Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Dylan Rees about his choice of Stranger: The Terror Game

Transcript

Talks to Dylan Rees about his choice of Stranger: The Terror Game · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:00
  Our stories after the end Like strangers, perfect Princess,
• 0:11
  We're falling head over here. Something that ain't real.
• 0:16
  It can let there be us. It's just you and I.
• 0:20
  Strangers. Perfect, Princess, we're
• 0:28
  falling. Head over.
• 0:38
  Welcome back to a hamster with a blood pen noise.
• 0:40
  The Doctor Who BBV stranger will cover anything.
• 0:46
  Any old shit with a logo on it or not even a logo?
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  I don't. Think there's one on the actual
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  DVD at this, you know. No, just as the terror game.
• 0:54
  Well, that's all we need is the terror in our lives.
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  Podcast. There you go.
• 0:59
  That's the longest opening ever. Now, Dylan.
• 1:03
  Hello. Hello.
• 1:04
  Now, we've done three of these already.
• 1:05
  Yes, I'm back on your sofa. You've come all right, it is
• 1:09
  born again to sit in this tiny room and watch BV videos.
• 1:14
  Yeah, with the with the Sander, I mean.
• 1:16
  Do you feel like this is an adequate use of your life and
• 1:19
  and man hours? I'm starting to question all my
• 1:22
  life choices to be honest. Yes, so as I when I wash it, No,
• 1:25
  no, I did enjoy. It I haven't, I haven't
• 1:27
  committed I, I've committed a lot of time to BBP in my life,
• 1:31
  more than anybody should do. You think you above all other
• 1:35
  people have improved BB VS sales in terms of podcasting?
• 1:40
  Quite possibly. Maybe I'm keeping them going.
• 1:42
  I don't know. Did you hear about the massive
• 1:43
  spike on the Hazel Burroughs? Well, I don't know how many game
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  people were absolutely obsessed to see if it was as perversely
• 1:52
  bad as we said. I know we did wonders for their
• 1:54
  sales. BBV quite often retweet my
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  podcasts. Without listening.
• 2:00
  Yeah, I think so, because I I wouldn't retweet a lot of them.
• 2:04
  Well, look, I've got a few questions for you before we
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  watch today's exciting epic The Terror Game Indeed by Nicholas
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  Briggs. By Nicholas.
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  Briggs Everything today by Nicholas Briggs.
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  We're doing the last three. Yeah, we're having a Briggs, a
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  thumb. Well, I think my big question is
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  this is I feel as if we're heading in a new direction now
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  and the Stranger is no longer not Doctor Who and instead it's
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  some weird sapphire and steel terrorism.
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  He's a guy called Solomon. He is a terrorist or a freedom
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  fighter because 1 mother, one man's freedom fighter, is
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  another man's terrorist. Moral area there.
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  That exists on a higher plane and a thing called the
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  dimensional web, a bit like the matrix, and they embody this
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  human form, but that is not their real form.
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  Oh well, we never see their real form there.
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  No, not on ABBV. At least I'm assuming that's
• 3:01
  what it is. Don't you remember that enormous
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  purple vagina on that church roof in auton #2?
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  They could have done it do. You think that's what the
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  stranger really looks like? I I like to hope not.
• 3:15
  And what are the preceptors? Preceptors.
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  The preceptors are the preceptor at or the preceptors.
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  I'm not sure really there's some sort of a.
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  War that they're fighting, they're the baddies.
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  Well, they're the people that they're fighting.
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  No, hang on, backtrack. Explain that.
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  Boy, the stranger and his pals are part of a a a freedom
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  fighting thing against the the protectorate or the protectors
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  or whatever. They don't really find out much
• 3:44
  more about that. But you do find a bit more in in
• 3:49
  the audio. So Colin Baker's character, The
• 3:53
  Stranger or Solomon has been through, has been captured and
• 3:56
  has been through the Estrangement programme, which is
• 4:00
  to sort of reset your personality and make you not a
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  freedom fighter. That's why he was travelling
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  with Miss Brown, who was there to keep an eye on him basically.
• 4:09
  So that's that is the first one we did.
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  That's just after he's been through the estrangement
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  program. Yeah, when he's in that tin on
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  that planet. And then the effects of what
• 4:20
  happened to them in and in memory alone is called.
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  It sort of unfuzzes his mind a bit and he starts to remember.
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  Now he realises. Who he is.
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  So he's heading back to the scene of his last assassination.
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  Which is where we start hearing the terror game, OK, and it's.
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  Very advanced storytelling, I. Mean they're sort of enticing
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  ideas though, right? Like on a bigger budget.
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  I think there's a really good series at the heart of this.
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  I still like the idea of like an an alien war occurring somewhere
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  in the distance and we're feeling the the effects of it
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  here on Earth. I think we like the new series
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  actually. Well, yeah, quite.
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  I mean, it's a bit like the matrix if you think about it,
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  except we never, we never get in to the matrix because we can't
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  afford it. And we sort of put a green
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  spotlight in the corner of the room and people walk towards it
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  and then just vanish. And that's them going into the
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  web. Exactly.
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  Yeah. The dimensional web OK webs were
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  very new back then. You've got to remember the
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  Internet was a new thing. Actually they were saying the
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  web of time a lot and Doctor Who audios at this point.
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  So Solomon and Egan and Saul, those two characters that are
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  going to be introducing this particular.
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  Egan and Solomon knew each other before they were they were
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  Bessies. But they're terrorists, right?
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  They they go in, they are sent on missions.
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  Yes, to disrupt whatever. So kill this person here to
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  disrupt the the fabric of the universe or whatever.
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  And so we're here, like you say, catching up with a previous
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  assassination that that's Solomon.
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  That's where it is, yeah. He was basically captured.
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  Right. OK.
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  I mean, I watched this thing. I should know it already, you
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  know. Well, I'll tell you what I'm
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  going to do. I'm going to press play on
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  Terror Game directed by Bill Bags.
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  Directed by Bill Bags. Written by Nicholas Briggs.
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  OK, let's see, because the the direction and the writing of the
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  last one we both said was on the very high standards.
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  Exceptional. Well, let's see if they keep
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  things going, then count us in. In three 21 play.
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  Off we go. BBV logo.
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  Yeah, well, and then we've got the CGI stranger logo that was
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  not on the VHSS. This is later down the line.
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  Are there new brand new special effects in this one?
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  There's a, there's a, there's a couple.
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  Oh. Great, But the special guest
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  star of this particular one is Louise Jameson.
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  Yeah, who's never not great. She's always, she's always
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  amazing. I mean, as I was watching these
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  last three, I couldn't believe it was turning up in them.
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  Geoffrey Beavers and obviously fabulous.
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  Caroline. John.
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  So some new special effects here as the stranger appears in an
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  alleyway. And are we going for, like, a
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  deliberately sort of urban feel for this one?
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  Yes. But the last one was absolutely
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  science fiction. Yeah, now it's a bit more gritty
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  and urban. Why is that?
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  Is that deliberate? Yes, so Briggs and Bags are
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  auditioning for things like the bill and casualty.
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  That's what they're trying to get gigs on.
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  So they've they've set it in a more modern environment and here
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  we are in Nottingham. What could be more modern than
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  that with a very 90s car? And they are.
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  Very rock'n'roll, John. Wadmore.
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  John Wadmore's brilliant. He is fantastic.
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  He's so good. Actually, I think the three
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  leads across these Colin, John Wadmore and David Troughton.
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  Are all really good. He's attracted some pretty good
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  talent. So Wadmore is one of Briggs's
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  old mates from drama school. He's not a Doctor Who fan, but
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  he shows up in like the audio visuals and he shows he's in
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  these and he's now a drama teacher, I want to say, or a
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  headmaster or something. I thought he had a real
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  naturalistic ability. And he also played the Sontaran
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  when we did Silent Warrior. Oh, did he?
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  And he was the mute, wasn't he in the first one?
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  And look who it is. It's Nick Peg.
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  Oh, let. Me see.
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  Oh yeah. Oh bloody, he's got hair Look.
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  Young, Nick Peg. That's what I love about this,
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  this sort of Rep company of people who works on everything.
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  Yeah, I mean, Mark Gator says in one of the behind the scenes
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  documentaries goes it's a bit of a carry on aesthetic where you
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  just get the same people playing the same roles.
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  It's definitely not for budget purposes on the fact that they
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  only employed Doctor Who stars. Can I make an observation about
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  the direction of the last three? And I do think there was
• 8:55
  occasional moments of artistic direction in them, like in
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  clearly action scenes and things like that.
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  There's far more of a feel of of taking a camera camcorder out on
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  the street to these. What is it wrong?
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  No, I think I, I do think there's a bit of like you're
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  suddenly filming in non controllable environments when
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  you're out on the streets for something like this.
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  It's not like you can put big lights and get good big set ups.
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  And also you're trying to do real world, not alien world.
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  So perhaps there's a bit of him going, well, I don't need to do
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  anything. It just looks like it looks.
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  But yeah, all of a sudden, aesthetically it doesn't look as
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  good, does it? Right.
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  We'll get there right in the last one.
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  We're going to come. There's some action at the end
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  and I really thought he was like pacing it really well and
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  shooting it really well. But other times I just thought,
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  OK, quick, get the camera down there, there's no one around,
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  let's go. OK, Colin has now woken up in a
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  load of bin bags. Yeah, exactly.
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  We've all been there. Really anything you care to
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  share? He's he's, he's woken up in an
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  alley and we've got David Trouten.
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  So David Trouten, the best man at his wedding was Colin Baker.
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  So they're old pals and he was a bit wary about doing these
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  because he didn't want it to be because of his who his dad was,
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  but it's because he's a fucking good actor and he's great in
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  this. Was any of the marketing around,
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  you know, Patrick Troughton's son?
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  No, it wasn't. That's good.
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  And they've got a little handheld pocket computer.
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  There's I was messaging you when I was watching this.
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  There's absolute potential in eagerness always.
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  And in the second one they basically carry the whole thing.
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  It's what we'd call a homesian double act.
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  Oh, well done. OK, So what was Colin doing here
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  before? Like what was Solomon up to in
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  this? In this.
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  He's come to. He came to assassinate somebody.
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  We found out all about that. I can't remember.
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  I don't know if I was paying too much attention to the details of
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  this one. The last two are a bit more
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  safer grounds. All of a sudden, Colin Baker
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  just looks like someone's dad though, doesn't he?
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  When you put him in that suit, it's like he's not too far away
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  from what my dad looked like when when I was growing up,
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  actually, to be honest. So his memories, are they back
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  or they're sort? Of no, he's very confused.
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  They're coming back. But they will come back.
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  I mean, he spends a lot of these last three being a bit Moody,
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  doesn't? He.
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  Yeah, well, he's, he is. He's he's not he.
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  This is about the stranger discovering that perhaps he
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  wasn't a nice person. OK, and these are the low lives
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  that he hung about with. Yeah, actually there's something
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  quite hot about his long hair, as now all it is sort of wild
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  look about him. So cool jacket.
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  I was reading in that book, you know, downtime, the Lost Stories
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  by the Dylan Rees, but he wasn't acting.
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  John Wadmore, He came back to do some acting.
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  So I think he's still acting at this point.
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  I think it's the next one where he's given up completely, but I
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  could be wrong. I'm just I am astonished at
• 11:57
  David Trout and I think he must have been pittance, right?
• 12:01
  Yeah, they didn't pay him a lot of money.
• 12:02
  But also, like when you're an actor, this is a nice little
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  thing that he does it Maybe he doesn't.
• 12:10
  There's a point where he spits out the Leukozade, I think the
• 12:12
  trout and character, and it's because he's not used to
• 12:15
  drinking the stuff in this body, which I think is quite cool.
• 12:19
  Why are Egan and Saul after Solomon then?
• 12:23
  Because Egan is looking for the leader of his cell.
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  That's Solomon. Yeah, who disappeared here?
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  So he's he's gone looking for him.
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  So this was the first one of these that I saw.
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  Oh, really? Yeah, so it wasn't the Doctor
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  Who ones this is. I picked this up from a Doctor
• 12:45
  Who fan group I used to go to called The Wolves of Fenrick for
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  about a tenner. And I'd heard about this thing
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  that was not Doctor Who, but a bit like it.
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  And this wasn't even a bit like it.
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  And did it entirely enough, it did more.
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  Because it was gritty adult sci-fi for my 12 year old brain,
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  I mean. Imagine you just come off of
• 13:04
  watching the VHS and the Twin Dilemma.
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  You got this from the fan group. I mean, they could have done
• 13:12
  some of this. I don't know, actually, I know.
• 13:15
  I think this is a total in the first half.
• 13:18
  The first three, we were saying a lot.
• 13:20
  Yes, this could be the doctor. It's just a bit darker and it's
• 13:23
  a bit a bit more. I suppose at this point it still
• 13:26
  can be. It's by the end of this one that
• 13:27
  it couldn't be the Doctor, but only because we know that this
• 13:32
  character has been Doctor like in the last few things.
• 13:35
  What surprised me, and it shouldn't surprise me, is that
• 13:40
  Colin plays a completely different kind of nasty as
• 13:44
  Solomon as he does as the Doctor, like in Twin Dilemma.
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  He's fucking brutal with. Laces.
• 13:50
  Look, we've got a little flashback to his first encounter
• 13:55
  here. He's got a wrestler.
• 13:57
  My God, he's been of the opera. He's auditioning for James Bond.
• 14:04
  I don't know, I don't think that another James Bond is losing his
• 14:06
  hair. He does look pretty cool though.
• 14:10
  He. Does and he looks like a bean
• 14:12
  motherfucker. Oh, here she is.
• 14:18
  Fabulous. Louise Jameson.
• 14:21
  Yeah, she just lights up the screen.
• 14:23
  You. Know my mum used to dress a bit
• 14:25
  like that, you know a massive necklace and.
• 14:30
  It's quite a night. He's mum.
• 14:31
  Look, isn't it? I like the way that she just
• 14:35
  walks in, says and owns it all the way through as if she's been
• 14:39
  in the whole series. So Nicola Bryant had fallen out
• 14:42
  with, not with Colin with bill bags at this point over money
• 14:46
  and so they wrote they were looking for a new companion
• 14:50
  style figure. Although ultimately Louise
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  Jameson only appears in this one.
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  But there was a few other scripts considered before they
• 14:59
  turned to this one. There was one by Ian.
• 15:03
  The guy who does the error box. Yeah, set in like a weird
• 15:08
  haunted house with lots of characters that could be played
• 15:10
  by Doctor Who alumni. Oh yeah, I'm not going to keep
• 15:14
  quoting your book, but Fraser Hines as a Jacobi.
• 15:18
  John Pertwee as a tramp as. A tramp?
• 15:20
  Oh, where's the Gummidge? Yeah, right.
• 15:22
  I mean, that sounds pretty cool. And then John Gillior or
• 15:28
  whatever it's called also submitted a script or two, but
• 15:32
  ultimately it just came down to. I think you write it.
• 15:35
  Yeah, but I think because I think Briggs can write for a
• 15:38
  budget, and I think all these other people were trying to
• 15:43
  write for a budget, perhaps writing stories a little bit too
• 15:45
  big. I actually thought across these
• 15:48
  three scripts he wrote some really nice guest character
• 15:53
  parts as well. I do wonder how much he
• 15:57
  understands the universe of what is writing.
• 16:00
  Yeah, in in this. Like how much of it's but how
• 16:04
  much of it's laid out or how much of it is make him making it
• 16:07
  up as he goes along? With the nuts and bolts, him and
• 16:11
  bags. I think it was mainly him.
• 16:13
  Oh, OK. But I like that.
• 16:16
  I just like the little whispers names of of of stuff.
• 16:19
  It's very how we thought I'd do TV now, isn't it?
• 16:22
  And it's sort of it's character driven stuff like because you
• 16:27
  can't do big set pieces, it has to be, I think they sort of
• 16:31
  learnt from the first two especially that the sci-fi stuff
• 16:36
  sometimes was the stuff that let it down in terms of realisation,
• 16:39
  if not if not story, so. Although I did think I'm the
• 16:42
  last one, I was like, OK, I need to go to a space station or
• 16:46
  something. Like you've come from a science
• 16:49
  fiction world and yet the last three are all very on Earth.
• 16:54
  Well, there were zombies in the last one.
• 16:55
  I mean it did start to get a bit.
• 16:59
  What I loved. About someone Egan was across 3
• 17:03
  in this they're just a bit unpleasant and sort of a bit
• 17:06
  distrustful in the next one, the police procedural they're kind
• 17:10
  of fun they're out of there they're sort of fish out of
• 17:13
  water I. I believe that like Wadmore and
• 17:16
  Tratter were only going to come back if like there was
• 17:18
  development for the characters, which makes perfect sense.
• 17:21
  And then in the last one, they do something with Egan that I
• 17:25
  didn't see happening at all was. I shagged doesn't.
• 17:28
  It. Oh boy, does it.
• 17:29
  And of course, Mark walked in the room just during that bit.
• 17:33
  What's coming out of my phone interspent with someone firing a
• 17:40
  lot of gums? I don't know what like I
• 17:44
  understand why the stuff on the streets looks a bit flat, but
• 17:47
  there really could have been more work done with the lighting
• 17:49
  in this inside this club. Like it just feels like a big
• 17:53
  empty. Room.
• 17:54
  It's quite bright, isn't it? Yeah, I know it's the daytime
• 17:57
  and it's supposed to be the daytime, but but.
• 18:00
  Do you remember how good the lighting was in?
• 18:02
  What was the third one called? In memory.
• 18:04
  Alone in memory alone. Yeah, it was fantastic.
• 18:07
  So it just seems a bit. That was on location, wasn't?
• 18:09
  It, Yeah, but maybe, maybe they've only got a day or two in
• 18:13
  the club, I don't know, and they've just got to fly through
• 18:15
  it. Is this still the period where,
• 18:19
  you know, you said he had a really good lighting designer at
• 18:21
  one point, Dick? Cursor.
• 18:23
  Is he still involved at this point?
• 18:24
  I think so, yeah. Lighting cameraman Dick Cursor.
• 18:27
  Yeah, I think he stops around Cyberon.
• 18:30
  Because I really noticed in the last one that they weren't
• 18:34
  lighting the rooms anymore. It was like natural light all
• 18:37
  the time. But I I think a lot of that is
• 18:41
  Bill's always looking for ways to cut costs and.
• 18:45
  Put the lights on. Yeah, but it feels like he's
• 18:47
  gone more. We don't need to like that, you
• 18:49
  know, it's all about the character.
• 18:50
  I'm not interested in that, which I guess is sort of a valid
• 18:54
  tape, but it does just mean that that final one looks very grey,
• 18:57
  I mean. God, you can see why Louise
• 19:01
  Jameson never stopped working, can't you?
• 19:02
  Yeah, she's brilliant. I like the accents as well.
• 19:08
  Not as good as Caroline Johns in the next one.
• 19:11
  No, Very. It's unbelievable.
• 19:14
  I what I liked about these. Well, they're quite short as
• 19:16
  well. This one's what, 45 minutes?
• 19:18
  Yeah, the, the next, this one and the next one are quite
• 19:20
  short. Not so much the final one, no,
• 19:24
  but we'll get on to. That, but I didn't feel the
• 19:25
  length though, if you're pardon, it was it was just the right
• 19:32
  size. I thought, well, I suppose a lot
• 19:37
  of a lot of this a lot of this story is around, OK, why is he
• 19:42
  here? What is he remembering?
• 19:45
  How do they know him? So I suppose the success of this
• 19:49
  story is, are all those questions answered well at the
• 19:52
  end? Possibly not I.
• 19:54
  Was a bit back. Well, I.
• 19:55
  Think it's an ongoing series so it doesn't have to answer them
• 19:59
  all in the same thing and I feel like if you watch these and
• 20:03
  then. In between 5:00 and 6:00, listen
• 20:06
  to the audio The last mission. You get more of an idea of what
• 20:10
  what's going on, John? What's having to do a lot of
• 20:15
  walk around the building? And here he is.
• 20:17
  He's about to have a wee. You don't get this in classic
• 20:19
  Doctor Who. Oh.
• 20:20
  And he's that as well. Yeah, John, what more?
• 20:23
  He could have pissed straight the camera.
• 20:26
  We could have had a good look. And Colin looks quite sinister
• 20:29
  there as well, doesn't he? I'll be saying Colin looks
• 20:32
  sinister quite a bit in these last three.
• 20:34
  Yeah, that's one point where he attacks a man he's absolutely
• 20:37
  terrified. Oh, it's got, let's see, a real
• 20:40
  killer music as he goes up the stairs.
• 20:42
  The music is Nick Briggs, obviously.
• 20:45
  Yeah, I was reading that. Apparently he wasn't too happy
• 20:48
  because he was doing it and that machine.
• 20:50
  Well, yeah, you you were saying that there was issues with the
• 20:54
  sound on those VH s s and it's been polished up a little bit
• 20:57
  here, but they were using sort of newsroom editing software.
• 21:03
  So it wasn't really or editing equipment at the time.
• 21:06
  I've got to be honest, I didn't really think the music was bad.
• 21:08
  I know. And Bags reuses the music on his
• 21:12
  doctor's documentary as well. He's quoted as saying he didn't
• 21:16
  get paid much for doing the music, so I think this was
• 21:19
  another cost something Exercise I.
• 21:21
  Feel like some of Briggs scores. The score for the last one's
• 21:25
  really good when he's doing the action.
• 21:27
  And I like his what is it like, you know, his Dalek Empire
• 21:32
  scores. Like there's that universe which
• 21:36
  I've been, I'm covering on a, I'm not too hot for TV.
• 21:39
  But like there's a definite sound to his scores when they're
• 21:42
  all set in the future, like sort of Orion side.
• 21:45
  Yeah, no, he's a really good. He's a good musician.
• 21:54
  Oh boy. Hello stranger always got me
• 21:58
  because he is the stranger. Very good, I suppose.
• 22:03
  I suppose my biggest issue with this one was a kind of lack of
• 22:07
  incident. There's a lot of hanging around
• 22:10
  waiting for the answers. I suppose at 40 minutes that's
• 22:14
  not too much of a problem. I just think Trout and Baker
• 22:19
  together are gold. Yeah, I also think it is under
• 22:25
  lit and it does look a bit rough around the edges.
• 22:28
  But I imagine if you watch some daytime soaps of the time and
• 22:31
  things like that, you you wouldn't find too much of A
• 22:33
  quality drop from from that to this.
• 22:37
  I'm not talking like EastEnders or something like.
• 22:41
  That but I only, I think in the last 10 years that sort of show
• 22:45
  had they made real steps to to make them look a bit more
• 22:50
  polished. Yeah, exactly.
• 22:51
  But sort of contemporaneously. Look at EastEnders in the 90s.
• 22:55
  It did look very. Flat, yeah.
• 22:57
  You watch the like 80s stuff and it's still very like studio band
• 23:01
  and feels like, feels a bit like classic Doctor Who.
• 23:04
  But yeah, there's there's definitely British television
• 23:08
  doesn't move towards that cinematic rock until like sort
• 23:10
  of 2010 really. I have some additional questions
• 23:14
  for you go on which I hope you can answer.
• 23:17
  Who is the bandaged man covered in blood?
• 23:19
  That is his previous victim that have that has been put back
• 23:23
  together, played by Nick Briggs. Of course he's got to show up.
• 23:28
  He always turns up. I think he was a zombie in the
• 23:31
  last. 1 He is, yeah. He shows up in everything.
• 23:34
  Bless his heart, it's not cutting costs.
• 23:36
  It's because he's a good actor. But.
• 23:38
  Exactly, look at the range he gives him the stranger
• 23:41
  performances. Oh, I loved him in your memory
• 23:43
  alone, he was fabulous. He doesn't know where he's been
• 23:50
  or what he's doing. Well, I kept saying, you know,
• 23:54
  when he was catching snatches, He sounds just like the Doctor.
• 23:57
  I went, it's still Colin Baker, even a performance, bless him.
• 24:03
  OK, so my other question is Louise Jamieson.
• 24:06
  Is she? Does she the one that put put
• 24:07
  him back together again? I think so, yeah.
• 24:09
  OK, so does she know this whole situation?
• 24:12
  Yeah, she's she's part of the preceptor at all, protector at
• 24:15
  all, whatever they're called. So the only person who's an
• 24:17
  innocent bystander here is Nick Pegg.
• 24:19
  Yes, OK, poor and the victim. And the victim?
• 24:23
  Yes. Poor old Nick Peg.
• 24:25
  And the Pot Noodle. Than the pot noodle but also it
• 24:28
  is that thing of you don't see people eating pot noodles in
• 24:31
  classic Doctor Who like they are trying to make this grounded in
• 24:35
  reality and I do think it works like it's quite if you're used
• 24:39
  to you know the last thing you watched was the ribos operation
• 24:43
  or whatever and then you come to this like it is it is very
• 24:46
  different all computer effects space computer.
• 24:51
  It's like a hologramatic computer screen.
• 24:54
  Yeah, it comes out of a keyboard.
• 24:56
  Whispers. And then we've got our bandaged
• 25:02
  up Briggs. Don't mind showing a bit of.
• 25:04
  Blood and gourn wow, that's that's what says adult, isn't
• 25:07
  it? It's.
• 25:08
  Like season 22, isn't it? We've got no money.
• 25:11
  Just put some blood on the screen.
• 25:13
  OK, I'm watching. Do you like this direction that
• 25:19
  the stranger takes, or do you prefer the, you know, the first
• 25:23
  half where it's supposed to be? I can't.
• 25:26
  Quite decide. I think as a kid I enjoyed it.
• 25:29
  But I guess the more you move away from your sort of target
• 25:34
  audience and because this didn't find its own audience, like you
• 25:37
  kind of go, what's the point? And it's for them to stretch
• 25:41
  their sort of muscles a bit. But so do I.
• 25:47
  I think I would have preferred a few more knock off Doctor Who's,
• 25:51
  to be honest. But that sort of
• 25:52
  retrospectively, I do. I do think this has merit.
• 25:55
  Oh. I think all three of them.
• 25:58
  And I do enjoy them, but it's that thing of how far do you go
• 26:03
  before you? You don't give a fuck about it
• 26:04
  basically because it's not Doctor Who, and also it's not a
• 26:07
  drama of high enough value to sort of spin off on itself.
• 26:12
  And certainly sort of in terms of like the directions, I did
• 26:15
  start to feel that a bit towards the end of life, OK, whereas
• 26:18
  something like a memory alone felt crafted and every shot had
• 26:22
  been considered. I started to get the finger of
• 26:24
  like, OK, they know they can make a few pennies out of this
• 26:28
  and it's something for the show real.
• 26:30
  But oh, this is the most miserable place, isn't it?
• 26:35
  It is. Is this something?
• 26:35
  What a derelict. Club, I think they're no, I
• 26:38
  think they're just in a derelict flat here.
• 26:41
  But as as I oh, oh, there we go. So there's some quite visceral
• 26:48
  violence. You know, John Wod Moore's just
• 26:50
  punched Colin Baker. He's a real nasty piece of work.
• 26:55
  Wod Moore on this. I know.
• 26:57
  I think he's really hot the more violent he is.
• 27:01
  Oh shit in hell. He's just smack culling.
• 27:04
  Man, he's rotting him round the face.
• 27:06
  Oh, look at that. Look at that.
• 27:08
  Old fashioned. Yeah, but that personal
• 27:11
  organiser? Because that would have been
• 27:12
  cutting edge at the time. I was saying this the other day
• 27:16
  on the Starfish one. Don't do a close up on the tech.
• 27:19
  Yeah, it's the one thing that ages more than anything, OK?
• 27:24
  Tech cars haircuts. So fashion, once they get
• 27:32
  Solomon back and his memories, is he?
• 27:37
  Do they want him if he's the head of the cell?
• 27:40
  Do they want him to give them another mission?
• 27:44
  Are they going to take him back through the web?
• 27:46
  I think they want to find out what happened to him and if he's
• 27:49
  a threat, eliminate him. OK, why did he get put through
• 27:52
  the estrangement program? Because he was a the the
• 27:55
  Protectorate thought he was a baddie.
• 27:56
  Because he's a very naughty man. He's a very naughty boy, OK,
• 28:00
  Because he's a he's been interrogated now, yeah.
• 28:06
  Why is that, people? What happens?
• 28:09
  Oh. Here we go.
• 28:13
  Right now, he's been forced to watch.
• 28:14
  Oh, new special effects. No, I think that's the old one.
• 28:20
  I mean, they do like using the spotlight, don't they?
• 28:24
  Sometimes it's all you got, OK? Why has he been put back
• 28:28
  together again? As bait for the stranger.
• 28:33
  OK. Lauren back here.
• 28:35
  We didn't hear Solomon, did we? Until this one.
• 28:38
  He was just a stranger. Before, I mean he was never
• 28:40
  called anything like in the first one.
• 28:42
  They called him the man who appeared.
• 28:44
  And did you say that the audios are between In Memory alone and
• 28:50
  the Terror game? So the audios what the last
• 28:55
  mission is set before summoned by shadows?
• 28:59
  I think so before the 1st 10. Look, we're seeing flashbacks
• 29:04
  now, too. So it's a cohesive universe.
• 29:10
  Preceptor cell leader missing. My God.
• 29:15
  Oh, they did get Nicola O'Brien in then, but just in flashback.
• 29:18
  Oh, OK. Nicola.
• 29:20
  Nicola, obviously. She didn't put a call into
• 29:24
  Waldmore and Trout and saying, well, you don't get paid, but
• 29:27
  you'll have fun at. One point Bags was going to
• 29:29
  carry on with the character of Arnie the Weatherman from
• 29:33
  Arizona Solution, played by Colin.
• 29:35
  Really. But I just don't know what you
• 29:37
  would have got out of us. Like Arizona sort of worked as a
• 29:41
  one off, sort of. So once the last stranger was
• 29:47
  wrapped up, was that always going to be the last one?
• 29:51
  No, I. Were they planning on doing
• 29:52
  more? I think they were planning on
• 29:53
  doing more, but I think it was just a case of they'd sort of,
• 30:00
  I, I feel like Briggs had just sort of not Briggs, sorry, Bags
• 30:03
  had asked too much of people, you know, you asked them to come
• 30:08
  back again and again and again for the same money or less money
• 30:11
  or whatever. And no, that's quite.
• 30:16
  AI mean how many years they've been going now?
• 30:19
  This may get you work and tell you TV it hasn't.
• 30:21
  Materialised Bill, you know, like I think you've got to
• 30:25
  remember at this point he was like 2526 and they like they all
• 30:28
  believed in him. But once he's sort of hit in his
• 30:31
  30s, it's a bit like, well, you're not getting anywhere and
• 30:35
  the the scripts and stuff aren't.
• 30:38
  This is like a pretty prestige cast of people that have done a
• 30:42
  lot of work on television. Where did he find these people?
• 30:46
  Well, there was just like the thing I mean.
• 30:48
  When did the conversation start? Well, the thing you've got to
• 30:52
  remember is back then, if it's not like now where anybody with
• 30:58
  a camera can sort of shoot something.
• 31:00
  And so there's a lot more crap that's made and a lot more, like
• 31:06
  agents and actors are more wary of anybody that's putting on a
• 31:09
  production because it could just be you and me with a, you know,
• 31:13
  an iPhone. And they go, oh, well, they've
• 31:15
  paid me. But this isn't what you know.
• 31:17
  We talk about Sylvester McCoy showing up to do the downtime
• 31:20
  reshoots for Ian Levine, not knowing what he was doing,
• 31:23
  thinking he was doing ABBC. Production.
• 31:27
  Yeah, he thought he was doing it for the DVD range.
• 31:29
  But he'd already been. When did he realise?
• 31:32
  When the mask came out, they were opposite him.
• 31:35
  And then whereas at this point, if somebody was putting together
• 31:43
  a production, it means they had some sort of money, no matter
• 31:46
  how small. And it's a production with a
• 31:50
  semi professional team. So automatically it's like,
• 31:54
  well, yeah, it's a job. It may be a low paid job, but
• 31:56
  who knows what it leads to. And if you're if you're not
• 31:59
  working, which these guys worked a lot, but they didn't weren't
• 32:02
  always working. I mean David Trout and said it
• 32:06
  was very much like he liked the script.
• 32:07
  It was it was good for him to hang out with Colin who was his
• 32:12
  old mate. They all went to the pub in the
• 32:14
  evening. It was 2 weeks or.
• 32:15
  Whatever talk of curries every night.
• 32:18
  They had they had a nice time and and they.
• 32:21
  Do get to do a bit of acting. It's not like they're they're
• 32:24
  good roles for them. It's not like it's a fan film in
• 32:27
  the sense of dicking around in a quarry with a camcorder, which,
• 32:31
  you know, I mean, Doctor Who stars do show up in a few bits
• 32:34
  and bobs like that as well. But like I'm assuming then it's
• 32:39
  a fan meet or a convention or something like that.
• 32:41
  That's how the conversation started with these.
• 32:43
  People. Yeah, I guess.
• 32:44
  So like, you know, they've just come off stage.
• 32:46
  Oh, I've got this script. Have a look.
• 32:48
  Yeah. I can't imagine him contacting
• 32:52
  all their agents and going, well, you know, I've got this.
• 32:56
  I mean that's what David Troughton says.
• 32:59
  He says he literally showed he called up his agent and said he
• 33:02
  sent this script, here's the money and say what?
• 33:05
  I don't know what it's this 199495 and it was like I'm
• 33:10
  pulling a number out of my arse but I don't know, £500 maybe
• 33:14
  that was enough. A few days work for. £500 you
• 33:18
  know, honestly, anything do you hear?
• 33:22
  And and they these these actors at this point were genuinely
• 33:26
  invested in Bill as someone who might go somewhere.
• 33:29
  By all accounts, yeah, he could talk the talk like he he was a
• 33:35
  pretty beguiling negotiator. And, you know, we talk about
• 33:39
  his, you know, his lighting cameraman sort of picking up the
• 33:44
  slack and sort of making things look really good.
• 33:46
  But that is their job, and it was obviously Bill's choice not
• 33:50
  to start shooting himself and not take care of those things.
• 33:53
  But he wouldn't be the first director who whose DOP
• 33:58
  essentially was doing half of the job for him.
• 34:01
  Although I will say, like we've just had a couple of scenes.
• 34:03
  Yeah, there there was a wonderful moment where he was
• 34:06
  watching on the screen, him doing the assassination, which
• 34:09
  has a lot of suspense to it because he's he's finally
• 34:12
  figuring it out. Then there was a really nice
• 34:14
  shot of him on location on the bone.
• 34:16
  And then just a second ago when they were walking, there was
• 34:19
  some sort of handheld camera work going on there.
• 34:21
  Like, it's not like it's not being put together with any
• 34:24
  skill whatsoever. And I mean, you've got Connie
• 34:28
  Baker and David Tran emoting here on the screen.
• 34:30
  That's worth. Watching, I think the shot
• 34:32
  composition like and the framing and stuff is fine.
• 34:35
  I just think it is the lighting that that's letting this one
• 34:37
  down, I mean. It's not too bad right now we're
• 34:40
  on location in the daytime. Yeah, and it's a close up.
• 34:45
  You can chart Colin's hair loss across these stranger videos.
• 34:48
  Yeah, absolutely. Maybe that's why they didn't do
• 34:50
  anymore. OK, this is all vital stuff
• 34:56
  though. He's saying I know who I am now
• 34:58
  and by some kind of an assassin was IA terrorist and actually,
• 35:04
  you know what? It's sort of, it's the sort of
• 35:06
  Eric Sabre approach, sort of dark and gritty, isn't it, you?
• 35:09
  Know yeah, all Colin's just said butt.
• 35:12
  Ryan has just nutted David Trowan and that's for not giving
• 35:16
  me a good meal at your wedding. Poof.
• 35:20
  Poor old bandaged Briggs is having trouble eating as
• 35:24
  risotto. Is Briggs supposed to be that
• 35:26
  woman that got shot? Did you see a woman get shot?
• 35:30
  Yeah. Oh, I've never thought about
• 35:31
  that. Maybe it is.
• 35:32
  Is it a woman? Oh, maybe it is.
• 35:35
  Honestly, he's got so many talents.
• 35:36
  He's a very versatile individual.
• 35:39
  Like men, women. Yeah.
• 35:40
  Oh, the. Reconstructed people.
• 35:44
  Oh. I don't know how that blood was
• 35:45
  too convincing coming out of his nose there.
• 35:47
  No, never mind. Oh, my God.
• 35:50
  Saul, you're Hang on. Saul's on the left.
• 35:52
  Yeah, Egan's on the right. I mean, look, he's in the
• 35:58
  tightest genes ever. He's got a gun between his legs.
• 36:00
  I mean, that is just sexy. I wonder if they got permission.
• 36:03
  Oh yeah, I wonder if they got permission for the to have those
• 36:06
  weapons out in public. You wait until the last one.
• 36:09
  They are firing so many bullets in the country.
• 36:11
  I mean what did the neighbors think were going on?
• 36:13
  The fucking World War happening next door.
• 36:18
  He gets very exciting and if you notice, David Trouten takes more
• 36:23
  and more clothes off as stories go on from the last one.
• 36:27
  He's practically nude. That there is a very, there's a
• 36:30
  very sexy scene, isn't there? Oh.
• 36:32
  My God, not quite as sexy as when Colin Baker and Sophie
• 36:35
  Alder were in that cave together.
• 36:36
  No, but nothing is that. That is the height of sexiness.
• 36:42
  OK, right. So come on, he knows who he is
• 36:44
  now. Yeah.
• 36:46
  Well then, surely this has got to end.
• 36:47
  No, that's the end of the story. You think?
• 36:50
  No, no, no, because they haven't.
• 36:52
  They haven't got to the end of the like the mystery of the of
• 36:56
  the nightclub and. The mystery of the bandaged man.
• 36:59
  Yeah, exactly. And Louise Jameson's involvement
• 37:02
  in all of that, of course. Oh, she's cleaning up the cat
• 37:06
  litter. The cat that appears.
• 37:07
  What does Nick Pegg think of this person in the attic?
• 37:12
  Not entirely sure you've seen Nick Pegg's mastermind sketch at
• 37:17
  a convention. You know where Nick Pegg and
• 37:20
  Barnaby Edwards. They do.
• 37:22
  They do them at phantom events. Yeah, they do.
• 37:24
  The one where you give the answer to the question that was
• 37:27
  asked before, Right. So clever.
• 37:29
  They got it all wrong though. The one time I do it, I saw them
• 37:31
  do it. It was even funnier because they
• 37:34
  got. Oh dear, that is miserable,
• 37:35
  isn't it? You poor bandage man.
• 37:40
  So when you say he's bait, yeah. What to draw back?
• 37:44
  Yeah, because he's gone missing. He was in the estrangement
• 37:47
  programme, now he's not. And she is the she's one of the
• 37:51
  people they're fighting. Yeah, yeah.
• 37:53
  Righto, here we go. No, he's going to kill Raven.
• 38:02
  No, it is Mr. Raven, isn't it? So he's not supposed to be the
• 38:04
  woman. The woman was probably.
• 38:05
  Just in the way. Yeah, Yeah.
• 38:08
  Oh, I love him in that day Jacket.
• 38:11
  Very sinister. So before Oh, that's.
• 38:18
  That's that's a bit too much. Oh, Colin, your bald spot.
• 38:24
  Also that weird lighting there. And there's no way Louise
• 38:28
  Jameson will be able to carry Colin Baker.
• 38:30
  I'm gorgeous. Oh, this is where it's the
• 38:36
  scenes in domestic kitchens. In the second one, the stranger
• 38:42
  is staying in the most miserable house you have ever seen.
• 38:45
  It's a very, very 90s. House.
• 38:47
  Oh, it's terrible. There we go.
• 38:53
  More guns on display. Where in the behind the scenes
• 38:59
  you see that those guns are just plastic toys and they make
• 39:02
  little Pew Pew sounds they. Look pretty real to me.
• 39:06
  Toy guns were more realistic in the 90s, You'd get sort of like
• 39:09
  proper replicas and then they realised that probably wasn't a
• 39:12
  good idea. Is Colin and no, I haven't even
• 39:15
  worked together before this, have they?
• 39:17
  Sorry, Colin and Louise Jameson. What have they worked together
• 39:21
  before have? They.
• 39:23
  No, I don't think so. Not in Doctor Who.
• 39:27
  Oh, Zagreis. Oh, yeah, but that's after this.
• 39:30
  Oh. OK, I've got a.
• 39:31
  Feeling that do they? They might do a A play together
• 39:33
  at some point as well. They did corpse together.
• 39:37
  Yes, she was the one holding the smoking gum.
• 39:40
  He was the one impaled to the drinks cabinet, which then it
• 39:44
  was a revolving drinks cabinet. He goes into the wall and then
• 39:48
  halfway through Act 2 where you've forgotten about him, the
• 39:51
  drinks cabinet comes round again and he's still impaled.
• 39:55
  The best laugh of the night. Did you see it?
• 39:58
  I did. I got inside my Doctor Who and
• 40:00
  the Pirates the CD. Amazing as well.
• 40:04
  Oh no, please. I can't watch Colin Baker coming
• 40:06
  on to anymore. He's not coming on to a.
• 40:09
  Female alumni. He's not coming on to her.
• 40:14
  He in fact, he was just holding her quite threateningly by the
• 40:17
  math. The thing about Louise Jameson,
• 40:20
  and correct me if I'm wrong, yeah, it's she's always been
• 40:24
  sexy. She's still sexy now as another
• 40:28
  mature lady. Yeah, she's a hot woman.
• 40:33
  OK. Oh, no, no, we do not.
• 40:37
  He's just pulled Louise by the hair.
• 40:40
  Yeah. All this his music's a bit.
• 40:46
  I'm willing them all to be together.
• 40:48
  Now it's. A final showdown conclusion.
• 40:57
  He is creepy, isn't he? Yeah.
• 40:59
  So it's the idea that before the estrangement program, he was
• 41:03
  just the mean motherfucker. Yeah, exactly.
• 41:05
  Oh, he used the Samuel L Jackson of the Time Lords.
• 41:10
  Because he was so charming in those first.
• 41:13
  But as you say, it's a very different sort of menace and
• 41:16
  stuff to what they do with the 6th Doctor in Twin Dilemma.
• 41:21
  Did you ever see him in the Brothers?
• 41:23
  No, I've never seen. Him.
• 41:24
  Apparently he had quite a presence in that as well.
• 41:26
  Yeah, Colin, you're the one of the nicest blokes.
• 41:29
  How comes you just play a wonderful asshole?
• 41:31
  I think, yeah. I mean, I think he's good at
• 41:33
  this. Well, I know he's good at it.
• 41:35
  I can see him do it right now. Well.
• 41:38
  Oh. Here we go.
• 41:39
  Space Phone. When you pulled out the huge
• 41:45
  thing at the top, oh, that's terrible.
• 41:53
  Things are heated up. You're right though, it is a lot
• 41:55
  of people talking in rooms, isn't it?
• 41:57
  Yeah, yeah, yeah. Which is the same with the
• 41:59
  second one, but there's a lot more guest characters than the
• 42:03
  second one. I don't know, it felt like it
• 42:05
  moved a lot. Quicker, more of an ensemble.
• 42:07
  I think this was the six, this was the one I struggled with the
• 42:09
  most. That's interesting, I think I
• 42:11
  did this time as well. It's always a bit of a Nutter,
• 42:16
  isn't he? Yeah, it's a.
• 42:17
  Nasty piece of work. In the last one where Eagan has
• 42:22
  his love affair so don't understand it at all.
• 42:25
  Just kill her right? I know you fucked her, just kill
• 42:28
  her. I don't, yeah.
• 42:34
  I, I It's a shame that John Wadmore didn't go on to do more,
• 42:40
  because I do think he's a good actor.
• 42:41
  And I don't just mean the Doctor Who universe, I mean in general.
• 42:45
  I do. I do remember him being in a
• 42:47
  number of big finishes. Yeah.
• 42:49
  Nick Peg's falling asleep while all this drama's going on.
• 42:52
  He's fallen asleep with his headphones on.
• 42:55
  I think quite a lot of the BBV alumni show up in the first lot
• 43:00
  of big finishes, don't they? And then like Joe Castleton's in
• 43:03
  quite a few, I think Anthony Keate shows up in a couple.
• 43:08
  It's just sort of. I know what the big difference
• 43:11
  is with this one. I I remember feeling it the
• 43:13
  first time I watched it. Is that the first, the 2nd, and
• 43:17
  the third one? It felt like they had a
• 43:19
  disparate number of locations and that they were playing about
• 43:23
  with special effects and I don't know, they just felt like
• 43:27
  productions. Whereas this did just feel like,
• 43:29
  OK, we've got this one location that we're shooting around and
• 43:33
  that's fine. Like like they're telling a
• 43:34
  story within that one location. I mean, it's not a problem.
• 43:37
  I don't know this, but it wouldn't have surprised me if
• 43:40
  bags went to Briggs. I've got this old nightclub,
• 43:42
  write it around there like my mate owns it.
• 43:44
  Or we can have it for free. Please write about it.
• 43:48
  Write, write a story. So it's a nuts bag, you know, I
• 43:51
  mean, not his actual nuts, but yeah.
• 43:55
  I like it. But they're, they're, they're
• 43:56
  still thinking about things like, you know, Egan's still got
• 44:01
  the broken nose makeup on and stuff like that, which is
• 44:04
  something that in later films, I don't know whether Bill Bags
• 44:06
  would have bothered with. No, I mean, Hazel Burroughs was
• 44:09
  up in that air conditioning unit.
• 44:10
  You know you can have a bruise on her.
• 44:12
  Afterwards, Hazel Burroughs needed some makeup.
• 44:16
  Or. Maybe a face transplant?
• 44:18
  Yeah, she did look a bit like a ham before, Yeah.
• 44:21
  We need to get Hazel Burroughs on the podcast.
• 44:23
  No, I don't think she's with us anymore.
• 44:24
  What? I.
• 44:25
  Think she's alive and. What?
• 44:28
  No. Sorry to break this live on the.
• 44:31
  Podcast Jesus, what a day. What a Simon Fisher Becker
• 44:34
  yesterday, Hazel Burris today. There's no justice in the world.
• 44:39
  I think Box has been through the compactor as well.
• 44:44
  Right here we go. Everybody's together at last.
• 44:48
  It's the big showdown. That's it.
• 44:50
  Gun to Louise Jameson's head. I mean, she's great.
• 44:54
  She don't have to come in for a couple of days.
• 44:55
  They gave her that gorgeous outfit, right?
• 44:58
  To go and get into that and act like a bitch.
• 45:00
  I tried to interview Louise Jameson for my book and she
• 45:03
  turned me down. Oh.
• 45:04
  No. Why she didn't want to talk
• 45:06
  about? What about this?
• 45:08
  About BBV because she shows up in the probe things as well.
• 45:11
  Of course she. Oh, she's Patricia Haggard.
• 45:14
  Yeah, this shows. Less.
• 45:17
  Eventual lesbian lover. Yeah, Patricia, not haggard.
• 45:21
  Whereas when she shows up in the Hazel Burroughs one, it's very
• 45:24
  much Patricia. Haggard bitch, you bitch.
• 45:28
  Wow, did you speak to her directly?
• 45:30
  Then I spoke to her, the person that was managing her Facebook
• 45:33
  group at the time. OK, well there goes Nick Pegg.
• 45:36
  He's been killed. He was just there to be some
• 45:38
  cannon fodder. Oh, just knocked Louise to the
• 45:41
  floor. It's a setup.
• 45:47
  There's a Protectorate portal nearby.
• 45:51
  You can write it, but you can't say it.
• 45:54
  Shut up. Obviously I'm watching now
• 45:57
  because I'm trying to catch the details I didn't catch the first
• 46:00
  time round. Oh, who did that?
• 46:05
  Louis. Oh, she looks smoking hot with a
• 46:10
  gum, doesn't she? No, she could be a Bond girl,
• 46:14
  you know, Look at her. She could, actually.
• 46:17
  Maybe a bit out there, but. Maybe not her, no.
• 46:21
  He looks like golly it's going to kiss David Trouten if that's
• 46:29
  what's going to happen to my hair.
• 46:31
  I mean I wonder who was on Briggs wish list to play Egan
• 46:36
  Soul and no no like when he was writing.
• 46:39
  Right, I see what I mean. I'd love to get dot dot dot.
• 46:42
  I mean all his dreams. He'd get every trauma.
• 46:46
  I wonder who it was. I mean he trapped on a lot of TV
• 46:49
  at this point. He was doing a lot of
• 46:52
  Shakespeare, wasn't he? He was part of this.
• 46:54
  He's part of the Royal Shakespeare Company at
• 46:56
  Stratford. I think he still is, to be
• 46:58
  honest. That's where he.
• 47:00
  Just to say McKellen, I'm just off for the weekend to shoot
• 47:03
  with Bill bags. I'll be back next week.
• 47:11
  This was the this is where I felt a bit sorry for Colin
• 47:13
  because he does have to sort of just stare off camera looking
• 47:16
  Moody a lot in the last three. It's because he's not the
• 47:21
  problem solver anymore, is he? He's.
• 47:23
  No, he's he's a victim in many ways.
• 47:25
  Like he's just trying to learn about himself.
• 47:28
  I mean, you know, you said he looked like somebody's dad.
• 47:31
  Yeah. Well, in the second one, he's
• 47:32
  pretty much behaving like somebody's dad.
• 47:34
  He's doing the washing up, you know.
• 47:37
  Making. Sure, the pamphlets and the
• 47:39
  magazines are all sorted. The next one is the most
• 47:41
  domestic of them all, but all didn't.
• 47:43
  Mind. It No, I didn't either.
• 47:45
  And we'll, you know, we'll get on to, we'll get on to that very
• 47:47
  shortly. I'm sure everybody is giving it
• 47:51
  110% though, aren't they? Nobody's phoning it in.
• 47:54
  But I didn't. You can't see it now, but a
• 47:58
  minute ago you had Louise Jamieson and John Waldmore
• 48:00
  manoeuvring themselves into short with the guns.
• 48:04
  It might happen in a second. Actually.
• 48:06
  She comes around him because she realises.
• 48:08
  She's not, in short, and that's because they haven't blocked it
• 48:11
  through properly. Where is it?
• 48:13
  Here we go. Watch this.
• 48:15
  It suddenly emerges between them holding the gun.
• 48:19
  There we go. She's been there the whole time
• 48:25
  waiting. Yeah.
• 48:28
  Oh, Bill, do it again. OK, Someone Egan gone.
• 48:35
  That's a new effect. Off to the protectorate, no to
• 48:38
  the web. To the web.
• 48:39
  Oh, he shot her gun. Oh.
• 48:41
  God Nicholas Briggs makes a great mutilated corpse.
• 48:47
  Who tells us You should write to him and tell him that I've.
• 48:52
  Really got to hang out with Louise Jameson for the day.
• 48:54
  I'm sure he does that all the time there.
• 48:56
  Oh, that's true, yeah. Now he's Baron Big Finish.
• 49:02
  He's got to retire, so surely to God Colin, don't kill him again.
• 49:10
  Much of being killed twice by the same person.
• 49:13
  Oh my word. Oh, that's really nasty.
• 49:25
  I mean, I can't imagine why Mel distorted And turn them down.
• 49:28
  That's isn't. That's the next one.
• 49:32
  What the fuck is this? It doesn't seem like something
• 49:37
  I'd be interested in. What if you're going to kill
• 49:43
  him? Get on with it.
• 49:46
  You do get the impression that perhaps it was.
• 49:49
  It's could have been half an hour, you know, a few less
• 49:53
  scenes of what? More walking around the
• 49:54
  building. Oh.
• 49:58
  That's the second time in this series we've seen Briggs's gross
• 50:02
  face. That hasn't, like in the
• 50:04
  previous one, he's made-up. No, Briggs has got a lovely
• 50:08
  face. I know what you mean.
• 50:10
  And they're desperately trying to not show that it's Nick
• 50:14
  Briggs. Between you and me doing In
• 50:18
  Memory alone, yeah. And then I was doing that Quark
• 50:22
  audio. You've got me saying so many
• 50:24
  nice things about Nicholas Briggs.
• 50:26
  These days people think I'm having a love affair because.
• 50:28
  Isn't he's a legend? I'm a great writer.
• 50:36
  I'm not going to contradict you right now, because I do think
• 50:38
  this is quite a good script. I do think it could be tightened
• 50:42
  up a little bit though, yeah. But that's as much to do with, I
• 50:46
  mean, I'd also say like who's doing 45 minute dramas at that
• 50:51
  point? Yeah, nobody.
• 50:53
  Really. What?
• 50:54
  When's this? Mid 90s?
• 50:55
  Yeah, I suppose. America.
• 50:58
  America, but like. The bill was still half an.
• 51:02
  Hour, isn't it it? Goes for an.
• 51:03
  I think it went to an hour, I think.
• 51:04
  Didn't it eventually did it three breaks.
• 51:06
  Yeah, I don't. Remember.
• 51:09
  So Raven's been sucked back into the web, where he can be whole
• 51:13
  again. Sorry, it's the web.
• 51:15
  It's always this very obscure thing, the Time vortex.
• 51:18
  Yeah, I suppose you could call it that, except things live in
• 51:22
  there, free from physical corruption.
• 51:25
  She thought she said that as well, baring her teeth.
• 51:28
  She could physically corrupt me. And you know, Colin, go on then,
• 51:34
  it's all right. So we've got our new continuity
• 51:41
  for the Stranger now going ahead.
• 51:44
  Yeah. So how comes he's.
• 51:46
  Oh, he's just hiding away, isn't he?
• 51:48
  And so he's left on Earth here, and he's hiding away in the
• 51:51
  next. One trying to just live a new
• 51:53
  life as a editor of a local newspaper.
• 51:57
  So why are they looking for him then?
• 51:58
  Oh, we'll get there. We'll get there.
• 52:00
  Well, yeah, part. Part.
• 52:02
  Two or part 5 I'm. Just trying to say something
• 52:06
  about this one. I've got nothing left in the
• 52:08
  tank. No, but.
• 52:12
  I think it is probably because. So so she he nearly goes back in
• 52:18
  the web with her. Oh, he has gone.
• 52:25
  But he's, he's, he took the control and it's gone elsewhere
• 52:28
  rather than back into the web. Oh.
• 52:34
  She should have come back in all of them.
• 52:36
  Yeah, I do think. I mean, I wonder if they asked
• 52:39
  her and she just. After this one.
• 52:42
  Yeah, well, no, because she comes back and does probes, so
• 52:44
  yeah. Well, my Shen does a couple of
• 52:47
  things in those, doesn't she? Sure.
• 52:48
  Not in them massively. The end.
• 52:57
  Look at that. The corpse has become a load of
• 53:00
  bloody rags. Bloody rags and a gun now.
• 53:03
  What I will say about that is if you are going to change the
• 53:09
  direction of the stranger, then he has on that quite deeply
• 53:13
  because suddenly now we know who he is, why he was where he was
• 53:17
  in the first one, his entire back story and people that he
• 53:22
  used to know. But it's where that continuity
• 53:25
  goes from here. What?
• 53:26
  Well, what? Where could it possibly go?
• 53:28
  But. Director Bill Bags.
• 53:31
  Copyright 2000 and Five 2005. But this is the.
• 53:34
  This is the updated version because there's some like new
• 53:37
  special effect. Is he like George Lucas?
• 53:39
  Is he just going to keep remaking The Strangers?
• 53:42
  And make them better and better and better.
• 53:45
  Next year they're going to do the cinema release, you know?
• 53:47
  Do you know, did you ever speak to Luke Malloy when he watched
• 53:51
  these ones? Yes, because he had obviously a
• 53:53
  massively adverse. Reaction.
• 53:54
  We were in the same WhatsApp group he fucking hated.
• 53:56
  Us. What was his reason?
• 53:57
  So just boring. I think he found the boring.
• 54:00
  They're not Doctor Who, so why would he want to watch?
• 54:03
  Oh, they're not even trying to be pretend, Doctor.
• 54:06
  Anymore, but also he's not of that generation.
• 54:08
  Like this was all I had. I couldn't read Iceberg well.
• 54:13
  I wasn't an advanced reader enough.
• 54:15
  So this is all I had was the terror game.
• 54:17
  And was the Terror game your very first sojourn into anything
• 54:22
  spin off like this? It was either this or shakedown.
• 54:29
  Oh, you mean either or? Yeah, no wonder you.
• 54:31
  Were hooked. Well, yeah, indeed.
• 54:33
  But yeah, I think it might. I didn't get water until later.
• 54:38
  Yeah. So yeah, this all shakedown
• 54:39
  would have been it. I think it was probably
• 54:41
  shakedown because I can't believe I watched this and then
• 54:43
  went I need more. Not Doctor Who.
• 54:48
  Well, you are going to have more now.
• 54:50
  Doctor Who? I've seen these things so many
• 54:52
  times. If we bounce from the terror
• 54:55
  game into. Breach of the peace.
• 54:59
  I'll end it there. No, you won't.
• 55:08
  You'll cut it there. Oh, I'll cut it there.
• 55:10
  Yeah, sorry. Excellent.