Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Sarah Jane Adventures - Invasion of the Bane (with Daniel Rawnsley)

Transcript

Sarah Jane Adventures - Invasion of the Bane (with Daniel Rawnsley) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:47
  The. Hamster with a blunt pen Knife
• 0:57
  is where Joe Ford lives, and it's home to things way beyond
• 1:01
  your imagination. There's Doctor Who commentaries
• 1:03
  for every episode, a book club dedicated exclusively to Doctor
• 1:07
  Who literature, A Strictly Come Dancing style game show, and a
• 1:11
  whole universe of Filth. Kitchen friendly contributors
• 1:17
  right here in your podcast queue.
• 1:20
  Q Musical montage ready. Always, always, yes.
• 1:31
  Are we talking about tortured today?
• 1:33
  Well, never let it be said that I don't promote any of your
• 1:35
  stuff. Thank you.
• 1:36
  Well, no, you are very good. Hello Daniel, How are you?
• 1:39
  Hello, good to be back. I'm very excited today.
• 1:43
  Can you tell? Yeah, what are we talking about?
• 1:47
  Well, you are going on a journey, a very long journey.
• 1:54
  So you've actually foolishly, idiotically agreed to take on a
• 1:59
  great task. Please tell the listeners what
• 2:02
  it is. Well, it's outside the
• 2:05
  government. Beyond that, no, it's no, it's
• 2:09
  the other show. It's back to a a time where
• 2:12
  where a Doctor Who spin off didn't feel like an obligation
• 2:15
  and well, and and back to a time where Sarah Jane Smith had her
• 2:21
  own series after after school reunion.
• 2:26
  She I think she said, you know, oh, this will be the last they
• 2:29
  ever asked me back. And little did she know that
• 2:32
  they had this whole project planned, especially tailor made
• 2:35
  for her sensibilities. Can you imagine if Russell G
• 2:39
  Davis had said yes to young Doctor Who?
• 2:42
  You know that other spin off that they wanted to do before we
• 2:45
  gave them Sarah Jane? They wanted to do like teenage
• 2:48
  Doctor Who on Gallifrey. Did you hear about this?
• 2:51
  Yes, that was the original sort of idea.
• 2:53
  The BBC was interested in that. Hideous.
• 2:56
  What an idea. Now look, may I suggest you go
• 2:58
  and read Gary Russell's terrible novel Divided Loyalties to the
• 3:04
  section in the middle there. It's called Gallifrey 90210.
• 3:07
  It's sort of the Doctor, the Rani, the Master, the Monk, all
• 3:11
  the sort of teenagers on Gallifrey going to lectures with
• 3:14
  Barusa, you know, putting Whoopi cushions on his chair, you know,
• 3:17
  kissing the girls behind the bike sheds or whatever they
• 3:19
  have. That's all.
• 3:20
  It would have been hideous. Yeah, well, now we know why they
• 3:23
  don't like each other, because it was all these schoolboy squad
• 3:26
  squabbles and stuff. That's right.
• 3:28
  That's right. Well, so I mean, where do we
• 3:30
  start with on this great journey?
• 3:33
  Where do we start? Well, we're starting with the
• 3:36
  the special that they made especially for New Year's Day, I
• 3:40
  believe. And this was in the middle of a
• 3:42
  whole sort of phase of Doctor Who that we were in.
• 3:44
  We just had the runaway bride Christmas special.
• 3:49
  There were there was the finale of Torchwood series One End of
• 3:53
  Days, and it was an. Engine would it?
• 3:57
  Yeah, yeah. I mean, that was the most that's
• 4:00
  what I would look back on really fondly is just this kind of mad
• 4:04
  time where you had three shows by the same more or less the
• 4:08
  same people kind of overlapping. And there was a very a sweet
• 4:13
  spot where you could you could sort of watch go from show to
• 4:17
  show. You could watch Doctor Who at
• 4:19
  this time and then talk to her that another time and then Sarah
• 4:22
  Jane Adventures at another time it.
• 4:24
  Was almost on all year round. Oh sorry, I thought you were
• 4:26
  talking about the stubble on earth there.
• 4:28
  You know that's. From Well, yeah, yeah, yeah.
• 4:30
  Well, and it's, I mean that again, this was before things
• 4:33
  like multiverse and and crossover were the all these
• 4:37
  buzzwords that get thrown around, you know, boardrooms and
• 4:40
  stuff. It was, I mean, before it was
• 4:43
  cool, before The Avengers, before Marvel, they already had
• 4:46
  their own sort of universe before the universe became the
• 4:49
  universe. They already had their mini
• 4:51
  empire of of of of Doctor Who characters in the same world,
• 4:57
  you know. You've sort of already answered
• 4:59
  the question I'm going to ask you, but I want to ask you,
• 5:01
  right, Because I just want to see the smile on your face right
• 5:05
  when you press play on this. Yeah.
• 5:07
  And it starts the first couple of seconds of the actual story,
• 5:10
  right? Doesn't it just take you back?
• 5:12
  Like the hairs on my arm were up and I was like, I was back when
• 5:16
  Doctor Who was the biggest thing ever.
• 5:19
  It was. Yeah, they were.
• 5:20
  Churning out one great episode of each spin off and the actual
• 5:25
  show after another. And it was so confident.
• 5:29
  Yeah. Oh, well, that was yeah.
• 5:30
  They're so confident, so sort of sure of itself, really.
• 5:35
  And. And yeah, those, those, those, I
• 5:37
  mean, I have Torchwood in a way to thank for the Sarah Jane
• 5:40
  Adventures because of all the spin offs, that is the one
• 5:44
  probably with the most inconsistency.
• 5:46
  It's the one that took the longest to find its voice to
• 5:49
  kind of get a handle on what it was going to be about.
• 5:53
  Lost its voice again in the next.
• 5:54
  Season, yeah. And then lost its voice.
• 5:57
  But I mean, what was kind of exciting about it was it was so
• 6:00
  inconsistent that week to week that I was like, I have no idea
• 6:03
  what I'm going to get next time. So that can be tuning in and
• 6:07
  well, for the briefest time that I was watching it because my my
• 6:12
  parents glommed onto the fact that I was watching torch widow
• 6:17
  at an age when I wasn't supposed to be watching it.
• 6:21
  And we get to that famous the sex gas episode.
• 6:24
  And what did them say about that?
• 6:28
  Well, what did it for them? It wasn't the IT wasn't the
• 6:30
  quickie in the bathroom. It wasn't the snog in the
• 6:33
  Cellars. It was, it was just, I think it
• 6:36
  was a line from Toshiko where she was saying, oh, well, she's
• 6:42
  now gone to this sperm clinic to, to basically ZAP herself up
• 6:48
  on all the sperm from men like 1 after the other.
• 6:50
  And, and my, my mum came in and said, you're not watching this,
• 6:54
  you can't see. So she turned it off.
• 6:57
  And so I went on to, so then I heard that the Sarah Jane
• 6:59
  Adventures was, was coming next year.
• 7:02
  And so I, I, I was like, well, I can watch that because that's
• 7:05
  children's TV. And so I watched about Invasion
• 7:09
  of the Bane when it when it came out on on New Year's, so New
• 7:13
  Year's Day. You know what's absurd about
• 7:17
  Invasion of the Bane is I don't, I can't think of many.
• 7:20
  There's some, but I can't think of many pilots for ATV show that
• 7:24
  are as assured as this. And I don't think that's
• 7:27
  hyperbole. I think they knew exactly what
• 7:29
  they were doing. They aced the tone of this
• 7:32
  perfectly and they went in just knowing this was going to be a
• 7:35
  hit somehow, that there was. I don't think that was there
• 7:38
  with torture, torture that it's a bit more tentative and they
• 7:41
  were trying lots of stuff here. I just felt as if they they were
• 7:43
  like, let's just make something like classic Doctor Who because
• 7:47
  that's great. And what's.
• 7:49
  A bit Sarah. Classic Doctor too, isn't it?
• 7:51
  Yeah. Well, the length of the
• 7:52
  episodes, you know, the cliffhanger.
• 7:54
  Every. Every single story, Yeah.
• 7:55
  Yeah, exactly. The other kind of home base and
• 7:58
  yeah. Mad thing about The Sarah Jane
• 8:01
  the Adventures is I genuinely think it just got better and
• 8:04
  better when it went along, and it is so regretful that it had
• 8:09
  to end when it did. And obviously we all know why.
• 8:14
  Even the missing stories, the three missing stories and I,
• 8:17
  we'll sort of talk about those when we get to Series 5 and in
• 8:20
  the future, sounded just exceptional.
• 8:24
  It was what, the Battle of Banner Monroe?
• 8:25
  Oh, the big. Goodbye, Mr. Smith, where
• 8:29
  Alexander Armstrong was gonna be actualised as a human being.
• 8:32
  That's right. I sort of, yeah.
• 8:34
  I should become become human manifest.
• 8:36
  Yeah. Did I say Alexander Armstrong?
• 8:37
  I meant Mr. Smith. Sorry.
• 8:39
  Alexander Armstrong is normally a human being.
• 8:41
  Jesus Christ. And the other one was the 13th
• 8:44
  floor. Did you ever watch Wizards
• 8:45
  versus Aliens? I never know.
• 8:47
  I never made it to that. I was going to but.
• 8:50
  It wasn't as good as it certainly wasn't as confident as
• 8:53
  this, but they did an episode, an amazing episode called The
• 8:57
  13th Floor, where they said we're not going to waste this.
• 9:00
  Well, this is such a great premise.
• 9:01
  And the idea was that two of the characters, and it was going to
• 9:04
  be Clyde and Ronnie, they basically go down it down, I
• 9:11
  think it's a lift or something like that.
• 9:13
  Anyway, you go into a, a forest and you're in basically a
• 9:16
  completely other world where time runs differently.
• 9:19
  And they live out their entire lives and build a family and all
• 9:23
  of this. And then at the end of the
• 9:25
  story, they're pulled out of it, but they still have the memories
• 9:29
  of and, and so you, you were going to be able to see that
• 9:31
  relationship come to its fruition, had them have children
• 9:35
  and it would have been amazing. Like they don't for for ATV show
• 9:41
  going out on the CBBC. They pull some punches I think.
• 9:45
  Well, and I used to watch so much CBBC at the time.
• 9:48
  I mean this will dispel. Oh, tell me what?
• 9:50
  Oh well, this will This will dispel my reputation as French
• 9:53
  Daniel because I was brought up on a diet of of British
• 9:56
  children's. TV Tracy Beaker.
• 9:58
  Tracy Beaker, The crust. What's that?
• 10:03
  Oh, that was with Reggie Yates and Sharon D Clark of Doctor Who
• 10:07
  fame. It was basically a a a family
• 10:11
  making a running a pizza business out of their flat like
• 10:15
  a council. Grass.
• 10:16
  Oh, I love it. Stupid with that stall holder
• 10:23
  from Fires of Pompeii. Would you look at me when you
• 10:26
  said stupid there? No, that was that was the
• 10:28
  premise. He was like King Stupid of of
• 10:31
  this world and he would just insult the viewer like why are
• 10:33
  you watching us? Go and turn it off, stupid.
• 10:36
  Well, that sounds great as well. What else was there?
• 10:39
  Basil Brush chuckle Vision. She's round.
• 10:45
  Oh so much. Oh, what did you?
• 10:47
  Such a such a well-rounded individual.
• 10:50
  You know the diet of TV you had when you were younger.
• 10:53
  Totally Doctor Who as well. I'll watch that.
• 10:56
  The game shows all of those wins with Barney.
• 10:59
  Barney Harwood, who who actually, I recently found out,
• 11:03
  appears in the background of Love and Monsters, the scene
• 11:07
  where Elton goes looking for Rose and he meets Mrs. Crew and
• 11:11
  she's like, oh, that's Rose Tyler.
• 11:13
  She's just down there. He goes to that market and on
• 11:17
  the right as he holds up the photo and then puts it down and
• 11:20
  sees the market and all the crowd.
• 11:22
  And Barney Harwood's off to the right wearing a little beanie.
• 11:24
  Oh. What I'll be that I know that is
• 11:29
  now alright. I just thought that was a load
• 11:30
  of, I mean, that woman's doing bloody conventions.
• 11:32
  Can you believe it? I know.
• 11:33
  She's one fucking lying for God's sake.
• 11:36
  Jesus Christ. Nice family bit odds.
• 11:39
  How? Now listen, I am getting a few
• 11:41
  conversation points out of the way because when this starts it
• 11:45
  just goes by at. Least yeah, it's.
• 11:49
  So fast, sis. The idea of putting a 60 plus
• 11:55
  year old woman in the heart of a CBBC children's television show.
• 12:01
  Even that was brave. Because she was retired, wasn't
• 12:04
  she? Pretty much when she was asked
• 12:06
  back to Doctor Who, she was basically that like she, I think
• 12:10
  she says it to herself in her autobiography.
• 12:12
  She said she was a pensioner basically, and she, and just to
• 12:16
  well, first, I mean, I was introduced to Sarah Jane via
• 12:20
  School Reunion. And even at the time, I think I
• 12:24
  understood how much of a big deal she was because it just
• 12:28
  shows you how good that episode is and how good that script is
• 12:33
  because it does such a good job of introducing or reintroducing
• 12:36
  the character as the most important person in the Doctor's
• 12:40
  life and his best friend and using Rose as sort of a sounding
• 12:43
  board and an audience perspective to that.
• 12:46
  And then at the end, you know, he gives her canine and she
• 12:49
  walks off into the sunset. And this is very much what she
• 12:53
  did next. You know, she's sort of the
• 12:55
  companion. When you think of the Doctor Who
• 12:57
  companion, that's sort of Sarah Jane for me, pops up in the
• 13:01
  head, in my head. The sheer horror.
• 13:04
  But I should feel watching this when you know it is cast with
• 13:09
  90% of Muppets. Yeah, they're fantastic.
• 13:15
  Like every criticism I have about those hideous brood of the
• 13:19
  dam from the Moffat era. None of it's relevant here.
• 13:22
  I find these kids relatable. They're smart, they're actively
• 13:27
  involved in the story, they have great development as they go
• 13:30
  through. They're little adults rather,
• 13:32
  right? Yes, little kids.
• 13:33
  I know. Yeah, yeah.
• 13:34
  They're not empty children. Ohh.
• 13:38
  You more Mummy? Actually, Luke Smith could say
• 13:41
  that, couldn't he? Yeah, he could.
• 13:42
  Yeah, Yeah. Yeah, and on a production level
• 13:47
  as well, like when I was watching this, I could see some
• 13:50
  money on the screen. I.
• 13:52
  Think for this one especially they threw a lot of money.
• 13:55
  But I think you'll be surprised, you know, as we go through, it's
• 13:59
  not uncomparable to Doctor Who. Maybe not it is most epic, but I
• 14:05
  I think there's some great, I mean, a lot of it's on location
• 14:08
  in Sarah Jane. The Attic itself is a great set.
• 14:12
  The special effects, I think you've got the Mill working on
• 14:15
  the three shows. So they're basically probably
• 14:17
  going, Oh well, you know, we'll do some Sarah Jane stuff in our
• 14:20
  lunch break. That show's amazing.
• 14:23
  Well, I mean, do you recognise that attic set?
• 14:25
  It's the. Is it the?
• 14:27
  Harrier, the carrier night house from Shakespeare code the same
• 14:32
  sort of angles in the ceiling and.
• 14:34
  Oh, Daniel, I want to hang out in that attic so much.
• 14:36
  I mean that that's what was great about all three shows as
• 14:39
  they each had their own sort of like central set.
• 14:41
  So the TARDIS in Doctor Who, the attic in Sarah Jane Adventures,
• 14:45
  and the Hub in Torchwood. So really specially built just
• 14:49
  for that cast and that those characters.
• 14:52
  I I want to start each episode now by going Daniel Rosley, I
• 14:56
  need you. Oh, who doesn't love a circum
• 15:02
  Picure? No, get that out, Joe.
• 15:04
  A supercomputer in the wall. Well, this was the other thing
• 15:07
  is like it's the greatest sort of kids fantasy in a way,
• 15:10
  because like what do you do after you after you get home
• 15:12
  from school? Well, you just go across the
• 15:14
  road and hang out with Sarah Jane and save the world and meet
• 15:17
  aliens and fight monsters, you know?
• 15:19
  Great, I mean. What I was doing when I was
• 15:21
  like, I wish I was, bloody wish I was.
• 15:25
  But do you know what? I didn't ever feel embarrassed
• 15:28
  watching this and I feel like maybe some part of me should
• 15:31
  because it is aimed at a younger audience than certainly I am now
• 15:35
  at 40. All I'll say is I watched it
• 15:36
  this week and just had a blast with it, so I don't care who
• 15:39
  this was aimed at. No.
• 15:41
  Well, and I think there's like some scenes here that I'll point
• 15:44
  out that are basically like, I mean, they're, they're not
• 15:47
  really written for kids, but kids pick up on it anyway.
• 15:50
  It's like they, they have a, there's an intuitive thing that
• 15:53
  kids can just pick up on stuff instinctively.
• 15:56
  If something's wrong, if there's a tension in the scene or
• 15:59
  between characters, they're not stupid.
• 16:02
  You know, if you treat them like they're stupid, then yes, they
• 16:04
  will be probably more stupid than they were at the outset.
• 16:07
  But that's what I kind of got. I did kind of get frustrated
• 16:11
  with some of the CBBC presenters because they would sort of have.
• 16:15
  All these very excited voices. And sort of and after a while
• 16:19
  you think, all right, is everything amazing to you
• 16:21
  because like. Who pay has gone that way a bit.
• 16:23
  Yeah, a little bit. Yeah, I do love Abby, but Joe
• 16:26
  and Sheeny? Oh man, man, calm it down, all
• 16:29
  right? Jesus.
• 16:31
  Although Abby's a massive Doctor Who fan, so happy days.
• 16:34
  Well, yeah, yeah, yeah. And, you know, again, sort of
• 16:36
  seeing sort of people from children's TV in Doctor Who.
• 16:40
  I mean, I always got a kick of, what's it Andrew Hayden Smith
• 16:43
  playing this tough guy in series 2 of Doctor Who, and then you
• 16:46
  see him on Blue Peter or CBBC and it's so lovely.
• 16:49
  And you think what happened? Have you seen he's got his own
• 16:53
  YouTube channel, the Biker Grove Revisited YouTube.
• 16:56
  Channel. Man, it's got quite a following,
• 17:00
  you know, 2 Two other things I just wanted to say before we go
• 17:04
  in. One is I think it was a really
• 17:07
  smart move to make this character LED right.
• 17:10
  There are always concepts of the week, but all of those got like
• 17:13
  a good Buffy episode. The what the, the alien element
• 17:18
  always tells us something about either the guest characters or
• 17:22
  the main characters. And I think that was a really
• 17:24
  good approach. And oh God, what was the second
• 17:28
  thing I was going to say? I've totally forgotten.
• 17:29
  Well, I mean, and Yasmin Page in this one is sort of the entry
• 17:32
  point, sort of a bit like Rose or Martha or Donna were sort of
• 17:36
  bringing the audience into Sarah Jane's world, even though Sarah
• 17:40
  Jane is the main character, you know?
• 17:42
  I think he's done better than Rose.
• 17:44
  This. Oh yeah, yeah.
• 17:45
  Well, definitely, because I think they have more money.
• 17:49
  Well, I just sort of know what they're doing at this point as.
• 17:51
  Well, yes, well, now they know. Well, and I think, you know, I
• 17:53
  think Russell even said, oh, I can write these in my sleep.
• 17:55
  Like I've written children's TV And he had, you know, he'd
• 17:58
  written loads of children's TV before.
• 18:00
  So he can just sort of he, he knows the tone of this.
• 18:02
  He knows. And he just said I had to make
• 18:04
  it faster for CBBC because usually, but because the
• 18:07
  children's stuff I used to write was a lot sort of more measured.
• 18:11
  And so this has to go bang, bang, bang, bang, bang.
• 18:13
  And but as we'll as we'll discuss, I'm sure, I mean like
• 18:16
  that introductory scene with the parents, I mean, you immediately
• 18:21
  know who these people are. That's, you know, when we, when
• 18:24
  we're talking about sort of the shooty seasons, that's the stuff
• 18:28
  that I didn't get in. Yeah.
• 18:31
  It's that real economy of character work of like Boom the
• 18:34
  Smith the the Jones family in. Smith and Jones.
• 18:38
  You know, you just knew in a scene who those people were.
• 18:41
  Yeah, it's a real skill. I remember the other thing.
• 18:44
  The other thing was I think it was really smart that they do
• 18:49
  have the Slavine in the first series, which is a link back to
• 18:53
  Doctor Who. But for the most part, they
• 18:55
  really let from invasion of the Bane to the Lost boy at the end
• 19:00
  of season 1. It is basically not Doctor Who
• 19:04
  monsters. So they let the show find its
• 19:07
  feet and then they start bringing in some Tarans, you
• 19:11
  know, and, and things like that as well.
• 19:15
  But they, they create their own world before, you know, bringing
• 19:19
  in the old favourites. I think that's a good move.
• 19:22
  Well, and, and some of the monsters there are, I think are
• 19:26
  they then showed up in Doctor Who later.
• 19:28
  So you sort of can because they, so they created monsters that
• 19:31
  would not look out of place in Doctor Who, but have their own
• 19:35
  sort of foundation in in The Sarah Jane Adventures.
• 19:39
  A Sarah Jane monster is mentioned in my all time
• 19:43
  favorite Doctor Who story, Turn Left.
• 19:46
  Oh, which trickster? The trickster.
• 19:48
  One of the tricks brigades. Yeah.
• 19:49
  Well, that was such a great invention of sort of like that.
• 19:53
  I mean, talking about talk about sort of not condescending to
• 19:56
  kids. It's like, I know.
• 19:57
  It's like, fuck your comfort zone.
• 19:59
  Here's some nightmares for you. You wait till we get to Jade
• 20:02
  Usher, go in. Who said I was meant to die?
• 20:05
  Oh God, why? Well look, before we get to
• 20:09
  existentialism and murder, should we go and have some fun
• 20:12
  with invasion of the Bane? All right, one more thing,
• 20:17
  because this is about what is it?
• 20:20
  It's about what's the name of this drink in the Bubble shop?
• 20:24
  Bubble Shop. So I brought my own Bubble shock
• 20:27
  for this. Oh, it's a bit of ASMR for the
• 20:30
  listeners. So look at that.
• 20:35
  That's the sound of, well, a drink that I probably won't name
• 20:38
  because it's product placement, but Bubble Shop got my own
• 20:41
  bubble shop. Oh my God, does it contain bind?
• 20:45
  Drink it. 100% organic, I hope. Yeah, Well, look, if it was
• 20:52
  cute. I mean, that man who was handing
• 20:54
  out the bubble shock in this. I mean, I'll have taken
• 20:56
  anything. We better go into the episode
• 20:58
  quick. Let's go there.
• 20:59
  Could be kidding, Wings. Let's go.
• 21:00
  Hold on. I gotta get it up.
• 21:02
  Pick it up. The the episode.
• 21:03
  I've got the episode. Yes, thank you.
• 21:05
  You'd be very specific. Yeah, very.
• 21:07
  Specific. Yeah, Here we go.
• 21:09
  Oh, yes, OK. OK, tell me when you're ready.
• 21:12
  Will you count us in? OK, All right, ready.
• 21:16
  So in 54321 play. Our voyage begins.
• 21:26
  Here we go. I wasn't so keen on the sequence
• 21:32
  when I first saw it. I was like, oh, that's to Doctor
• 21:34
  Who. But it's stuck.
• 21:36
  And it's one of those earworms where you think, oh, every time
• 21:39
  I hear it now, I'm like, I immediately think, oh, the Sarah
• 21:41
  Jane Adventures. It took me a long time to what's
• 21:43
  the letters all about? And I'm like, oh, she's a
• 21:45
  fucking journalist. I mean, look at this.
• 21:49
  These lovely CGI shots of the Earth and the moon.
• 21:52
  Once again, beginning with planet Earth, as Russell T
• 21:56
  Davies season might. Oh, another thing they did as
• 21:59
  well is they brought in some of the great directors from Doctor
• 22:03
  Colin Teague. Did Sound of Drums, didn't he?
• 22:05
  And last. Time Lords.
• 22:07
  Yeah. Pfizer.
• 22:08
  Pompeii. Graham Harper does too this
• 22:10
  year. He does, doesn't he?
• 22:12
  I mean, come on. Oh, the ultimate DILF.
• 22:18
  Oh, Maria's dad, Alan, he is. Come on.
• 22:22
  He is the most beautiful man at the time in Doctor Who, I think.
• 22:27
  Yeah, but also here we have the funniest woman in Doctor Who.
• 22:30
  Another one of Russell's monstrous mothers.
• 22:34
  Yes, Chris. Why are they all so wonderful?
• 22:38
  I think, I don't know. I think he's he, he meets
• 22:41
  because he writes all, writes them as all awful people, but
• 22:43
  you still care about them. That's the sort of he's got that
• 22:46
  knack, hasn't he? Dads are sort of usually nice,
• 22:49
  you know? You can hear the music now,
• 22:51
  can't you? I mean, I can't hear the music
• 22:57
  and I can hear the music. Sam Watts does the music for
• 23:00
  this. It isn't Murray Gold, is it?
• 23:02
  Because you're not, right? No, no, no.
• 23:04
  It's it's he works with Murray Gold, right?
• 23:07
  But it is a different composer. And oh God Almighty, you're
• 23:10
  gonna have to distract me from Alan being on the screen, all
• 23:12
  right? Well, I mean, in this scene,
• 23:14
  there's a lot. This is what we were saying
• 23:16
  about sort of not talking down to kids.
• 23:18
  Kids can pick up on all this stuff where it's very sort of
• 23:21
  so, she says now, oh, I better go home.
• 23:24
  Yvonne's waiting for me. And so we immediately know, Oh,
• 23:27
  well, they're divorced and there's all these lines like,
• 23:29
  oh, your mother wanted the money and yeah.
• 23:32
  And you really get a sense of what Chris is like here, don't
• 23:35
  you? Yeah.
• 23:35
  Yeah, exactly. And.
• 23:36
  Just send me that check in the post.
• 23:38
  Daniel yes. Well, exactly.
• 23:39
  Another venal kind of mother, Yeah.
• 23:43
  And then, yeah, Maria's saying, oh, I, I they were my friends.
• 23:46
  And she said, well, you get some new friends.
• 23:48
  I mean, she does, to be fair. She does.
• 23:50
  She does, and then I. Can't believe one of the first
• 23:53
  lines in this bloody thing is they are saying, oh mind you
• 23:56
  when she's looking at it, it's the first thing to work and so
• 24:00
  are you going to say then? Well, no, I'm just, I think we.
• 24:04
  Alan sort of then gives a sort of little flick of his eyes as
• 24:06
  she as she walks out. It's like sort of like come on,
• 24:09
  go and see your mum off. But you know, there's tension
• 24:11
  between in the family, but let's you know, so they've they've got
• 24:16
  past the stage of sort of screaming matches and fights and
• 24:18
  it's all sort of now they've made it work, even though, you
• 24:22
  know, she's obviously got this new man and is quite money
• 24:26
  grabbing, you know, I. Think we sort of like Chrissy
• 24:29
  because she's a cow and we like, we like cows, but we immediately
• 24:34
  love Maria and her dad, right, who are sort of working their
• 24:38
  way into into this relationship of just the two of them in this
• 24:41
  new house. It's a great set up I think.
• 24:44
  Oh, and he's really funny. I mean the dad I.
• 24:47
  Like it when it goes to Sarah. Hello.
• 24:49
  Yes. We won't try making too much
• 24:50
  noise. And Sarah's already gone.
• 24:52
  He's like, yeah, see you later. Yeah.
• 24:54
  Nice to meet you. Yeah.
• 24:57
  Oh, look at that. Doesn't that look like CBBC of
• 25:00
  the time? The Bubble Shock adverts.
• 25:01
  Bubble shock adverts, very like in your face, very frantic.
• 25:06
  Is that a wig she's wearing there?
• 25:07
  She's got a lot of hair when she goes to.
• 25:09
  Just put her head down I think because she wears it out for the
• 25:11
  rest of the. Oh, Daniel, I'd love one of
• 25:14
  these bedrooms. You know, with the the skylight
• 25:16
  window. Yeah, well, there's a lot of
• 25:18
  skylights in The Sarah Jane Adventures, isn't it?
• 25:21
  Yeah. Well, we'll get a good look at
• 25:22
  how longingly at the styles. You know now you know who's
• 25:27
  going to turn up in a second, don't you?
• 25:28
  It's like Toshiko's lesbian alien.
• 25:31
  I was going to say, yeah, so the, I mean, the, the, the sort
• 25:34
  of the, the, the two shows could not be more different because
• 25:37
  that was, yes. Toshiko's alien girlfriend who
• 25:42
  ends up I mean, Jack, Captain Jack does a sort of trout and in
• 25:46
  Seeds of Death, doesn't he? And sort of sends her into the
• 25:48
  sun. And here it's this sort of very
• 25:51
  ET secret garden moment of creeping out and seeing.
• 25:54
  I got massive Harry Potter vibes here with her going out into a
• 25:58
  normal St. and weird stuff is the.
• 26:00
  Weird light. The sort of Spielberg lights.
• 26:02
  It always works, doesn't it? It's always really like it's on
• 26:06
  your doorstep. It's happening at night and you
• 26:08
  don't know about it. The kids do, but you don't.
• 26:10
  Well, and that scene sort of is essential because, I mean, she
• 26:13
  sees an alien almost right away and she doesn't really kind of
• 26:18
  bring it up again until she has to sort of say to Sarah, well,
• 26:21
  no, I'm involved in this now because I've seen, I've seen you
• 26:24
  with an alien. So you can't tell me this stuff
• 26:26
  isn't real. It's a good effect as well, I
• 26:28
  think. Yeah, the CGI alien.
• 26:30
  The sort of floating alien. Ethereal, ethereal, very
• 26:34
  psychedelic. I remember, you know, I tested
• 26:38
  this on my other half's niece, my other half at the time's
• 26:42
  niece when this came out. And this was the point where I
• 26:46
  had to turn it off because she was really scared.
• 26:48
  I mean, she was like 4, you know, and she got, she was sort
• 26:52
  of really enjoying it and the bubble shock advert and all of
• 26:54
  that. And then something weird is
• 26:56
  happening in the garden, strange aliens.
• 26:58
  And she started crying. I was like, OK, it's too young.
• 27:01
  Well, maybe it's also that sort of instinctive child thing of
• 27:03
  oh, well, she might get caught. And if she gets caught, you
• 27:06
  know, well, that's scary, you know, So even the fear of
• 27:09
  getting caught, I think that's also why she runs away.
• 27:11
  She runs back to bed. It's like straight, straight
• 27:13
  back to bed, you know, and. He found that.
• 27:15
  I just love that camera over there, the camera running after
• 27:18
  Maria as she's going and the door sort of slammed in our
• 27:21
  faces. Hey Daniel, how would you know
• 27:23
  if you were going mad? Well, I mean, what does he have?
• 27:28
  What does he have that line about?
• 27:30
  Oh, your mum knows all about that?
• 27:33
  Ask your mum. Oh man, Chrissy just gets better
• 27:36
  and better. Mind you, I do love Geeta as
• 27:39
  well when she comes. Along.
• 27:40
  Oh yes, that's right. Yeah, blooming lovely.
• 27:42
  She's great. Oh, Alan, please.
• 27:45
  I mean, for course. Oh boy.
• 27:46
  Here's Kelsey. Hooper.
• 27:49
  Please give me your thoughts. Well, I kind of like the idea of
• 27:53
  a mean girl. I think they are.
• 27:55
  The issue is I don't think if you could sustain that over, if
• 27:59
  you're going to make this a long running series, you couldn't.
• 28:01
  You'd have to sort of dig deeper into the character and tweak it
• 28:04
  a little bit because she is very obnoxious and bratty.
• 28:08
  And although there is a kind of quite clever line by Samantha
• 28:12
  Bond later on about how she's basically this world scares her
• 28:18
  so very much. So she's kind of acting out and
• 28:20
  kind of acting older than she actually is.
• 28:23
  Oh, I don't know that that young actress has the hearts power to
• 28:28
  do what Daniel Anthony does going forward because he's the
• 28:30
  replacement basically. Isn't he in the next story?
• 28:33
  He is much more likable, cool, charismatic.
• 28:36
  You know, I'll say this. Mark was doing this for two or
• 28:38
  two recently, and he just thought everything else he said
• 28:41
  was absolutely hilarious. He could.
• 28:43
  What was it? She goes like, aliens are real.
• 28:45
  Shut up. Well, this was the time also
• 28:50
  like when, you know, having music channels on TV was the
• 28:54
  thing and flip phones and. You've got music channels.
• 28:57
  You're dead, Daniel, if you don't got the music channels.
• 29:00
  Alright, I'll. Have it somewhere.
• 29:01
  Oh, thank God. Well, and this is funny because
• 29:05
  what's her name? Porsche.
• 29:06
  Oh, I can't remember her full name.
• 29:09
  Porsche the actress. It's her second and final
• 29:12
  performance as an actress on TV. Whatever.
• 29:15
  Yeah. Oh well.
• 29:17
  She was in a sort of stars in their eyes thing before and
• 29:19
  then. Immortalised.
• 29:20
  She's now in. She now works for Apple I
• 29:22
  believe. So, oh, she's done a write for
• 29:24
  herself then. Yeah.
• 29:25
  All right. She's buy RCD.
• 29:27
  Yeah, buy it. Is she the child actor you think
• 29:31
  Russell's talking about in the writers tale?
• 29:33
  You know, he's telling Benjamin Cook how he had to fire an
• 29:36
  actress that just wasn't up to par, a young actress.
• 29:39
  He talks about a kid and he goes, you know what?
• 29:41
  For the good of the show, I just did it.
• 29:43
  He goes, I don't care. The show's the most important
• 29:45
  thing. I wonder if it's Portia?
• 29:47
  I think it, well, maybe because she's only sort of, she kind of
• 29:50
  disappears at the last sort of 20 minutes of the episode.
• 29:53
  And then they mention her in a, in a sort of they mention her.
• 29:58
  I was like, oh, she's backtracked.
• 30:00
  She's gone back to believing aliens aren't real and and
• 30:03
  doesn't get invited for lemonade at the end.
• 30:06
  No, she's not in that love. Scene.
• 30:08
  Who knows? Don't.
• 30:08
  They say, Oh yeah, Kelsey's moved away or something like
• 30:10
  that. Do you know why Joseph Milsen
• 30:15
  agreed to play Alan? Because he was a in demand actor
• 30:19
  at the time. He was doing really prestige
• 30:21
  theatre. At the time, Shakespeare.
• 30:24
  Guy, he did not need to make a CBBC television show.
• 30:28
  He wanted to do something for children and he said he wanted
• 30:31
  to do something good for children, and I just think
• 30:34
  that's wonderful. I just got the impression that
• 30:36
  the whole production team here were just like, let's deliver
• 30:39
  something amazing for kids. Yeah, yeah, definitely.
• 30:43
  Well, and we just saw a brief glimpse of Sarah Jane, but she
• 30:47
  was very sort of curt and standoffish.
• 30:50
  And so she there's a kind of a reset to the character where
• 30:53
  she's a lot, you know, she's lonely again.
• 30:56
  She's a bit mysterious. She's a bit prickly as well.
• 30:59
  You see, Mum didn't like that. I love it.
• 31:01
  I like how grutious to the kids. That's why I'm like with
• 31:04
  children, you know? Maria, fuck off, all right?
• 31:07
  And mind your own. That's exactly what I'd be like,
• 31:11
  but. She's investigating.
• 31:13
  The car she would have not that car she had in canine and
• 31:15
  company come. On No Well and her car got
• 31:18
  destroyed in School Reunion so she had to have a new one.
• 31:21
  Yes, and of course this is a much better house than the one
• 31:24
  she had in five. Oh, in five doctors?
• 31:27
  Yeah, yeah, she moved away. The doctor probably gave her the
• 31:30
  keys to a house or something. Do you think, do you imagine?
• 31:33
  Yeah, the sort of the the key. Probably overcompensated so.
• 31:36
  Or you can have the Sonic lipstick and a house and a car
• 31:39
  and canine. It was all around Canine's neck
• 31:41
  at the end of School Reunion on a, on a little, you know, tag.
• 31:44
  Oh, this is great. This is so Sarah, right?
• 31:47
  Going in, investigating like this could be season 11 now.
• 31:51
  Yeah. Of Doctor Who.
• 31:52
  Yeah, exactly. Exactly.
• 31:54
  And the sequence when we get to it, you know, the bit where
• 31:56
  she's talking with Samantha Bond over the table and they're, Oh
• 32:01
  my God, they're evil. So they're giving each.
• 32:03
  Other the verbal sparring, yeah. I love watching two women going
• 32:08
  at it and not like that, All right?
• 32:12
  Oh, Oh my God. Look, another hot man who's.
• 32:13
  This. Oh, here it goes.
• 32:14
  Davey, I think his name. Is this the muffin?
• 32:17
  The muffin? Yeah, very did.
• 32:19
  We ever say yarn she likes. We do.
• 32:20
  We say muffin. Well, I still say it.
• 32:24
  Oh, oh, really? So now they go for this arch,
• 32:32
  right? And then all of the information
• 32:34
  is then pumped into Luke. Is that right?
• 32:37
  Yes, Luke is the the archetype, so they kind of.
• 32:41
  That's a great visual of him there, all under that swaddling.
• 32:44
  Yeah, look, he looks a bit sort of slightly scary actually.
• 32:49
  And she's, you know, in in silhouette and shadow.
• 32:52
  So and then she now here she is. She steps into the line.
• 32:55
  Oh yes, she goes. He's almost fully mature.
• 33:00
  Samantha Bond is the the best money penny I think and and she.
• 33:06
  Wonder like she didn't need to do this either.
• 33:10
  No, like Downton Abbey was just round the corner.
• 33:12
  She was doing great shows at the time.
• 33:15
  She didn't need to do CBBC. So what is it?
• 33:18
  Was it because it was affiliated to Doctor Who?
• 33:21
  I mean, she said in the tribute magazine.
• 33:24
  When Elizabeth Slayden died, she wanted to work with Elizabeth
• 33:26
  Slayden. Yeah.
• 33:28
  Oh well, that's probably why they give her they they give her
• 33:31
  that big scene with the two of them.
• 33:34
  And she comes back as well. And she comes, yes, an enemy of
• 33:37
  the pain. Oh, look at the Sonic lipstick.
• 33:40
  Sonic lipstick? No, it's not too much.
• 33:42
  Well, that was, I think that was what how Russell pitched it to
• 33:45
  Slayden. He sort of said, Oh yeah, well,
• 33:47
  she's got Sonic lipstick now, kind of like the Sonic
• 33:49
  screwdriver. And and then I think Liz Slayden
• 33:52
  sort of was saying, well, why can't she use it for this?
• 33:54
  Why can't she use it for this? Yeah, just let's move on.
• 34:00
  There's that wonderful scene in I think it's Series 3 where
• 34:03
  she's going on a date and she gets a lipstick out to reply and
• 34:06
  then his Sonic surface. It's very funny.
• 34:10
  Let me look at this bloody factory.
• 34:12
  It's enormous. Well, a lot of that, that's a
• 34:15
  very, this is very much this era of Doctor Who as well of sort of
• 34:19
  all those industrial corridors and steam and pipes and you
• 34:24
  know. It does have a a visual richness
• 34:28
  to it. I think this.
• 34:29
  Well, and we've got all the the orange popping colours now.
• 34:33
  It's all very colourful now. But I see, I like that in RTD
• 34:36
  one that sort of primary colours.
• 34:38
  Crash colours. People say they prefer the sort
• 34:42
  of blue and brown filters of the Capaldi era.
• 34:45
  I just can't possibly agree. Jesus Christ, go and watch those
• 34:50
  scenes in Death in Heaven in that graveyard again.
• 34:52
  It's so miserable. So I'd rather watch this.
• 34:56
  You know where the origin making my eyes bleed.
• 34:58
  Now this is the thing. So this is where this is kind of
• 35:01
  again, a sort of element of tension that the kids will pick
• 35:04
  up on, even though it is quite threatening where he's sort of
• 35:08
  like, hey, come here, you're not drinking the bubble shop.
• 35:10
  What's going on? And she said, oh, I don't like
• 35:13
  it. And it's, oh, you're one of the
• 35:13
  2% who don't like bubble shop. But don't worry, we'll you know,
• 35:17
  we'll change that. It's like a hamster audience.
• 35:19
  You know, there's 2% that don't like it.
• 35:23
  Don't you worry, we'll get you all right.
• 35:24
  And she's like, I'd rather have a cup of tea.
• 35:27
  That's how we know she's perfect for Sarah.
• 35:29
  Yes. Yes, she's just been handed a
• 35:31
  cup of tea. And then you as it cuts to
• 35:34
  having Sarah having a cup of tea.
• 35:36
  I don't know who this bitchy assistant is, Mrs. Bond,
• 35:39
  Samantha Bond has got, but she's there waiting to kill Sarah at
• 35:42
  any minute. Yeah, and quite a violent scene
• 35:46
  for a kids TV program. She help.
• 35:48
  Her the elbows are in the ribs. Yeah, because she's about to
• 35:50
  like, give her a big karate chop sort of thing in the lift.
• 35:53
  I think as well that this sequence where they're talking
• 35:56
  about the EU and you know, the ingredients in the bubble shop,
• 36:02
  there's enough sort of smarts in the dialogue that you sort of
• 36:05
  go, oh, OK, yes, this all sounds plausible, but I don't think
• 36:10
  it's too much that it sort of goes over kids heads.
• 36:13
  No. And actually, I think the, the
• 36:15
  thing, the whole thing with the drink, it is, is, is actually a
• 36:20
  really kind of sort of spiky comment on, on advertising in
• 36:26
  general, just boiling it. I mean, did you ever see They
• 36:29
  live, the John Carpenter film? It was basically in, in the 80s.
• 36:34
  This guy gets some sunglasses and it, and through the
• 36:37
  sunglasses you can see the truth of everything.
• 36:41
  So all the messaging appears as a lot of for adverts is like
• 36:44
  conform and obey and have more children.
• 36:48
  And so that's what this is doing in a way.
• 36:50
  It's boiling down the message to just drink it.
• 36:52
  You see all these adverts now you see like cigarettes and
• 36:55
  McDonald's. And it's just like night one,
• 36:57
  just do it or something isn't. It.
• 36:59
  Yeah, exactly. Just do it exactly.
• 37:01
  My God, Joe, I never, I never, ever thought of that, That this
• 37:05
  was a scathing like it's take. Yeah, it's marketing to
• 37:09
  children. Like, really?
• 37:11
  Boiling it down to this is what it wants you to do.
• 37:13
  It wants you to to consume. That's why I need you here,
• 37:16
  Daniel. You're much smarter than me,
• 37:18
  alright. Well, and it's what, it's what
• 37:20
  Samantha Bond says. You know, the, the Western
• 37:22
  world, they just, they feast and they gorge And, you know, very
• 37:26
  that delicious dialogue she's been given.
• 37:28
  Dicky food, or I mean I love all of it as well if I'm honest.
• 37:32
  Well, it works exactly. It shows you how effective it is
• 37:35
  as well. And may I say, what an enticing
• 37:37
  fizzy pop zombie you make a couple of times.
• 37:40
  You've done it now. Hope you.
• 37:41
  Think it's very much. No to say, listen to it.
• 37:48
  Oh dear. Have you tried it?
• 37:51
  No, she she don't want it neither.
• 37:52
  I don't want your wretched pop. Oh yes, And she says I'd rather
• 37:55
  die. And they're like, oh, we can't
• 37:56
  have that. Like, do you see these weird
• 38:00
  look, the shots of the camera going along the floor in the
• 38:03
  distance? It's just been shot in really
• 38:06
  stylish ways. Very dynamic, yeah.
• 38:08
  Yeah. And did you think when Smell for
• 38:11
  Bob was given a big speech about the sticky food and the camera
• 38:13
  starts tilting? And tilting like the Dutch
• 38:15
  angle. Very like sound of drums.
• 38:18
  There's a lot of that in a. Lot of canted angles in there.
• 38:20
  Because Phil Collinson says on the commentary he didn't like
• 38:23
  it. He didn't.
• 38:24
  He was like, why is the camera like that?
• 38:26
  I don't understand. Because it's visually
• 38:28
  interesting. Makes it more, that's why.
• 38:30
  Yeah, maybe you should have tilted some cameras in RCD too.
• 38:34
  Stuck around. Oh dear.
• 38:37
  Yes, there you go. Oh, we can't have the hat.
• 38:39
  Doesn't she say to her in a minute?
• 38:41
  And by the way, what planet do you come from?
• 38:43
  Oh, yeah, it's nice try. And there's also that thing of
• 38:46
  like, oh, I spoke to some scientists and she's like, oh,
• 38:49
  your social circle is fascinating.
• 38:52
  No. Oh, I love it.
• 38:54
  I love it. I mean it's.
• 38:57
  Very much the Miss Foster thing in Partners in Crime isn't.
• 38:59
  It but there's plenty of them in Sarah Jane of the I mean, the
• 39:03
  fella who goes, I can still remember the line.
• 39:06
  It's in war as the Kudlak. He goes, you know what, Miss
• 39:08
  Smith? He goes a conscience.
• 39:10
  It's like a stone in your shoe. You can't begin to imagine the
• 39:14
  relief once it's gone. You know, they have great lines
• 39:17
  like that. I mean, Jesus, you see that
• 39:21
  enormous funnel there with all the smoke coming out of it.
• 39:24
  Look at that. Yeah, yeah.
• 39:26
  Again, all these in this industrial background, which I
• 39:29
  mean, I think that there's a few scenes in here where they're
• 39:31
  literally just running down corridors and that's pretty much
• 39:33
  all that's happening on screen and it's so exciting.
• 39:35
  Is it, is it where they're doing really fast tracking shots of
• 39:38
  them running down through the bubble shop factory, like with
• 39:41
  all the pipes? And though I think that's some
• 39:43
  of the sexiest running down corridor things you're ever
• 39:46
  going to see in Doctor Rowe. It's kind of like how that's how
• 39:48
  far you can sort of, you can't really do too much violence, but
• 39:51
  you can do a lot of excitement. Yeah, yeah, yeah.
• 39:54
  Well, you know, more excited, like all heading to the bulk and
• 39:57
  like we can't go in there. Why?
• 40:00
  It's for the ladies. Again another sort of part of
• 40:03
  the crime bit of going hiding the ladies toilets.
• 40:06
  And again, like going into the toilets is not something you
• 40:09
  generally do in CBBC shows. Right, yes.
• 40:12
  And the kids are like, Oh well, yes, we can.
• 40:14
  Yeah, I think they're like, how much can we push this?
• 40:17
  And sometimes I actually think they go over a line for what
• 40:20
  they should be showing kids. There's there's certain things
• 40:22
  later on this season where I'm like, that's really strong.
• 40:26
  Oh, here we go bitch. Fight in the lift.
• 40:29
  Yes, that's right, stomach. The classic thing of seeing the
• 40:33
  reflection of it in a in a mirror and then, yeah, there you
• 40:37
  go. Nothing dates TV more than the
• 40:40
  mobile phones, does it? Did you say that then?
• 40:42
  Yes, that's right. Yeah, what was that, An old
• 40:44
  Nokia? Or Samsung, I think.
• 40:47
  Yeah. So now it is basically tons of
• 40:51
  running around corridors. What more do we need from our
• 40:54
  classic Doctor Who RIP off? Well, and you know, we'll get it
• 40:57
  introduced to the Bane in a minute, but I was, I was
• 41:00
  wondering, that was the one question I had is like all these
• 41:03
  workers in the bright orange suits and the hard hats, I mean,
• 41:06
  are they all Bane or are they just working for the Bane?
• 41:09
  Maybe they're hypnotized. Maybe.
• 41:11
  Yeah, maybe. Or they just, you know.
• 41:13
  Oh no, they've been drinking them, so they're under the.
• 41:16
  The under the suggestiveness of it, yeah, yeah, yeah, OK,
• 41:18
  probably. Kelsey, yeah.
• 41:23
  Yes, that's the thing of, you know, well, teenage girls love
• 41:26
  their mobile phones and that's what gets her into trouble, you
• 41:29
  know? Doesn't she say we're going to
• 41:31
  go see my friend? She's Uber rich, you know.
• 41:33
  Yeah, and again, she's sort of so shallow, and I can't really
• 41:38
  imagine a character like that being part of the gang week in,
• 41:42
  week out. Like Clyde comes with a really
• 41:45
  interesting back story about his dad, doesn't he?
• 41:47
  Living alone with his mum, wanting to be an artist?
• 41:50
  There's there's just more depth to him, I think.
• 41:52
  Oh, there we go, the Bane giant eye.
• 41:55
  Have you ever been attacked by enormous glistening tentacles,
• 41:59
  Daniel? Not yet, not yet.
• 42:01
  Give it time. Let's see how it goes.
• 42:06
  Look at these corridors, man. I mean, talk about getting hot
• 42:09
  under the. Collar.
• 42:09
  Oh, that big, That big. It's Sarah Jane Smith because
• 42:14
  it's into Mrs. Wormwood's face. Are we nearly at the line where
• 42:17
  she goes? No one could get through that
• 42:19
  window except our narrow hipped mix and no narrow hipped female.
• 42:24
  Female. That's right, yes.
• 42:26
  Now this is an interesting thing.
• 42:27
  She she, she kind of walks out of her office saying go and kill
• 42:30
  them. Then she goes back to her office
• 42:33
  and then another alarm sounds and she has come out of her
• 42:35
  office again. So she does a lot of back and
• 42:37
  forth. Doesn't she say turn off that
• 42:40
  fucking alarm? I know she doesn't say fucking.
• 42:42
  I know. Yeah.
• 42:45
  I mean if that if the alarm is hurting the babe mother then.
• 42:49
  Yes. Turn it off.
• 42:51
  And they, that's another thing they do, the Doctor Who thing of
• 42:53
  the monster point of view, which I'll talk about again later
• 42:57
  because they do it in a sort of chase sequence.
• 43:00
  Very well done. It is brilliant the.
• 43:02
  Tooth and claw sort of thing. Sequence.
• 43:05
  I think it's pretty extraordinary.
• 43:09
  Yeah. And then people will say, well,
• 43:10
  this is all very hyperbole for The Sarah Jane Adventures and
• 43:13
  Invasion of Pain. Go and watch it again, folks.
• 43:15
  Alright, get in touch with your inner kids.
• 43:17
  Why wouldn't you not want to do it right now?
• 43:19
  It's just wonderful. Well, and even on it's, you
• 43:21
  know, on it's modest sort of budget and ambitions, they do a
• 43:25
  lot with very little I think. Yeah.
• 43:28
  Now my ex-husband Simon was extremely rude about Tommy
• 43:32
  Knight and said that he was the worst actor he's ever seen
• 43:36
  anything ever. And now I think we can sort of
• 43:39
  give him a pass in this episode where he's waking up for the
• 43:42
  first time and has no clue who he is.
• 43:44
  He's literally a blank slate, isn't he?
• 43:46
  Should we see how good his performances are as we go
• 43:48
  through? Well, his voice breaks sort of
• 43:50
  very, very early on, doesn't it? Because he's still he's, he's
• 43:55
  still literally a child in this. Have they chosen him?
• 43:58
  Because he looks very androgynous there, doesn't he?
• 44:01
  He does. I think there is a bit of that,
• 44:03
  yes. And originally, well, I think in
• 44:05
  the the end game was they were going to have him come out I
• 44:08
  think as gay. Daniel, will you look at these
• 44:10
  corridors? I mean my God.
• 44:13
  I think some of these corridors you've seen, it's an RTD
• 44:15
  episodes. Yes, there you.
• 44:17
  Go like literally, just literally running.
• 44:19
  And it's very like cutting very, very fast between Oh yeah and
• 44:25
  yeah, very. It really rattles along this.
• 44:28
  And for the babe mother's sake, turn off a hamster with a blood
• 44:31
  pen knife. Perish the thought.
• 44:34
  No, please. You're right, though.
• 44:37
  Yeah, well, they they laid the seeds.
• 44:39
  You'll see. Because you have done 4:00 and
• 44:41
  5:00. But when Luke goes to university
• 44:43
  in four, he's phoning in in a lot of episodes, and he keeps
• 44:47
  talking about this boy that he's.
• 44:50
  Mad. Sanjay Yeah.
• 44:52
  It's a shame they didn't quite get there, but again, they did
• 44:55
  do it in Wizard versus Aliens. They had one of the boys there
• 44:57
  come out, which is really well done, I thought.
• 45:01
  Hello, Maria. You know, you find a new
• 45:03
  boyfriend, you don't drag him straight into her.
• 45:05
  Traits of the ladies like this. She's very expressive.
• 45:11
  Yasmine Paige, actually, yeah, I used to think when I was when I
• 45:15
  first watched her. Oh, she's so annoying.
• 45:17
  But no, she's she's she. She as a kid, you would be a bit
• 45:20
  sort of sort of strident like that.
• 45:22
  She. I'm going to say something
• 45:23
  controversial because I do find there a bit screechy at times.
• 45:28
  Like she's. Why men?
• 45:29
  Yeah. Yeah, and I do much prefer
• 45:33
  Angelini Mahindra. I think she's just a really good
• 45:37
  actress when she comes in and. When Ronnie comes in.
• 45:40
  Fuck mate, she went on to do some great work didn't she
• 45:42
  Angelini? Did you ever watch the the
• 45:46
  lockdown 1? They did.
• 45:48
  Yes, good farewells. Right, every time.
• 45:51
  I know, Emmanuel, I know. Narrow hip feet male.
• 45:57
  Oh yes, this when they escape out the bathroom window.
• 45:59
  I'll wait for this shot in a minute, right when the car does
• 46:02
  a sort of reverse round and then straight through the doors.
• 46:05
  It's like something out. Bond is great.
• 46:07
  She does all that speeding around in it.
• 46:09
  I mean, that's, that's it's a great car actually.
• 46:12
  Just at least they didn't drive. I don't think she does.
• 46:13
  I think she had a stunt driver. I.
• 46:15
  Think she did get her she did eventually pass the driving
• 46:17
  test, but they yeah, a lot of it is just stunt driving and.
• 46:20
  She's at the wheel and there's someone under there doing all
• 46:22
  the bloody Don't left or right. Yeah.
• 46:25
  Look at this shot now of the car room.
• 46:28
  I mean, this could be Doctor Who, all of this.
• 46:31
  Yeah, all of it. Yeah.
• 46:32
  Yeah, exactly. And you know what?
• 46:34
  I, I, what costs money is people.
• 46:36
  And by the end of this story, they're filling high streets
• 46:38
  full of extras. Oh, well, that is, that's when I
• 46:41
  sort of thought, oh, they've really thrown the money at this
• 46:43
  is when you see all those people walking out, they're like
• 46:46
  zombies, you know, drink it. Well done.
• 46:50
  You're about to see one of the most terrifying shots ever in
• 46:54
  Doctor Who or Doctor Who related spin offs.
• 46:56
  All right, it's when the camera comes out of Kelsey Hooper's
• 46:59
  mouth while she's ranting in the office.
• 47:01
  Do you remember? Oh no, I'm gonna have to.
• 47:03
  I'll keep don't take your eyes off the screen, all right?
• 47:06
  You're literally inside her mouth and the camera comes out
• 47:10
  of it while she's going and by FYI, you can't just keep me
• 47:14
  here. She's going.
• 47:17
  I see. Here we go.
• 47:17
  Look. Yeah, Maria, back her off back
• 47:19
  home, all right? There's dangerous things going
• 47:21
  on and I don't want any Kitty wink Muppets getting in my way.
• 47:24
  That's. Right.
• 47:25
  And it's, it's actually, it's a really nice scene she has with
• 47:28
  her dad after that where she runs back upstairs to her room
• 47:31
  and she's really upset. And he immediately knows
• 47:34
  something's wrong. And then he comes up later with
• 47:36
  a lot of sort of cheesy dad joke.
• 47:37
  And then and then he sort of sits down and says, you know,
• 47:39
  you can, if something's wrong, you really can talk to me about
• 47:42
  anything. And she wants to tell him, but
• 47:45
  then she just said, like, she just hugs him and you know.
• 47:47
  How could you possibly broach the subject of the day you just
• 47:50
  had, well, this alien squid on the ceiling and the fact, oh,
• 47:54
  oh, did you see it? Oh, OK, that is a big gob.
• 48:01
  Oh, these lines here. Which was she?
• 48:04
  What is it? She devotes her life to the Holy
• 48:06
  Oak. Oh yes, no Hollyoaks.
• 48:11
  Hey Daniel, do you think you can still get those Dayglo orange
• 48:15
  stand up lamps? They're quite fabulous, aren't
• 48:17
  they? Oh.
• 48:17
  Which one's that? Is that in her bedroom?
• 48:19
  No, no, no. In the the in the bubble shop.
• 48:22
  Hang on. There, you're ahead of me.
• 48:25
  Oh, that's. Right, I'm fast forwarding.
• 48:27
  OK, great. All right, I'm seeing Sarah Jane
• 48:29
  on the screen now. They're talking about his Artron
• 48:31
  energy. Yes, yes.
• 48:32
  Or I was very. Yes, that's right.
• 48:34
  Oh, Artron energy. Again, that sort of that
• 48:38
  background radiation thing that they did bring back, I think in
• 48:41
  Series 2. So mentioning if you've
• 48:43
  travelled in time, then you're kind of, you know, you're,
• 48:47
  you're special in the sense the aliens can pick up that you're
• 48:50
  not from you're from Earth, but you're not.
• 48:52
  There's something special about you.
• 48:54
  Now I don't wanna borrow subject, but I'm going to now.
• 48:57
  Davy is clearly what, maybe early 20s here?
• 49:01
  Very, very young for for his position.
• 49:04
  Exactly. And he takes her to the thing
• 49:06
  and she thinks he's he's taking around the hope she goes, oh,
• 49:09
  alright. Well, you could come in and I'm
• 49:11
  like, what is happening? Yeah.
• 49:13
  Like there is an age disparity here.
• 49:16
  Yeah, and again, I think that's The thing is she acts older than
• 49:18
  she actually is because she's the I think the I think misses
• 49:23
  Wellman says. You know the the the mind of a
• 49:25
  child is chaos and her parents fight and.
• 49:28
  That's good lines and and accurate, like all the chaos
• 49:33
  that was going on in our heads when we were that age.
• 49:35
  And there was a good line about how they don't kill her because,
• 49:39
  you know, these miniature versions have parents and
• 49:41
  parents ask questions, you know, So it's not that kind of show,
• 49:45
  you know? This is exactly what my Mark
• 49:49
  does. Once I've had a Strop, he comes
• 49:51
  in with a cup of coffee. It's like, you done now.
• 49:53
  Yeah, right. Yeah, there's your coffee and
• 49:55
  let's have a hug. The solution to everything, as
• 49:58
  Rose would say. Well, your tea or a coffee man.
• 50:01
  Both. Yeah.
• 50:03
  But tea? Not in the mornings, I can't.
• 50:04
  You're in France, how could you possibly drink tea?
• 50:07
  You have the best coffee in the world.
• 50:09
  I know, yes. The thoughts of a child are
• 50:13
  chaos. She's great.
• 50:15
  Is she fat? Will she ever be kissed?
• 50:18
  Yeah, exactly. I think that kind of that is
• 50:20
  that that whole sort of speech is all about is basically sums
• 50:23
  up her character, but like. You're right, this is so Miss
• 50:27
  Foster. It is exactly what Sarah
• 50:29
  Lancashire was doing. It's like a little bit above
• 50:33
  naturalistic. She's given it over the top
• 50:35
  performance but it's not panto, it's.
• 50:37
  That poise that she has, you know, Yeah.
• 50:41
  It's like I believe this character exists, as ridiculous
• 50:44
  as she is. Yeah.
• 50:48
  Well, and yeah, I mean, that's, that's what works about it.
• 50:51
  And it is a very sort of, it finds a formula, doesn't it?
• 50:55
  The Sarah Jane Adventures of, you know, going into these
• 50:57
  companies run by these very icy kind of people, you know?
• 51:03
  This is very Doctor Who. Again, very again, yes, taking
• 51:06
  its cue from like, you know, the Green Death or whatever.
• 51:08
  I mean, the other thing it does is the Buffy thing of having the
• 51:11
  horrors in the school, and it does that quite a bit as well.
• 51:14
  And that's just a surefire winner every single well.
• 51:17
  Because again, kids would just love for something exciting to
• 51:20
  happen at school so. The latest fat maths teacher is
• 51:23
  a survey. Of course he is.
• 51:28
  So this is where do you think that maybe Sarah Jane adopts
• 51:32
  Luke Smith quite fast? Like at this point she's not
• 51:35
  quite sure. But by the end of the story,
• 51:37
  she's like, no, you're my son. And that's.
• 51:38
  It yeah, because she does sort of say because he said oh can I
• 51:40
  live with you? And she's like, no, but I think
• 51:43
  maybe she does want him around. You know, even at that point, I
• 51:48
  think a. Bit entranced by that sandwich
• 51:50
  she made there. There's no shots of it now, but
• 51:52
  it looked like several tomato and it did look quite nice.
• 51:55
  Yes, that's right. Yeah.
• 51:56
  Oh look, sexy corridor shots in slow motion?
• 52:00
  Even better. That's right.
• 52:02
  Yeah, I was. I was born running.
• 52:04
  That's a good line actually as well.
• 52:07
  Ready. Always.
• 52:10
  Always. Oh, look how effortlessly
• 52:14
  charming this lady is. Here, that smile.
• 52:17
  Well, yeah, and what was for for me.
• 52:20
  But that's why what I've always loved about her is, is not just
• 52:23
  the expressive face that she has.
• 52:25
  It's it's the voice, the way she there's this kind of melodious
• 52:29
  quality to it where it sounds so delicate and it makes even the
• 52:32
  ponies lines sound like gold. So you know I mean.
• 52:38
  I'm going to keep an eye out for some pony lines.
• 52:40
  Yeah, yeah, yeah. She'll get some even though they
• 52:47
  have put her in this sort of very mumsy sort of cardi there.
• 52:51
  Yes, although she does have that velvet burgundy coat that is
• 52:54
  very John Perry. So I'm thinking, you know, is
• 52:58
  she kind of like cosplaying as the doctors she used to travel
• 53:01
  with? Oh.
• 53:02
  Man, it'd be great if she came along and won, you know, Very
• 53:04
  bohemian and a big scarf. Around her big scarf.
• 53:07
  Yeah. Oh yeah.
• 53:07
  Because you go you see some of her outfits in in in the classic
• 53:11
  series, you're like, what is she wearing?
• 53:13
  But because it's Elizabeth Slayden, she kind of carries it
• 53:17
  off, you know, it's like. Wearing the five doctors, that
• 53:21
  weird purple Max that she's got on.
• 53:25
  Well, she's going out, as she says, to canine.
• 53:27
  You know, by the time she gets to series 4 and this shows the
• 53:30
  success, you know, they, they're doing great ratings, man.
• 53:34
  She's dressing in fabulous leather jacket.
• 53:36
  Leather jacket. She looks amazing.
• 53:37
  She looks good in leather, yeah. Jesus Christ, you would have no
• 53:40
  idea what was actually happening, would you?
• 53:42
  She just looks so healthy. I know.
• 53:46
  Yeah. Yeah.
• 53:47
  Well, and it happened all very, very quickly.
• 53:49
  Oh no, Kelsey's back. Thanks for abandoning.
• 53:53
  Me some friend you are. The dad say you're right here,
• 53:57
  Kelsey, do you want some beans on toast?
• 53:59
  It's like, oh, there's too many calories.
• 54:01
  I was like, fine, starve then. My mum used to make beans on
• 54:04
  toast for my mates. Yeah, it was.
• 54:07
  Whoa. It's the de facto meal.
• 54:09
  Well, actually, you know what she used to make?
• 54:10
  Beans. Beans in a Breville.
• 54:13
  You got a Breville maker? You got a toasted sandwich
• 54:15
  maker? Yeah.
• 54:16
  You put cheese and beans inside? Only a little bit mine.
• 54:18
  Otherwise they melt out the size.
• 54:20
  Oh, I need to shut up now. Please tell, tell me about this
• 54:23
  fabulous action sequence that's coming up.
• 54:25
  Oh, this is yes. So this is Davey in his bane
• 54:30
  form attacking are going to he's going to attack the the
• 54:33
  Bannerman Rd. residents. And well, I mean, what's clever
• 54:38
  about it is that it's, it's a very CG, obviously CGI monster,
• 54:41
  but they animate it well because it's always kind of like.
• 54:45
  It's always moving. It's yellow, isn't it?
• 54:47
  Moving and then it they kind of make it so that it's it's still
• 54:51
  integrated in the environment where the environment reacts to
• 54:54
  it. So there'll be a chandelier wash
• 54:56
  and a light falling on the floor knocking stuff over.
• 55:00
  The doors ripped off its hinges. Ripped off its hinges and then
• 55:03
  also sort of doing the tooth and claw thing of going from the
• 55:06
  aliens point of view. I think between that and the
• 55:08
  actors, really. Fast, Daniel, So fast.
• 55:11
  Very fast. Yeah.
• 55:13
  Well that scene where they go up the stairs is basically the
• 55:15
  tooth and claw scene in miniature.
• 55:17
  I think that's incredible. And when you see it's sort of
• 55:19
  slivering around the batter, stirring that it's, oh, look at
• 55:23
  it. Yeah.
• 55:25
  And then there's a massive dramatic zoom.
• 55:27
  There you go on Sarah going ah, getting something quick.
• 55:31
  Well, and it looks a bit like the the nesting from the Target
• 55:37
  Book of Terror of the Autumn. It does, you're right.
• 55:41
  I mean look, it tears the fucking door off it's hinges.
• 55:44
  Jesus. I mean, Sarah, come on now.
• 55:46
  You're not really going to stop it getting in just by holding
• 55:49
  the door, are you? Did you see Luke go?
• 55:53
  Hello, Maria. Hello screaming girl, that's my
• 55:56
  favorite line. The POV shots are so dynamic as
• 56:01
  well. I mean that that's some serious
• 56:03
  work they've had to put into that.
• 56:05
  Yeah, and in such a small space too, I mean.
• 56:08
  God, isn't it ugly? Look at it.
• 56:10
  Yeah, well, it's kind of the perfect monster to intro with
• 56:12
  because you think, ohh, aliens, ohh, bug monsters from outer
• 56:15
  space. Well, there you go.
• 56:16
  There's one there. He's got an enormous eye and
• 56:19
  loads of squiggly tentacles. Appendages, yes.
• 56:25
  Is it that she fires at him, though?
• 56:27
  The sort of they don't. Actually explain it, she says.
• 56:29
  It's the last one, so she's obviously kind of been keeping
• 56:32
  me stocked up and sort of using them to Vanquish whatever
• 56:35
  monster she's dealing with at the time, but.
• 56:38
  Did you see that she's going this is not happening And Luke
• 56:41
  goes no, that contradicts. And that's a lot funny.
• 56:46
  That's a lot of the humour from Luke is that he takes everything
• 56:49
  literally so. Oh, they get loads out and
• 56:52
  they're like, yeah, that was fantastic, that action sequence
• 56:58
  and and to do it in that sort of domestic contained setting as
• 57:01
  well. Difficult.
• 57:03
  And he just runs away. I mean, that's the other thing
• 57:05
  is like, you know, they don't kill him.
• 57:07
  He gets killed by, well, he gets killed by Mrs. Wormwood So you
• 57:12
  know, so again, sort of showing who The Who the good guys are
• 57:17
  and who the bad guys are. So are we to assume then that
• 57:20
  sort of between School Reunion and this, she's sort of been
• 57:23
  contacting all sorts of aliens and getting lots of lovely
• 57:25
  gubbins and things in? She mentions it's been about a
• 57:29
  year and a half I think since school reunion.
• 57:31
  I think she's been busy, Daniel, you know?
• 57:33
  Yeah, yeah. Who are the friendly aliens that
• 57:36
  we meet that she could maybe have some nice chats with
• 57:38
  everything? Well, there's the star poet that
• 57:40
  she was talking to earlier, and even Maria says, well, can't we
• 57:44
  get help from that, from from this, from this, from that
• 57:46
  alien? And she's like, well, yes, but
• 57:47
  in poetry. That is another nice thing about
• 57:50
  Sarah Jane as well, is that they're not always, the aliens
• 57:53
  aren't always evil. Sometimes they're just lost, 8
• 57:57
  lost kids and things like that. And I I like that Doctor Who
• 58:00
  doesn't do enough of that. Yeah, yeah.
• 58:02
  Where it's, it's just, you know, it just wants to get home or
• 58:05
  something. Daniel, hang out with me in the
• 58:07
  attic here. Come on, what a lovely day we
• 58:09
  could sit and read our books. All those books she has, yeah.
• 58:12
  We could explore the alien Guppins.
• 58:15
  I suppose that's the thing. So that's what she's doing when
• 58:17
  she's not investigating. She's probably should probably
• 58:19
  just reading a lot, which is quite nice.
• 58:22
  Well, I'm fuming she's right in a few articles as well.
• 58:26
  Well, yes, how could you afford that house otherwise?
• 58:28
  Yeah, well, do you know that? Do you remember the line she
• 58:30
  goes? How the hell do you think I
• 58:32
  afford all this taking in washing like I asked the
• 58:35
  journalist. Yeah.
• 58:38
  Is she supposed to be like a top class journalist?
• 58:40
  Then you know for the. I think we can only assume so
• 58:42
  because otherwise, you know, holding down that kind of
• 58:45
  residence with all those expenses on, on the salary that
• 58:50
  a journalist earns in probably in what was it 2007, so.
• 58:53
  I'd like to think that in the Doctor Who universe,
• 58:55
  Metropolitan magazine, which is what, you know, the Barry Letts
• 58:59
  created for Ghosts of N Space and all of that, and her boss
• 59:02
  Clarinda, they're still going strong.
• 59:05
  It's a top glossy magazine in every supermarket.
• 59:10
  Oh, there's Harry on the wall at the Brigadier.
• 59:13
  Oh yes, yes, Was she? Kind of.
• 59:16
  And she brings up the doctor here, doesn't she?
• 59:20
  Yeah, and I'm glad we get a mention.
• 59:22
  I am glad we get. Yeah, and it's not overly
• 59:24
  intrusive either. I think it's sort of that it
• 59:27
  kind of helps the kids understand her philosophy of
• 59:31
  dealing with things because she saw this.
• 59:33
  It's a kind of, there's a bit of a pointed rebuke to Torchwood
• 59:36
  where she says, oh, there's all these other organisations that
• 59:38
  go in guns blazing and I just think there's a better way of
• 59:41
  doing things. Have you seen a terrible
• 59:44
  episodes? Watch this instead.
• 59:47
  I mean there are quite a few. I've been watching series 1 of
• 59:49
  Tortured. There are quite a few where Jack
• 59:51
  just turns up with a shotgun at the end of the episode and
• 59:54
  murders. Everybody murders everyone.
• 59:55
  That's the climax of the story, I think.
• 59:58
  Your mum at a point, you know. Oh, Daniel, are you telling me
• 1:00:03
  that your best friend who's a dog has got his bum stuck in a
• 1:00:05
  black hole? Yeah.
• 1:00:07
  Oh, it's a shame that. I mean, I mean it was for rights
• 1:00:10
  issues, wasn't it like. It does turn up though, doesn't
• 1:00:13
  he? Sort of specific moments, yeah.
• 1:00:17
  I think was when they stopped making that ghastly Australian
• 1:00:21
  canine series. I haven't seen.
• 1:00:25
  It terrible where that might be a spin off too far for me.
• 1:00:30
  I suppose it explains why she was sort of so quite bitter at
• 1:00:34
  the beginning and sort of prickly because, you know, she,
• 1:00:38
  the doctor left with her with canine and then suddenly canine
• 1:00:41
  had to go off and sort of protect her from this black
• 1:00:43
  hole. So she's all alone again, you
• 1:00:46
  know, So that's probably what made her sort of very
• 1:00:48
  standoffish at the beginning. Yeah, but, you know, I mean,
• 1:00:53
  Alan's gorgeous. I'd still give them a chance,
• 1:00:56
  you know, I'll say. Yeah, well, what are you doing
• 1:00:57
  next Thursday? You know that is the black hole
• 1:01:00
  from the Impossible Planet. Isn't it?
• 1:01:02
  It is the same effect, isn't it? Yeah.
• 1:01:04
  I mean, that's a good economic use of a special effect they've
• 1:01:07
  already got. Well, yeah, and you can
• 1:01:09
  immediately identify as a black hole because you've kind of
• 1:01:11
  already seen it. So that's, you know, Yeah.
• 1:01:14
  And then, you know, K9 with that line of what is it?
• 1:01:18
  Affection? Noted Mistress.
• 1:01:21
  Do you know the I think Mr. Smith comes out in a minute,
• 1:01:24
  doesn't he? For the first time?
• 1:01:26
  And I remember when I first watched it and I was that fan
• 1:01:28
  fan and I was like, oh, I had a bit of a cringe.
• 1:01:31
  Now I just love it and I sing a lot and they make the joke of it
• 1:01:37
  and they in stolen. Do you stop that fanfare and
• 1:01:40
  just get on with it? So kind of literally saying no,
• 1:01:43
  he actually does play that fanfare each time.
• 1:01:45
  It's not died, you know, It's not non diegetic music.
• 1:01:48
  And I do like as well the in the Sarah Jane Adventures, they kill
• 1:01:54
  people, he dies. He dies.
• 1:01:56
  She feeds him to the to the Bane mother.
• 1:01:58
  Oh no, she she eats him. Actually, you know, she eats
• 1:02:00
  him. Not only that is that they have
• 1:02:03
  intelligent conversations about death in war is a Kudlat.
• 1:02:06
  They talk about Afghanistan in Whatever Happened to Sarah Jane?
• 1:02:10
  That is all about somebody dying.
• 1:02:13
  This is not stuff to see what you think generally focuses on
• 1:02:17
  in its day-to-day. Yeah.
• 1:02:19
  And again, I think it's that sort of instinct of trusting the
• 1:02:23
  kids to be able to make that leap with you, you know?
• 1:02:27
  Look at the lighting in this scene, it is so bright in.
• 1:02:30
  There, it's very, very sunny, Yeah.
• 1:02:34
  Everybody looks gorgeous under lit.
• 1:02:37
  Yeah, Liz is like, can I sit at the table?
• 1:02:40
  There's a lovely light there. Yeah.
• 1:02:43
  Well, and yeah, and I think that there was during that whole
• 1:02:46
  attic scene is you see all the reactions on her face.
• 1:02:48
  So she kind of realizes, oh, I'm stuck with these kids now.
• 1:02:51
  So you know. Can you not love Liz Laden?
• 1:02:55
  Is it possible? Well, I mean, that's The thing
• 1:02:58
  is she, Sarah Jane was always you, you sit look at all the
• 1:03:02
  polls of like who's the most popular companion and I think
• 1:03:05
  Sarah Jane will probably come out on top most times.
• 1:03:07
  Generally speaking, I mean, if it's a new series audience, then
• 1:03:11
  maybe not. If it's a classic series
• 1:03:13
  audience, then yeah. Yeah, yeah, yeah.
• 1:03:16
  Yeah, she's just effortless, isn't she?
• 1:03:20
  And like, you know, I've heard the occasional like that she's
• 1:03:23
  not the best actress in the world.
• 1:03:26
  I don't by. I think she can turn her hand to
• 1:03:29
  anything. I think she's very funny when
• 1:03:31
  she needs to be. She breaks my heart.
• 1:03:33
  I mean, school reunimates. She breaks my heart in every
• 1:03:37
  scene in that. Well, again, while I was saying
• 1:03:39
  how she sells things with dialogue, like just when she
• 1:03:41
  when she we first see her and she says, oh, I can see
• 1:03:45
  everything, Mr. Finch, quite clearly.
• 1:03:47
  And you immediately get, oh, well, she's, she's very smart.
• 1:03:50
  You immediately get that from her.
• 1:03:51
  Or in The Stolen Earth, where she meets Davros again and she
• 1:03:55
  uses her name almost like as a dagger.
• 1:03:57
  Like Sarah Jane Smith, remember? And yeah, I remember in an
• 1:04:02
  episode that really moves me, it's the one where Clyde's dad
• 1:04:05
  comes back and at the end, Clyde's saying about how he's
• 1:04:08
  scared he's going to be like his dad.
• 1:04:10
  And she just gets a warmth in her voice.
• 1:04:12
  I never forget it where she goes.
• 1:04:14
  I think you underestimate yourself.
• 1:04:17
  And it's, it's such a mature lion reading.
• 1:04:19
  I'm like, she could do anything. Yeah, yeah.
• 1:04:23
  And again, she gets, she gets to play so many different sort of
• 1:04:27
  roles as the action hero, the the, the mum, the sort of yeah,
• 1:04:32
  she. Should say call that cow bag,
• 1:04:36
  Mrs. Wormwood up on the screen, Mr. Smith, if we go.
• 1:04:39
  So this is her doing a very doctor thing of sort of going to
• 1:04:42
  confront the villain and sort of saying.
• 1:04:45
  Thanks for the assassination attempts, Daniel.
• 1:04:47
  It's. My pleasure.
• 1:04:50
  I know who you are and what you are, Bane.
• 1:04:56
  Are you declaring war? Oh boy.
• 1:04:59
  Oh, and she says yes, in the language of your young people.
• 1:05:02
  Bring it. On and then, you know, when she
• 1:05:07
  gets crashing through the wall in the bus, she goes not too
• 1:05:11
  late for the party. Oh, fucking hell.
• 1:05:16
  Oh, Jesus Christ. I'm not sure I'm gonna should
• 1:05:19
  have this much fun watching telly.
• 1:05:21
  You know, I mean, I think I should.
• 1:05:23
  I just don't very often. Yes, well you know proof that
• 1:05:28
  spin offs can be. Fun commentaries on these dreary
• 1:05:32
  Moffett episodes. That's why instead of having fun
• 1:05:34
  with Sarah Jane, sorry. I mean, it's a world away from
• 1:05:39
  stuff like. That isn't it?
• 1:05:41
  Yes. Well, he only did 1.
• 1:05:43
  He only had one spin off during his time, didn't he?
• 1:05:45
  Yeah, it wasn't very fun either, was it?
• 1:05:47
  Well, I remain thoroughly unconvinced of the charms of
• 1:05:51
  class, no matter how many people have tried to reclaim it.
• 1:05:54
  Those were older children and they were really irritating, all
• 1:05:59
  of them. I mean, some people, I've seen
• 1:06:02
  people say online they think Class is the best TV show ever.
• 1:06:05
  I'm like, are you really? No, they'll come round.
• 1:06:10
  Left, it's become Bane world. Yes, and then says when.
• 1:06:16
  Oh my word, have you ever seen an eye wink at you that big?
• 1:06:21
  Big eye. Oh, there you go.
• 1:06:23
  Yeah, ohh. Ohh, it's all yellow now.
• 1:06:26
  It looks a bit like when the meap went bad and bread all the
• 1:06:29
  black in his eyes. Yeah, yeah.
• 1:06:31
  Ohh. Here we go.
• 1:06:33
  Been hypnotized. Ohh.
• 1:06:35
  Ring. It allens been hypnotized now
• 1:06:38
  it's my chance. Ohh, no way.
• 1:06:39
  I think that's called right? OK, now this is the last we see
• 1:06:45
  of Kelsey. She.
• 1:06:47
  I think I saw this bit down your wet.
• 1:06:49
  Yeah, enough. Good time to write her out.
• 1:06:51
  Yeah. So she becomes one of the drink
• 1:06:53
  it zombies and then and then, yeah, we just hear about her for
• 1:06:57
  a line of dialogue at the end. That's it.
• 1:06:59
  I mean. I'm not sure anyone could have
• 1:07:01
  pulled off walking around that attic with a bottle of pop.
• 1:07:04
  I mean this novel, wouldn't it? Yeah, well, and again, sort of
• 1:07:09
  literalising the concept of, you know, advertising is so in your
• 1:07:12
  face, they're literally holding out the product to you and
• 1:07:14
  saying use it, consume it like. Is that what you call a crash
• 1:07:18
  zoom? You know where she went, Dad and
• 1:07:20
  the camera went zooming out of her?
• 1:07:24
  Crazy stuff. Yeah.
• 1:07:26
  And then we sort of start driving around all the zombies,
• 1:07:29
  don't we? Yeah.
• 1:07:30
  No, it's very sort of that is sort of bit reminds me of this
• 1:07:34
  sort of the Auton invasions you see in what speared from space
• 1:07:38
  and. You say it's sort of 28 days
• 1:07:40
  later for tops. Yeah, a little bit without,
• 1:07:42
  without running, without the running, yeah. 28 days later
• 1:07:45
  with pop, yeah, drink. And there's people whose panic,
• 1:07:53
  and then there's people like us, all right?
• 1:07:55
  Yeah. And that's the line sort of
• 1:07:56
  immediately, sort of it makes Maria kind of toughen up again.
• 1:08:00
  And she, she's like, no, I'm going to be brave for, for this,
• 1:08:03
  you know, even though it's, you know, she looks terrified.
• 1:08:08
  Yeah, look at this, Horace. True.
• 1:08:09
  I don't know where this is, but there's people everywhere with
• 1:08:11
  bottles of pulp. Yeah.
• 1:08:13
  And the sort of the the quality of the image changes a little
• 1:08:15
  bit like because they must have shot this on different days or
• 1:08:18
  different different cameras, I think different cameras to make
• 1:08:21
  it as dynamic. But again, it's like.
• 1:08:22
  Cut, cut, cut, cut, isn't it? Yeah.
• 1:08:25
  I mean, I don't know that it's always as expensive as this, but
• 1:08:30
  I mean, talk about hitting the ground running right with
• 1:08:32
  energy. Yeah.
• 1:08:34
  I mean, we're almost at the end of about 10 minutes.
• 1:08:36
  I can't believe it. I mean, I've stopped laughing
• 1:08:38
  all the way through. I mean, he's got a crane because
• 1:08:43
  he keeps doing these high and low shots with a crane.
• 1:08:47
  Yeah, I've noticed that. Oh shit, how on earth are we
• 1:08:50
  going to get in there? She sees the bus and goes yes.
• 1:08:54
  Yes, now that is, I think she might have taken her cues from
• 1:08:57
  Mickey in school reading because he uses her car to like
• 1:09:00
  literally break into the school. So she's thought, oh, he did
• 1:09:04
  that. I can do that.
• 1:09:04
  You. Know look at this.
• 1:09:06
  It's like The Walking Dead with Tango.
• 1:09:08
  Yes, they're all trying to get in the gate.
• 1:09:13
  Let's see. That must be fun to film.
• 1:09:17
  I sold out the hold out the product, you know.
• 1:09:20
  I tell you, it's absurd, right? It's absolutely.
• 1:09:23
  It is probably the most absurd zombies you will see, you know.
• 1:09:27
  The most child friendly though, so you know.
• 1:09:31
  Who cares, right? Who cares?
• 1:09:33
  She's about to go crashing through the wall.
• 1:09:35
  Crashing through the wall. Oh, another zoom, another crash.
• 1:09:38
  Oh, that. I missed all these when I
• 1:09:40
  rewatched it. Yeah, there you go.
• 1:09:43
  I mean that she's actually gone through that wall there, hasn't
• 1:09:46
  she? I mean not she has Laden, but
• 1:09:48
  not. Liz Laden But they must have.
• 1:09:50
  I mean, you know, you have to use that hideous looking bus in
• 1:09:53
  some way. Is that Danny Hargreaves?
• 1:09:55
  Aussie? They're in this Laden's costume.
• 1:09:59
  Not too late for the party. I can't believe it.
• 1:10:03
  Yeah, there you go. Yeah, with the the action.
• 1:10:05
  And she's very sort of gesticulating now.
• 1:10:10
  Mrs. Wormwood getting into the camp.
• 1:10:13
  Have you met Mama? Oh Maria, get back on the bus.
• 1:10:18
  Honestly, getting in the way so much.
• 1:10:22
  Oh, and of course Luke saves the day, don't he?
• 1:10:24
  Just like where's the crusher? Yeah, yeah.
• 1:10:26
  And you just say you take, they take the thing of, Oh well,
• 1:10:28
  mobile phones save the day, but on a bigger scale than than just
• 1:10:32
  your average. Flip phone.
• 1:10:35
  Do you not think they sat down and went, what are all the
• 1:10:38
  things that kids love? Right?
• 1:10:40
  They love monsters. They love mobile phones.
• 1:10:43
  They love physics, soda. Yeah, yeah.
• 1:10:46
  Just genius. And let's put it all in one
• 1:10:49
  story and see if we can sell it. I mean when the CBBC execs saw
• 1:10:54
  this, they must have been over the moon.
• 1:10:57
  Well, and because they when they wrote this, they had already
• 1:11:00
  sort of pre approved, I think a first series.
• 1:11:04
  So I mean, I think that's also why they weren't particularly
• 1:11:06
  worried when they first sort of sat down to write the script.
• 1:11:09
  They're like, yeah, when we know we're going to get something
• 1:11:12
  good out of this, they. Had a lot of faith at the time.
• 1:11:13
  Do you remember when was it Rose went out?
• 1:11:16
  And then they did the first, the Christmas special and the second
• 1:11:20
  series all confirmed. All confirmed, yeah.
• 1:11:23
  And then when they would shoot, when they were making the second
• 1:11:25
  series, the third series had been confirmed after that.
• 1:11:29
  Oh, I know a few people that do extra work actually in RTD one,
• 1:11:33
  I'm going to keep an eye. There's one of them, one of my
• 1:11:35
  most Peter, he's one of the people that's going to be
• 1:11:38
  destroyed by the device. Hidden Journey's End, you know?
• 1:11:42
  Oh. Really.
• 1:11:43
  Yeah. Always terrible.
• 1:11:45
  You are the worst deaf by reality device I've ever seen.
• 1:11:50
  Oh, well, I have a pet theory. I mean, it's not it's not true,
• 1:11:53
  but my, I have a pet theory that Russell was an extra in the end
• 1:11:56
  of time when they were running about at the end.
• 1:11:58
  Because there's a guy kind of looks a bit like him.
• 1:12:00
  And I'm thinking, did he actually did he actually put
• 1:12:03
  himself in his final episode? But no, no, of course he didn't.
• 1:12:07
  You know they're literally being savaged by an enormous pipe
• 1:12:10
  being wielded by a giant tentacle.
• 1:12:14
  Yeah, yes. Thank you.
• 1:12:17
  And Samantha Bonds in the background doing the actions of
• 1:12:21
  it. Take it go.
• 1:12:24
  Well, and yeah, it's all in the ceiling too, so it's a good
• 1:12:28
  sort. It's a kind of very cleverly
• 1:12:29
  thought out way to put a green screen effect.
• 1:12:32
  You think, oh, well, the monster comes down from the ceiling.
• 1:12:34
  Kind of like the Jaggerfest, you know?
• 1:12:37
  I like to think that Samantha Bomb went home that night and
• 1:12:39
  went, do you know what? I think my career has peaked.
• 1:12:42
  I don't think it'll ever be better than that.
• 1:12:44
  You know I. Don't.
• 1:12:46
  Yeah, I haven't. Well, daily we'll see what did
• 1:12:48
  Downton Abbey after this. And then I can't.
• 1:12:51
  I haven't followed her. Career No, you look on her wiki
• 1:12:53
  page, she's busy. She's.
• 1:12:55
  Really. Yeah.
• 1:12:55
  She's always a very busy actress.
• 1:12:57
  Yeah. Yeah.
• 1:12:58
  And, and she does a lot of sort of indie movies and things like
• 1:13:00
  that as well. And she's, yeah, she's always
• 1:13:03
  working. Might you, I wonder if Slayden,
• 1:13:05
  if, if this was Slayden, had lived longer, if she may have
• 1:13:08
  got some other work, actually. I don't know.
• 1:13:11
  Yeah, the 2D together, yeah, I've got to have everything blow
• 1:13:15
  up at the end. Yeah, well, no, no, it's the
• 1:13:19
  biggest. She was so proud this Laden
• 1:13:21
  because it was the biggest explosion they've done in Doctor
• 1:13:24
  Who tortured and Sarah Jane today.
• 1:13:26
  Big 1, isn't it? Yeah.
• 1:13:28
  And she was like, yes, she said to all the kids, we've got the
• 1:13:30
  biggest explosion at the end of the story.
• 1:13:32
  One, it's a genuine pyrotechnic, isn't it?
• 1:13:35
  It's not a CGI thing that they have in School Reunion.
• 1:13:37
  I think Danny Hargrey's on the extras going.
• 1:13:39
  Yeah, we really packed. I mean, Jesus, more of this
• 1:13:42
  corridor running. Look, I love it.
• 1:13:44
  Oh, can we both do the line? Oh, here we go.
• 1:13:46
  Yeah. Will you tell me when it's
• 1:13:48
  coming? Oh yes, Until the next time,
• 1:13:52
  Miss Smith. Boom.
• 1:13:58
  And they replay it like 5 or 6 times.
• 1:14:01
  Fuck it do anyone listening to this how can you not going to
• 1:14:04
  want to watch this after us up in this great time Bloody hell
• 1:14:09
  and they. Almost kind of deflate it when
• 1:14:12
  they do this sort of slow motion.
• 1:14:13
  Yeah. Ivory around the roses in that
• 1:14:16
  in that group hug. It's the only the tweener since
• 1:14:19
  Sarah Jagged. Occasionally it is like having,
• 1:14:23
  you know, a bottle of syrup shoved down your throat in it.
• 1:14:25
  Well, I mean, you know, if you switched out the music, it could
• 1:14:28
  be kind of a bit of a horror movie thing.
• 1:14:29
  It's like, oh, let's go round and group hug.
• 1:14:33
  Someone's possessed. It's like, oh, this is
• 1:14:37
  happiness. Yes.
• 1:14:40
  Like, come on. Jesus Christ.
• 1:14:43
  Yeah, that is Yeah. Bit much.
• 1:14:46
  Oh, I'm so sad. It's nearly over.
• 1:14:48
  I know, I know. The government refused to come
• 1:14:52
  in. Yeah, well, that's why Bubble
• 1:14:54
  Shocker you're quite. Timely, isn't it?
• 1:14:56
  Yeah. Oh, we'll never, we'll never
• 1:14:58
  accept responsibility. Put down to a chemical imbalance
• 1:15:01
  of the brain. Yeah, well, they use that excuse
• 1:15:04
  quite a lot. It's funny though, as as time
• 1:15:06
  has gone on that has become less and less implausible, where
• 1:15:10
  people just will have the evidence right in front of their
• 1:15:12
  eyes and they go, that's not true, Have.
• 1:15:15
  You seen America right now. I know, right?
• 1:15:17
  So yes, all the thing of old mass hallucinations and putting
• 1:15:21
  stuff in the water, yeah, yeah, People say about that, say that
• 1:15:24
  all the time online, so. Yeah, very good.
• 1:15:26
  Ahead of time. Chrissy comes in now and just
• 1:15:29
  steals the show. She goes, what is it?
• 1:15:32
  Oh yeah, you need to go. You know, next thing you know,
• 1:15:34
  you're going on holidays with your neighbors, and that's just
• 1:15:36
  a disaster. And Luke has all these lies like
• 1:15:39
  this woman is rude. What's he wearing?
• 1:15:43
  She goes. These are the clothes I was born
• 1:15:45
  in. And that's it she go yeah, see
• 1:15:48
  you later, Sarah Lou. She never gets her name right
• 1:15:51
  while. That's another running joke,
• 1:15:53
  isn't it? And.
• 1:15:53
  Geeta always gets it perfect. That's so, yeah.
• 1:15:57
  Doesn't she go? And suddenly Yvonne was running
• 1:16:00
  around the bedroom with a bottle of pop.
• 1:16:02
  It was very strange. And I was like, oh, that's
• 1:16:05
  novel. It's great, I love Chrissy.
• 1:16:09
  Do you remember when she shoves her shoe in the back of the
• 1:16:13
  Suntarum? Oh, yes, that was that was her
• 1:16:17
  final episode. Yes.
• 1:16:18
  She has to go out of a bang. Yeah.
• 1:16:20
  What's it? She leaves her shoe in the
• 1:16:22
  forest and she goes. I'm not having some squirrel
• 1:16:24
  making home in the the most stylish deseres in the forest.
• 1:16:28
  Well, that's The thing is she's really annoying, but she's so
• 1:16:31
  funny and that's, that's the kind of the balance you get with
• 1:16:34
  with the RTD mothers, I suppose. She's doing adverts, you know,
• 1:16:37
  there's more money in adverts and you get a lot of money for
• 1:16:40
  adverts. And she was in the Boots
• 1:16:41
  Christmas ad for a couple of years running and I was like,
• 1:16:44
  it's Chrissy, she's shopping in Boots.
• 1:16:49
  Oh, Adam's there trying to come. Sorry she's so rude.
• 1:16:52
  Yeah, yeah, yeah. The next thing you know, next
• 1:16:57
  doors doing the same thing. I mean, it could be Jackie.
• 1:17:00
  Now Yasmine Paige has this thing we'll have to watch out for it
• 1:17:03
  in future episode. But she has she's very got this
• 1:17:05
  thing with where she kind of curls her lip and like raises an
• 1:17:08
  eyebrow. So she knows what she's doing.
• 1:17:10
  It's a very kind of clever acting choice that she does.
• 1:17:13
  And I think even at that young age, she knows how to play that
• 1:17:16
  sort of that that vibe in a scene, I think.
• 1:17:19
  Yeah, I mean, I mean, like I said, she screeches.
• 1:17:21
  She is very good. Like you when we hit Whatever
• 1:17:25
  Happened to Sarah Jane, She's fantastic in that episode.
• 1:17:28
  I just remember watching this garden scene when it first went
• 1:17:31
  out and I was like, yes, I am ready for this show.
• 1:17:36
  Well, there we go. That's the like Kelsey has
• 1:17:37
  mentioned in just the line. And then we forget about her
• 1:17:40
  forever. And then like literally it's
• 1:17:43
  what Toy Wilcox says about the first doctor into the 2nd
• 1:17:45
  doctor. Daniel Anthony comes in in
• 1:17:47
  Revenge of the Savine and within 5 minutes it's like Kelsey Who?
• 1:17:50
  Kelsey who? Yeah, exactly.
• 1:17:51
  Yeah. He's fabulous.
• 1:17:53
  Daniel Anthony. Well, we will get there.
• 1:17:56
  We. Will get there, but she has this
• 1:17:58
  sort of little speech at the end, Sarah Jane, where she says
• 1:18:03
  sort of when you're grown up, you think you're going to have
• 1:18:06
  it all figured out and you never do and you never really grow up.
• 1:18:09
  And again, true some well, it's true.
• 1:18:12
  And it's it's very similar to that Elton Pope speech at the
• 1:18:15
  end of love and monsters and and again, sort of summarising the
• 1:18:20
  this is the show we're making at the very, very end, just in case
• 1:18:23
  you didn't get it, but it's like making a statement as as well
• 1:18:27
  and having Sarah Jane say it. And then she looks up at the
• 1:18:30
  camera and we look up at the stars as well.
• 1:18:32
  And you know, life, life can be an adventure too, on Earth.
• 1:18:36
  I mean, there's a wonderful sentiment, isn't it?
• 1:18:38
  Yeah, You get her speech here, obviously, the one you just said
• 1:18:40
  from Elton Pope in Love and Monsters.
• 1:18:42
  And I think there's a wonderful speech at the end of Random
• 1:18:45
  Shoes in Torchwood. Yes, that's the camera zooming.
• 1:18:48
  And that's another sort of similar moment, isn't it, where
• 1:18:50
  it's sort of life affirming? Grab hold of it now.
• 1:18:53
  Yes, exactly the the fragility of life, but also the the
• 1:18:57
  euphoria event. That's what we're doing, Elton
• 1:19:00
  slash Sarah slash man. From Eugene, yeah.
• 1:19:03
  Eugene, thank you. We're seizing life and watching
• 1:19:06
  The Sarah Jane Adventures. Oh, something I'd rather do,
• 1:19:10
  Daniel, if I'm honest. Yes, booming up to the heavens.
• 1:19:17
  Here we go. Sitting the garden.
• 1:19:20
  And it just takes, you know, like when she looks up there and
• 1:19:22
  it just takes you back to a works fab, fabulous story shared
• 1:19:25
  with Pertwee, with Tom Baker, you know, and now with David
• 1:19:30
  Tennant as well. What's fabulous as well, isn't
• 1:19:32
  it? Tennant's a guest star in her
• 1:19:34
  show. I know Matt Smith, Yeah, Yeah,
• 1:19:37
  that was, I mean, that is sort of AI mean if it wasn't already
• 1:19:40
  validated before. But that is sort of them sort of
• 1:19:42
  signing off saying, yeah, we know it's popular, we know it's
• 1:19:45
  a success that we can just put put Doctor Who in it as well,
• 1:19:50
  just as a visitor and then yeah. I was kind of scared that you
• 1:19:57
  were going to watch this after years of not watching this and
• 1:20:00
  be like, Oh no, I might have outgrown it a little bit.
• 1:20:03
  I'm so pleased that your inner child is still there loving this
• 1:20:07
  stuff. Well, and you know, kids stuff
• 1:20:10
  is actually sometimes funnier than adult stuff sometimes.
• 1:20:14
  So I think that's also what, what keeps me watching is that,
• 1:20:18
  you know, some of the stuff they they get away with, it's better
• 1:20:23
  than tortured. It's my life, Daniel.
• 1:20:25
  All right, I come home and he's watching live and Kicking
• 1:20:28
  repeats on YouTube and live and what Live and kicking?
• 1:20:32
  It was the old Saturday morning and and deck sort of magazine
• 1:20:35
  show that he watched when he was in his teenage years.
• 1:20:38
  And then he puts on Blue Peter from Yonder years.
• 1:20:41
  I'm like, are we in the 90s? What's happening?
• 1:20:45
  I thought. You love this stuff you can find
• 1:20:47
  on YouTube now. Yeah, you know what, there's a
• 1:20:49
  fabulous all the CBBC I dense man, it takes you back.
• 1:20:54
  Yeah, yeah, I remember there was this CBBC presenter, Anne Foy,
• 1:20:58
  who I used to find so annoying, but now I go back and watch some
• 1:21:02
  of her clips and she's like, wow, she was really, she
• 1:21:04
  actually knew how to sort of perform for the camera and sort
• 1:21:07
  of get down with the kids, as they say.
• 1:21:09
  Can you remember your CBBC I dent music?
• 1:21:14
  Well, I would just say it would. It was a lot of like like
• 1:21:18
  dunking stuff in drinks. I think it was like the the the
• 1:21:22
  Big C and the Big B and the Big B and the Big C being dunked in
• 1:21:25
  drinks like like ice cubes and then go CBBC.
• 1:21:31
  My one went but they did it in all different ways all.
• 1:21:38
  Yeah, so many different ways, yeah.
• 1:21:40
  Yeah. Oh God, it takes you back.
• 1:21:42
  Well, look, now you know what we've got to do now at the end
• 1:21:45
  of this. That's right, you look scared,
• 1:21:47
  as if you haven't prepared free fabulous things.
• 1:21:50
  Oh my. God, in fact.
• 1:21:52
  Well, we'll have to do it on the hot then.
• 1:21:54
  Yes. Would you like me to go first to
• 1:21:58
  give you some time? OK, well I am actually gonna go
• 1:22:03
  broad, Broad and deep with, I want to say the tone of this.
• 1:22:08
  Yeah, this could have been faltering first steps into an
• 1:22:13
  embarrassing geriatric LED CBBC Doctor Who spin off.
• 1:22:19
  And instead I just think everybody, everyone involved in
• 1:22:23
  this, the director, the writers, the actors, the whoever's doing
• 1:22:27
  the music, Sam Watts, they're all just like, God, we've got
• 1:22:31
  something precious here, let's just deliver something really
• 1:22:34
  assured and really funny and really clever.
• 1:22:38
  And they just did. I mean, a show having an instant
• 1:22:43
  identity is not a given. No, no, yeah.
• 1:22:47
  And it does. It does actually.
• 1:22:49
  And they kind of fine tune it in Revenge of the Slovene like you
• 1:22:52
  then you once Clyde comes on board, you think, oh, well, now,
• 1:22:55
  now we know where this is going. So that they they sort of
• 1:23:00
  solidify it in in the next story.
• 1:23:02
  But yeah, this is very so confident.
• 1:23:04
  And it's not a pilot. I think it was sort of they've
• 1:23:07
  people said it's a pilot. But I think, yeah, as I said,
• 1:23:09
  they already knew that they were going to get a series out of
• 1:23:11
  this. So this is like very much table
• 1:23:14
  setting for. Like a New Year's Day expensive
• 1:23:18
  bit of kids telly to to whet your appetite.
• 1:23:22
  They are real faith in Doctor Who at this point.
• 1:23:25
  Very, very much so, I think. Yeah, yeah.
• 1:23:28
  It wasn't afraid to be adult too, you know.
• 1:23:32
  Well, I suppose that will be my my first thing is the the bubble
• 1:23:36
  shock message again. It's very, it's very in your
• 1:23:39
  face, but kind of like the advertising in the these, these
• 1:23:44
  literally boiling down the concept of advertising to the
• 1:23:48
  message that every piece of advertising, like I have a bus
• 1:23:51
  stop literally 50 meters from where I live.
• 1:23:54
  And every week it's a different advert.
• 1:23:56
  And it's like basically eat it, drink it, buy it, smoke it, you
• 1:24:01
  know, whatever. And that's what advertising in
• 1:24:04
  its purest form wants, wants you to do.
• 1:24:07
  And they take that and they turn it into a zombie kind of
• 1:24:09
  concept. And they use like the zombie
• 1:24:12
  concept. And kids know zombies even
• 1:24:14
  though they not really supposed to watch them.
• 1:24:16
  So they immediately understand it.
• 1:24:18
  And kids love soda pop. So it's not just saying, yeah,
• 1:24:21
  all these fizzy drinks you're drinking are not are not good
• 1:24:24
  for you. It's also like they're selling
• 1:24:25
  you these fizzy drinks and literally kind of poisoning the
• 1:24:29
  world with this advertising. It's so clever.
• 1:24:32
  I mean, I'm so stupid, I didn't realise any.
• 1:24:35
  I mean, I kind of got the basics, but the the drink it,
• 1:24:39
  it's so obvious when you said it.
• 1:24:41
  It's. So obviously a piss take on all
• 1:24:44
  that marketing, isn't it? I mean, did you hear the joke
• 1:24:47
  that people are saying about the last scene of war between the
• 1:24:51
  land and the sea? You know, when Kate Stewart had
• 1:24:53
  her gun out and she was screaming, pick it up, pick it
• 1:24:57
  up. And they were going, yeah,
• 1:24:59
  that's Rusty Davis talking to Disney Plus.
• 1:25:02
  Pick the show up. Pick the show up.
• 1:25:04
  Pick it. Up.
• 1:25:05
  She is still tracing up and down that beach, you know, scaring
• 1:25:09
  off literally saying pick up your litter.
• 1:25:12
  I mean OK, I mean to say that a my interest in a Doctor Who's
• 1:25:16
  spin off is guaranteed. I watched the 1st 2 episodes of
• 1:25:18
  that and then gave up. It just wasn't for me.
• 1:25:20
  I found it a bit too perfect, a bit embarrassing actually.
• 1:25:25
  Well, I was kind of I felt like I've been sold a pup in a way,
• 1:25:28
  because I was like the common sort of discussion around the
• 1:25:32
  war between was, oh, it's the one where Russell Turvy fucks a
• 1:25:35
  fish. So I'm thinking, Oh, well,
• 1:25:37
  that's Russell T Davies, having watched The Shape of Water in
• 1:25:40
  which someone does fuck a fish and is thinking, oh, I quite
• 1:25:43
  like that. But then actually not putting
• 1:25:46
  that in the episode, or if it's, if it is in the episode, it's so
• 1:25:49
  sort of badly sort of stage that I had no idea.
• 1:25:53
  Does he fuck the fish? I don't know.
• 1:25:55
  I didn't stick around long enough.
• 1:25:56
  I fear that's where it was going.
• 1:25:58
  It was that enormous plastic storm.
• 1:26:00
  And I was like, oh, this is so unsubtle.
• 1:26:03
  You know, I threw away my recycling bin that day because I
• 1:26:06
  figured that the plastic crisis was so mockable that I didn't
• 1:26:09
  need it anymore. Yeah.
• 1:26:13
  I'm sorry. My second thing is, my second
• 1:26:18
  thing is going to be that sequence where Davey attacks
• 1:26:24
  them in the house. I think that is genuinely, and
• 1:26:28
  if you look at Doctor Who around this, it is one of the best
• 1:26:31
  staged action sequences they've done today for all the reasons
• 1:26:36
  that you said, the crash zooms, the POV shots, the excellent
• 1:26:40
  CGI, the physical affair. In a pokey little house too.
• 1:26:44
  That's great. Just shouldn't be as dynamic as
• 1:26:46
  it is. And then they're doing the one
• 1:26:49
  that I was saying the Buffy thing, because Buffy, I think
• 1:26:51
  perfected this. It's telling great jokes in the
• 1:26:55
  middle of action sequences. So you're really like, pumped
• 1:26:59
  and then you're laughing your head off and then you're scared
• 1:27:02
  and it's just a wonderful mixture of what does he say this
• 1:27:05
  isn't happening that that that contradicts.
• 1:27:08
  The available evidence or whatever it is.
• 1:27:11
  Oh, wonderful. Yeah, it's just amazingly good
• 1:27:15
  and it's basically sets the bar high for what's coming.
• 1:27:21
  But I do think they topic quite a few times in the run to come.
• 1:27:24
  Yeah, OK. Well, my second thing would be
• 1:27:28
  the the character dynamics between mainly between the
• 1:27:31
  family. It's another one of RTD's
• 1:27:33
  families, dysfunctional or you know, in this case divorced.
• 1:27:37
  And they get they get that across.
• 1:27:39
  So with such economy that you immediately in that first scene,
• 1:27:43
  you immediately understand what you know, what their family's
• 1:27:47
  about. And you know how Maria is much
• 1:27:50
  more chummy with her dad than with her mom, but she still
• 1:27:52
  loves her mom. So it's not too toxic and
• 1:27:55
  negative. And, and you know, the, the, the
• 1:27:58
  mum is, is sort of going to come back.
• 1:28:01
  I think we get the impression because she although she doesn't
• 1:28:03
  appear in the rest of the episode until the end, you know,
• 1:28:06
  they're now at the end. There's the sort of thing.
• 1:28:08
  Oh, well, Sarah Jane is their neighbor now, so she will
• 1:28:11
  probably come back. You know it's the.
• 1:28:13
  Episode where she has to fight with Ivan doesn't she?
• 1:28:17
  And just move back in. And Hannah's like, you can't do
• 1:28:21
  this to her. You can't just move back in and
• 1:28:23
  then when your fight's over with, go again.
• 1:28:25
  Go against Do you know what? I mean like the parents can be
• 1:28:29
  faultless sometimes. Well, and, and, and so and, and
• 1:28:33
  on the back of that of these, yeah, a lot of scenes in here
• 1:28:36
  that are quite adult or have these adult ideas in them.
• 1:28:40
  And the kids can still, it still works on a kids level because
• 1:28:43
  they will pick up instinctively on, oh, something's wrong or oh,
• 1:28:49
  of these characters. I mean, that scene between Sarah
• 1:28:51
  Jane and Mrs. Wormwood, they already know, they've already
• 1:28:55
  got the measure of each other. Like she knows who Sarah Jane
• 1:28:57
  is. And Sarah Jane basically already
• 1:28:59
  knows that she's an alien. She's just going in there to
• 1:29:01
  humor her and sort of saying, I know what you're up to.
• 1:29:04
  And the kids can pick up on that.
• 1:29:06
  I think even if even if you know some of the the sort of more
• 1:29:10
  pointed lines will sail over their head.
• 1:29:13
  Yeah, you've just mentioned my last one and that is Samantha
• 1:29:17
  Bond. So good they had to bring her
• 1:29:21
  back. And you're right, they do this
• 1:29:23
  sort of head of corporation, bitchy, witty villain so bad.
• 1:29:29
  As a regular fixture of the. I mean, you wait till you see
• 1:29:32
  James Dreyfus. I know he's a problematic
• 1:29:34
  figure, but in Jesus, when he says to her, what is it?
• 1:29:37
  Oh, I think you know, Miss Smith.
• 1:29:39
  I'm very good at getting rid of old baggage.
• 1:29:42
  Oh, what a bastard. But oh, man, she knows what
• 1:29:47
  she's doing. Samantha Bond.
• 1:29:48
  And she's just spitting out those lines with delicious,
• 1:29:53
  delicious villainy. He makes whole meals out of
• 1:29:56
  those, doesn't she? Until next time, Miss Smith.
• 1:30:03
  Oh my God, it's out of that shot as well.
• 1:30:07
  It comes away from her and then the camera comes in for a
• 1:30:10
  massive close up for the Miss Smith.
• 1:30:13
  Just right, Yeah. I suppose my final, my final one
• 1:30:18
  would be a bit of an obvious one, but Elizabeth Slayden as
• 1:30:22
  Sarah Jane. So she has a bit of the sort of
• 1:30:26
  there is a bit of the 9th Doctor about her in this where she's
• 1:30:29
  been. Yeah.
• 1:30:30
  She's sort of more aloof and more removed.
• 1:30:32
  And then this new character comes into her life and sort of
• 1:30:37
  makes her remember why she's doing this.
• 1:30:39
  And sort of and and she because she at the end of this episode,
• 1:30:43
  she already has this sort of new family, which will only become
• 1:30:46
  more sort of more developed as the series goes on.
• 1:30:51
  So that's also the thing that, you know, she never had in the
• 1:30:55
  classic series or even in the modern series that, you know,
• 1:30:58
  she never had a family and she has her own makeshift family and
• 1:31:01
  where that forms the basis for for this whole spin off show,
• 1:31:06
  which is such a gift. I think to all her
• 1:31:08
  sensibilities. You know, she the way, the kind
• 1:31:10
  of breathy way that she says certain lines and there's a
• 1:31:14
  brilliant bit. Hello, yes, oh, that, that that
• 1:31:17
  bit just kills me. And when she there's a bit where
• 1:31:21
  she's reading something on, she scans Kelsey in the attic and
• 1:31:24
  she reads something on her wristwatch, which has got all
• 1:31:27
  the and then she just says that she just has this thing line
• 1:31:29
  where she says I need glasses. And she moves into the light to
• 1:31:33
  just read better. That's such a that's a little
• 1:31:36
  touch that Sladen would. Bring He's doing something and.
• 1:31:39
  Always doing something like that, yeah.
• 1:31:41
  Although nothing better than not too late for the party.
• 1:31:47
  Or when when Davey attacks them in the house and he's like, oh,
• 1:31:51
  I will, I will kill first the squealing pigs and then you old
• 1:31:55
  woman. And she's like, oh, let's have
• 1:31:56
  the old, please. See.
• 1:31:59
  Great jokes and the action sequence.
• 1:32:02
  Oh, wonderful. What is it?
• 1:32:04
  It's the muffin. It's the muffin that is a
• 1:32:06
  muffin. Crazy.
• 1:32:10
  Oh. Luke will be the the one the
• 1:32:12
  gift that keeps on giving, I think.
• 1:32:13
  I mean, I haven't seen Revenge of the Slovene yet for this, No,
• 1:32:18
  but I do remember that is really witty as well.
• 1:32:21
  Like, really funny. Well, that was a big, big
• 1:32:24
  statement, wasn't it? Yeah, to bring back the Slovene.
• 1:32:28
  Want to add the costumes? Yeah, I had to make Yeah.
• 1:32:31
  And again, of of Doctor Who monster that really would work
• 1:32:35
  as a kids sort of show because that's what they were anyway.
• 1:32:39
  That's another. Episode If you think Mrs.
• 1:32:41
  Wormwood's over the top, you wait till you see the Slovenes
• 1:32:44
  I. Do I think I do remember a
• 1:32:46
  couple of those actors? Yeah.
• 1:32:47
  Where they they really enjoy their role they've been given,
• 1:32:50
  Yeah. Daniel, I think we're gonna have
• 1:32:52
  the best time doing this run. You know, like, it might not be
• 1:32:55
  the most obvious run to do, but in hindsight, I think we're
• 1:32:59
  gonna have the best time. Well, life on a podcast can be
• 1:33:04
  an adventure too. Let's cut it there.