• 30:36
  by the end, you know, he's knuckled down, he's seen
• 30:40
  something horrific and then he wants to be a doctor and go and
• 30:43
  help people. That's a nice journey.
• 30:45
  Yeah, there it is. It's a, it does it.
• 30:48
  Well, do you know what it is? This is a Like I say, I'll do
• 30:50
  anything but talk about the actual thing we're here to talk
• 30:52
  about. It's a it's a nice trope.
• 30:55
  The sort of rich kid becomes, you know, learns a bit more
• 30:59
  about the world. We've been watching the Hey are.
• 31:01
  You stinking rich? Oh God no.
• 31:04
  The shame. No, I'm not.
• 31:07
  I'm not worth knowing for that reason.
• 31:08
  The are you any other so? Many other reasons.
• 31:13
  Have you are you familiar with the the Jurassic Park franchise
• 31:16
  I'm assuming you've seen? Jurassic Park, yes.
• 31:21
  Yes, yeah. Well, my, my son's a bit again,
• 31:23
  I think you should have just had my son on really, because I
• 31:27
  think he's probably got a lot more to say about these things
• 31:29
  than I do. But he's but he he's a big
• 31:32
  Jurassic Park fan. We've just finished watching the
• 31:34
  animated spin off that they did a couple of years ago, and it's
• 31:37
  arguably better than anything they've done in the actual films
• 31:39
  for years. But there's a yeah, there's a
• 31:41
  very there's a lovely character in that who has a similar
• 31:43
  journey to this lad. He just kind of, he comes on the
• 31:45
  old rich and spoiled and irritating and then he he moves
• 31:48
  on anyway. This.
• 31:49
  That's probably not. Animate.
• 31:51
  Spin off. Did you say, oh, I've got to
• 31:53
  seek that out? I love Jurassic Park films.
• 31:55
  Do you remember that film? Which one was it where there was
• 31:57
  that great big bubble that they were trapped in in the forest?
• 32:00
  It was like a big glass. Bubble the first Jurassic World
• 32:03
  World. And there was a dinosaur just
• 32:04
  kicking him about, the forest man about.
• 32:06
  I didn't care about any of the characters but it was so cool.
• 32:10
  Yeah, no, exactly. I think those films get weirder
• 32:12
  and weirder. The last one I mean Film.
• 32:15
  Franchises sort of go off the boil after.
• 32:17
  I mean, if you've seen what Marvel bringing out these days,
• 32:19
  good grief. No, yeah, that's another one I
• 32:21
  gave up with. I think I just.
• 32:23
  It's fun of things to do a wank job to Russell MCU when they're
• 32:27
  so tired now. That's basically what RCD 2 was,
• 32:29
  wasn't it? Yeah.
• 32:30
  No, it's a he's sort of missed the boat a little bit on that
• 32:33
  one, really. Big unit tower.
• 32:36
  I mean, it's clearly. What's it called in Marvel?
• 32:38
  That big tower. Is it Stark Tower or Avengers
• 32:41
  Tower or whatever? But yeah, no, there's no need
• 32:42
  for it, is there? No.
• 32:44
  Again, it's a shame really, because all they really needed
• 32:46
  to do with that big tower was just have the little, you know,
• 32:48
  the sign that the secret base you need to do have that sign
• 32:51
  just sticking outside. See Private secret base.
• 32:54
  I've I've sort of had one eye on the screen right and there where
• 32:59
  you know where they do the thing with the the eyes on the hands
• 33:02
  and then they can see through the eyes of the person that's.
• 33:05
  In very yeah, very David Blaine. And then there's sort of lots of
• 33:08
  weird camerawork swoopings in and phase and overlays and
• 33:13
  flames. And I don't know, I just think
• 33:15
  the director got the note in this episode, you know, just
• 33:18
  make it look as weird and as wonderful as possible.
• 33:22
  Yeah, now for sure, like I think, like I say, this is my my
• 33:29
  lack of telly knowledge coming in, but I just like it, man.
• 33:31
  It's really good. I like it too.
• 33:35
  We both like it then. That's a, that's a strong start
• 33:38
  really. The fact we've been, we've been
• 33:41
  recording for two hours and 2121 minutes and I feel like as long
• 33:46
  as we've come to that conclusion, probably in the
• 33:48
  right. Although we started there,
• 33:49
  remember, we both liked it at the start, so it's not a great
• 33:53
  river. Oh look, he just pulled his arm
• 33:54
  off. Yeah, he does make an ablest
• 33:57
  joke now, doesn't he? Does he say no arm in trying or
• 34:00
  something like that? Yeah, no, it's not.
• 34:02
  It's a in Voyager the Damned as well.
• 34:05
  He does the the thing with the can I not call you Banikov
• 34:08
  Falati because it's too long or whatever?
• 34:10
  That's not a, that's not a joke that's aged particularly well.
• 34:13
  Although, you know, whilst we're throwing stones, maybe the the
• 34:16
  12th Doctor throwing Davros out of his wheelchair and then
• 34:19
  riding around in it, that weren't a great look was it?
• 34:22
  No, again, I remember laughing at that at the time, and now I'm
• 34:24
  sort of. I know.
• 34:26
  Oh no, I think I might have done as well actually.
• 34:29
  You know, it's, it's one of those things, isn't it?
• 34:30
  It's a, it's a funny idea. And then you sort of stop and
• 34:32
  think about it for a minute and you go, well.
• 34:34
  Look, you think about it from the point of view of something
• 34:36
  that's disabled, and you're like, I'm not sure disabled
• 34:40
  representation should be, you know, all the disabled people in
• 34:44
  the world taking on God and then zooming up the road with sort of
• 34:48
  fiery tracks. I don't know if that's the best
• 34:50
  representation either. No, no, that's true.
• 34:54
  I'd say it's hard to know, isn't it, because a lot of the
• 34:57
  representation of this era has been like with the the non
• 35:00
  binary stuff with with Rose Noble, like I so I love that
• 35:04
  they were including her. I love the conversation about
• 35:06
  the dead naming and all that stuff.
• 35:07
  I thought that was really well done.
• 35:08
  And then making it part of the plot resolution was just like,
• 35:11
  oh, OK. I'll tell you one that worked
• 35:14
  brilliantly, Hannah in It Takes You Away, The blind girl, Yes,
• 35:20
  because she was such a bitch. I love that about her.
• 35:23
  She was the disabled character and she was such a cow, but she
• 35:26
  was really competent and she's sort of left with Ryan and she
• 35:30
  goes no. No, no, no, no.
• 35:31
  I'm going after him. All right?
• 35:32
  I'm going to find my dad and. Then she calls him out at the
• 35:35
  end. She was a great character.
• 35:37
  Yeah. No.
• 35:39
  Oh, what you see now? Your Lego monsters coming out of
• 35:41
  the ground and CGI. Whoa, here they come.
• 35:44
  It's probably yeah. It's great.
• 35:47
  I mean, does that hold up that CGI do?
• 35:51
  You know what? I'm a little.
• 35:52
  I think I'm a little. Not ahead now are you?
• 35:55
  It might be ahead now. Are you early?
• 35:57
  I don't know. How do we do this?
• 35:59
  Oh no, there it is. It's only now.
• 36:00
  It's only, it's coming out now. It's only coming out now.
• 36:02
  God. OK, I'll go back 10 seconds.
• 36:04
  There we go. Yeah.
• 36:05
  OK, we're in. Oh, there it is.
• 36:07
  It's coming. He sort of burps and immolates
• 36:09
  the slave. Yeah.
• 36:11
  Have you seen that bit? No, not yet.
• 36:14
  We're going there. Bloody hell.
• 36:16
  I don't know what's happening, Leo do.
• 36:17
  You press pause or something? No, no, no.
• 36:20
  Has he thrown the water on it yet?
• 36:22
  No, he's just he's gesturing at the water.
• 36:25
  Oh, OK, here we go there. We go he's he's just in related
• 36:29
  to slave now. Jeez, you're about 30 seconds
• 36:31
  behind me. I don't know how he's happening.
• 36:33
  It's a dangerous place to be, you know.
• 36:35
  The plus side, at least we've both counted it in.
• 36:38
  We know that it's, it's nothing that either of us is doing, you
• 36:40
  know? It's the iPlayer, you know?
• 36:42
  It's all those mean things I'm saying about Moffat.
• 36:44
  He's sending out timey wimey strands to think this is great.
• 36:50
  They throw the water and then you literally watch it solidify
• 36:52
  and just fall apart, don't you? Yeah, I think that's, I mean,
• 36:55
  obviously the screen I'm watching it on is about two
• 36:57
  inches big, but I think that looks OK you can do.
• 37:00
  Quite a lot of two inches. You know, Jo, I'll speak from
• 37:03
  experience. I've heard, I've heard, I've
• 37:06
  heard that. Oh, I love Donna in the minute,
• 37:09
  right? She's kidnapped.
• 37:10
  She ain't having none of it. You got you have got to be
• 37:13
  kidding me. She goes when she wakes up.
• 37:16
  And they're there with a bloody great knife.
• 37:18
  Yeah, she's like she has. No, it's like I feel like we'd
• 37:23
  all love to be Donna when in these stories, and I know for a
• 37:27
  fact I wouldn't be. Have you heard me?
• 37:30
  I mean, I pretty much am Donna of podcasting, aren't I?
• 37:34
  Well, potentially, but that's probably stands you in good
• 37:36
  stead for if you are ever kidnapped.
• 37:39
  Yeah, no one's done it yet, though, you know, I'm not
• 37:41
  considered important enough. No, I think you gave out your
• 37:43
  address on that on a recent. Yeah, I think so.
• 37:48
  So it might not be long I'm. Going to get all sorts through
• 37:50
  the post now. Well, if you can make them 12
• 37:55
  inches please, I'll be very grateful.
• 37:57
  Oh, look at that knife. That is terrifying.
• 38:01
  Yeah, that's a hell of a thing, isn't it?
• 38:02
  Someone's got that somewhere. And there's all now the doctor
• 38:07
  does his sort of just us girls together.
• 38:09
  Yeah. And Donna's sort of like, yeah,
• 38:11
  will you just Get Me Out of here?
• 38:13
  Please. Yeah, she's trying to do it.
• 38:16
  She wouldn't have stood for the for that bit in Christmas
• 38:19
  Invasion, would she? When he's doing all this
• 38:20
  grandstanding Lion King stick? She'd have just been like, will
• 38:23
  you fucking just get on with it, please?
• 38:25
  I love the don't you love the bit in Santara.
• 38:28
  Stratton where he thinks she's going and he starts going, oh,
• 38:31
  Donna, you were so amazing. And she's just going home for
• 38:34
  like for your granddad and she goes, why did you let me go on?
• 38:39
  And she went, Oh, well, you know, it's hard to stop you
• 38:41
  when. You get going.
• 38:43
  Yeah, it's like, I think maybe that's the other thing as well,
• 38:46
  because they've had two seasons of this Doctor, They know who he
• 38:48
  is now, and they know exactly the right character to put him
• 38:50
  with. You can punch her it now, can't
• 38:52
  you? Yeah, yeah.
• 38:53
  Like, you don't. You couldn't.
• 38:55
  Maybe it wouldn't have worked if they'd put her in Season 2.
• 38:58
  And and then towards the end of the season, there's that
• 39:01
  wonderful bit at the end of Forest of the Dead where he's
• 39:04
  really upset because Riversong sacrificed herself.
• 39:07
  And Donna goes, are you all right?
• 39:09
  Because yeah, I'm always all right.
• 39:10
  She goes, oh, is is it all right?
• 39:12
  Time Lord speak for not really all right at all.
• 39:16
  And he goes well and she goes good because I'm all right too.
• 39:20
  And it's a wonderful moment between the two of them.
• 39:22
  Yeah, they just really understand each other, don't
• 39:24
  they? Oh.
• 39:25
  Look at that make up. Good grief.
• 39:28
  Yeah. You ever had days like that?
• 39:30
  Definitely, yeah. Sort of calcified.
• 39:33
  That looks she looks like burnt toast.
• 39:35
  Yeah, she does. Burnt toast.
• 39:40
  Oh, but I did burn my toast this morning.
• 39:41
  You know, I've still slabbed some jam on it.
• 39:45
  It was fine just. Scrape off all the worst bits
• 39:47
  into the. Next time I feel as if I'm
• 39:48
  biting into the sibiline sisterhood, you know?
• 39:51
  Yeah, but taking a finger off. Just wobble the toast and go.
• 39:56
  Your knowledge? It's impossible.
• 39:59
  What do you think of him going at her with a water pistol?
• 40:02
  It's very cool, wouldn't it? Yeah, I always enjoy a water
• 40:05
  pistol. Do you know you can get those
• 40:07
  enormous super soakers now? Yeah, I know.
• 40:10
  They're I've seen them with one the other day with it.
• 40:13
  It was like AI thought it was an ALDI.
• 40:14
  It was like a big backpack. You load it up with water and
• 40:17
  then it just sort of it fired forever.
• 40:19
  Should we promise each other? All right?
• 40:21
  Yeah. I feel like, you know, it's the
• 40:22
  first time we've met, but let's promise each other that when we
• 40:24
  do meet, we're going to make each other really wet.
• 40:29
  I will do my best I. I want at least a gallon, all
• 40:34
  right. Gotcha.
• 40:35
  Finest every an all over me. Actually, I'm a Vulvik guy.
• 40:40
  Oh. Are you?
• 40:41
  Oh, I've said you were middle class, didn't I?
• 40:44
  Is that is that? Is that the middle class bottled
• 40:46
  water I. Don't know.
• 40:46
  Well, it's more expensive than every an Oh no, I'll put it on
• 40:50
  the shelf. All right.
• 40:51
  Fair enough. Maybe I'll go sparkling, really
• 40:53
  push the belt out. We're talking about super
• 40:56
  soakers, of course. Or are we?
• 41:02
  OK, what's going on? Oh, here comes the water pistol.
• 41:05
  Freddy Krueger, that's who she looks like.
• 41:07
  I was trying to think. I've been trying to place it for
• 41:08
  ages. She looks like Freddy Krueger.
• 41:10
  He scared the bejeezers out of me when I was a kid.
• 41:13
  Freddy Krueger. I've got a couple of girlfriends
• 41:15
  coming over on Saturday night and when they wanted we do
• 41:18
  horror movies. We just did The Final
• 41:19
  Destinations. Not really horror movies,
• 41:21
  actually. But now they want to do Freddy
• 41:23
  Krueger. I'm going to be like 4 years old
• 41:25
  again. Yeah.
• 41:26
  Absolutely terrible stage with you.
• 41:27
  That's not done it stage with you.
• 41:29
  Well, it's the idea was in a dream.
• 41:31
  You know, yeah, yeah. Like it can get you when you're
• 41:33
  asleep. That's the.
• 41:34
  And those razor fingers, Oh my word, when they started doing
• 41:37
  the dream crabs, you know, in last Christmas, dreams within
• 41:40
  dreams, I was like, what are you doing to me to fry the pants off
• 41:44
  me? That one's that I really like
• 41:47
  that one, That's great. Have you ever sort of been down
• 41:50
  a volcano, Joe? Not.
• 41:54
  Not physically, not literally, metaphorically have.
• 41:57
  You visited 1. I don't.
• 41:59
  Know if I have actually I'm trying to think this might be a
• 42:01
  couple of violent a couple of bounces in Ireland that I think
• 42:04
  might be volcanoes but I don't know certainly not active ones
• 42:08
  our fear that would. Happen, you know, we met as it
• 42:11
  would be volcanic, wouldn't it? And potentially it's got
• 42:13
  potential this. Woman this is she has given us.
• 42:19
  The time has come, she catches. The camera zooms in on her.
• 42:24
  Oh. Man.
• 42:26
  So from this point on, I don't think the episode stops, it just
• 42:29
  runs from this point on. Yeah, it's, it's paced
• 42:33
  beautifully. I'm trying to think, sorry, I
• 42:35
  keep, I wish I had subtitles on this.
• 42:38
  I thought I'd put subtitles on, but I can't.
• 42:39
  So I've got absolutely no idea what anybody's saying do.
• 42:42
  You want me to share the screen? I mean, I've got subtitles this
• 42:44
  end. Let's have a look.
• 42:45
  Let me just see if I can. I'm concerned that if I click
• 42:47
  it, I'm just going to end up going out of sync.
• 42:49
  Oh, there. We go.
• 42:50
  If that does happen, then I can share the screen, don't worry.
• 42:53
  No, it's all right. I think I am on it now.
• 42:56
  There we are. We've.
• 42:56
  Got it. We're not a professional
• 42:58
  operation here on a planet. Still a blunt pen knife.
• 43:00
  We just sort of muddle through. Something no, No 1 1/2 that's.
• 43:03
  Why people like us? You know, this might actually
• 43:06
  have been a terrible day because now I'm already very easily
• 43:08
  distracted. I don't know if you ever have
• 43:09
  this. I if I ever would go to the pub
• 43:11
  with a friend or something, I'd have to sit facing away from the
• 43:14
  telly with the subtitles on, otherwise I will not hear a word
• 43:16
  they say and it might. Be you know, if you were down
• 43:19
  the pub with me, yeah, you'd be looking at my face and not the
• 43:21
  TV. It's good to know.
• 43:23
  Well, yeah, I will, hopefully. That in mind, all right, if I
• 43:27
  offered to buy you a drink unless Doctor Who was on.
• 43:31
  The fair goat. Yeah, I think that's fair.
• 43:33
  That's what you need, pub where it plays rolling in the
• 43:35
  background. Oh, bless them.
• 43:36
  Look, so this is this is their sort of studio volcano.
• 43:39
  They've put a big red light in The Cave and just a bit of flame
• 43:43
  coming out the floor. Yes, I well, The thing is, as
• 43:47
  you say, we've never actually been to Volcano, so I've got
• 43:49
  nothing to prove that that is not what Volcano looks like a.
• 43:52
  100% genuine for. All I have no idea.
• 43:55
  I've never been, and I think it's actually kind of rude that
• 43:58
  you would suggest it doesn't look like a real volcano, Joe.
• 44:00
  What without the actual proof? The research of going and have
• 44:03
  it. Like if you've never seen it,
• 44:04
  how can you? I think it's worth calling me
• 44:06
  out at that point, actually. I think they're probably banking
• 44:08
  on the fact that nobody's ever been to a real volcano.
• 44:11
  I've never been to a Silurian city either, but I the other day
• 44:14
  called out that hungry Earth city as being really sort of
• 44:18
  jabber like pony. Yeah, that's probably fair.
• 44:21
  Yeah, I think it probably was. Oh, this is hilarious.
• 44:25
  So you've got Phil Davis and his group of I know they're soldiers
• 44:28
  or monks or whatever they are. But they're in Wales, so
• 44:33
  suddenly they're having to grade it as if it's really hot.
• 44:36
  You can. See the rain?
• 44:39
  Yeah, amazing what they can do these days.
• 44:44
  Quick, say your speech and we'll get inside The Cave.
• 44:47
  This. Little polystyrene arm and his
• 44:49
  other arm definitely not stuck under his jumper.
• 44:51
  I really think those CGR monsters are impressive though.
• 44:54
  I think there's there's scale to them.
• 44:56
  Oh yeah, they look great. It definitely looks like a Lego
• 45:01
  though, so if. We were facing sort of imminent
• 45:04
  catastrophe like this. Would would you cause an
• 45:07
  enormous explosion with me? Oh, of course, without without
• 45:10
  question, I think it might be glad to.
• 45:12
  Know you've got my back. It might be pressing to get the
• 45:15
  emergency out of the way first and then just see what we've got
• 45:17
  time for afterwards. I think that's the.
• 45:20
  Well, we could do both for once then.
• 45:22
  Yeah, Wow, this is, I mean, look at this.
• 45:25
  We're in a hollowed out volcano with great CGI monsters going
• 45:29
  about. Place.
• 45:31
  Yeah, it's very. They're very Lord of the Rings
• 45:32
  monsters, really. I think do.
• 45:34
  You think the director went, hang on a minute, Are you giving
• 45:37
  me more money? I mean, how do you expect me to
• 45:39
  do this? I always think that's the,
• 45:43
  that's the most impressive because I don't really know what
• 45:45
  a director does, but I feel like they, it's a lot of, I don't
• 45:50
  know. I'm always just really, I think
• 45:52
  that's why I'm. So basically my taste is I'm
• 45:53
  just very impressed that anybody manages to get anything on the
• 45:55
  screen, I think. It sort of does.
• 45:57
  What I do on these calls is. So you try and extract the best
• 46:01
  out of everybody you know. Yeah.
• 46:03
  That's how's that going for you. Wonderful, absolutely wonderful.
• 46:09
  I can't wait till the next one, you know.
• 46:11
  Yeah, I'll try to be more prepared for that.
• 46:13
  No, you've got to stop, you know, you've got to stop being
• 46:16
  so self deprecating. It's tricky, 35 years of that
• 46:20
  I've it's tricky to to. It's a tricky habit to pull out
• 46:22
  of well. Yeah, I'm a very honest bloke.
• 46:24
  I'll soon tell you if you're doing a terrible job, all right.
• 46:27
  I. Appreciate it.
• 46:28
  Thank you. Keep.
• 46:29
  Yeah, keep me informed. What's happening?
• 46:32
  Oh, they're going into the capsule now.
• 46:33
  They're going to go into the capsule in a.
• 46:34
  Minute, I've just got water pistol tenant with shooting at
• 46:38
  the Lego. I mean, that's so Doctor Who,
• 46:40
  right? Facing great crazy monsters,
• 46:43
  he's only got a water pistol in his width.
• 46:45
  I think that's ultimately what it boils down to is this.
• 46:48
  That's what this show is so good about.
• 46:50
  Oh, that's what's so good about the show is that there's no
• 46:53
  other show you could do it with, like.
• 46:54
  Bond would have a pistol, an actual pistol, wouldn't it?
• 46:57
  You know, or the like. Or, you know, like Jodie in war
• 47:01
  or the Sontaras would. All she had was that bloody
• 47:03
  catapult, and she was taken out. The Sontaras with a catapult,
• 47:07
  That's Doctor Who. They've got a bit of string, you
• 47:09
  know, and a paper clip. And somehow save the universe.
• 47:12
  Yeah. Or a Pertwee and Time monster
• 47:15
  just knocking it up with a couple of spoons and plastic
• 47:17
  cups or whatever it is. And he puts that cup of tea on
• 47:19
  the top, doesn't he? And it goes round.
• 47:21
  Really badly. Hang on a minute, I'm going to
• 47:25
  build something now for you. All right out of bits and bobs.
• 47:30
  That's the thing with, I mean, you know, obviously this isn't a
• 47:33
  great example of something not working, is it?
• 47:34
  I think that's the problem is all of this is great.
• 47:39
  Well, I would rather TV work that didn't though.
• 47:42
  Yeah, but if you're a Doctor Who fan, surely you must be.
• 47:45
  You must have to put up with a lot of.
• 47:47
  When it doesn't, that's the. Do you see how hot and sweaty
• 47:51
  Tennant and Tate are there? Yeah, that's how I imagine
• 47:54
  things would be. You know, if we was in the same
• 47:56
  room area would be a bit. Yeah, a bit like this.
• 48:01
  Oh Gee, I'm being terribly flirtatious tonight, aren't I?
• 48:04
  You are strange. Isn't it?
• 48:06
  I mean, if I didn't do it with every other guest, I'd be scared
• 48:09
  if I was you. Well, do you know what I did
• 48:11
  that I had that in work once I maybe this isn't a good story to
• 48:15
  tell. I don't know.
• 48:15
  I had AI had a lady who was I used to photograph just artist.
• 48:19
  That was my main thing and. What you're trying to say, bum
• 48:22
  holes was a promotion. Well, it's still a sphincter,
• 48:25
  technically. Yeah, this is also, but the, so
• 48:31
  I used to see, I used to photograph just eyes and we had
• 48:34
  a patient, I'd taken her into a separate room where there was a
• 48:37
  different machine and I'd locked the door behind me without
• 48:40
  thinking about it. And when I went to I needed some
• 48:44
  help. So I went to get one of my
• 48:45
  colleagues went oh, I've locked the door.
• 48:46
  Sorry about that. I don't know what I've done that
• 48:47
  for. Went out, got my colleague, came
• 48:50
  back and she said to my, this lady said to my colleague, oh,
• 48:54
  do you know, because my colleague was a young lady and
• 48:56
  she went, oh, you know, he locked the door last time he
• 48:59
  came in with me. If I was you, I'd have been
• 49:00
  worried. I don't, I don't only not do
• 49:04
  that to people because like I just don't do that to anybody.
• 49:08
  That's not a do. You know what I would have said?
• 49:11
  I would have said, will you have a look in that mirror just
• 49:13
  there, OK. It was entirely an accident that
• 49:16
  that door was locked. All right.
• 49:19
  Christ, people say very strange things.
• 49:22
  I do. I do.
• 49:23
  Well that, you know, I always say never dip your Wick in the
• 49:26
  company Inc. You know, it always ends in
• 49:28
  disaster every time. I know this has happened.
• 49:31
  Oh, sorry, very dramatic things are happening.
• 49:33
  On the TV well. This is keeping life advice.
• 49:37
  This is that exactly. This is that perfect team.
• 49:39
  Oh, this is beautiful. Where she goes, the future is
• 49:44
  changing. She goes.
• 49:45
  In in client's arms. Wonderful stuff.
• 49:49
  I mean, it's, it is operatic melodrama, isn't it?
• 49:52
  It's pitched somewhere in the stratosphere.
• 49:56
  But I think if you're doing exploding volcanoes, it kind of
• 50:00
  needs to be. Yeah, it's just everybody.
• 50:07
  There's only so much. I think you get it more with Big
• 50:10
  Finish, where they do it, where there's just the climax is just
• 50:13
  everybody screaming. No, there's only so much of that
• 50:18
  you can. Talk.
• 50:18
  Colin does it wonderfully. Yeah, there's only so much of it
• 50:21
  you can take, but sometimes it's just warranted, isn't it?
• 50:24
  I mean, look at her there. She must have got this script
• 50:26
  and she, she was saying lies like death, early death, you
• 50:30
  know, I thought, wow, that's it, my chips are in.
• 50:34
  Yeah. You think that they're just sort
• 50:35
  of in the audition process just going.
• 50:37
  Could you do just like sort of more like, you know, screaming,
• 50:40
  but like more of that. Just don't think if you ever
• 50:43
  think you're going too big, you're not.
• 50:46
  More please. You see them running away from
• 50:48
  that rampant cloud there of choking volcano dust.
• 50:52
  Yeah. I like to think that's the sort
• 50:54
  of dust cloud that kicks up, you know, when all the ladies and
• 50:57
  gentlemen chase around after you.
• 51:00
  I, well, I never get to see it because I'm, I'm always ahead of
• 51:03
  them. I never look back, Joe.
• 51:05
  I never look back. That's what I say.
• 51:06
  This is really horrifying now, I think, and the the fact that it
• 51:12
  goes from day to night. So they've shot all of these
• 51:14
  scenes at night, even though it's not night.
• 51:17
  It's just that the dust cloud. Is the dust cloud is, yeah.
• 51:19
  That's really scary. Yeah.
• 51:23
  No, it's just. A simple effect.
• 51:25
  It looks like snow. It's almost beautiful and yet it
• 51:28
  will clog up everybody's Airways and murder the lot of them.
• 51:33
  No, I've never. Have you ever been to Pompeii?
• 51:35
  I have been to Pompeii. Yeah, the ruins are are
• 51:38
  strikingly well preserved, obviously because of this.
• 51:41
  Yeah, it must be I I imagine it's haunting.
• 51:45
  It was a bit like going to the site of the Twin Towers after
• 51:49
  911. Yeah.
• 51:50
  It's the same stuff when, you know, a lot of people have died
• 51:53
  in that space. There's something disquieting.
• 51:56
  Look at Catherine Tate. She goes to help the little kid
• 52:00
  and then she's just got the tears in her eyes.
• 52:01
  She's covered in ash. Yeah, she's so hopeless and.
• 52:05
  It's strong stuff, I think this. It is, but again, palatable for,
• 52:10
  like you said, about like for a Saturday night audience.
• 52:12
  It speaks. It's not.
• 52:14
  Well, it's simple. Isn't it?
• 52:16
  And it's simple here, where he chooses to go and she screams
• 52:20
  after him. You know, you can't just these
• 52:22
  people, we've got to know you can't leave them to die.
• 52:25
  What the hell is wrong with you? I mean, how do you feel about
• 52:27
  that? Yeah, I mean, it's, it's such a
• 52:32
  good scene because it makes it, it just shows us her getting
• 52:36
  through to him and really allowing him to kind of, I don't
• 52:40
  know if I, I don't like the Christie sort of appearing at
• 52:43
  the door with the with all the lights and stuff.
• 52:45
  I think that's probably. Come with me, Joe.
• 52:47
  Yeah, that's a bit much, but the but the actual.
• 52:50
  Be a bit more humble next time. But yeah, no, just it, it just
• 52:55
  shows the effect that she has on him so quickly as well.
• 52:59
  Like this is only their second adventure and I just think it's.
• 53:02
  Her performance here where she is blazing with fury.
• 53:07
  Yeah. And she's just not taking any of
• 53:09
  his shit. Not, not none of it.
• 53:11
  This is what we were talking about earlier.
• 53:12
  Like, Martha would have been meek, You know, Rose would have
• 53:15
  been too in love. Donna's just like you're a
• 53:17
  fucking asshole. Yeah.
• 53:19
  You've got to know those people. And now you're going to let them
• 53:21
  die? Yeah, it's the it's the real
• 53:26
  refusal to understand where he's coming from.
• 53:29
  And not because she doesn't understand, but just refusal to
• 53:32
  be like, no, that's bullshit, go back now.
• 53:35
  And as usual, he brings it all back to Gallifrey, you know?
• 53:37
  Yeah, I can't. I can't do anything because I
• 53:40
  couldn't save my own people. And she again says no.
• 53:42
  I mean, I'm paraphrasing. Don't be a fucking cunt, all
• 53:45
  right? And go and help him out.
• 53:48
  Look at her, man. She is broken.
• 53:51
  I've only been in tears like that once or twice in my life.
• 53:54
  I'll tell you what, to get me that upset, you've got to be
• 53:57
  devastated. It's she's just, I think this
• 54:03
  must have been the moment where anyone with doubts about her as
• 54:08
  an actor would have Like, you can just cast any opinion aside
• 54:12
  that isn't she's fucking brilliant.
• 54:14
  And I, and like I said earlier, I really love after they've
• 54:17
  saved them, after they do the bit up on the hill, it's not a
• 54:22
  big grandstanding moment of her going yeah, you know, I, I, I
• 54:25
  found your conscience after all. And all of this.
• 54:28
  She just goes, yeah, well, he says.
• 54:30
  I'll need a friend. It's been subtle after all the
• 54:34
  operatics. Then we do nuance.
• 54:36
  It's just well judged. Yeah.
• 54:42
  The hands coming together. I was just thinking, yeah,
• 54:44
  Speaking of the operatics, presumably he's had to go in and
• 54:47
  turn all the lights up in the TARDIS to make sure he gets that
• 54:49
  glow. She's like fine, I'll go back
• 54:50
  and save him but I won't do it unless I'm very well back lit.
• 54:54
  I mean, I get it. I understand.
• 54:56
  Yeah. As somebody that used to, you
• 54:58
  know, did photography, you must understand this.
• 55:01
  Well, yeah, true. You've got to make sure the
• 55:02
  light. I hear Jenna Coleman liked a
• 55:04
  good light as well when she was having her publicity pictures
• 55:07
  taken. That a special effect shot of
• 55:11
  the cloud literally consuming Pompeii.
• 55:15
  Yeah, I think it's made all the more haunting because they have
• 55:18
  literally CGI people running up and down the streets, and that
• 55:22
  cloud is going so fast that you know they're all about to die.
• 55:26
  Yeah, no, it's just, again, sorry.
• 55:31
  I feel like I'm leaving a lot of dead air while I'm just watching
• 55:33
  how brilliant it is. Well, I'll, I'll take that as an
• 55:37
  endorsement of the episode. I mean, this whole sequence up
• 55:41
  here, I, I really don't like the, oh, it's so volcanic.
• 55:44
  It's a volcano that's so on the nose, that line.
• 55:47
  And then Capaldi flaws you because then he just goes all
• 55:50
  those people and he just says it in such a way that drives it
• 55:54
  home. Again, though, they could have
• 55:56
  changed it. They could have called it a
• 55:57
  mole. He could have misheard it and
• 55:58
  called it a volcano. Oh.
• 56:00
  Boy oh boy, could you imagine? Oh God.
• 56:05
  Yeah, RTD two, what were you doing?
• 56:08
  What were you doing? But if anyone's going to deliver
• 56:13
  this sort of pony line about a volcano, it's called it, man,
• 56:16
  He's just look at him. I mean, I'm surprised.
• 56:19
  They didn't hire him there to be the doctor.
• 56:23
  He's just. Yeah, he's.
• 56:26
  Just, I mean, and Tracy Childs, that's Klein, his wife, and look
• 56:31
  at her as well. She's so upset.
• 56:33
  It's just so well cast. I've said it already, but yeah,
• 56:37
  they have to sell the horror of the thousands of people dying.
• 56:41
  Just a couple of actors. And they do.
• 56:44
  Yeah, no, it's, it's do you think, would he have gone around
• 56:47
  afterwards calculus and just sort of said like, oh, you know
• 56:51
  about the thing in Pompeii volcano, That's the word.
• 56:55
  I made that up. Like how long are you leaving
• 56:57
  it? Do you know what I mean?
• 56:58
  How long are? You.
• 56:58
  I hope he's a better man than that, but.
• 57:00
  How long are you leaving it though?
• 57:01
  Do you know what I mean? How long are you leaving it?
• 57:02
  After? After it's happened?
• 57:04
  Before you start telling people your great new word.
• 57:08
  I mean, if you'd have had sex with the Queen, yeah, would you
• 57:12
  have gone round every time someone was putting a stamp on
• 57:14
  an envelope and said I've had a? I've looked at for real.
• 57:19
  Oh, you have? No, I'm like, if you're looking
• 57:21
  at some different oh. Sorry.
• 57:24
  That's a much funnier line as well.
• 57:26
  I should have got the Joe Whoosh.
• 57:28
  So to be fair, you don't actually have to look stamped
• 57:29
  anymore. You're not.
• 57:30
  So that's a, you know, status you.
• 57:33
  Can't look. Anymore either, unfortunately
• 57:35
  you. Can it just takes a lot more
• 57:36
  effort? You, you've permed up all of a
• 57:41
  sudden. What's going on?
• 57:44
  What can I say? It would be a good story though,
• 57:45
  wouldn't it? That's the thing.
• 57:46
  Oh, I think they've they've we've got the lighting in
• 57:49
  Tennant stylist better this series as well, because my for
• 57:52
  us right there was an awful lot of green early on.
• 57:55
  Which very. Bizarre.
• 57:57
  Now they've made it look a bit warmer.
• 58:00
  Yeah, now it looks a bit more inviting.
• 58:03
  I think, I think perhaps, you know, they just were content
• 58:06
  that they survived and lived every day of their lives as
• 58:10
  satisfyingly as they could because they were given a second
• 58:12
  chance. And the only thing they did
• 58:15
  about the Doctor and Donna was flick a bit of wine at that
• 58:18
  marble statuette that they've got.
• 58:20
  Yeah, yeah, how it's, it's incredibly good likeness
• 58:23
  considering they'll have had to get someone who never met them
• 58:24
  to carve it, but yeah. Well, they sort of went.
• 58:27
  It looks a bit like David Tennant and Catherine Tate,
• 58:30
  right? Yeah.
• 58:33
  Yeah, just just wait a minute. That'll give it a couple of 1000
• 58:36
  years. That'll be a really easy
• 58:37
  reference to work with. And I think it's right that they
• 58:42
  get a happy ending even though a lot of people didn't get a happy
• 58:46
  ending, because we need to see the impact of history, but we
• 58:50
  need a satisfying ending for the characters we like as well.
• 58:53
  Yeah, absolutely. And it's not really, it's not as
• 58:55
  though we know the names of everybody that died at Pompeii.
• 59:00
  It's not like they've been, you know, it's too far back in
• 59:02
  history for us to have that record.
• 59:05
  So it's not, you know, it wouldn't be, you know, I don't
• 59:08
  want to be crass and give examples, but so anything from
• 59:10
  the sort of 20th century, it would be crass to to have
• 59:13
  somebody get saved in that environment.
• 59:17
  Whereas, you know, I think if you're going back that far, you
• 59:19
  know, myth makers or the crusade or any of that, like, you know,
• 59:24
  you can play with those bits of history a bit more, well, a bit
• 59:27
  more because there's, there's not the personal attachments.
• 59:30
  You know, people are still, you know, grandparents, great
• 59:34
  grandparents alive from, you know, a time in history that was
• 59:37
  a bit more, you know, recent. I think making an entertainment
• 59:45
  programme about a tragedy like that, yeah.
• 59:47
  The the, you know, a lot of water has flowed over a lot of
• 59:50
  bridges since Pompeii went down kind of ash.
• 59:55
  So it's perfectly OK to do it. I think that you do have to.
• 59:59
  You have to sell. How horrific the actual event
• 1:00:03
  was. I think they managed that.
• 1:00:05
  Yeah, I think so. And it's it's surprisingly well
• 1:00:07
  considering. Yeah, like the grimmest of the
• 1:00:09
  subject. It may be the bits where
• 1:00:11
  everyone's running up and down the sort of the flaming streets.
• 1:00:13
  Makes me think of the bit in Day of the Doctor where, you know,
• 1:00:16
  when the with all the stuff on Gallifrey, with all the people
• 1:00:20
  running about. But in that it's unknowns,
• 1:00:24
  unnamed space people. So they're not, you know, it's
• 1:00:27
  hard to whereas. You hear about those people.
• 1:00:30
  Yeah, exactly. It's, it's a real, whereas this
• 1:00:32
  is a real thing that we know happened.
• 1:00:33
  There's, there's tons of evidence, there's people still
• 1:00:36
  stuck there and it's just, it's hard.
• 1:00:39
  You can't downplay it. But it just gives us that little
• 1:00:41
  bit of hope. Like we know things did carry on
• 1:00:44
  after that, you know? Well, before I gift you, you
• 1:00:48
  know, your gift for coming on tonight, which is an ooge that I
• 1:00:52
  happened to have bought for five credits from Mr. Halpern
• 1:00:55
  himself. You know, sexy sort of maid's
• 1:00:58
  outfit as well. You'd be pleased to hear.
• 1:01:00
  You know, Slinky, you'd. Yeah.
• 1:01:03
  She'll do anything. What I would like?
• 1:01:06
  To well, we, we did talk about that actually you've changed
• 1:01:10
  your mind about that from earlier in the.
• 1:01:12
  Episode I think they're they're manageable, you know, they're
• 1:01:14
  manageable tentacles. What I would like to do is ask
• 1:01:17
  you these last few questions, yes, be scared and also ask you
• 1:01:22
  for your free fabulous things. So I'm sure they will be
• 1:01:26
  fabulous. So Lucy McCall, lovely.
• 1:01:29
  Lucy asks. Would it been better for the
• 1:01:32
  writers not to have referenced back to Pfizer Pompeii and have
• 1:01:36
  the Doctor wondering why he had Chichilias face?
• 1:01:39
  So Capaldi when he remembers in The Girl Who Lived?
• 1:01:44
  Yeah. And instead just say actors can
• 1:01:46
  play different roles in the same show.
• 1:01:49
  Deal with it When Capaldi was cast as the Doctor later on.
• 1:01:54
  I don't know how better. I don't think there was a need
• 1:01:56
  for them to do it. I was quite happy for them to
• 1:01:59
  not. I don't don't.
• 1:02:02
  I didn't hate that plot line, to be honest.
• 1:02:04
  I think it was. I kind of liked the way they did
• 1:02:06
  it. If you're doing that with
• 1:02:08
  Capaldi's doctor, it kind of made it made sense within what
• 1:02:11
  they were trying to do at the time.
• 1:02:12
  I personally don't think I needed that though, because if
• 1:02:15
  you did it every time you read, no.
• 1:02:16
  If you every time, if you did it every time, you recast, you
• 1:02:18
  know, nobody, no, nobody was questioning why have I got
• 1:02:22
  Maxwell's face? Nobody was.
• 1:02:24
  Grief. You look like that guard who
• 1:02:25
  tried to shoot me. Yeah, exactly.
• 1:02:27
  You know when he bumped into Amy Bomber as an adult and went hang
• 1:02:30
  on, haven't I haven't I seen you somewhere in the marketplace in
• 1:02:32
  in Rome and campaign? Wandering around with an English
• 1:02:35
  accent back in. Pompeii.
• 1:02:37
  Yeah, yeah. I think I've met 1 of I've met
• 1:02:39
  one of your descendants or your ancestors on SO, yeah, I don't,
• 1:02:43
  I don't think. They didn't do something with
• 1:02:45
  that, you know, Joe. What on the?
• 1:02:47
  Amy Paul's great descendant, the saucer right Civilised
• 1:02:51
  sisterhood member. Who the, you know, who the hell?
• 1:02:53
  Maybe they they had it on the cards.
• 1:02:54
  But yeah, I don't, I don't think there's any need for it
• 1:02:56
  personally. It's quite subtle though, isn't
• 1:02:59
  it? Doesn't sort of overload.
• 1:03:00
  Yeah, exactly. I don't.
• 1:03:01
  I didn't hate it. I didn't mind that they've done
• 1:03:03
  it, but I wouldn't have been going.
• 1:03:05
  Well, that's ridiculous, you know.
• 1:03:08
  We've sort of covered this, but Daniel Rawnsley asked.
• 1:03:10
  Tragedy and comedy often sit side by side in Doctor Who Fires
• 1:03:14
  a Pompeii is a good example of that.
• 1:03:16
  Any others that come to mind in this series and beyond what we
• 1:03:19
  named one earlier? Yeah, no, I mean myth makers is
• 1:03:24
  the is the key one for me. That's the that's the big one, I
• 1:03:27
  think. And and to be fair, gunfighters,
• 1:03:29
  I think it it's so what's the you know, people say that if you
• 1:03:34
  don't laugh, you'll cry. It's a it's, it's right for
• 1:03:39
  comedy, especially when it's that long ago.
• 1:03:41
  I mean, I think in myth makers you've even got the Cassandra,
• 1:03:44
  like the civilized sisterhood with her prophecies of doom, you
• 1:03:47
  know, going we are all doomed and all the blokes are going, oh
• 1:03:51
  don't listen to her, she does this every week and yet.
• 1:03:53
  This one time, the biggest joke is she's right.
• 1:03:57
  Yeah, no, I think I'm trying to think of others.
• 1:04:00
  I suppose it's difficult because they didn't do, they didn't do
• 1:04:04
  too many historicals really after that, did they?
• 1:04:07
  The Black Hawk, it's not particularly funny, so.
• 1:04:09
  Daniel, that's the biggest tragedy, All right, They stopped
• 1:04:11
  doing these things. Yeah, no, I agree.
• 1:04:13
  I think that would be the. I would love to see them do
• 1:04:15
  more. Oh good, he asked you a very
• 1:04:18
  long winded question. Now I do apologise.
• 1:04:21
  This story is new. Whose answer to the Aztecs?
• 1:04:24
  Period. Costumes, sacrifices.
• 1:04:25
  You can't rewrite history versus the laws of time.
• 1:04:28
  Discuss. Oh.
• 1:04:30
  Christ. Well, disgust.
• 1:04:32
  Bloody hell. Well, I mean, it is doing that.
• 1:04:34
  You can't rewrite history. Donna's saying yes, we can.
• 1:04:37
  The Doctor's saying no, we can't.
• 1:04:39
  That's just how it is. And then the twist is he's the
• 1:04:43
  one that has to cause history. Yeah, yeah, I always like it
• 1:04:47
  when they do that. The I always sort of think in my
• 1:04:49
  head, I think that's how sort of time travel works.
• 1:04:51
  If anyone ever turned up in the past, whatever they do in the
• 1:04:54
  past must be what's supposed to have happened in the first
• 1:04:56
  place. But I think that's a good.
• 1:04:58
  Way of looking at it, I think you've solved the problem of 60
• 1:05:00
  years there. Potentially, but that's how
• 1:05:02
  that's how I've always thought about it.
• 1:05:04
  But then I always think, you know, there must be something to
• 1:05:06
  prevent you from doing, you know, anything particularly
• 1:05:09
  major, but also. I knew the answer would come
• 1:05:11
  from somebody called Joe, you know.
• 1:05:13
  Well, you know, it's a like I say, it's a, it's a strong male
• 1:05:17
  name, as I've been told. You also to solve the problem of
• 1:05:21
  unit dating while we're on the call, and then you solved every
• 1:05:23
  mystery. You might have to give me more
• 1:05:26
  time for that 10. OK.
• 1:05:27
  Well, we'll come back to it in the next one.
• 1:05:29
  Yeah. Yeah, yeah, sure.
• 1:05:30
  I'll have to think about it and I'll get back to you, OK?
• 1:05:32
  And Daniel would finally ask, what's the best Roman joke in
• 1:05:35
  this? Oh Christ.
• 1:05:37
  I mean, it's, it's, it's the, it's the market seller when
• 1:05:39
  Donna's trying to speak Latin and he's like, what the fuck?
• 1:05:42
  Are you like French or something?
• 1:05:43
  I can't actually remember what the line is because I didn't
• 1:05:45
  have the subtitles on. It's a lot of paraphrase non
• 1:05:47
  hamster. Don't worry.
• 1:05:48
  I mean TK Maximus is a gold. Line That's a.
• 1:05:50
  That's a. That's a That's a dream.
• 1:05:52
  It's yeah. They must have had an absolute
• 1:05:54
  field day right in this. He must have had a have had a
• 1:05:56
  field day. Michael Storm says hello.
• 1:05:58
  Welcome to the fam. It's a bit late because we're at
• 1:06:00
  the end of the. Episode.
• 1:06:01
  Hello, Michael. Would Fires of Pompeii be
• 1:06:03
  improved if it was a pure historical day?
• 1:06:05
  You brought this up earlier rather than oh sorry.
• 1:06:10
  With the main thrust of the drama being increasing conflict
• 1:06:13
  between the Doctor and Donna as the different approaches to the
• 1:06:15
  oncoming disaster. No, because on this occasion, I
• 1:06:21
  think we've said before, I think this is one of the, the
• 1:06:23
  occasions where that that twist where it turns out he's the one
• 1:06:26
  who's got to cause the, the volcano to explode is beautiful.
• 1:06:31
  And it creates the exact right amount of tension between them
• 1:06:34
  that I think really, I think it just really helps to cement
• 1:06:38
  their relationship. And I think that's the so for me
• 1:06:40
  now this isn't one way. This isn't 1 where it would work
• 1:06:43
  as a pure historical. It's not like demons of the
• 1:06:46
  Punjab or it's or or browser where I think, you know, there's
• 1:06:49
  a way to write those stories with it.
• 1:06:51
  I think the sci-fi element to this is is far more important.
• 1:06:55
  Do you hear that everybody just picking on the Chibnu era, OK.
• 1:06:58
  You mentioned 2 Chibnu historicals earlier.
• 1:07:02
  I just, I just, I still like those stories, but I think
• 1:07:04
  they're, I just think. Oh I love Punjab.
• 1:07:07
  I do, yeah. David's of the Punjab is
• 1:07:08
  absolute. Again, that's that's Pete Jodi
• 1:07:10
  for me. I just think I do wonder if
• 1:07:12
  there was a version of that story where someone went go on,
• 1:07:17
  Chris. You've got to put an alien in
• 1:07:18
  there somewhere. It's a wonderful episode of a
• 1:07:21
  hamster, a blunt penknife that'll tell you why you're
• 1:07:23
  wrong there. Maybe seek that out.
• 1:07:25
  No, I'm joking. I'm.
• 1:07:26
  Joking I'll be. I'll be happy to.
• 1:07:28
  Well, the last question here is also by Michael Storm, he says.
• 1:07:31
  Is Donna's pleading with the Doctor to save somebody
• 1:07:34
  partially a trigger by her memories of him coldly drowning
• 1:07:39
  and essentially committing genocide of the Ratnos's
• 1:07:42
  children? He likes the hard hitting ones.
• 1:07:44
  Michael Storm. Well.
• 1:07:46
  He might well be right. I've not really considered it
• 1:07:48
  before, but the, the, I suppose, because like I said, there's
• 1:07:52
  that line at the end of Partners in Crime where she where he
• 1:07:54
  says, oh, there are only babies. And she says, oh, that must have
• 1:07:56
  changed from last time. So clearly that's something
• 1:07:58
  that's struck A chord. And clearly she can see through
• 1:08:04
  the, she can see through the way that, you know, she can see
• 1:08:09
  through that anger and that fury and that pain and see through to
• 1:08:13
  the doctor that we know that he is because she's obviously only
• 1:08:17
  had that one experience with them.
• 1:08:18
  So there's obviously she sees what's there and she just kind
• 1:08:23
  of has to coax that out of him a little bit.
• 1:08:25
  And it might well be, it might well be that she's sort of she's
• 1:08:27
  seeing that carelessness and she's like, no, you were
• 1:08:29
  changing. You were better than this.
• 1:08:30
  You know you don't have to do this.
• 1:08:32
  I do wonder if he hadn't have saved that family at the end or
• 1:08:36
  she'd have gone. I'm dumb.
• 1:08:38
  Yeah, I can't believe. I can't believe that.
• 1:08:40
  Well, that's why it's cements the relationship so well, isn't
• 1:08:42
  it? Because it doesn't.
• 1:08:43
  It wouldn't have worked. She she'd have had no reason to
• 1:08:48
  stick around. If that's who he was going to be
• 1:08:49
  the whole time. She'd have had no reason to.
• 1:08:51
  You wouldn't want to hang out with someone like that.
• 1:08:54
  Well, Joe, oh, actually, can I just ask you a favour as well?
• 1:08:57
  Obviously you're another Joe, so I figured, you know, we'll be on
• 1:09:01
  the same side. It's OK if I say that Michael
• 1:09:05
  Storm is also your nemesis as well.
• 1:09:07
  So we could be Joe's united. I'm happy for that, yeah.
• 1:09:10
  I can't remember why he's your analysis, but.
• 1:09:12
  Well, you know, he just has these insane theories about the
• 1:09:15
  Moffett era, you know? Oh no, So do you.
• 1:09:18
  Oh, you shall be working against me.
• 1:09:20
  Jesus Christ. Well, we'll see.
• 1:09:22
  Look, I like to think we'll we'll be able to find a
• 1:09:24
  compromise altogether here. I don't think there's there's no
• 1:09:26
  reason for the division in the ranks.
• 1:09:28
  What a threesome you mean? Sure.
• 1:09:30
  OK. Michael.
• 1:09:32
  Get in touch. Where was I?
• 1:09:35
  Oh, yeah, Three fabulous things. And then I promise you can go to
• 1:09:38
  bed. All right, After the three hours
• 1:09:39
  of talking. Oh.
• 1:09:41
  Well, I've had a lot of my time seized, so sorry.
• 1:09:46
  Shall I go first or would you like?
• 1:09:47
  To go no no, I've the guests usually go first.
• 1:09:49
  I only went the the first time, just as an example.
• 1:09:52
  OK. But I think it's I think again,
• 1:09:57
  I'm going to go, I'm going to go basic.
• 1:09:58
  The fact that he is the one who has to set off the volcano.
• 1:10:01
  I've talked about it a lot already.
• 1:10:02
  So I don't I won't repeat everything I've already said,
• 1:10:04
  but just that the way that that particular plot point helps to
• 1:10:09
  bring them together as a TARDIS team and just makes it it just
• 1:10:15
  it's like the final, I would, if I say final nail in the coffin.
• 1:10:18
  That sounds like a negative thing, but like it's the final
• 1:10:22
  sort of brick in the wall that kind of completes their
• 1:10:26
  relationship and it really shows who they are together.
• 1:10:29
  And I think that's, I think that's one of the reasons that
• 1:10:32
  this episode is particularly special.
• 1:10:34
  It's you may fight me on this. It's one of the reasons I don't
• 1:10:37
  think the beast below works for me.
• 1:10:40
  It's because there's a similar moment there where there's a
• 1:10:43
  tough call to make and Amy tries her best to make a decision and
• 1:10:50
  the Doctor just goes, you know, you're a fucking idiot, how
• 1:10:53
  could you make that stupid fucking?
• 1:10:55
  And he's horrible to her. And then the episode comes to
• 1:10:58
  the conclusion that he does the right thing and then she sort of
• 1:11:02
  falls for him, but it never really does him forgiving her.
• 1:11:07
  Whereas here the decision is he's got to do this terrible
• 1:11:10
  thing. And Donna goes, I'm not going to
• 1:11:12
  let you do it alone. We're A-Team.
• 1:11:15
  And that to me that that is a relationship forming.
• 1:11:19
  Whereas the other one, it just feels it's very toxic.
• 1:11:23
  It's odd. Yeah, no, I see what you mean.
• 1:11:25
  I think I've always read Beast below as being very much he's
• 1:11:29
  he's hurting and he's lashing out at her.
• 1:11:31
  But obviously she hasn't known anymore that long.
• 1:11:32
  So although she feels like she has because obviously she, he's
• 1:11:35
  been in her life on and off since she was since she was 10.
• 1:11:40
  Matt Smith stopped. You know, he's insidious.
• 1:11:42
  He's as much as a prick as Tenon.
• 1:11:44
  He's just hides it with a lot more charm and smiles.
• 1:11:47
  I think that's, yeah, I think that's reasonable.
• 1:11:49
  It's a reading that I don't think I'd ever really first
• 1:11:52
  viewing, I don't think I'd ever really come across.
• 1:11:53
  But yeah, he's definitely, he's got the capacity to be fucking
• 1:11:56
  awful, hasn't he? Well, we all do our thing, you
• 1:11:59
  know? Yeah.
• 1:12:01
  Well, my first thing is I just actually want to praise the
• 1:12:03
  production because I think there's a ton of money on the
• 1:12:06
  screen. You know, it isn't the cinema,
• 1:12:08
  which is what TV is these days, but it's cinema of the time.
• 1:12:12
  I think it's got lush, beautiful sets, wonderful lighting,
• 1:12:16
  gorgeous music. I think the director is going to
• 1:12:19
  town on this. There's big CGI vistas of the
• 1:12:23
  monsters, you know, extras everywhere.
• 1:12:26
  It's it's just a lot of money on the screen.
• 1:12:29
  And I think that I think they wanted to impress with this one.
• 1:12:32
  It was it was like a showpiece episode for the season.
• 1:12:35
  And yeah, they succeeded in droves.
• 1:12:38
  Yeah, I'm inclined to agree. OK #2 I'm going to go the
• 1:12:46
  Bionicle monster. I like it, it's good fun.
• 1:12:48
  I felt like did we ever was there ever a power of Isle
• 1:12:50
  figure? I felt like there must have been
• 1:12:52
  but it. Must have been, I mean, I've got
• 1:12:53
  a whole load of figures here that my other rafts collected.
• 1:12:56
  You wouldn't believe what's in it.
• 1:12:57
  Crispy master. The pig man from Evolution of
• 1:13:00
  the Daleks. Grandma fucking Colony from the
• 1:13:04
  idiots. Lantern with no face.
• 1:13:06
  That's what I'm thinking they must have done.
• 1:13:07
  I'm trying to think series 4. They must have been still doing
• 1:13:09
  figures by the absolute shit load.
• 1:13:12
  Popular, but Jesus I've even got that Dick headed Dalek human
• 1:13:16
  Newton as well. Oh, that's a that's a that's a
• 1:13:19
  frightening thing. I've tried to explain that to my
• 1:13:21
  kid and it just I can't, I can't, I just can't bear it.
• 1:13:24
  I. Would brandish it to you, but I
• 1:13:26
  don't want accusations so I'll leave him in the box.
• 1:13:29
  Well, you've got to become, you've got to worry that if you,
• 1:13:31
  you know, if you topple one, it's like dominoes.
• 1:13:32
  And then it's a nightmare to pick him up, isn't it?
• 1:13:35
  Oh, sorry, no. No, as we say, maybe they didn't
• 1:13:37
  bother because they they had them all like those ones, so
• 1:13:39
  they didn't need to do a proper figure.
• 1:13:41
  But yeah, I felt like it would it's.
• 1:13:42
  A great sort of transformary design, though.
• 1:13:44
  And it is, yeah. Yeah, like a big, just a big
• 1:13:47
  stone Roman. It's great.
• 1:13:49
  I mean, if you were as a kid, right?
• 1:13:50
  I think the best thing you can do with Doctor Who monster is
• 1:13:52
  make it imitable in the playground.
• 1:13:54
  You could be a power of all going around smashing the shit
• 1:13:57
  out of cities and things like that.
• 1:13:58
  Absolutely. No.
• 1:13:59
  They're great and you know it, really being able to breathe
• 1:14:04
  fire and eviscerate just, you know, minor characters you.
• 1:14:08
  Ever been to Lujo? I had AI had a sag paneer a
• 1:14:11
  couple of nights ago that was. You breathe fire that night.
• 1:14:15
  Not from my mouth, yeah. I knew that was coming.
• 1:14:20
  And I'm sorry, like I say, I've got basic tastes.
• 1:14:23
  I am going to praise the guest actors, Tracy Fields, Tracy
• 1:14:28
  Child, Sorry, Peter Capaldi, and the two kids as well.
• 1:14:32
  I think they're just impeccably cast.
• 1:14:34
  I love that family. I'm invested in them and when
• 1:14:37
  terrible things happen to them, I'm really emotionally involved
• 1:14:40
  in the story. They do all the legwork earlier
• 1:14:42
  on. They're getting you to like
• 1:14:43
  them. And then they put them through
• 1:14:45
  hell in the last 15 minutes. And yeah, I just think it's it's
• 1:14:50
  a great example. We go on to do a lot of families
• 1:14:55
  in upcoming seasons and I don't think it's always successful.
• 1:14:58
  Sometimes it is stuff like night terrors and things like that.
• 1:15:01
  I just, I don't really care about the families in those
• 1:15:04
  episodes. Whereas here I just think they
• 1:15:05
  just judge it right. They sell the horror of history
• 1:15:11
  through a domestic family and it's really well done.
• 1:15:13
  That's fair. I think, you know, because I
• 1:15:15
  know Capaldi said he'll not do a big finish, but it'll be really
• 1:15:18
  funny if they brought him back for like a spin off about the
• 1:15:20
  following life. Yeah, the the the spin off life
• 1:15:24
  of his family following the volcano.
• 1:15:26
  That would be a real coup. They finally got him.
• 1:15:28
  But. You never saw Mr. Frobisher
• 1:15:30
  actually shoot himself. You just heard the the gun go
• 1:15:32
  off. Maybe he just pretended and they
• 1:15:34
  went out the window and he could come back as Mr. Frobisher.
• 1:15:37
  Yeah, I'd love it. I'd absolutely love it if they
• 1:15:39
  got Capaldi back. But not for.
• 1:15:41
  But not for the Doctor. Piss off the fans and that makes
• 1:15:45
  me happy. It'd be so funny.
• 1:15:47
  Well, what is your last thing then?
• 1:15:49
  My last thing, I don't know what that noise is that I keep
• 1:15:54
  making. It's the noise.
• 1:15:57
  Yeah, that's my my thinking noise.
• 1:15:59
  I keep thinking it's a train going by.
• 1:16:00
  It could be it's, it's the, it's the it's the Doctor Who theme
• 1:16:04
  rhythm, isn't it what we're going for?
• 1:16:10
  Don't this is the bit. I don't want to leave that out.
• 1:16:13
  I'm trying to, I'm trying to think out loud.
• 1:16:14
  I mean, I could. Do the music if you like, while
• 1:16:17
  you're thinking. Yeah, I'm going to go.
• 1:16:24
  I'm going to go water pistol because you can't.
• 1:16:27
  It's the only thing. It's again, it's it's just such
• 1:16:30
  a that's great. You can't.
• 1:16:33
  It's not even the only water pistol, is it?
• 1:16:35
  I'm pretty like I'm sure there's other water pistols that crop up
• 1:16:37
  at some point. Maybe I'm maybe I'm
• 1:16:39
  misremembering. I'm not sure.
• 1:16:41
  I can't believe tennis. It's the most memorable though,
• 1:16:43
  yeah. Oh, for sure.
• 1:16:45
  I mean, there are stories. Of a convention where.
• 1:16:47
  Trouten and Poetry who had. This sort of pretend rivalry
• 1:16:50
  going on. They used to fire water pistols
• 1:16:53
  at each other on the stage and then there was 1 convention
• 1:16:56
  where they they knew that they did this.
• 1:17:00
  So the they, the organisers got them steadily bigger and bigger
• 1:17:04
  water pistols until in the end per we.
• 1:17:07
  Had this enormous super soaker and blasted Patrick Trout off
• 1:17:11
  the stage with it like Oh my God, I'd have a lot to see that
• 1:17:15
  every two that's. Gorgeous.
• 1:17:17
  I'm not I'm unfortunately. I'm not even old enough to.
• 1:17:19
  Have seen that so that's. Even before my time, no, I I
• 1:17:24
  think. But yeah, it's just, it
• 1:17:26
  symbolises. Everything I love about the
• 1:17:28
  show, the fact that there's there's no other show, you could
• 1:17:31
  put a water pistol in the handle in the hands of the main
• 1:17:33
  character and and that'll be part of how they defeat the
• 1:17:36
  monsters. So, so, Doctor.
• 1:17:39
  Well, my last thing then is going to be Catherine Tate.
• 1:17:42
  Because I think this is the ultimate finger in the face to
• 1:17:45
  every single cynic that thought she couldn't do it.
• 1:17:49
  And, and Rusty Davis has literally come in with a game
• 1:17:52
  plan to floor everybody with her acting ability and the two
• 1:17:56
  scenes that she really, really needs to hit with.
• 1:17:59
  And that is the lever and begging the doctor at the end to
• 1:18:03
  make a move for good. Yeah.
• 1:18:05
  God, she's so good. She's electric in that.
• 1:18:08
  No wonder she went on to do like Shakespeare at the.
• 1:18:11
  RSA after this. Like she's a dramatically sound
• 1:18:14
  actress. It must have opened a lot of
• 1:18:16
  doors for her, isn't it? I think she's it probably got to
• 1:18:19
  be. One of the most sort of solid
• 1:18:20
  careers following. I don't like a lot of the modern
• 1:18:23
  series stuff. They've all gone on to really
• 1:18:24
  good things, but that's got to be one of the ones that's sort
• 1:18:27
  of surprised people a little bit.
• 1:18:30
  Well, Joe, one last question before I let you go.
• 1:18:34
  What? It wasn't too terrifying, was
• 1:18:35
  it? No, I just, I hope.
• 1:18:38
  I hope I've you know not. Not having none of that self
• 1:18:42
  deprecation again. You had a good time.
• 1:18:45
  That's all I care about, you know?
• 1:18:47
  That is, I did. I had a lovely time.
• 1:18:48
  Thank you very much. I really care if those people at
• 1:18:50
  home are having a. Good time.
• 1:18:51
  I am having a good time. I had a wonderful time.
• 1:18:54
  Well, that's the key thing then. And oh sorry, I keep saying the
• 1:18:58
  last. Question.
• 1:18:58
  There's always one. More Where can people find you
• 1:19:03
  online in a mad sort of a way? You can usually find me at mad
• 1:19:08
  Paddington dot blue. Sky dot, is that what you say?
• 1:19:10
  dot B Sky dot. I don't know what it is at Mad
• 1:19:12
  Paddington. I'm there and you can search for
• 1:19:16
  my podcast, The Pagerest in which I'm well, it's I don't
• 1:19:22
  know is I like to do this every time I.
• 1:19:24
  Every time I release a. Podcast.
• 1:19:25
  I try and make it as ungoogable as possible so that no one ever
• 1:19:29
  finds it, but it's basically just me reading through.
• 1:19:32
  I've just finished recording The Eater of Wasps by Trevor
• 1:19:36
  Baxendale and it's just me sort of reading the book and
• 1:19:39
  commenting on it as I go, and I've had a great time doing it
• 1:19:44
  and I'd love for people to hear it.
• 1:19:46
  So feel free to give that a Google.
• 1:19:47
  I'd be much appreciated if you did.
• 1:19:50
  I cannot describe how much I adore that.
• 1:19:53
  Book because that's my first original Doctor Who book and I
• 1:19:59
  just fell in love with it and and on the back of it have
• 1:20:02
  bought and podcasted about hundreds of Doctor Who books and
• 1:20:07
  it's the years of Wasps that was my gateway in it was just so
• 1:20:10
  wonderfully trad and yet. Utterly grisly at the same time.
• 1:20:14
  It's it's perfect. I love it so much.
• 1:20:16
  Like it's just everything. You know, the way he writes is
• 1:20:20
  so visual and visceral and yeah, no, I've had a fantastic time
• 1:20:25
  doing it. Well, I hope if you, I hope if
• 1:20:26
  you find yourself listening to it, that you feel I've done it
• 1:20:28
  justice. I'm definitely going to.
• 1:20:30
  Have you finished it all now? I haven't released the last.
• 1:20:32
  Couple but I've I've finished reading it, I've finished it
• 1:20:34
  done I'll. Do the lot OK.
• 1:20:36
  Well, like I say, I hope. I hope, I hope I've.
• 1:20:39
  Done it justice. I hope you had fun with the bits
• 1:20:42
  where Anji Kapoor my absolute favorite.
• 1:20:45
  Was flying up in the air with the great mutant wasp man.
• 1:20:49
  Oh, wonderful. Oh, it's so good.
• 1:20:50
  It's just it's just fantastic. And I just yeah, the way.
• 1:20:53
  Sorry, I could go. On for another several hours and
• 1:20:55
  it. Well, I have done.
• 1:20:55
  In fact, you know what? I won't tell you too many of my
• 1:20:57
  thoughts on it because I've recorded all of those.
• 1:21:00
  But yeah, it's just, it's just fantastic.
• 1:21:03
  And it was great, haven't we? We said that we would actually
• 1:21:05
  do a Baxendale, didn't we? Yeah, The Deadstone.
• 1:21:07
  Memorial, right? Possibly.
• 1:21:09
  But if if if it's going to take me as long to read that one as
• 1:21:11
  it does. As it did this one, then it'll
• 1:21:14
  be sometime next year. I can't fucking schedule, all
• 1:21:17
  right? I can't wait two years to bring
• 1:21:19
  this one out. Well, I'll try, I'll try, I'll
• 1:21:21
  try and get on with it then. But but yeah, I've had.
• 1:21:24
  A fantastic time with it. So yeah, I was told by my other
• 1:21:28
  half before I came on the call that.
• 1:21:30
  You were just fabulously good on Too Hot for TV.
• 1:21:34
  It's been a wonderful evening. I've had so much fun which shows
• 1:21:37
  2 great episodes. Your wonderful company.
• 1:21:40
  I can certainly hope that I'm going to be able to entice you
• 1:21:42
  back again to talk about, you know, something really shit.
• 1:21:45
  Next time I'd be I'd be glad to try and find something we
• 1:21:49
  disagree on. Because I think that might spare
• 1:21:52
  a bit. Spare a bit of conversation, you
• 1:21:54
  know. Well then, let me just say until
• 1:21:58
  next time. Thank you very much.
• 1:22:00
  Thank you. For having me.