Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Daniel Rawnsley about his choice of Eye of the Gorgon (2/2)

Transcript

Talks to Daniel Rawnsley about his choice of Eye of the Gorgon (2/2) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:33
  Hamster with a blunt pen knife for doing quicker, quicker.
• 0:37
  Oh, put the kettle on, will you, Daniel?
• 0:40
  I've had a fight with Dylan Reese, so I'm moving back in for
• 0:43
  a bit for a hamster with a blunt pen knife, you know, it's all
• 0:45
  right. I'll just give him a few a
• 0:47
  couple of days to change his mind and realise how he's been
• 0:49
  treating me and then I'll be off all right.
• 0:53
  Joe, do you know how thoughtless you're being?
• 0:57
  Is that is that because of you and salsa teacher Luke Malloy?
• 1:04
  Salsa actually do you know what right?
• 1:07
  Who's got? Was he Instagram?
• 1:11
  He had no TikTok. He's got tik.
• 1:14
  T.O.K videos of him and his girlfriend doing all sorts of
• 1:18
  moves in the kitchen. If Luke's discovered TikTok, oh
• 1:21
  God save us all. Anyway, I'll just be here for a
• 1:26
  few days, alright? And then I'll move out.
• 1:28
  But you know, I'll take that double duvet with me if that's
• 1:31
  alright. Alright, meters running if you
• 1:34
  could. Put that check in the post, I'll
• 1:35
  be very grateful, thank you. She's a bitch, what a cow.
• 1:41
  But I still love her. Well, yes, and in this episode
• 1:44
  she get we see another side of her.
• 1:46
  She's a bit more vulnerable. Sort of actually, I think in the
• 1:50
  original script, there was going to be a it was going to be
• 1:52
  slightly more complicated of they were really, really going
• 1:55
  to hit the sort of thing of, oh, she thinks that her husband, her
• 1:59
  ex husband's gone over kind of shacked up with Sarah Jane.
• 2:02
  So she actually does go over and knocks on Sarah Jane's door
• 2:06
  after Alan's been turned to stone.
• 2:08
  And Sarah Jane has to answer the door and says, can I help you?
• 2:11
  I don't know what you're talking about.
• 2:12
  And then she leaves. And then that's when Maria sort
• 2:15
  of starts in on her. But they just, I think they just
• 2:18
  wanted to make it simpler. So they just took all that out.
• 2:20
  It's more funny that she just sees the statue through the
• 2:23
  window and goes. She just climbs in the window.
• 2:25
  That's just ridiculous. Where are you cripping all this
• 2:29
  information from? I do a little bit of research.
• 2:33
  Oh, you've. Got yourself?
• 2:34
  I've got it's like that. It's like that book in that that
• 2:37
  loopholes off the shelf in in the Abbey.
• 2:40
  In the dark corners of the Internet, Daniel Rosley can be
• 2:43
  found investigating The Sarah Jane Adventures.
• 2:46
  I've. Got my own personal Mr. Smith.
• 2:50
  Oh, do you? Oh my God, what do you call it?
• 2:52
  Do you call it Mr. Smith? No, actually in front of that
• 2:56
  reminds me, my parents actually have Agps and they call it, they
• 3:00
  call it a name. They call it Janet.
• 3:02
  Janet. Yeah.
• 3:03
  I think that's just because it's every every voice has a
• 3:06
  different name. So you have Bertie who for the
• 3:08
  male voice or Sarah or and then. Yeah, Janet.
• 3:12
  And then and now they just talk to the GPS.
• 3:14
  When the GPS gives them a wrong direction, they're like, oh,
• 3:18
  fuck off, Janet. Like, you know Janet.
• 3:21
  Yeah. It's like, you know, make AU
• 3:22
  turn. We're safe.
• 3:23
  Oh, fuck off, Janet. We know where we're going.
• 3:26
  I mean, I've got my own Janet. I'll call him Fraser Gregory.
• 3:30
  That's the only place I'll throw reviews.
• 3:32
  I mean, all I'd say to you is, Daniel, I need you.
• 3:41
  Well, say you do. A lovely renditioning of the Mr.
• 3:43
  Smith. Fanfare, yes, Yeah.
• 3:46
  Well look, now we've got another exciting half an hour of Eye of
• 3:51
  the Gorgon Part 2. To that's right.
• 3:54
  And this is the one where we get the chant, I think the the serve
• 3:58
  the Gorgon chant. So, yeah, can I tell you a
• 4:00
  little secret that Nathan Bottomley told me right when he
• 4:02
  first watched this 'cause he works in a school, didn't he?
• 4:05
  And apparently they all, they, when the Sarah trainer finished,
• 4:08
  they watched this one and they was all going around the
• 4:11
  schoolguns serve the Gorgons, all the kids.
• 4:14
  They watched it with the kids and they're all chanted away.
• 4:16
  I thought, Oh dear, is that the education system in Australia
• 4:19
  now watching The Sarah Jane Adventures?
• 4:21
  Oh, wow. Yeah.
• 4:22
  Well, and, and you know, we it's it's kind of, it's quite popular
• 4:26
  nowadays to sort of rag on, on Doctor Who or, or it's spin offs
• 4:30
  for saying, oh, well, everything's a catch phrase
• 4:32
  nowadays. And you know, there's a grain of
• 4:34
  truth to that. But but when you're thinking of
• 4:37
  how to make the kids sort of repeat it in the playground and
• 4:40
  sort of making them feel included, I kind of like that,
• 4:43
  you know? What's wrong with the catch
• 4:45
  phrase? Well, quiet.
• 4:47
  Eldrad must live. Eldrad must live, yes.
• 4:50
  The questions, The quest. Remind me, remind me to bring
• 4:52
  that up again. Actually, Eldrad must live.
• 4:54
  Are there any more catch phrases?
• 4:57
  Bob and Dave love them, don't they?
• 4:59
  Drink it. That was our favorite one,
• 5:02
  wasn't it? Yeah.
• 5:03
  Drink it. Yeah.
• 5:05
  Is there any Torchwood? Oh, yeah.
• 5:07
  Do you remember Children of Earth?
• 5:09
  We are coming. Back.
• 5:13
  That was scary, boy, boy. But you know, I mean, that is a
• 5:18
  good point though, right? Like, you know, we could have
• 5:20
  done tortured, you know, I think we would have had a far less
• 5:23
  consistent run to do though. We would have to have come up
• 5:27
  with other things to talk about, probably to sort of just just to
• 5:31
  make up for not repeating the same thing every episode.
• 5:33
  I think we'd be more critical and also as well, I don't think
• 5:36
  we'd laugh as much. No, so Torch was.
• 5:39
  I mean when When Torchwood gets last, it's usually
• 5:43
  unintentionally funny. Yeah, there's a lot of Chignal
• 5:45
  jokes in there, isn't there? Yeah, I think they they did
• 5:48
  eventually sort of, they did eventually sort of come around
• 5:51
  to that I think in season 2 where they sort of made Yanter a
• 5:53
  bit more funny and you think, Oh well, look at that, that that
• 5:56
  works. They finally kind of caught on,
• 5:57
  but it took them a year to do that, you know?
• 5:59
  Still better when he was in Doctor Who.
• 6:01
  Do you remember when he was watching Paul O'Grady?
• 6:03
  He goes. Oh, he is funny though, wouldn't
• 6:04
  he? Yeah, it's my bit.
• 6:07
  It's my favorite bit when they're all on the the subway
• 6:10
  networks, a Skype call and he sort of sort of nudges Jack out
• 6:14
  the way to say, excuse me, hello.
• 6:15
  Yeah. To Jones and.
• 6:18
  Who is that? Just don't write well.
• 6:24
  Look, Are you ready for this? We've got we've got half an hour
• 6:28
  of frills and spills, but also some very moving scenes to watch
• 6:32
  as well. Yes.
• 6:33
  OK, so let's go. So I've got it.
• 6:35
  OK, I've got it ready. So do I count as in or do you
• 6:38
  count? That's right, But you have to
• 6:40
  count us in and say serve the Gorgon after every number.
• 6:42
  All right, from 5:00 to 1:00. OK, serve the gorgon.
• 6:48
  Serve the gorgon. Serve the gorgon.
• 6:51
  That's three. Serve the gorgon.
• 6:54
  Four serve the gorgon. Gorgon.
• 6:57
  Go, oh Jesus, I'm so confused. And I'm the one who set it up.
• 7:02
  Oh, here we go. Great recap.
• 7:04
  Yeah, actually the what what was stood out to me in the recap is
• 7:07
  that they do quite a good job of building up Mrs. Gribbins to be
• 7:11
  quite this villainous figure. And actually she's just being
• 7:14
  used by the by the nuns. And so then she's kind of offed
• 7:18
  very early on in the in episode 1.
• 7:20
  So well. I thought, see, when I first
• 7:22
  watched it, I thought all the nuns was just evil.
• 7:24
  Turns out they've all been sort of hypnotized, haven't they?
• 7:26
  They've all been mind controlled, yeah, by the
• 7:28
  Gorgons. So actually it's sort of they're
• 7:30
  actually, they're also victims in a way which.
• 7:32
  I feel so sorry. This is the hell of that because
• 7:34
  they just leave, leave her there going what's going on?
• 7:37
  And they just leave her with the statue of the Gorgon and she has
• 7:41
  to sort of figure out what she's doing with her life from this
• 7:44
  point on. Yeah, I was Speaking of statues.
• 7:48
  Is that replay of Alan? Happened to that statue of Alan
• 7:51
  Daniel. Well, that's what Christy's
• 7:53
  wondering, isn't it? She isn't it?
• 7:54
  At the end, she kind of marches over the road and, and it's sort
• 7:58
  of baffled when when he's not there, you know?
• 8:02
  I heard it mysteriously vanished and turned up in Rusty Davis's
• 8:05
  house. A doorway to your people can be
• 8:12
  opened again haha. Yeah.
• 8:16
  It's a pretty good statue though, isn't it?
• 8:19
  Yeah, I think it must be some sort of prop I assume.
• 8:23
  It's really quite lightweight, isn't it?
• 8:25
  But it does look like stone. Plasterboard sort of thing.
• 8:30
  And yeah, and, and I think Maria is does a Yasmin Paige, does AI
• 8:34
  mean it's quite difficult? Those are quite difficult scenes
• 8:37
  to do. And she has to sort of hold back
• 8:39
  on the sort of bursting into floods of tears, which would be
• 8:42
  the sort of, I suppose, the the easy kids TV way to do it.
• 8:46
  And she's sort of more angry and because she lashes out at Sarah
• 8:50
  Jane here, you know, And yeah, she goes, she goes for a lot.
• 8:55
  Maria, I think this is the thing of also the first episode where
• 8:58
  the the consequences of Sarah Jane's world spilling over into
• 9:02
  her home life. And so she realises, oh, it's
• 9:05
  not all fun and games. My loved ones can get hurt, you
• 9:08
  know? That's why the Oh no, I don't
• 9:12
  want to say it and I don't want to spoil.
• 9:13
  Anything. No, that's.
• 9:14
  Spoil it in case you've forgotten.
• 9:15
  In case you've forgotten. But but what I do like is that
• 9:18
  they also don't sort of milk it unnecessarily because they're,
• 9:23
  you know, she says to Sarah Jane, I wish I'd never met you.
• 9:25
  And then they bring that up in the next scene.
• 9:27
  Sarah Jane says, oh, you're right.
• 9:28
  I should never have got you involved.
• 9:29
  And she immediately says, no, I'm, I shouldn't have said that.
• 9:32
  I'm, you know, so they immediately make up.
• 9:34
  And so it it much more natural than having to sort of have them
• 9:39
  hate each other for a whole episode and then make up at the
• 9:41
  end. That's the difference though, in
• 9:42
  both those scenes you've got somebody who's not fighting back
• 9:46
  and being really gentle, so just diffuses it straight away.
• 9:49
  Whereas in a badly written scene, say it was, I don't know,
• 9:53
  mid 80s Doctor Who as script edited by, they'd both be going
• 9:58
  screaming and shouting at each other, maybe with someone's
• 10:00
  hands around the neck, you know? Yes, that is quite fun of like
• 10:05
  Clyde sort of making fun of Luke's sort of bookishness.
• 10:08
  And that's actually what gets them out of out of trouble
• 10:13
  because again, educating and entertaining.
• 10:15
  He says, well, this, you know, this place has history as a
• 10:18
  private house and they used to have sort of priest holes and
• 10:21
  secret passages because the Catholics were persecuted and at
• 10:25
  the time they. Are great together, Luke and
• 10:28
  Clyde, aren't they? Because there's no there's no
• 10:30
  sort of alpha male character there, even though Clyde is very
• 10:34
  hip and with it. Yeah, he wants to be with.
• 10:37
  It sort of machismo sort of character.
• 10:39
  Is he? No, I think he's too.
• 10:41
  Yeah, I think he's slightly too innocent for that still, even
• 10:44
  though he sort of wants to be wise beyond his years and sort
• 10:47
  of be the. I love it when you find out that
• 10:49
  he's artistic, you know, and he likes doing the drawing and all
• 10:52
  of that. Yeah, more of a sensitive part
• 10:54
  to him. Yeah.
• 10:56
  Now this is another feature that will become sort of very
• 10:59
  traditional in the Sarah Jane adventures of the ticking clock.
• 11:01
  There's always the ticking clock now, you know, countdowns and
• 11:04
  says she's now got 90 minutes before before this, before
• 11:08
  Alan's the statue forever. Sam Watts start the music.
• 11:15
  I mean chippers like the counting clock as well, but
• 11:18
  because these are like short burst episodes, 30 minutes, it
• 11:22
  just feels like it will just bronze, you know?
• 11:25
  Yeah, yeah, yeah. This is this is again sort of a
• 11:27
  Sprint to the finish now of like and it's.
• 11:31
  Great. She goes, B will have the
• 11:33
  information. She goes, no, she's got
• 11:34
  Alzheimer's. Her mind's trapped in the past.
• 11:37
  Yeah, but that's where we need the information.
• 11:39
  That's where we need to be part Yeah, exactly.
• 11:41
  Exactly. Oh, this was very funny, right?
• 11:44
  They're sort of crawling through these caves or whatever they're
• 11:47
  doing, and then look where they come out.
• 11:49
  Clearly not from caves. They just walk around the
• 11:52
  corner. Yeah, covered in cobwebs, Yeah.
• 11:55
  But this is a wonderful shot of the garden.
• 11:58
  I know, and it's just such a sort of a throwaway visual to
• 12:01
  sort. Of there must be what, 20
• 12:03
  statues? Yeah, and it's literally a
• 12:05
  throwaway idea that, but basically to reinforce the fact
• 12:08
  that this has been going on for generations, you know, they've
• 12:11
  the the nuns have been turning people to stone.
• 12:13
  With CG though, right? Those are CGS and I don't think
• 12:16
  they've got a load of real statues.
• 12:18
  No, probably not. It'd be too expensive.
• 12:19
  Wouldn't. It.
• 12:20
  But that's still different from the Weeping Angels, doesn't it?
• 12:23
  Yes, yes, well, this is sort of very much playing on the.
• 12:27
  Hang on, this is pre weeping angels I think.
• 12:30
  Yeah, no. Well, this was late.
• 12:32
  October 2. 1000. And seven.
• 12:36
  It was sort of the same idea. It must probably written around
• 12:39
  the same time I. Think you're doing statues?
• 12:40
  I'm doing. So what are you doing?
• 12:42
  Well, I'm doing sort of a gorgon, you know, with horrible
• 12:44
  long talons. Oh, sorry.
• 12:46
  I'm doing people that statues that take people back in time
• 12:49
  and eat their lives. Oh, fine.
• 12:50
  OK. Now, I Love Actually Liz Sladen
• 12:54
  in this second episode because she's really kind of like,
• 12:56
  dashing about. She's wearing that sort of pert
• 12:59
  wee velvet coat, so she looks really good in it.
• 13:01
  And and then she climbs over that wall to sort of say, like,
• 13:04
  I've still got it. I can I can do the.
• 13:07
  The She does a lot of running, doesn't she?
• 13:09
  In this? I know I've been off.
• 13:12
  She had a bad back, but you couldn't tell.
• 13:14
  And a bit. More relaxed in this I think.
• 13:15
  Just like in the Henchcliff era, she's tied up and held back by a
• 13:20
  load of women like in Brain and Morbius and, you know, almost
• 13:24
  sacrificed. I mean, it's like old times.
• 13:26
  Yeah, yeah. And now it's now.
• 13:31
  Now Luke's determined to go back in because he he he doesn't want
• 13:36
  to let the Gorgon win. He's a brave.
• 13:38
  Boy, isn't he? Yeah, he's sort of.
• 13:40
  So you know, he, he, he's, you know, he's not going to be
• 13:43
  completely bossed around by Clyde.
• 13:46
  I love this scene with Bea and Maria.
• 13:50
  Yeah, again, she sort of has to sort of be, she's already knows
• 13:54
  how she already knows how to be with old people, but she sort of
• 13:57
  like has to sort of tipped her around and sort of prod her in
• 14:00
  the right direction. And she's on borrowed time at
• 14:03
  the moment, so. She goes.
• 14:06
  You're a bit young to be the curator of the Museum of
• 14:08
  Egyptology. On you.
• 14:11
  Oh, don't you love as well? Without this portal to another
• 14:14
  dimension that's just like a toilet.
• 14:15
  When it flushes away, it makes a toilet noise, well, more like a
• 14:23
  whale. But when it flushes away, I mean
• 14:25
  you can't hear the sound now, but.
• 14:26
  It's supposed to be a whale, isn't it?
• 14:28
  Yeah, yeah. A toilet to another dimension?
• 14:36
  Hang on. So when the Gorgons defeated,
• 14:38
  does that mean all those statues in the garden come back to life
• 14:40
  again? Or are they just all doomed?
• 14:42
  I think they're all doomed because they've probably been
• 14:44
  there forever, you know, so. Again, unit.
• 14:46
  Hello, can you come pick up all the statues please?
• 14:49
  I would assume so because because they put, because Maria
• 14:53
  puts the Talisman around her dad's neck and that's it.
• 14:56
  You know, that's what brings him back to himself.
• 14:59
  But you know, they didn't have that for anyone else.
• 15:02
  Oh look her, her in the scarf around her face and dancing like
• 15:07
  she's back in Egypt. Again, live back in her memories
• 15:09
  again. And yeah, oh, it's so.
• 15:13
  Good. It's just sort of doing it in
• 15:17
  such a delicate way of sort of and I they do mention the name
• 15:22
  Alzheimer's disease a couple of times, but they don't sort of
• 15:25
  over Reg it. They could.
• 15:26
  There's other ways to say it so that the kids can kind of get a
• 15:29
  broader understanding of what it is.
• 15:32
  She goes, oh, we saw a Yeti, you know.
• 15:37
  Again, sort of hinting at the I love that.
• 15:39
  Also, there's no sort of like flashbacks or it's just just
• 15:43
  through dialogue, you know, now this bit of.
• 15:46
  When you hear his voice at the end, Oh, sorry, I've got sorry.
• 15:50
  No, that's fine. There's a bit here where she
• 15:53
  tries and opens the big heavy doors with her Sonic lipstick
• 15:55
  and it doesn't work. And I think it's specified in
• 15:58
  the original script that she can't get in because they barred
• 16:01
  the door from the inside, but that's not immediately clear.
• 16:05
  So it just doesn't work on heavy doors I suppose.
• 16:08
  But she has perfected her point, the Sonic lipstick stance,
• 16:13
  hasn't she? It's a bit like Tenant does with
• 16:15
  his. Yeah, the sort of dramatic pose.
• 16:19
  No one listens to you when you're old.
• 16:21
  Be just. That's a brilliant line.
• 16:23
  Heartbreaking and very true. No, that's true.
• 16:28
  Do you know what surprised me? When I went over to Spain,
• 16:30
  right, and saw my friend Melcher over there, the way they look
• 16:35
  after their elderly, it's just gorgeous.
• 16:38
  Like she was literally the queen of the house.
• 16:41
  She'd have to do it. She'd done her time.
• 16:42
  She was an old woman and they would have big face and she'd be
• 16:45
  there at the head of the table and they would all give her a
• 16:48
  kiss before they ate. It's just not like that in
• 16:51
  England, is it? They have a very different way
• 16:53
  of doing it in Spain, don't they?
• 16:54
  Yeah, I think in the. Same.
• 16:56
  Or is France more like England? It is a bit more like England I
• 16:58
  think, although there is a sort of sort of general affection for
• 17:02
  the old biddies as sort of, you know, the ones that go down the
• 17:05
  shops or go down the sort of newsagents and there there is a
• 17:08
  sort of expectation of respect there, you know, but.
• 17:14
  Did you zoom in on the statue? Then sort of comedy zoom?
• 17:18
  She comes to the woman's obsessed.
• 17:20
  She's a She's a right Bunny boiler, this one.
• 17:23
  You know what that's a reference to, don't you?
• 17:26
  What is it? The one.
• 17:27
  Fatal Attraction. Fatal Attraction, yes.
• 17:29
  Bunny Boiler. Sarah Jane.
• 17:34
  Oh no. But like, this is so ridiculous,
• 17:37
  right? She's talking to a statue and
• 17:39
  yet what's the actress's name who plays Chrissy?
• 17:42
  Oh, I can't remember. I haven't no one.
• 17:45
  She just commits to the scene as if she's talking to a person.
• 17:49
  Yeah, exactly. Yes, Well, I think she's
• 17:51
  probably the because she I think she is one of those characters
• 17:53
  who likes the sound of her own voice.
• 17:55
  So that's when, you know, when she kind of barges in to the
• 17:58
  kitchen all the time or the the the Jackson household and Alan
• 18:01
  just literally is virtually holding the door open for her.
• 18:05
  But that's all. He's just like background
• 18:07
  scenery and she's just rattling on well, like he's not there.
• 18:10
  And here he is actually here and she's sort of sort of talking to
• 18:13
  herself and in this sort of very sort of small moment of.
• 18:18
  It's very sweet. Of course, she goes.
• 18:19
  I, I will mess things up again because I'm me.
• 18:23
  And then she walks away and she goes no talking.
• 18:28
  So they make a joke out of it, but it's really sweet.
• 18:31
  With the sort of the tear running down his, his stone
• 18:34
  face, which, you know, so he's not made of stone entirely, you
• 18:37
  know, did. You see down that toilet there?
• 18:40
  I mean, what's the gorgon been eating?
• 18:42
  Yeah. They had an ominous sort of pan
• 18:45
  down the Yeah, I. Know it's sort of like going
• 18:47
  down a wormhole. Would you imagine?
• 18:50
  Yeah, because they mentioned the Gorgon homeworld's like 200
• 18:52
  million light years away. OK, Quasimodo, time to do your
• 18:57
  thing. He sort of pulls out.
• 18:58
  Ring. Ring.
• 19:00
  Yeah. What on earth says this?
• 19:02
  The hell. Find out what's going on.
• 19:05
  There's quite a spooky scary moment here where Luke goes to
• 19:08
  grab the the talismanage. The Gorgon comes rattling round
• 19:12
  on that wheelchair, you know. I mean, I do think the makeup is
• 19:17
  pretty gross. She looks like someone who sat
• 19:20
  in the bar for 200 years. You know, like all wrinkly.
• 19:24
  Shriveled out, Yeah. You know you ever got in the bar
• 19:28
  for a bit too long and your feet go all wrinkly?
• 19:30
  Pruned. Yeah, they're pruned, don't
• 19:31
  they? Yeah.
• 19:32
  That's a oh, here we go. Come on, let's do it.
• 19:38
  The wonderful And then they're surrounded and there's this
• 19:42
  great overhead shot of them being completely surrounded by.
• 19:46
  The only thing that can make this better if they all when I
• 19:49
  will follow him, follow him wherever he may go.
• 19:53
  That would be great but maybe a stretch though.
• 20:00
  Do you know what right. It's unusual for all the extras
• 20:02
  to get a line. That's true.
• 20:04
  They've got to pay them, aren't they now?
• 20:07
  Yes, I'm getting repeat fees for either Gorgon.
• 20:11
  What did you say? Well, serve the Gorgon.
• 20:15
  Pretty basic. Oh.
• 20:19
  This is very Indiana Jones. Now they're locked up.
• 20:21
  They've got to try and find a secret passage out.
• 20:24
  Yes, now, and this is, this is quite good because then Luke has
• 20:29
  to, then Luke actually makes a screwdriver out of what is it a
• 20:33
  trowel or something? And they just unscrew the actual
• 20:36
  block. Great.
• 20:39
  They're so competent, these kids.
• 20:42
  Exactly. Yeah.
• 20:42
  And she's sort of. And when she's when Sarah Jane's
• 20:45
  taken away by the nuns, she kind of gives them this look like
• 20:47
  I'll be all right, don't worry. Even even though it's quite
• 20:50
  scary. What was that wretched child
• 20:52
  called in Kill the Moon? I mean, I can't imagine her
• 20:55
  getting out of her cell. Disruptive.
• 20:57
  Influence. Wasn't it Courtney?
• 20:59
  Courtney, that's right. Disruptive influence.
• 21:04
  The only thing to. Say to her, you're never going
• 21:06
  to amount to anything, so are you going to say?
• 21:11
  No, the only there's only this slight sort of bit of a thought
• 21:14
  of the direction here where the boys literally say we've got to
• 21:17
  get out of here, literally, as the nuns have still got the door
• 21:19
  open and leaving the room. You think you probably want to
• 21:21
  wait till they slam the door to do that.
• 21:23
  But some nice underly in there. Did you say really?
• 21:26
  It's actually quite a gloomy sell, yeah.
• 21:29
  Well, because it's all on location, isn't it?
• 21:31
  So they can use natural sort of lighting everywhere.
• 21:33
  I think it's some of the same locations as the Rebel Flesh,
• 21:36
  actually some of those same corridors.
• 21:38
  But what those really long ones that they the.
• 21:41
  Ones that Clyde runs down and yeah, yeah, yeah.
• 21:44
  Oh. Doesn't it look nicer than the
• 21:46
  red flesh it's. A bit brighter, yeah.
• 21:50
  Isn't that a dismally ugly looking story?
• 21:53
  Sorry, I've realised I'm throwing a lot of shade on the
• 21:55
  muffin era watching this, but you know, it's much more fun.
• 21:59
  Oh, Bee's remembered now. Bee, are you really?
• 22:02
  There she goes. Where else would I be?
• 22:08
  Oh, Deary dear, your father, that's most unpleasant, she
• 22:11
  goes. No, because she was turned to
• 22:13
  stone by the Gorgon. She.
• 22:14
  Tells Do you see how I'm saying the lions?
• 22:17
  Yeah, just dreadful. Now filler.
• 22:19
  The Lord takes those lions and spins gold out of them.
• 22:22
  Yeah, yeah. I mean, that's The thing is she
• 22:24
  knows exactly how to play it. These this kind of role is it's
• 22:30
  very striking actually. What's really nice about the
• 22:32
  coda when we get there is like, we didn't really have to go back
• 22:36
  to the nursing home at the end. The story's over.
• 22:38
  The plot is done. You could have ended it with the
• 22:42
  Jackson family going back to their house, you know?
• 22:45
  I think in a normal Doctor Who, maybe we wouldn't have got it
• 22:48
  because we would have only had 45 minutes rather than an hour.
• 22:51
  Yeah, but there's just that extra 15 minutes where you can
• 22:54
  put in nice character bits and it shows that they're committed
• 22:58
  to their characters, and I like that.
• 23:00
  Yeah, now the only sort of slightly sort of strange thing
• 23:04
  is then Maria then has to run from the old folks home all the
• 23:08
  way to the Abbey. And so she literally gets there
• 23:11
  by the skin of her teeth. I was like, yeah.
• 23:12
  Well, she's young, you know, she's, I think she's on the the
• 23:16
  cross country. Yeah, probably, yeah.
• 23:19
  Oh, look at this now Sarah Jane and late sister Helen are
• 23:23
  spitting at each other. Yes.
• 23:26
  And that's the thing because she's very defiant throughout
• 23:28
  the whole thing. But then as she's as she's got
• 23:31
  the blindfold sort of pulled over her eyes so that the gorgon
• 23:35
  is there, can then transfer over to her, she's actually quite
• 23:39
  frightened. I just I love it when two women
• 23:42
  go at each other with great lines.
• 23:45
  Yeah, and that was a nice touch of like the Gorgon literally
• 23:48
  pointing saying you will be my replacement.
• 23:51
  You, Miss Smith? Now look, Sister Helena Beth
• 23:56
  Goddard. All right.
• 23:57
  You're not quite in the league of Mrs. Wormwood.
• 24:00
  Mrs. Wormwood. But she she she's quite close.
• 24:04
  She's up there, yeah. She is great, Yeah.
• 24:06
  Oh, just every light. Do you see her hand?
• 24:08
  Then go sisters. You know, a massive camp wave.
• 24:12
  She did, and you will become leader of the new race ruling
• 24:17
  planet. Earth and allegedly hold she
• 24:20
  actually holds her face. It's quite sort.
• 24:23
  Of. Yeah, yeah.
• 24:26
  And that's when Sarah, actually, Sarah actually starts look,
• 24:28
  looking quite concerned, quite worried.
• 24:31
  You know, Oh yeah, you're right. It's a trowel.
• 24:34
  They're using a trowel to open the door.
• 24:36
  And they start to have this shorthand Clyde and local like I
• 24:38
  remember when they they get out of their first predicament where
• 24:42
  he finds the secret passage and they literally do a fist button.
• 24:45
  The two in the the line from the woman of Fell to Earth.
• 24:48
  We need a plan. Yeah, all right.
• 24:50
  Well, we can slow down, but maybe we'll think of 1.
• 24:55
  Don't struggle, Miss Smith. Embrace your destiny.
• 24:59
  Oh, this is a brilliant bit because like Clyde then sort of
• 25:03
  looks at Luke and he has this sort of little head tilt sort of
• 25:05
  saying should we go? Should we go and sort of help
• 25:07
  out? It's great.
• 25:10
  The only bit I thought was a bit off here is that Gorgon's face,
• 25:15
  all of her sort of lights come out of her face for ages before
• 25:18
  Maria runs in. I was like, all right, I think
• 25:20
  they might all be stoned by now. Yeah, exactly.
• 25:22
  Yeah, again, again, I think sometimes part of me, which is
• 25:25
  like, what if they'd never actually show in her face?
• 25:28
  It would have been probably scary, more Doctor Who than
• 25:31
  Sarah Jane Adventures territory, but it would have been maybe
• 25:34
  more effective. I don't know.
• 25:35
  I wish they hadn't shown us the face of the Trickster.
• 25:38
  I mean, I had nightmares for years after that.
• 25:41
  These horrible scabby lips, no eyes.
• 25:43
  I I just found out who that was the other day.
• 25:46
  So it was. It's the Future kind Chieftain
• 25:49
  from Utopia. Because I'm angry.
• 25:53
  Humanity. Yeah.
• 25:55
  Yeah, I'm sorry about signing once.
• 25:58
  Oh. Yeah, it was.
• 26:00
  Quite a handsome bloke actually. He is.
• 26:02
  He is. I think not.
• 26:03
  A trickster, no. And then, literally in the nick
• 26:06
  of time, Maria arrives and sort of bounces off all the snakes.
• 26:10
  Actually, she's scarier the abyss when she hasn't got the
• 26:15
  effects on Yeah, because it's just like a a a a screaming face
• 26:19
  isn't. It a sort of shrunken visage,
• 26:22
  yeah, but. There you go, we've learned
• 26:23
  something from Medusa the Mirror.
• 26:26
  Another group hug. Yeah.
• 26:27
  Well, no. Am I?
• 26:29
  So sister? Hell of that.
• 26:30
  What's going on? Yeah.
• 26:31
  And they, well, that's the other thing.
• 26:32
  They kind of just leave them to it's like, all right, well,
• 26:34
  there you go. Bloody hell that toilet is going
• 26:38
  to burst. You better turn that off quick.
• 26:40
  Yes, and Maria's the one to take away the talism this time.
• 26:43
  Oh, I see. Is that all the Gorgons coming
• 26:45
  through? Oh Christ, flush them down the
• 26:48
  SO. They're supposed to be sort of a
• 26:50
  sort of disembodied parasite life form, I suppose.
• 26:53
  I'll be like the GILF. Yeah, a little bit, yeah.
• 26:56
  We are the GILF. Also coming in for a portal.
• 27:01
  Yeah, yeah. Well, there's a lot of these
• 27:03
  sort of gaseous life forms about, you know.
• 27:07
  Yeah, let's see if we put this Talisman around.
• 27:09
  Allen around that and then he sort of go goes back to normal.
• 27:12
  Oh my God, there's a shot in a minute Daniel Wright, where he's
• 27:16
  lying draped. Across the bench.
• 27:19
  Ohh. Particularly never wanted to
• 27:20
  take advantage of a man more. I mean, I was just like, this is
• 27:23
  obscene. I'm watching kids TV.
• 27:25
  I should not be thinking these faults.
• 27:27
  They must have sort of dragged him across the road into Oh no,
• 27:30
  no, it's in how I got. It's in Sarah Jane's garden, so
• 27:33
  no so leaving that. I don't know how you just happen
• 27:35
  to lose your genes. Like, I don't know how it
• 27:37
  happened. I'm sorry.
• 27:40
  All right? I've got to stop talking about
• 27:41
  taking advantage out of Alan. Well, this is quite a nice light
• 27:46
  as they lift in Maria's like. Chemical.
• 27:48
  I mean, it goes right over his crotch.
• 27:50
  Look, come on now, Alice Trout, you did not need to linger like
• 27:55
  that. You could have just had that
• 27:57
  shot from above, OK. Speaking of statuesque, yeah.
• 28:01
  Yeah. Oh, beautiful.
• 28:03
  I mean he is a Greek God. Yeah, exactly.
• 28:06
  Yes. You didn't need the almost
• 28:07
  didn't need him to be turned to stone.
• 28:09
  Situation. You're not going to believe what
• 28:11
  Sally Ann's got in her got in her living room, a statue of
• 28:15
  Dad. They make up, yeah.
• 28:21
  And I like the fact that now Maria's got perspective, she
• 28:23
  knows her mum's going to make mistakes and she accepts that
• 28:27
  she's not coming back for good and that's OK, that's OK.
• 28:31
  Exactly. Yeah, Yeah, that's OK.
• 28:32
  And it does sort of doesn't disrupt the the family dynamic
• 28:35
  anything. Do you know what that woman's
• 28:37
  got in her lounge? Here we go.
• 28:40
  All those giant shoes she's got, sort of.
• 28:42
  Man they just shows the best St. look at it, it's such a gorgeous
• 28:46
  St. to shoot on. So yeah, this is what I was
• 28:50
  saying earlier. If like they, I think they had a
• 28:51
  sort of previous earlier scene of Sarah Jane answering the door
• 28:54
  saying, oh, I don't know what you're talking about.
• 28:55
  And here they just they just do it at the end instead.
• 28:59
  Oh, so you like her waistcoat? Sarah Jane, don't you look cool?
• 29:02
  She looks great in a waistcoat actually.
• 29:03
  Yeah, she looks like she's 30. She's in her 50s for fucks sake.
• 29:10
  What is her secret? Oh, and this is great, where
• 29:12
  they sort of take Chrissy out of the room and they sort of share
• 29:15
  this little grin, her and Maria, Sarah Jane and Maria, which is
• 29:19
  great. You don't need to pretend to be
• 29:21
  a Greek God, Alan. All right, you.
• 29:22
  Are just a little bye, bye, yeah.
• 29:25
  She's pretty good actually with sort of non verbal looks.
• 29:28
  Oh, here's another one where when sort of I think Chrissy
• 29:32
  says something and she and and Yasmin Paige just rolls her eyes
• 29:35
  at Alan, which is great. Doesn't she miss name Sarah here
• 29:39
  again? Yeah.
• 29:40
  Mary Jane. Mary Jane.
• 29:44
  We've got to keep a couch. We don't have a list at the end
• 29:46
  of the season 1 list of all Yeah.
• 29:48
  Sally Anne. Yeah.
• 29:51
  Mary Jane. Oh my God.
• 29:54
  Oh yeah, this is. Not quite right about her, you
• 29:57
  know. Yeah, and then she just sort of
• 30:01
  twigs Alan's face. Oh yeah, that's the same face
• 30:05
  you were talking about last time, weren't you?
• 30:07
  That's sort of like Mum. Exactly.
• 30:12
  And they were. You're right.
• 30:14
  It could end there, them just walking back into the and then
• 30:17
  maybe a sort of final scene with her and Sarah Jane.
• 30:20
  Yeah, just this. This could be the end, couldn't
• 30:22
  it? But the zinger is still to come.
• 30:26
  And also they, they're very careful in, in Mr. Smith's
• 30:29
  dialogue where he says sort of, you know, the, the cells can
• 30:32
  revert then that's why your dad was sort of reverted back to
• 30:36
  normal. So she immediately thinks, oh,
• 30:38
  well, kind of like, you know, maybe the brain cells could
• 30:41
  revert like of Alzheimer's. So she that's why they go and
• 30:44
  see B. That's what's that sort of
• 30:47
  Maria's hope, I think. And Sarah Jane's already a bit
• 30:50
  more cautious, thinking, oh, I don't know about this, you know?
• 30:55
  Doesn't she What's? Yeah, but she wants to give her
• 30:59
  the chance to. Maybe even.
• 31:02
  She knows it isn't going to work.
• 31:03
  She goes, but let's give her the gift.
• 31:05
  Let's just give it, yeah? Another one of those fabulous
• 31:09
  high shots of the car and. They it may they make it look
• 31:12
  different each time. I think so.
• 31:15
  She looks, she looks very sad like that.
• 31:16
  She's just staring out the window.
• 31:18
  In the chair, sort of crumpled, lost in her thoughts.
• 31:22
  But I saw my Nan like that so many times.
• 31:25
  Now you mentioned 80s Doctor Who earlier and that did make me
• 31:29
  think of Kinder where I think the way they do Hindu's
• 31:34
  breakdown is so sort of sensitively done because you see
• 31:37
  the, the Doctor sort of Peter Davidson sort of being so gentle
• 31:42
  with him and sort of being very empathetic.
• 31:44
  And then it's sort of the only note that doesn't ring true is
• 31:47
  at the end where this sort of the, the, the Jana box, I think
• 31:50
  it's called, sort of makes him all better.
• 31:53
  And, and I had a sort of conversation with someone about
• 31:55
  it where they we sort of agreed that, well, maybe he's just
• 31:57
  doing better. He's not magically cured, but
• 32:00
  it's sort of slightly the wrong note to sort of end on.
• 32:03
  It just seems very peaceful in that last scene.
• 32:06
  Yeah, cured just a piece. Just a piece.
• 32:09
  Yeah. So and I think, again, this is
• 32:11
  the this is the right. You almost didn't need the line
• 32:14
  from her husband. You could, you know, you could
• 32:16
  literally just sell it off her. Line because she just goes, oh,
• 32:20
  Edgar and she's got tears in her eyes and I was like, oh God.
• 32:23
  And what's great is, is, is, I mean, yes, Liz Slate has got
• 32:28
  tears in her eyes. And.
• 32:28
  So does Maria. Yeah, and it's literally just
• 32:31
  that those silent glances they give each other where sort of
• 32:35
  Sarah Jane almost sort of shakes her head, sort of saying, well,
• 32:37
  it's not cured her, you know, that's not going to.
• 32:39
  Can I just say, say 3 women in the scene, there's not a man to
• 32:43
  be seen. It's just beautiful.
• 32:46
  Yeah, yeah. There's just that little sort of
• 32:49
  head shake. I would always.
• 32:52
  Love you Bea, look at her face. Oh my God, Oh no.
• 32:59
  And that's The thing is, is I think that's also quite
• 33:03
  important, especially in kids TV is to, because it, it can be so
• 33:07
  easy to do a, such a one sided depiction of dementia where it's
• 33:12
  all the sort of the misery and the, the, the fear and the
• 33:15
  confusion. It's also important to remember
• 33:18
  the joy and the, the good times. And because when they are lucid,
• 33:22
  you know that's the moments people like to remember when
• 33:24
  they visit there. We did in those first couple of
• 33:26
  years, we could take her back to happy times and you know, we had
• 33:29
  sing songs and all sorts, you know, oh, just the way she was
• 33:34
  looking up. Be there.
• 33:36
  She just want to give her a hug. I know.
• 33:39
  Yeah, she's so. Sweet, this is fucking kids
• 33:41
  telly. It shouldn't be moving me to
• 33:42
  tears. And one more big crane shot at
• 33:46
  the end. Up into the trees.
• 33:51
  Oh, look at this. What's coming next?
• 33:54
  Laser tag. Like, yeah, now I have I have a
• 33:57
  laser tag story which I'll save for next time.
• 34:00
  Really. But yeah, it was the first and
• 34:02
  the last time that I ever did laser tag.
• 34:05
  Oh no. An unhappy experience.
• 34:08
  It was, yeah. There he is.
• 34:10
  Did you think you're man enough to have a go and the woman's in
• 34:16
  it? Yeah.
• 34:17
  Welcome to the unique gaming experience of Combat 3000.
• 34:22
  Combat. That's what it's called.
• 34:23
  Combat, 3000. You watch though?
• 34:25
  Why? When you watch this in the week?
• 34:26
  Yeah, whenever you watch this, where the way they shoot the
• 34:29
  laser tag, it is literally like combat.
• 34:32
  It's so like a battle sequence, like a real battle sequence.
• 34:35
  It's so well done. Yes, stylish as hell.
• 34:39
  Oh my word, Daniel. That was just fabulous.
• 34:43
  I really liked this one, actually.
• 34:45
  Yeah. It's because I watched this
• 34:46
  early in the week where I was tired and it probably wasn't the
• 34:49
  best time to watch it because I really liked episode 1 and then
• 34:51
  episode 2 I was like, I really need to go to bed.
• 34:54
  And then watching it again all the way through, straight
• 34:57
  through that was and it really hit much better.
• 35:01
  It's. Sort of got everything I could
• 35:04
  possibly want from The Sarah Jane Adventures.
• 35:06
  It has got an emotional story. It's got some historical
• 35:11
  information in it or mythological information in it.
• 35:14
  Yes, yes, it's. Got a great monster with a great
• 35:18
  sort of quirk, you know, turning people into statues.
• 35:23
  Statues. A wonderful sort of subplot for
• 35:26
  Chrissy. And then just everybody, all the
• 35:30
  whole cast, just being smart, you know?
• 35:34
  Yeah, and also, you know, because nuns are kind of an easy
• 35:37
  target, it'd be so easy to just sort of do a sort of cheap, sort
• 35:40
  of send up a religion. And there's no really religious
• 35:43
  angle beyond, I think, Sarah. There's just Sarah Jane's line
• 35:46
  where she, she turns up at the door and she says, hello.
• 35:49
  My name's Felicity Barnes. I'm doing a A story for The
• 35:51
  Times on religion in the 21st century.
• 35:54
  Do you like the fact she's got all those different cards?
• 35:58
  Yeah, yeah, she flips through lots of Choosing 1.
• 36:03
  Well, you know what you've got to do now, don't you?
• 36:05
  Yes. Who's going first?
• 36:07
  Do you want to go first? OK, all right.
• 36:09
  The three fabulous things. The one.
• 36:12
  I'll do one. I'll do the the the the music
• 36:17
  actually by Sam Watts, which I really picked up on this time.
• 36:22
  So which is the Gorgon Suite? I suppose we could call it the
• 36:25
  Gorgon music, which sounds very like that sort of ominous menace
• 36:30
  of the Green Goblin theme from the Sam Raimi Spider Man movies.
• 36:39
  There's a steady build up of dread in this.
• 36:42
  Spooking me out. Daniel Romesley.
• 36:45
  Yeah. So I would say yeah.
• 36:47
  And I would say the direction as well.
• 36:49
  But you know, I'll leave that to you.
• 36:52
  Yeah, that that green goblin is terrifying, isn't he?
• 36:55
  The bear one actually probably the best spider man villain.
• 36:59
  They came up, him and Doctor Octopus.
• 37:01
  I think yeah, when he's really like, because he's lovely, isn't
• 37:04
  he? And then he's really evil and
• 37:06
  the wait, what's a fellas name replace him He's.
• 37:08
  So scared. Well, and a foul.
• 37:11
  Yeah, it's that voice. Oh boy, oh boy.
• 37:16
  My first one is going to be Villa Deloitte.
• 37:20
  Villa Deloitte. Sorry.
• 37:22
  I just think that is a beautiful bit of acting. 0 concessions
• 37:27
  made for the fact that she's in a kids show.
• 37:29
  She's giving this everything she would give it in any adult
• 37:32
  drama. Beautifully.
• 37:35
  Sort of lost soul that is anchored by the love of this man
• 37:41
  that she shared her life with and had amazing adventures with.
• 37:45
  I it just makes me want to see some of those old adventures,
• 37:47
  you know, back in the past. Yes, Well, I wish they do some
• 37:51
  sort of stock photos that. And I, I like that there's a
• 37:54
  shot of Maria when she picks up one of the framed photos and she
• 37:56
  just smiles. And so she sort of immediately
• 37:59
  likes this woman because. I suppose because she maybe
• 38:01
  reminds her of Sarah Jane in a little bit.
• 38:03
  In a way. Sort of, yeah.
• 38:05
  I don't think that's an easy ask to to effectively pull off
• 38:10
  dementia for a like a kid audience.
• 38:14
  But I think she does it brilliant.
• 38:15
  And I just think that last scene, that is a master class in
• 38:19
  how to play this stuff. Yeah.
• 38:21
  So fill it a lot. Just a gorgeous performance.
• 38:25
  Yeah, OK. My second thing is the, well,
• 38:29
  it's a very female ledge episode.
• 38:33
  It's one of those Sarah Jane stories that's really led by
• 38:36
  women, and older women at that. So you mentioned B, There's also
• 38:42
  Beth Goddard as Sister Helena, there's Sarah Jane, there's
• 38:46
  Chrissy, there's even, well, I suppose the Gorgon, Mrs.
• 38:51
  Gribbins, Maria. So you know of stacked cast?
• 38:55
  For Doreen Mantle. Doreen Mantle at the very
• 38:58
  beginning, you know. Miss Missy.
• 39:00
  What is it? Miss Ealing 1951 and just so, so
• 39:05
  and Maria especially is is written as a character who's
• 39:09
  kind of hard to like this episode because she has these
• 39:11
  tantrums and these outbursts and she lashes out at her dad and
• 39:15
  says some quite hurtful things to him and her mum as well and
• 39:18
  Sarah Jane and they all forgive her for it.
• 39:20
  And, and it's like you said, it's, it's what it's all about
• 39:24
  watching the adults reactions to those, to those temper tantrums.
• 39:28
  And, and, you know, she immediately sort of where it
• 39:33
  very quickly recognizes the, the art of sort of, of, of being
• 39:38
  humble and sort of apologizing for what she did of being
• 39:41
  contrite. So yeah, I think it's, it's,
• 39:44
  it's, it's a, it's a, it's a different approach to Maria.
• 39:47
  And the, the whole sort of story is tied into Maria as you know,
• 39:50
  she is her dynamic with Bea. It's her who saves the day at
• 39:54
  the end with the mirror and, and sort of driving a lot of the
• 39:58
  plots. So yeah.
• 40:00
  And she gets this whole dynamic with Sarah, which, you know.
• 40:02
  Last time it was more sort of Sarah and Luke and Sarah and
• 40:06
  Clyde, and this time it's a very sort of Sarah Maria centric
• 40:10
  episode where she sort of gives advice, but she doesn't sort of
• 40:14
  encroach too much on on her family life if she doesn't want
• 40:18
  to talk about it. So yeah, that would be my second
• 40:21
  one. What you're saying is let's hear
• 40:24
  it for the girl, let's hear it for.
• 40:28
  Her Oh well, you know, all the all those tiresome people online
• 40:31
  we're saying what is this why there's no men in this store?
• 40:34
  All the men are sort of, you know.
• 40:37
  I mean, interestingly, we have a story about war and guns and
• 40:41
  it's very Clyde and yeah, and the villains are man.
• 40:45
  And so it's, it'd be interesting.
• 40:47
  To judge the position, yeah, yeah.
• 40:49
  Yeah, but I I love this surprise.
• 40:51
  Well, one last fabulous lady Alice Troughton.
• 40:57
  Let's talk about the director of the story.
• 41:00
  Like do you remember the word I used for Invasion of the Bane
• 41:03
  was assured? Like I don't think it's lost
• 41:05
  that assurance since the show started like 2 stories ago.
• 41:10
  It's been so confident all the way through.
• 41:12
  But this is a different sort of story.
• 41:15
  Even though it is pacey still, even though there are aliens in
• 41:18
  it, it does want to do something a lot more character focus and
• 41:22
  it does slow down quite a bit and.
• 41:24
  A bit quieter, yeah, for some. For some extended dialogue
• 41:27
  scenes and character moments and but it's stylish as hell.
• 41:32
  Like, you're right that Crane never stops.
• 41:36
  I love that so much. But also as well I, I really
• 41:40
  think she knows how to set up a stationary shot as well and
• 41:46
  those sort of low angle shots of the Abbey and stuff like that.
• 41:49
  It's just visually gorgeous. My favorite establishing shots
• 41:53
  in forever in forever. I think you know, I mean, and
• 41:56
  you know, I I not to be too self referential, but I was quite
• 42:01
  disparaging of the doctor's daughter on a strictly cum
• 42:04
  hamster episode. And I was one over to the other
• 42:07
  side by the sheer force of your arguments and a certain phrase
• 42:11
  of Gregory's arguments to the point where we all, we, we all
• 42:15
  put it through, I think, and. Listen to us, Daniel.
• 42:18
  Well, yes, but I think, you know, I, I kind of look back and
• 42:21
  sort of look back on that and I think, well, maybe I should be
• 42:23
  taking all that back because I mean, you see her direction here
• 42:26
  and in Midnight and in Revenge of the Sardine, and it's really
• 42:32
  swaggeringly confident, you know, so.
• 42:36
  I don't even think we've seen the best direction of the season
• 42:39
  yet so. No, that's probably still too
• 42:42
  calm, isn't it? But what's your last 1 then?
• 42:44
  My last one is the the Gorgon. I love the sort of hooded veil.
• 42:52
  I think that's scarier than when they've sort of revealed the
• 42:55
  face at the end. And this the sort of when I
• 42:59
  first saw it, the dread inspired in me was actually, it reminds
• 43:07
  me of this film now. This is quite sort of, this is
• 43:10
  quite nerdy black narcissist. Did you ever see that?
• 43:14
  It's a sort of nine black narcissist.
• 43:17
  It's a 1947 film, Michael Powell and Emerick Presburger.
• 43:23
  So sort of literally post war British of this monastery on a
• 43:29
  mountaintop with this these nuns.
• 43:32
  And it's actually funnily enough, there's also a hunky guy
• 43:35
  in that too. And and that's kind of the
• 43:38
  story. I mean, this is what I find bit
• 43:40
  tiresome where people say, oh, it's, you know, the greatest
• 43:42
  film ever, which always I feel sells a film short.
• 43:46
  I mean, it's much more interesting to say, no, it's
• 43:48
  this story about how these nuns, they see this hunky guy and it
• 43:53
  kind of sends the whole nunnery into sort of, you know, into
• 43:56
  absolute paroxys. So basically all these nuns are
• 44:01
  incredibly horny about this guy and they can't deal with it.
• 44:05
  And it literally tears the whole nunnery apart where one nun goes
• 44:08
  completely crazy. And so it leads to this, not not
• 44:12
  giving too much away, but it leads to this, see this
• 44:15
  climactic scene as one of the nuns starts ringing the bell,
• 44:19
  not aware that she's being stalked by this crazy other nun
• 44:23
  who literally moves around like a horror movie creature and is
• 44:26
  about to sort of jump out and push her off the mountain.
• 44:29
  And the horror, the dread of that scene is not knowing when
• 44:33
  she's going to do it. And she kind of she's all the
• 44:35
  longer she's off screen, the bigger the dread.
• 44:38
  And so that sort of same effect is, is what I felt with the the
• 44:43
  nun and her veil. And the more we don't see her
• 44:46
  and that sort of glowy eyed face, the scarier it is.
• 44:50
  It's a bit less scary when she goes and sort of, you know.
• 44:53
  It's like every horror movie, the second you sing the horror.
• 44:56
  I say this all the time, it just loses something, doesn't it?
• 45:00
  Loses the mystery, yeah. Yeah, the possibility is much
• 45:03
  more frightening than the actuality.
• 45:07
  Any budget could just, yeah, justify.
• 45:09
  Yeah, there's very few horror movies, I think, where the
• 45:12
  ending, you know, it's like, Oh yeah, that was worth revealing
• 45:17
  that again. I'd rather just have the
• 45:18
  suspense, you know? That's why The Blair Witch
• 45:21
  Project was so good. We never found out what the fuck
• 45:23
  that was all about. Yes, who was that figure
• 45:26
  standing in the corner at the end?
• 45:27
  I don't know, but I didn't sleep for a week.
• 45:31
  Black narcissist, you say, right?
• 45:33
  Black narcissist. They've remade it into a sort of
• 45:36
  three-part TV show, but don't. Amazon now, right?
• 45:38
  Bye. There we go.
• 45:39
  No, no. We'll check it out, though.
• 45:41
  It sounds great. Anything about a hunky man
• 45:44
  turning up? Oh, was it OK?
• 45:46
  Yes, he is incredibly, incredibly hunky and I think the
• 45:50
  one thing that the the TV roommate did get did get right
• 45:53
  is they they they cast Alessandro Navolo as this
• 45:57
  incredibly beautiful man as the sort of the object of all the
• 46:00
  nuns affections so. My last thing, and I cannot
• 46:05
  stress this enough, and I will continue to stress this
• 46:09
  throughout the run that we do competent kids, I just love that
• 46:13
  they're smart. I love they're smart.
• 46:14
  I love that they figure their way out of situations.
• 46:17
  I love that if they have a Paddy, they apologize and
• 46:22
  realize or reach a conclusion to the, yeah, mature conclusion
• 46:28
  that Maria gets to at the end of this episode, that her mum isn't
• 46:31
  perfect and she's going to fuck up and she'll probably be back
• 46:35
  and and she's just going to have to deal with it.
• 46:36
  You know, she has a as a moment where she sort of detonates
• 46:40
  Maria and then realizes actually.
• 46:43
  And pulls back. Yeah.
• 46:44
  It's not the end of the world. Yeah, but also, you know, Clyde
• 46:47
  and Luke just being sneaky about that castle and, you know,
• 46:52
  getting themselves out of trouble.
• 46:54
  Maria, like you say, saving the day.
• 46:56
  Smart kids, man. They're like I said to you in
• 46:59
  Invasion of the Way, they're like little adults.
• 47:01
  They're just fabulous, these kids.
• 47:03
  And it's so nice for me to say something nice about children
• 47:07
  in. Doctor.
• 47:08
  Doctor Who? Yeah.
• 47:09
  Especially this era. Of Doctor Who.
• 47:11
  Not that I want to murder all children, all right.
• 47:14
  Just the irritating ones. Yes.
• 47:19
  And even then, I'm happy to use pills.
• 47:21
  Oh, sorry, you bet. Well, and, and I suppose you
• 47:25
  know, no, no real shedding of a tear for Mrs. Gribbins, because
• 47:29
  you know, she was always something of a useless old
• 47:31
  fossil. Yes.
• 47:33
  Oh, I knew there was a line in here about.
• 47:36
  I thought I'd forgotten all about it.
• 47:38
  Well done. Yes, yeah, it's like the one
• 47:41
  that what's it the other one about Miss Smith being some
• 47:45
  taking out the old baggage or something like I'd love those
• 47:48
  lies. Well, where are we going next,
• 47:50
  Daniel? Warriors of Good Luck, which
• 47:54
  this is the one I do remember the most from series 1 and I
• 47:58
  think after that there's one that I might have missed.
• 48:01
  I don't remember, maybe it didn't, but.
• 48:03
  She's never seen whatever happened to Sarah Jane.
• 48:06
  I think maybe one part, I don't remember.
• 48:08
  I think it'll be a discovery. Part of that is unforgettable.
• 48:14
  Oh my God, I can't wait. But this, this next one, I
• 48:18
  think. Please don't let me down
• 48:20
  watching this. I think this is the ultimate
• 48:24
  example of a brilliant nuts and bolts serial and adventure.
• 48:28
  IE it's not going for great stakes, it hasn't got big tricks
• 48:31
  to villains, it's not a season finale, but everything is
• 48:36
  fucking working like gangbusters.
• 48:38
  No, I remember it very fondly from what I remember of it, but
• 48:42
  it's again a different location. So that mixes it up again, which
• 48:47
  I, you know, which I, I like as well.
• 48:48
  So I. Don't want to bring up sort of
• 48:50
  past traumas, but you know you have promised me some laser tag
• 48:55
  horrors of your. Horror Story, Yes.
• 48:58
  Well, I again, I won't reveal all now, but I'll just give you
• 49:01
  a clue. Although you see, I remember in
• 49:05
  the the trailer, the next time trailer, you see all those sort
• 49:08
  of very sexy shots of Clyde. And is it Luke?
• 49:12
  Luke joins him as well. Yeah, sort of sort of stalking
• 49:15
  around corridors with those guns.
• 49:17
  And I was a bit like that. And then I I had an unfortunate
• 49:21
  encounter with a wall. That's all I'm going to.
• 49:25
  That's all I'm going to say. You was never the same again.
• 49:29
  I never took, I never did laser tag again after that.
• 49:33
  I'm going to tell you about our time.
• 49:34
  I was savaged by a load of kids after I've been gobby at the
• 49:38
  start. Oh, it's just a very unpleasant
• 49:41
  member. Oh, they've really got me.
• 49:44
  Well, until we head and we're going into space in the next
• 49:47
  one. Part 2 isn't it?
• 49:50
  Yes, back into space with Sarah Jane.
• 49:53
  Well, Daniel, may I just say what an absolute delight is
• 49:56
  doing these Sarah Jane adventures?
• 49:58
  I think we've got something here.
• 49:59
  It's a great time. We're talking about great
• 50:01
  things, and I'm hanging out with you.
• 50:03
  I mean, it's the best thing in the world.
• 50:05
  Oh, it's, it's a, it's a gift. A Talisman, you might say.
• 50:10
  Life on a hamster with blonde pen knife can be an adventure
• 50:13
  too, you know. Serve the podcast.
• 50:18
  Hello. Cut it.
• 50:20
  There. Oh, brilliant.
• 50:21
  Wonderful, wonderful. Oh gosh.