Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to James Lark about his choice of The Ark (4/4)

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Talks to James Lark about his choice of The Ark (4/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

0:33
Hamster with a blunt pen knife for doing quicker.
0:36
Quicker 2A hamster with a blunt pen knife.
0:39
I'm one and I'm here on the sofa with two.
0:43
Hello 1. Hello.
0:47
No, not really. Of course I'm James Lark, and
0:49
this is everyone's favorite podcaster, Joe Foot.
0:53
Hang on, have you ever heard of Continental Shift?
0:56
Go on. Joe for Joe for Joe for yen Dom
1:02
yen. Dom, you didn't need to tell me
1:06
I was a right yen Dom, you know. In 700 years time I think that
1:10
could be your descendants will be known as the yen Doms.
1:13
Oh my. God, I mean, people will be
1:15
sheafing themselves with me in the future, won't they?
1:19
If not, if not already, lessons learned.
1:23
Yen Dom, What a name. Jesus Christ.
1:27
Now, James. Now we had a, we said competent
1:31
in part three. You know what was it called
1:33
again? The return.
1:35
But we were so jolly. We were having such a great time
1:38
in one and two. You know, the great story of the
1:40
plague. And it's what's what's really
1:42
interesting watching this as, as we discuss it is how much more
1:50
confident it is when it's when it's restricted to a single set.
1:57
Essentially there was a couple of couple of sets and A and a
1:59
really simple narrative set up. And then suddenly.
2:04
Some people got extra planets and.
2:07
And I think, I think it's more interesting when it's setting up
2:10
the ideas than when it is now dealing with the consequences of
2:16
those ideas, because the consequences turn out to be a
2:19
bit daft. Yeah, I, I feel like Paul
2:22
Erickson again shows what what he's his strengths are as a
2:26
writer, which he's been dealing with kind of the the kind of
2:29
drama that would be set in a courtroom and would be dealing
2:33
with a a single crisis and would lead to interesting dramatic
2:38
confrontations. Whereas he's completely at sea
2:41
when the confrontation is between an invisible race and
2:45
the race of lunatic mad haired invaders.
2:49
And. Call themselves numbers.
2:51
Yeah. Like, it's so weird though,
2:53
because like, think what we've had so far this season.
2:55
This is why I think the Jerry Davis effect may be an influence
2:59
on this script. We've had stories like the Myth
3:02
Makers and we've had stories like the Massacre where the
3:04
characterization in those stories is so interesting.
3:08
It's so fucking engaging, those people, they're so vivid.
3:13
I mean, especially in stuff like the myth makers, right?
3:16
And and even in the Daleks master plan where you you meet a
3:20
a bunch of people and and they do have personalities quite
3:25
vivid I. Couldn't have tell you one thing
3:28
about any of the monoids, any of the Guardians, any of the
3:31
Refusians is old. And this thing of, of people in
3:37
futuristic rooms with silly names dealing with the crisis,
3:44
it's what you suggest. I just sort of feel like there's
3:46
going to be quite a lot of that in the in the year ahead.
3:49
The year ahead, by the time we get to Season 5, that's every.
3:53
Story. Futuristic setting and a load of
3:56
faith. Spaceless scientists.
3:58
Did I say spaceless? Faceless.
4:00
Faceless, of course. Well.
4:01
That's constantal shift. Isn't it yes, yen Dom.
4:06
Now, I do think going ahead this season, the gunfighters, that's
4:14
just Donald Cotton, so. It's just.
4:16
He can't write boring. Characters, you know that they
4:18
wanted to to pull that, though. Oh.
4:20
What's too? Interesting, Jerry, Jerry Davis.
4:24
It just wasn't into historicals at all anyway.
4:27
But but yeah. Brian Howells to write The
4:29
Smugglers. Do you remember anything?
4:32
About so half feel, so half hearted though doesn't.
4:35
It and I know what you wait till you listen to that strictly.
4:37
They all fucking loved it, all three of them.
4:40
I was the only voice of sanity in that part.
4:43
I don't. Know, I want to love the
4:44
smugglers, it sounds. If you read the synopsis, it
4:46
sounds like it ought to be absolutely wonderful.
4:49
Thing about it. No, I can listen to the
4:52
smugglers and forget that I've listened to it a minute.
4:54
Later. I think that's exactly what I
4:56
said, you know? No, they weren't into the
4:58
Gunfighters. I I feel that it was made only
5:01
because there was nothing to replace it.
5:02
And that's the the new production team not only not
5:07
wanting to do historical settings, but also not wanting
5:09
to do different genres. They don't want their they don't
5:12
want Doctor Who to do comedy. And then what's interesting then
5:15
is, is you hit the same planet and then suddenly they're doing
5:18
bases. And it's not personalities, it's
5:20
nationalities. And they do it there and they
5:23
do. It in the base.
5:24
And even in tumor, the Cybermen a bit.
5:27
There's the American and isn't there?
5:28
There's the evil foreigners and then there's the British
5:31
professor. Subtle, isn't it?
5:33
Yeah. The two men aside, man, yeah,
5:36
Jesus. Poor Tober man, Jesus Christ.
5:39
I know the Americans a bit Butch, but a little bit thick.
5:42
They are no, because you see they cast that pretty skinny.
5:46
Blow, I know. Floating with Vic.
5:48
I mean it's. Just ghastly.
5:51
Yeah. So I think we could charitably
5:54
say that I think you did say this in your strictly comments
5:59
actually. It's quite sad really that we've
6:01
moved from this sort of area of sophistication and sort of
6:05
detailed characterization in early Season 3 to, shall we say,
6:11
more of a play school effect towards.
6:13
The end that's I mean play school was excellent, but but I
6:18
it was a little bit ungenerous. But the early Star Trek thing is
6:26
an interesting comparison actually, because I think this
6:29
is what this is trying to do and the thing with different
6:32
nationalities. I mean, that's what Star Trek
6:33
was doing rather successfully. And I wonder if.
6:38
I'd suggest the commentary in Star Trek is a bit more
6:41
successful. Yeah, absolutely, I would agree.
6:46
Maybe the sense of adventure is less successful in Star Trek
6:49
though. Like I do love how this skips
6:53
from, you know, the steel sky to the jungle planet to the
6:57
invisible aliens to the bomb in the statue to do you know what
7:00
I. Mean like, and as I say, there
7:02
is a considerable charm in the Britishness of the, the, the
7:07
realisation of this sci-fi where themes that that would have much
7:10
more sophisticated techno Babble in an American series at this
7:13
point are, are given stupid names, but they're kind of
7:17
charming, these stupid names. And so I made the space oddity
7:23
comparison. I mean, it is, it is my, I think
7:26
my tin can, you know, sitting in my tin can is I think my
7:29
spaceship knows where to go. He's not using Starship.
7:32
And and I'd, I'd quite love that.
7:35
I quite love that we have a story that has a security
7:38
kitchen. I don't think, I don't think
7:41
Doctor Who should never not have a security kitchen.
7:45
Do you know what I mean? It shouldn't have a sick Bay and
7:51
observation lounge and things like that.
7:53
It should always be a little bit to the quirky.
7:57
A little bit quirky, yeah. Well, should we head to the
8:00
security kitchen now and see what revolution, revolutions and
8:04
what revelations amongst the spuds?
8:07
OK, well, who? Kind of.
8:09
Oh, no, it's me, It's my turn. Yes, yes, yes.
8:12
All right, we'll go in then. Everybody in 3212, excitingly
8:18
titled. The bomb.
8:23
Oh, it's very exciting. Now are we watching?
8:26
Frozen. Failure of physical media.
8:30
I think it is. Oh God.
8:32
Hold the microphone, quick talk to people.
8:35
This is talk to them I must. Have a dusty disk?
8:42
I'm sure I'll be having the. Idea around this do you know?
8:45
So I've I've watched a a clip the other day on YouTube of Andy
8:49
Crane dealing with a 6 minute hiatus during CBBC when a Popeye
8:56
cartoon was shown at the wrong aspect ratio and then the the
9:00
machine just sort of chewed it up altogether and Andy Crane was
9:03
forced to kind of resort to reading C fax pages and things
9:07
like that. So so here I am in a an
9:11
equivalent situation situation and I'm just sort of wondering
9:14
what we've got coming up later on in a hamster with a blunt pen
9:18
knife. Well, I can certainly tell you
9:21
that we're going to be doing an interesting podcast in a couple
9:23
of weeks time about continental shift and we'll be talking about
9:26
when the the Joe Ford clan in the future will will become the
9:31
yen Doms. We will be doing a podcast where
9:38
we propose that everyone who's ever taken part in a hamster
9:43
with a blunt pen knife commentary will be numbered in
9:46
the numbering system that they would have if they were in the
9:49
monoid, the monoid race. So everyone will be getting
9:53
their monoid number and you'll be able to send off your
9:56
translator in the post. So that's something to look
10:00
forward to. Have you heard?
10:03
We'll be doing our Doctor Who Confidential.
10:07
That's right, we'll be heading back into the Sixties, 70s and
10:10
80s and pretending that the actors of that time,
10:15
specifically Jackie Lane, talking about exciting stories
10:18
such as The Savages. How am I doing?
10:20
Very good indeed. Very good indeed.
10:22
How are we doing with the DVD? No idea right now.
10:25
See, you think you're safe with this digital meeting.
10:26
We might have to go onto the iPlayer if we're not careful,
10:28
although I heard earlier that the internet's broken.
10:31
OK, so we won't be doing that. This could be a very long link
10:35
indeed if anyone is auditioning for a children's BBC.
10:40
OK and then there is a coming up next year.
10:43
Nick Briggs will be doing a season of hamster podcasts.
10:48
So we'll have we'll have a podcast with Daleks in and.
10:52
Calling it Saturation of the Daleks.
10:54
Oh. It's OK, We've started.
10:56
We're and we're back. OK, How did I do?
10:59
You were? So great.
11:01
I think you could be a comedian, you know?
11:03
I was. Well, you improvised, like just
11:06
so inspired watching Andy Crane do it.
11:08
Yeah. And it was an early instant
11:11
because there was no Ed the Dark, no Sid the Butler to just
11:14
him. It was just him in the.
11:16
Pages. Did he read?
11:17
He went straight to the top 10 and that was kind of interesting
11:21
as well because it had some, well there's.
11:24
Some. Ohh no.
11:25
Never gonna give you up was we're back to the OK, right,
11:28
everyone reset. We're back to the steel sky, so
11:32
we're going to have to do this all over again.
11:35
Now, what we've got here is a lizard, A lizard in the sand.
11:40
What kind of lizard is that, would you say, Joe, to
11:42
Salamander? It's a salamander.
11:45
Oh, that's the enemy of the world, isn't it?
11:48
And that salamander? It was actually played by played
11:50
by Patrick Troughton. You failed so the moon doesn't
11:54
fall out of this guy. Sit down, have a Dinka.
11:58
We try another way. Oh God Almighty, could I please
12:02
keep talking. So, James, can I ask you
12:05
neurotic literature, your fabulous podcast, what's coming
12:08
up this? Season.
12:09
You mean my podcast Neurotic Literature, which you can get on
12:12
all of your podcast platforms? Of choice right now.
12:15
Yes, yes, yes. Well, the first episode of the
12:17
new season is called The Boy Who Read Books Meant for Girls.
12:22
Oh, it was. One Joe, you enjoyed it.
12:24
Did you I really enjoyed it yes. If you listen to this story
12:29
right and don't see somebody that you have met in your life,
12:32
IEA particularly evil teacher, stroke lawyer, stroke parents
12:39
from experience James. The, the, the whole story was
12:43
based on, I mean, the seed for the story.
12:46
Of course, the story itself wasn't based on anything that
12:49
really happened to me, thankfully, but but I'd had a
12:53
genuine conversation with a teacher who interrogated me over
12:58
why I was reading a book by Judy Blume.
13:02
I mean 1111. Wow.
13:05
So I. Surely should be happy that
13:08
you're reading. I think as I recall, I mean, the
13:12
book wasn't taken off me and the conversation ended there and I
13:16
probably gave a fairly kind of compelling response, which is I
13:18
was reading it because it was interesting.
13:19
But I think the suggestion might have been that I was reading it
13:22
because it was a book that was very kind of girl specific and
13:29
and that I might be reading it for prurient reasons, which I I
13:32
was. OK, no, I know.
13:34
But you know, how did you end up lifestyle wolves?
13:39
May I ask what after reading all this girly fiction?
13:42
All the girly fiction, yeah, sort of well-rounded and
13:46
empathetic and a little bit girly myself.
13:49
And I don't think there's anything wrong with that.
13:51
I think you ended up fabulous. It's how you ended up, you know,
13:55
should. We try again for the bomb.
13:57
Well, I was rather. Enjoyed talking to that.
13:59
Podcast. But no, no, I suppose you do
14:01
need to get back home at some point tonight.
14:03
I think we're finally ready to go.
14:06
OK, this is the most chaotic episode of a hamster ever.
14:10
Are. You ready?
14:12
We're ready. I'm speaking for all of the
14:14
listeners as well. Oh boy.
14:19
I mean, it's nice to know we can improvise though, right?
14:21
Oh yeah, I mean. Improv.
14:23
Comedy. I just.
14:24
I used to be in an improv group. Actually, you did.
14:27
We used to do narrative improv, Yeah.
14:28
I can tell you didn't even break a sweat, you know?
14:34
Say, watching Andy Crane. Inspiring.
14:37
Inspired. It's very floppy.
14:39
Fringe didn't. He his hair changed all the
14:41
time. Oh, Gordon the Gopher, though I
14:44
did love him. Well, that's Are we watching the
14:45
right one? Yes.
14:47
Good. Yes, we are.
14:49
And Gordon Gopher famously went with Phillip Schofield to going
14:52
live. And I would suggest that perhaps
14:55
opening the episode where your career has just gone in the bin
14:59
with the BBC on the back of a monoi costume with two visible
15:03
zips was possibly a bad idea. You could have opened with
15:07
Yendom crumpled and shriveled on the floor.
15:10
Yeah, or just the smoky wreckage.
15:12
The smoky wreckage. Of the space shuttle.
15:15
Yeah, well, stop showing their bags.
15:18
Look, you can see the zips. And they look I there's
15:23
something unnerving, successfully unnerving about
15:25
like that one on the left that works, right?
15:28
What? The eye?
15:29
Yeah, yeah, yeah. It's creepy.
15:31
But you know work quite some other close up and they don't
15:33
work so well side on SO. Would you have given them mop
15:36
tops? We're kind of past Beatlemania
15:41
now. I mean I I think I'd have given
15:42
them military coloured military uniforms and and long
15:46
moustaches. OK, sort of.
15:51
Victorian generals, yeah. That's right, yes.
15:53
OK Oh my God, he's so look. Was that like a Hitler?
15:59
It's a new there, you know, like, yes, it's certainly kind
16:01
of the fascist connotations. Again, we're back to where
16:06
Widdecombe really are. Unfortunately, now the back the.
16:09
Back need a bit. Can you see it billowing?
16:11
I can, yeah. The two monoids at the back need
16:14
a bit of a trim, don't they? Around the tummy as well, did
16:17
you? Notice four and six.
16:19
I mean actually. They're all a little bit podgy.
16:22
Quite. Tubby, aren't they?
16:23
Yeah. There's a fabulous pills you
16:26
know coming out called Adipose. I forgot to.
16:30
I almost forgot to turn on my translator.
16:33
Oh, no, I haven't got the subtitles on because I've had to
16:35
take the discount. We're gonna have to go on the
16:37
pictures alone, OK? All right, that's fine.
16:39
We know what happens in this, although we're gonna miss some
16:41
of the kind of key political Surely there's a way of putting
16:46
subtitles on. With this, well, go on then you
16:48
try. I've never quite figured my way
16:50
around it. Look, it's got big buttons that
16:52
says Prime, net, net, Samsung. Those not going near those,
16:56
we'll end up watching. Guide.
16:58
No, guide is not right, is it? Are you sure that Oh, hang on
17:02
settings? I don't, oh, I don't know
17:07
what's. Preacher.
17:09
Preacher, if you want a little sermon, no.
17:11
No pre dash chapter? I mean, that sounds disgusting.
17:17
Preacher. You keep your preacher to
17:20
yourself. Oh, I'm so sorry.
17:22
I've got too excited. They've got a spiral staircase
17:26
in the background there did. You say no, it didn't.
17:28
It's sort of a background. This is in the So this is the
17:31
problem also with refuses is they've obviously run out of
17:34
money and they've just kind of thrown together some old rugs
17:36
and tables and spiral staircases.
17:38
A place of great sophistication and prosperity, you know, and a
17:43
beautiful flower. Oh, look at Hartnall's
17:45
gesturing. I mean, just put that look,
17:48
bless him, Hartnell is he is construment professional 100% to
17:53
a conversation with an invisible person.
17:55
In fact, he's more. He's more into the conversation
17:59
with the invisible person than he is into the conversation with
18:01
Dodo. You said that was such a
18:03
straight face. He's committing entirely to
18:07
having a conversation with an invisible.
18:09
Person. He's making eye contact with the
18:11
chair, not with Dodo. God bless him.
18:16
Oh boy. There's something, there's
18:20
something interesting in that them knowing that there's a bomb
18:23
on board and and Stephen having to lead this part of the story.
18:29
How do they know? Did they overhear the monoliths?
18:31
They overheard them, yes. They're so stupid.
18:34
Yeah, again, I just. Why would you say your plans out
18:37
loud? Why?
18:38
Because that's what science fiction enemies do.
18:41
Let's stand by the door to the security kitchen and talk about
18:44
our plans. Dear, Oh dear.
18:50
What's going on now then? So we're we're doing this sons
18:53
dialogue. What are they loading onto the?
18:57
What are in the? Silver boxes.
18:59
It's all the people. That's all the people.
19:01
The micro shrunk people. They don't want them on the Ark
19:05
anymore. Why?
19:06
Not Oh, they're refusing to. Are they taking them as slaves?
19:11
But if they're why? Oh.
19:12
No, look, he's put down a chicken bone.
19:15
How has he eaten that chicken? We don't know how the monoids
19:19
eat. Does Jacqueline Rayner know how
19:20
the Monoids eat? Yes, I think she probably
19:22
invented an extra orifice that goes somewhere.
19:26
It's certainly not where the mouth is though, is it?
19:28
Maybe it's under the hair. That you could conceal all sorts
19:31
of underneath. That you never seen them eat, do
19:33
you? Yeah.
19:36
Oh, it could be underneath the voice thingy.
19:39
You are right, that eye is great.
19:42
I think when the hair is sitting at that angle, where, when,
19:45
when, when it genuinely is positioned so that the eye is in
19:48
the right place for an eye do. You know, what I think is very
19:51
odd was the publicity picture that they did with the monoid
19:56
and all those beautiful ladies around it.
19:58
Have you seen it? No, you.
20:00
Must have done it. It's always doing the rounds.
20:03
It's all these ladies wearing these costumes all sort of
20:07
decorously over a monoid. Are you saying like in a Monoid
20:11
soft porn photo shoot, it's? Kind of like that, yes.
20:14
I mean, I'll send it to you later, all right?
20:16
Oh yes, absolutely 11. You'll never fear.
20:20
You know, Stephen is often very angry, isn't he?
20:24
Yeah, he is. He's got a, he's got a kind of
20:27
bullish streak, I think. Which I mean, at the start of
20:32
the season, you know, they're in a sort of a swordish sort of
20:36
environment, aren't they, where every single story, they're
20:38
surrounded by death and murder and prison planets.
20:42
And you know, that sort of attitude is, is quite good.
20:44
But by the time you get stuff like the gunfighters, well, you
20:48
just need to chill out a bit. He does chill out a bit in the
20:50
gunfighters though, doesn't he? Yeah, he says.
20:53
What is it? Let's hope the piano knows this.
20:57
I don't know why you had to say that in the 1st place, Stephen.
21:00
Regret he goes. You can't can't walk into a
21:05
western town and say you're from outer space where you'll get
21:08
locked up on a vagrancy charge. Oh, it's just glorious.
21:14
Maybe it's that we can't see the dialogue, but this feels like a
21:16
lot of a lot of filler before. Was a lot of one and two
21:20
talking, isn't it? You know, or is, Oh no, sorry,
21:23
it's 4. There's one.
21:25
It was two and four talking one's being left out of.
21:29
Things. Well, it's just as well they're
21:30
numbered, isn't it? Do they have a bit of It's a bit
21:32
like the sensor? Rights, it's the it's the
21:34
Sensorites, but it's it's a couple of years on and.
21:37
Look at that backdrop now, Bill in.
21:39
Very, very messy. Oh, it's a state.
21:42
Look at how good it was in episode.
21:43
One, it looked amazing in episode 1 and what a.
21:45
Pity no Michael Emerson man, the BBC have just cut you off.
21:50
I'd say also I think putting your your real shuttle in in
21:53
front of the picture, it's not done your picture any favours.
21:58
They'll get on a little trip down to refuses to.
22:03
Oh, wonderful. It's the kind of, it's the kind
22:06
of very silly sci-fi that I don't think we then see until
22:11
the Dominators. You are on shaky ground saying
22:16
that. All right, you'll get a 15,000
22:18
word dissertation from Fraser Gregory for saying that you're
22:22
not allowed to dislike terrible things, OK?
22:24
What what I think we need is a volume on impractical futuristic
22:29
clothing and and and maybe a comparison of the the ribbons
22:34
that this very far future lot are wearing with the dulcians,
22:38
the dulcian curtains. That's.
22:40
Right. Yeah, and the fabulous sort of
22:43
underpants on the outside of Seeds of Death.
22:45
Yes, You know, it's space age fashions.
22:48
It's idiosyncratic. Yes, shall we say.
22:53
We should say that. Steven, your trousers are so
22:55
tight. I mean, you need to bigger
22:57
trousers, all right? It's very distracting.
22:59
I think it's the style. It's the style.
23:01
Oh, look at that. I like that.
23:02
Well, they're just. Shooting into the model set,
23:04
it's a. Shame again that the backdrop is
23:06
is a bit crumpled and you can see the shadows.
23:08
Actually, that's nice, doesn't? It really get like swing to a
23:10
big one. Combined the.
23:12
Models with the actual. Swings around to a big one.
23:14
I'm sorry, a big shuttle. You know what I mean?
23:18
Yeah. Have you noticed how the monoids
23:20
now look like they're wearing dresses in this episode?
23:22
Oh, they did before, didn't they?
23:24
I. Don't know, I was very
23:26
forgiving. I'm being a bit mean now.
23:31
Oh there is a good battle though in a minute.
23:33
I think the fight in a minute between the refusions and the
23:36
monoids isn't isn't too bad. I just I like how imperial is it
23:42
#1 #1 looks really good. Number number #1 has got a.
23:46
Yes, Well, yes, he sort of straightens his back and he uses
23:50
very sort of Nazi as hand gestures.
23:52
You know we shall claim this planet.
23:58
And the doctor? Yes.
24:00
They weren't hiding very well there, were they?
24:01
I mean, now we can see them. Why can't they see us?
24:05
What's the doctor's current kind of stance on this situation?
24:08
Is he just letting them get hoist by their own petard?
24:13
Does he just? No, he's just overheard them
24:16
talking about the bomb again. Yeah, Oh.
24:20
Man, what they've got to do. I mean, they've got a ping pong
24:22
eye. They should just do a quick 360
24:26
to see if anyone's listening. Don't you ever do that?
24:28
You know when you're gossiping. About when I've.
24:30
Well, when I've got a bomb concealed, yeah.
24:33
That's frequent, is it? Not not often, no.
24:36
Well, I should hope. Sorry, it's kind of.
24:38
You check the periphery before you start gossiping about it.
24:41
They're. Kind of paranoid that they
24:43
there'll be some AI algorithm scanning podcasts and I've
24:48
actually just incriminated myself.
24:49
I don't. They don't know where you live,
24:51
don't have any. Bombs.
24:54
All right, I've got his address saved on Amazon.
24:56
Get in touch. All right, I'll tell you where
24:58
he is. I won't.
24:59
I won't. That's quite nice that the
25:03
doctor's. In late in now, I'm enjoying the
25:06
Doctor being in full control of the situation.
25:11
He knows everything, kept trying to.
25:13
Write him out. But look, he's there and
25:15
absolutely. He's an essential figure.
25:17
Yeah, yeah. And you get a new and Hardwell
25:19
is is maintaining a real sense of seriousness over the the
25:24
whole thing. Well, I think he's in the
25:26
gunfires as well, you know? Oh no, no, he's not narratively
25:30
essential in maybe 3 and 4, but it's so funny.
25:34
Like he's central to the, he's central to the whole thing and,
25:37
and he's clearly in control of the, the, the style of the
25:44
gunfighters. And in the war machines as well.
25:46
Like he gets loads to do at the tail end of his era, doesn't he?
25:50
There's a couple of stories where either through necessity
25:53
or design, they write them out a bit.
25:56
Oh, hello, gentlemen. Hello.
26:02
Yes. What's that?
26:02
Invisible people on this planet? No, I haven't seen any.
26:05
No. Well, I wouldn't, would I?
26:07
If I've heard it said that that that where the Hartnell era
26:12
differs from later, who is that? It's more straight laced.
26:16
It doesn't have the kind of the the the comedy, particularly in
26:19
the figure of the Doctor. I'm not sure that's true.
26:22
I don't think that's true at all.
26:23
Why Dick your fab gear, James Fab gear he.
26:27
Looks like that DJ look. Things we can't say anymore.
26:30
I mean, I have just remembered a line from this.
26:32
Michael is what? Let us behave as men of dignity.
26:37
He's having a great time. Oh, he's angry, Stephen again.
26:44
It's kind of sexy, though, in IT, when he's all, he's all
26:47
male, Stephen, isn't he? You know, he's not really very
26:50
gentle. Ben's quite angry as well, isn't
26:55
he? Oh, Ben's very yeah.
26:57
No, Ben is certainly angry. It's not until Jamie comes along
27:00
really. He's quite a soft bloke, isn't
27:02
he? Underneath it all, he's a lover,
27:05
not a fighter. But Ben, he's impetuous and he's
27:12
and, and, but it's an energy. I don't think he's, no, I don't
27:15
think he's antagonistic. He's angry in the Power of the
27:19
Daleks because of what's going on with the Doctor.
27:22
But he's not angry in the War Machines, is he?
27:25
Actually, he's having a great time in Underwater Menace.
27:28
What is the play in the statue? Amdo Well.
27:31
I think he's angry in the Underwater menace because Fraser
27:34
Hines has taken half his lines. Oh, as she gets very angry in
27:38
part for the moon base. Remember when he's fighting over
27:40
Polly with Jamie? Oh yes, he's Fraser.
27:43
I was just trying to take his girl as well.
27:45
Yeah. Fair enough, really.
27:48
That's a hot hardest team. No James.
27:50
Good God. I.
27:52
Love Ben and Polly. A bit on the fence, I think I'd
27:56
rather watch Stephen and Dodo, you know?
27:58
Would you? Well.
28:01
Yeah, well, yeah, because when I was talking about them on the
28:03
Strictly, I said I found Stephen and Dodo more fun in the
28:09
gunfighters than I did Ben and Polly and the smugglers.
28:11
They are having fun in the gunfighters and and it's the one
28:13
story where Dodo really works. Savages.
28:16
Excuse me? It's something great fun about
28:19
destroying things that are evil. Yes, bam bam, destroying the
28:23
machine. Hopscotch.
28:28
Oh, it's another fake TARDIS, Stephen.
28:30
I really like Peter Purvis. I think Stephen's a great
28:33
companion, but I but I also feel like when Ben and Polly come in,
28:37
it's a breath of. Fresh air in the in the war
28:39
machines it is. Yeah, definitely, definitely.
28:42
And then when Trout comes in, it's another breath of fresh
28:44
air. So fair enough.
28:46
But then I do think by the time Ben and Polly, by the time you
28:50
get to the moon base, you can feel the wind changing and
28:55
suddenly Jake, he starts getting that prominence and they just
28:58
feel like. Yeah, I, I agree a bit, but I
29:00
but I but the dynamic of of Ben and Polly with the second doctor
29:04
in the in the power of the dialects especially is is so
29:07
joyous. I'd have very happily had a A
29:09
season with just them. Yeah, I would too.
29:11
Mind you, I think I wouldn't have minded the First Doctor.
29:14
Ben and Polly as well. Yeah, they're really fun
29:16
together. He calls him Governor.
29:18
Yeah. Yeah, and I feel like we do get
29:22
enough of the first doctor, Stephen and Doe, don't they get
29:24
like 4 full? Stories together well and and
29:27
Stephen certainly can it's it's it's a sort of the most
29:30
substantial slice of heart more apart from the kind of Ian and
29:37
Barbara. Yeah, definitely.
29:39
Stories, I would say. Well, yeah, and even more so
29:43
than Ian and Barbara, he is holding up the series in several
29:45
parts, isn't he? Do you not think that William
29:47
Russell holds up the series? Sometimes I feel like the way
29:51
it's written from from the outset is that Ian is the the
29:54
lead and and then gradually they realise it.
29:57
No, it is about the Doctor. Well, and then I think they
30:00
realise what they've got in Jacqueline Hill as well by the
30:02
time it comes to the Aztecs and the Crusades and things like
30:06
that. Is the way that they suggest
30:09
that that statue is dangerous is just a slow zoom up its skirt?
30:15
I'm I'm speechless. I've had so little experience on
30:22
slow zooms up skirts that. I feel like this, this podcast,
30:26
by the way, has has they've just done a perfect trajectory from
30:31
from quite deep, detailed political analysis of the
30:34
episode 1. And now we're just talking like,
30:37
yeah, zooms up people's skirts. This is the Gogglebox effect of
30:41
being on the sofa, you know, And that's the way I mean this is
30:44
what happens isn't it, when 2 mates get together and watch
30:46
something like ridiculous like this.
30:49
You can't always be talking about Boris Johnson, you know.
30:52
Sometimes you've got to be talking about shower curtain
30:54
dresses. You remember how good that shot
30:57
was when the monoids emerged from the foliage.
31:00
What happened? I just saw that one.
31:02
Yeah. And I, Yeah.
31:04
Well, he has been fired though, the poor man.
31:08
Like he might do. You think, oh, do you think he's
31:09
been fired by now and he's just given?
31:11
Up he said he was. He was given the letter to say
31:14
he wouldn't be working for the BBC anymore just before he
31:17
started shooting Part 4, which I think is possibly.
31:23
Pretty best, isn't it? Oh, no, actually, I said this
31:26
was a great action sequence. Look at them waddling away.
31:28
So far so far the memory. Has cheated.
31:36
Sorry. There are many sequences in
31:37
Doctor Who that the Benny Hill theme tune would improve.
31:40
And actually there are many episodes of Benny Hill which
31:42
some music concrete would indeed.
31:45
I've never seen any Benny Hill you.
31:46
Know I'd have to say it's not not a genre I'm that familiar
31:50
with. Oh, that's that's quite nice.
31:54
They've somehow managed to give, oh, look, OK, so they're
31:57
combining models again. There's that's a that's a nice
32:02
shot. Yeah, so sorry you can't see
32:04
what we're seeing. So it's basically a long shot of
32:07
a monoid exploring the forest. The the the the listeners who
32:11
who normally watch along just so foxed by the opening of his
32:15
house. No, but where are you?
32:17
I can't. They haven't got some very Yeah.
32:23
Oh, I think this man walks out and just dies straight away,
32:25
doesn't he? Doesn't he get shot immediately?
32:27
Yeah, here we go. It's behind you.
32:30
Oh, my God. Oh, no.
32:33
He's the one that was going to betray them, isn't he?
32:35
And he just got shot dead. Yes.
32:38
So now we're doing. Oh, this is basically the
32:40
Vietnam War now, isn't it? You know, we're in the jungle.
32:46
Go on. Yes, no, yeah, they don't go on
32:49
run with that idea. Well, I've just meant visually,
32:51
you know, I didn't mean historically or in any form of
32:54
narrative detail. I.
32:55
Mean. I'll go so far as to say I think
32:57
that this this this section compares favourably to
32:59
Apocalypse Now. Oh, really?
33:04
I haven't seen it for a while, but I do remember it being
33:06
slightly more atmospheric than this.
33:10
A little bit more visceral as well, you know?
33:15
Oh, that's right, we need to get up to the Ark.
33:18
Oh yes. No, I don't think they do know
33:20
the bombs in there. Do they know?
33:22
Are they? No, I think it's the doctor that
33:23
overheard the Mono's talking about the bomb.
33:26
So there he's got to now get in touch with the ark and say
33:28
quick, get that statue out of there.
33:33
Oh my God, it's a massacre actually, that look at that
33:38
rock. That is so Atos set.
33:42
Do you know actually some of these fronds and and pot plants
33:46
I think are a little bit. I was at B&Q the other day, you
33:49
know, and the outside looks very like this.
33:53
Is that what? Is that what we call it?
33:54
TOS? The original series, yeah.
33:57
What's that? Is that the?
33:58
Phenomenon. Well, Star Trek is technically
34:00
what it's called because it's the first, but TOS?
34:02
Yeah. TOSTNG, DS9, VOY.
34:06
ENT. So while disk particular
34:09
enthusiasts of the original series called tossers.
34:16
At the risk of losing the audience of Untitled Star Trek
34:19
Project, no. Oh my God, the giant feet are
34:24
back. How are they going to get the
34:26
bomb out of? There, can you remember the
34:29
twist? It's not a very good twist.
34:30
It's the refusions, because we don't know how big they are, do
34:33
we? I mean does how did the
34:37
refusions get up there? They flew through space, yeah.
34:42
So or was one of them in the shuttle?
34:45
The fact, oh, maybe, yeah, I was going to say the vacuum of space
34:47
doesn't bother them. But I mean, this is quite fun
34:49
though, isn't it? The the whole statue floating in
34:53
the air. I have to say they're sort of,
34:57
there's no sort of sense of struggle, is there?
34:59
It's not shaking or. Anything and they're it like
35:01
they're trying, obviously they're trying to show the
35:03
statue being lifted slowly. It's not a very successful model
35:07
shot. No, it's strange, I said.
35:13
You know, I do. I can see a tangible difference
35:16
in the quality of the direction from 1:00 to 4:00.
35:18
So what happened? It was 5.
35:23
There we go. 33 wasn't very good, was it?
35:28
No that's it and watch this now this batch is going to blow up
35:32
boom. Do you know what?
35:35
Right. Tell me if I'm far, far off base
35:38
here when I say that I feel that the the ideas, yeah.
35:44
And the imagination, certainly one and two.
35:47
And that feels like science fiction looking forward.
35:50
But the execution and the scripting and, you know, all
35:54
these sort of declarations to camera and stuff like this,
35:57
people hiding in plain sight, people talking about their evil
36:01
plans, That feels like 50s. Television really does.
36:03
It's all 50s B movie. Yeah.
36:06
So at this point the Doctor does lecture them on consequences and
36:13
and the refusians lay down some kind of.
36:16
I think it's a It's a pity that the monoids are not represented
36:20
in this scene because. What happens to them?
36:24
Did they say I? Don't know but the but, but
36:27
that's part of the issue like I do.
36:30
I genuinely think that there is, there is an attempt to to say
36:33
something interesting here, but you, you, you can't, you can't
36:38
portray that message if your monoids are just numbers and
36:41
have no credible motivation and no variation between character
36:48
and that they're not and and they're not represented in that.
36:51
I mean, it's a problem with the humans as well.
36:54
Like there are not many personalities here, are there?
36:57
So I don't, I don't think. It's none, not many.
37:00
Right. I don't think it's a problematic
37:05
thing that that monitor treated differently.
37:08
I just think that the writing for the characters is not good
37:10
it. Doesn't reach a conclusion, does
37:12
it? It doesn't.
37:13
It's very odd. You know what I just said there
37:15
about looking forward to looking backwards in terms of ideas and
37:18
execution? I thought the gunfire is the
37:21
opposite of that. That's trying to make 50s TV
37:24
like a western TV show, right? But it's scripted with pace and
37:29
jokes like a modern day sitcom. It's literally the reverse of
37:32
this. Oh no, Dodo looks.
37:36
Fabulous does look fabulous. Pure 60s hoopeness.
37:39
Stephen looks pretty fabulous. Yeah.
37:41
Oh, the doctor's vanished, James.
37:44
Well, I hope. I hope he doesn't vanish for the
37:47
whole of the next story. That would be terribly.
37:49
Represented by a hand playing a trilogic game.
37:55
Oh, thank you, Dodo. Always there with the shrewd
37:58
observations. I love her hat as well, that's
38:02
the closest she comes to being a swinging. 60s she looks
38:05
swinging. 1660s but there's She's Got prep school head girl
38:10
written all over her. The second Polly comes in right
38:13
and goes, was it Lookout Dodo? The Navy's in trouble.
38:17
Hi, this that, that is just pure 60s, isn't it?
38:20
Yeah. Well, well, I mean at the end of
38:24
the the intelligent conversation at the start there the much
38:30
discussion about the direction and then the absolute fucking
38:33
chaos at the start of episode 4 we now have.
38:37
To we've really mirrored. How we have.
38:39
Structure of the art, haven't we?
38:41
We have we've sort of gone for part in the last episode, but
38:45
we've God, we've had fun. Well, do you think you can sort
38:48
of rouse to three fabulous things?
38:51
Should I go first? OK, I want to talk about William
38:54
Arnold mostly. The people do suggest he's sort
38:58
of on his last legs here, forgetting his lines, not a bit
39:02
of it. And I want to point you in the
39:04
direction of him having a conversation with the Invisible
39:06
Man, which he delivers with gravity and conviction as well.
39:12
All that stuff in Part 1, you know, when he's working on the.
39:14
I think Hartnell's at his best when he's got a problem to
39:17
solve, you know, and boy does he in the first half of this and,
39:21
and of, of when he's morally indignant as well.
39:24
And he gets a couple of great moments in three and four with
39:27
the the monoids. So I think he's a joy in this.
39:31
I agree and, and, and the the the fan myth that Hartnell just
39:37
loses it towards the end and, and, and can't get his lines
39:40
out. I mean, he's he.
39:41
He owns scenes in this where you can see both younger and indeed
39:47
older actors struggling around him.
39:50
You're talking about centrist again.
39:52
Aren't you? My people.
39:55
Oh, listen to James. Oh, that's your turn.
39:59
I'd like to talk about John Wiles.
40:02
Oh, please, because I think that I mean it.
40:06
We know that it was a troubled period and yet out of his time.
40:14
As producer, we have, I think, some of the most ambitious
40:19
Doctor Who ever, definitely, and some of the most serious Doctor
40:24
Who ever. And I think the.
40:28
Funniest. And some of the funniest and,
40:30
and actually someone who's not afraid to properly lean into the
40:36
the changes of genre and the the, the full scope and
40:40
potential of the format and the ark.
40:43
There is no two stories similar, no.
40:46
Two stories similar and I'm I'm going to say no weak stories in
40:50
this period. Either in the Wilds.
40:53
In the Wilds period. No, yeah, I'd agree with that.
40:56
And the ark is we're. Including the gunfire.
40:58
We're including the Gunfighters and we're including the Ark
41:02
because it's not a weak story, it's a flawed story, but it what
41:05
it definitely demonstrates is his ambition for the series and
41:12
it's big settings and big ideas and big challenges to the
41:20
structure of the programme that we're used to as well.
41:24
It's sort of the apart from the well, the this and the
41:27
gunfighters that are are the last gasp for the Wilds era and
41:32
it has been argued compellingly by by yourself that it's not
41:37
something. Forward.
41:38
Yeah, not something that could have been sustained.
41:40
And that and the what came next kind of saved the show from from
41:47
being cancelled after Four Seasons.
41:50
But I'm so glad that we've got this.
41:53
He's some of the best Doctor Who.
41:54
Yeah, definitely. Like I I would also argue that
41:58
when Doctor Who is at its most populist, IE Jerry Davis and
42:05
what's his name, Kit Peddler. Kit Peddler and Liz Lloyd and
42:09
Liz Lloyd, and then with Barry Letts and Terence Dicks, I think
42:13
those are the two production teams where it's in crisis.
42:17
And then they came along and secured its future.
42:22
That's not always where the the best or the most sophisticated
42:25
Doctor Who lies. Sometimes the most entertaining,
42:28
but not what I would consider the best Doctor Who.
42:32
I think whilst this stuff is magnificent, I think it's a peek
42:36
into a more adult version of Doctor Who without crossing the
42:40
line in the ways that I think Steven Moffitt does.
42:43
It's adult in that it has mature themes, it has interesting
42:48
things to say, It has riveting characters in it, and it pushes
42:54
the regulars into dramatic situations that reveal things
42:58
about their characters. Yeah.
42:59
I mean, I could have done with a whole, like, the length of
43:02
Season 3, just Wiles and Tosh, and then kick into Season 4 with
43:08
Jerry Davis. But, you know, he and Harnell
43:11
didn't get on, did they? So.
43:12
They didn't, right? I mean, yeah.
43:14
And, and we know that Wiles wasn't wild about some of the
43:20
things that he was saddled with from his predecessor, but you
43:23
just look, compare the Chase to the Daleks master plan.
43:26
And I think in the Chase, you can see a series that has got
43:28
kind of complacent and probably is due to be replaced by a
43:32
different concept. And and Wiles in a funny way,
43:36
although he's not celebrated for this, does kind of rescue Doctor
43:39
Who by elevating it and taking it much more seriously and and,
43:43
and applying some quality control.
43:48
They say Tosh says in interviews that him and was had nothing to
43:53
do with the dialect's master plan.
43:54
I don't believe it for his second I think.
43:57
I think they didn't want to do it, but I think their fingertips
44:01
are all over it. Especially in that first half,
44:04
which is as bleak as some of Doctor Who ever gets that sour
44:08
Kingdom killing her own brother Jesus Christ landing on the
44:11
planet of the rapists. I mean, it is dark stuff.
44:14
And look at the scale that's established in episode 1 of the
44:16
Daleks Master Plan the the the the world building.
44:20
Yeah. I mean, I think Canfield is
44:22
responsible for a lot of it, but yeah, definitely.
44:25
OK, Well then for my second thing, I would like to, it's
44:29
sort of like a, a, a, a joint thing, but it's Barry Newberry
44:33
and the director Michael Emerson.
44:36
I think between them, they create a really, especially in
44:39
one and two, of riveting space to tell the story in with a
44:44
sense of ambition and scope and imagination as well.
44:49
That the idea in the 60s of doing this forest in the middle
44:53
of a spaceship with a steel sky in those tiny, cramped studios
44:58
is almost inconceivable. And it ain't going to stop them.
45:02
And I think they pull it off. So yeah, I think it, I think
45:06
it's a really vivid space to tell a story in and if over the
45:13
episodes the backcloths get creased and the direction gets a
45:18
bit limp, I think where it starts in one especially, it's
45:23
very easy to get sort of absorbed into that world because
45:26
it is so compellingly realised. Yeah, absolutely agree.
45:29
I think, I think episode 1 especially looks absolutely
45:33
brilliant. I'm going to take the episode 2
45:37
cliffhanger for my second thing, partly because I think it's, as
45:43
we were discussing, it's a, it's a plot pivot and in the hands of
45:51
a different writer might have pivoted in a really interesting
45:55
direction. Ultimately it doesn't, but it's
45:58
it, it's also a really disquieting image, not
46:01
necessarily a disturbing image. It's but because it's, because
46:04
it's the unknown. It's not the fact that a monoid
46:07
is atop a human. It's the fact that something is,
46:11
it's, you know, something is, has gone wrong.
46:14
The, the, we've seen the blueprint for the statue.
46:17
We, we know what was was meant to happen.
46:20
We're left thinking, well, what has happened?
46:23
It's also because of the way that it's, it's delivered at the
46:27
end of an episode that has pretended to finish the story.
46:32
And I think for a particularly an audience at the time where
46:36
they didn't have a sense of new stories beginning.
46:39
And often the incoming story was, as we've just seen,
46:45
proceeded by the end of the the the previous story, setting it
46:50
up. I think there's no reason why
46:53
they would have expected to return to the Ark and see
46:56
consequences of the TARDIS Cruz's first visit.
46:59
So I think that's really interesting.
47:02
I absolutely agree. I my third thing right, I would
47:07
like to suggest that, you know, 50s performances still have
47:12
their place in the 60s and the character of centrist stroke
47:17
Santos stroke Tetris or whatever his name is.
47:21
I mean I mean it's pretty terrible, but he's very funny.
47:24
I think that's I really like the guy.
47:27
No, please listen to the my people.
47:31
We you mentioned the dominators earlier actually for the similar
47:34
sort of shower curtain chic, because that also has an old man
47:38
character in episode 1. Do you remember him?
47:40
He does. Oh, you're from a time and
47:43
space. How fascinating.
47:44
I must write that down in my notebook, you know, And it's a
47:48
similar sort of straight to the camera declaring things all the
47:52
time. Now, I'm not in any way
47:55
suggesting that this is great, but I find it amusing, and
48:00
that's enough for me. I was going to say Dodo, but I
48:03
was going to find it hard to justify how fucking stupid she
48:06
is in this story. But I've just got a bit where
48:07
she goes. What are you?
48:09
Are you up to something now? You better tell me and then not
48:11
like going no, no, I'm not. And she goes, aha, I've caught
48:16
you out, haven't I? You know, I mean, you wouldn't
48:19
want her on your case, would you?
48:21
You wouldn't. No, no, no, no, no.
48:22
She's an AG of Christie. She'd hunt out the murderer in
48:25
10 minutes flat. I mean, yeah, the vibe I'm
48:28
getting is more primary school teacher on the hunt for whoever
48:31
dropped the Christie, yes. That's the best description of
48:35
Dodo I've ever heard. Who's dropped these, Chris?
48:40
I know it's you, young man. There won't be a story unless
48:43
you admit. What was your last thing?
48:48
The security kitchen. Of course.
48:51
I. The spots in particular.
48:53
Look, it's it's ludicrous. It is.
48:58
But may Doctor Who always have security kitchens and and the
49:04
things that as a a young fan, I almost wilfully pretended had
49:10
never happened because I thought it made my favorite show look
49:13
silly. I, I just think let us embrace
49:15
those things and be and be thankful that we are using a
49:19
vernacular in this story and many others.
49:22
That is a candy kitchen. The candy.
49:25
That's a torture room. There's a there's a book to be
49:29
made about the kitchens of Doctor Who.
49:33
Oh, Meg's kitchen. Meg's Kitchen.
49:35
Yeah, the. Time Warrior, Yeah.
49:38
Oh, is that it? That must be more the toy maker.
49:41
Mrs. Mrs. Muggs, or whatever her name is.
49:44
Mrs. Higgs. Mrs. Wiggs.
49:46
She's got a kit. I mean this is a kitchen heavy
49:48
era, isn't? It hump the key.
49:50
I think there's a kitchen in the massacre as well, you know,
49:53
where there's a scene. The kitchen coming soon to
49:57
strictly the. Kitchen.
49:59
The kitchens of Doctor Who rated it's in the kitchen.
50:03
And all this. It's the they've got the food
50:07
machine, haven't they? They've got the food machine.
50:09
It's probably jettisoned by Nyssa anyway.
50:11
I do. Love the fact James, that you
50:13
managed to get over yourself and appreciate these, you know,
50:16
these eccentric elements to doctors.
50:18
I think I want to embrace that Doctor Who has these slightly
50:25
silly, slightly quirky things that that are sometimes of their
50:30
time and sometimes knowingly and sometimes less knowingly quirky,
50:34
but are quintessentially British in a way that just a slight I, I
50:40
don't think you would get that in Star Trek.
50:44
I don't I, I, I think they take the terminology a little too
50:48
seriously. I think it's sometimes what we
50:49
forget in the new series. They forget about the quirks.
50:52
You know, you think of something like 42 and they just film it in
50:55
that spaceship and it's just that industrial space.
50:58
There's no space for a security kitchen there, is there?
51:01
How much would that story be improved?
51:03
By a security kitchen. And in fact, how?
51:06
How many a weaker stories would be improved by a security
51:10
kitchen? Right.
51:11
More spuds, people, more spuds. Well, James, thank you so much
51:16
for coming here today and especially for your
51:19
improvisation at the start of episode 4.
51:22
A magnificent comedy there. I suppose you know the usual
51:26
question at the end of this is where the hell are we going
51:29
next? We haven't even talked about it.
51:31
We. Haven't talked about it, where
51:33
are we do? It right now improvise at the
51:35
start, we may as well improvise at the end.
51:37
Where, where? Where do you?
51:38
Where are you? Where are you?
51:40
Where are you? Leaning well, I think we've done
51:41
Mark Arani, the 6th Doctor. We've done Delton, the Banner
51:44
Men, the 7th Doctor. We've done the Andrea Zatara.
51:46
Are we in the 5th Doctor? I don't think we have, you know?
51:49
OK, well, so I don't know what's on your list.
51:52
I don't know what's been done about.
51:53
Every now, come on now we're going to do conversation.
51:56
We're. Going to do more than undead.
51:58
Oh, of all the choices, why that one?
52:00
Because I think I like it more than most people.
52:04
Do you like a story about suicide?
52:05
Do you? That is what it's about, isn't
52:09
it? Does the Brigadier have a
52:13
kitchen in motion? Undead.
52:16
He does go make a cup of tea. There we go, it's an off.
52:18
Screen Kitchen. What better reason?
52:21
Oh, and of course all of those monsters have got spaghetti
52:25
bolognese on their head, haven't they do.
52:27
So they've. Clearly been in the kitchen too.
52:29
Moldrin Undead. Wow.
52:31
Only if we can sing the music though.
52:34
Oh, no, no, sorry. I was going to do OK.
52:37
So you're doing that music? Yeah.
52:38
My heads went straightforward. There's.
52:44
Nothing concrete about that, is there?
52:46
It's not, it's not music concrete.
52:49
Well, James, now I don't know if we'll be on the sofa or talking
52:52
on screen, but until we head to Brendan's school, farewell.
52:59
Farewell.