Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Frazer Gregory & Si Hart about their choice of Terror of the Vervoids (3/4)

Transcript

Talks to Frazer Gregory & Si Hart about their choice of Terror of the Vervoids (3/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:38
  Welcome back to a Hamster with a Blunt Pen Knife, the Doctor Who
• 0:42
  Commentary podcast. We have just had an amazing
• 0:46
  cliffhanger and Pippa Jane beautifully rendered that in the
• 0:52
  in the novel as well with a waxy leafy hand reaching out to grab
• 0:59
  Mel's throats, which we don't see on TV.
• 1:02
  So they lovely script edited themselves and made it even
• 1:05
  better for the book. And I think you've covered the
• 1:07
  book already for the book club, haven't you?
• 1:09
  I did it with Paul Quinn, we both really enjoyed it.
• 1:14
  Very zippy. Very.
• 1:15
  Zippy. I mean full of extremely
• 1:18
  melodramatic prose, the type that you just want to read out
• 1:21
  all the time. Lots of explanation marks, but
• 1:26
  some interesting backstories to the characters in there as well
• 1:29
  and airing towards the gruesome as well.
• 1:34
  So this is almost like the PG13 version we get on the TV.
• 1:37
  Yeah, it was a good read. Yeah, have you ever read the
• 1:41
  book, Fraser? I have not read the book, no.
• 1:43
  You would recommend me check your note?
• 1:46
  Yes or even laugh. Check out Bonnie Langford
• 1:49
  reading the book which is astonishing.
• 1:52
  Bonnie has a way with Pip and Jane pros that is just
• 1:57
  astounding and shows what a pro she is.
• 2:01
  She can read this stuff. In the way, this one's tight and
• 2:04
  they should do Tom and the Rani if he's going to do a reading.
• 2:07
  Oh, absolutely. I poor old Nicola struggles
• 2:11
  through the novelisation of Mark and the Rani, but Bonnie gets
• 2:15
  the rhythm of it and she can really make it sing.
• 2:19
  She's like she was surrounded from every angle by a tetrap.
• 2:24
  And then it just goes. Trapped exclamation.
• 2:27
  Oh, delirious. And you do get the joy of Bonnie
• 2:33
  Langford playing Kate O'Mara playing Bonnie Langford, which
• 2:37
  is. This is an unusual part three, I
• 2:41
  think, in that it isn't the runaround that everyone accuses
• 2:47
  Part 3 of being. Actually, it's juggling about 15
• 2:51
  threats that are occurring. It sees the emergence of the
• 2:54
  monsters coming out, and it has some really great set pieces.
• 2:58
  And this is the episode with the male and the being, isn't it?
• 3:01
  Yeah. So there's some real jeopardy
• 3:03
  coming up in this episode, which is really good.
• 3:06
  So it keeps the the pace of this is, again, it comes back to what
• 3:11
  we've said about Pip and Jane being being old pros.
• 3:13
  And they know the structure of a story and they're not going to
• 3:17
  let it sag. They're going to keep the
• 3:19
  tension ramping up and you're going to find out more about the
• 3:22
  characters, get to know some of the characters that we haven't
• 3:25
  really seen a lot of. So I think Bruckner and Dolan
• 3:28
  begin to come to the fore in this episode, which we haven't
• 3:31
  seen so far. So yeah, they, they, they've got
• 3:35
  a good structure going here. Just enough of the mystery to
• 3:43
  keep us engaged, but not too much as to spoil it.
• 3:46
  So they are. Yes.
• 3:47
  Drip, drip, drip, drip, drip. Do you guys think this is the
• 3:51
  Pip and Jane story that gets the pass?
• 3:54
  I do. I think this is the one the
• 3:55
  people we are generally positive about.
• 4:01
  Is it? I always thought that was Mark
• 4:06
  of the Brawney. No, that doesn't get a pass.
• 4:10
  Oh yeah, sorry, I forgot. Did you say Luke's bulge?
• 4:14
  Oh my God. I can't miss Luke.
• 4:18
  Black or wood indeed. But I'm talking.
• 4:21
  About you, Mr. Malloy. This but I mean at the time this
• 4:27
  did not get a pass. This was not liked except by the
• 4:31
  people who who were actually watching and wanted to enjoy
• 4:36
  Doctor Who. But Pip and Jane were were
• 4:40
  generally disliked by fandom, Bobby was disliked by fandom,
• 4:46
  and this story did not get an easy ride at all.
• 4:51
  I don't think it's like ticking the boxes.
• 4:52
  Isn't it at the base on the Siege of the Monsters?
• 4:54
  Like it's all stuff that Doctor Who fans like.
• 4:57
  I could never, never understand why, but I was 11 and I was not
• 5:02
  21 so. It's because this story
• 5:06
  represents the future. This is the future of Doctor
• 5:10
  Who, isn't it? This is, you know, we've had
• 5:14
  this Christmas Carol structure so far.
• 5:17
  We have had Bob Holmes the past presenting the mysterious
• 5:22
  planet. We have had Philip Martin the
• 5:24
  present giving us a very season 22 style story.
• 5:29
  We have now got Pip and Jane Baker who are presenting what
• 5:33
  the future of Doctor Who is going to look like.
• 5:35
  And it does because, you know, you go into season 24 and it is
• 5:39
  brighter and it is campaign. It's pretty much like the
• 5:42
  atmosphere of this story, isn't it?
• 5:44
  Is. We've sort of a dark edge to it
• 5:47
  as well. Yeah, with the pants are.
• 5:49
  And you know, it's, it's change. It's a change from what we've
• 5:53
  had. And as we all know, fans don't
• 5:55
  like change. No.
• 5:57
  So that is why it's it's interesting because it's not
• 6:01
  just this story itself that represents the feature, the
• 6:04
  production, it's the future of the production of the show as
• 6:08
  well. You know this, you mentioned it,
• 6:10
  I think in part one side, this story is made after Ultimate 4,
• 6:14
  but those two are considered the same production block.
• 6:18
  So, you know, this is where GNT realizes you can make a six
• 6:22
  partner with the same director and split it into two.
• 6:26
  So. And it's Chris Clough who then
• 6:28
  does those stories for the next. Well, for three years in a row,
• 6:33
  yeah. Yeah, so you can, you can
• 6:35
  literally just see the future of the show being figured out
• 6:40
  across this and this story and and the next one.
• 6:42
  It's. And we're just waiting for a
• 6:44
  Cliff, for a script editor to come in and take wrestle control
• 6:48
  of of the storytelling. I did think, Fraser, when you
• 6:52
  was talking about the future of Doctor Who then that you were
• 6:55
  sort of pitching a Pip and Jane Baker show run three seasons of
• 6:59
  Sylvester McCoy. I mean, I'm there for it.
• 7:02
  It would be interesting. And there was, there's this
• 7:05
  presumed there was an alternative universe out there
• 7:08
  where GNT just goes off. But yeah, you guys know what
• 7:11
  you're doing. You want an extra job?
• 7:13
  Do you want to come in and just, you know?
• 7:16
  I think that'd have. Been done it?
• 7:17
  No, but imagine they would have done.
• 7:18
  I think you know. It would have been that shit
• 7:21
  crazy it. Would have been great.
• 7:24
  But you know, we're, we're in a run here of we've got 10
• 7:28
  episodes, nine of which in a row are written by Pip and Jane.
• 7:33
  So this is as close as we get to the Pip and Jane world of Doctor
• 7:37
  Who and their vision for for Doctor Who.
• 7:41
  And they are all quite different, I think.
• 7:43
  Yeah. Like like, this is absolutely
• 7:46
  going for that murder mystery the the next one.
• 7:48
  Yeah, they they she picks up in the.
• 7:50
  Princess to do. But she's doing to do murder on
• 7:52
  your instant stuff in the next. They've got their brief to do
• 7:55
  Murder on the Orient Express in space, and they follow that to
• 7:59
  the absolute letter. But the one thing you can't say
• 8:03
  about Terra, the Vervoids Ultimate Faux Part 2 and Time in
• 8:06
  the Ronnie is that they're dull. No, they're really fun.
• 8:10
  To watch. They're.
• 8:11
  Completely and utterly bonkers. They never.
• 8:15
  Yeah. You know, at the same time, I I
• 8:18
  would not lose Andrew Carmel for the.
• 8:20
  No. No, no, no.
• 8:22
  I would not so I you know, I would love to see the Pippenjay
• 8:26
  in series 24 and series 25, but you know, there's so much of
• 8:32
  MyHeritage in that series. You know so much I love in
• 8:36
  Season 25 that you know I wouldn't, I wouldn't treat if
• 8:39
  anything. I just think like, you know,
• 8:41
  the, the, the tower block in Paradise Towers would have a
• 8:45
  face and start eating people and things like that, like.
• 8:48
  It would be mental. But I mean, we like a bit of
• 8:51
  that now, don't we? And I, I don't know, I'll go
• 8:54
  back to my original point of that this one gets a pass.
• 8:57
  I just think some of this stuff has been re evaluated and I
• 9:00
  know. This one, really, Yeah.
• 9:02
  They sit down in the doldrums of of, you know, the list of
• 9:05
  risers. But I think people come to this
• 9:09
  stuff now, this light end stuff, quite favourably you.
• 9:14
  Know. If nothing else, JNT knows what
• 9:18
  he's doing casting Doctor Who at this point.
• 9:22
  And we've had some really big names throughout this season
• 9:27
  propping up. And as we said at the start of
• 9:29
  this story, we've got a really fantastic cast here that are
• 9:34
  working their socks off to make this work and it they're
• 9:38
  creating really vivid characters.
• 9:40
  They're all different, all very well played.
• 9:43
  And I think that that is the hook for new, younger viewers
• 9:47
  who are finding these stories. Hopefully they're finding these
• 9:50
  stories because it's all very vivid and they feel like real
• 9:56
  people. The.
• 9:57
  Range is incredible because I think you've got sort of Bonnie,
• 10:01
  who's up in the stratosphere in a panto.
• 10:03
  You've got on a black man who did she know?
• 10:07
  She's doing TV, but it's very theatrical.
• 10:09
  And then you've got someone like Yolandi Palfrey who's so
• 10:12
  naturalistic she's playing down everything.
• 10:14
  And and Malcolm Tierney, who is just so laid back.
• 10:18
  Yeah. This is the season of Cole
• 10:21
  villains, right? Yeah, Cole is a cucumber.
• 10:24
  Yep. Well, I mean, should we go and
• 10:26
  watch him? Well, we better had.
• 10:27
  Should I count us in? Good for him.
• 10:30
  OK, in 54321, let's go. In the behind the sofa right,
• 10:37
  Mark Stricks was convinced it's Nicola.
• 10:40
  Bryant that gets unveiled. At the end of episode, because
• 10:43
  Oh my God, it's Nicola. Why is she?
• 10:45
  Why is she applauding? And they're all Fraser.
• 10:49
  Matthew Waterhouse and. Mark Strictions are all sort of
• 10:52
  looking at the screen going is it Nicola?
• 10:54
  Is it? I mean, that would have been A
• 10:57
  twist, right? Yes, that would.
• 11:00
  Have been a brilliant twist. Oh, Perry and Mel together.
• 11:10
  It's it's, it's like going from Victoria to Zoe.
• 11:16
  Oh. Yeah, you know, they are both
• 11:20
  excellent and I know you guys don't love Victoria as much as I
• 11:23
  do, but. I don't love her at all.
• 11:26
  What? Are you talking about?
• 11:28
  Well, I was trying to be kind, but I've.
• 11:31
  Got a chance to be Fraser? But I think it is that, you
• 11:34
  know, they all bring something different.
• 11:38
  You know, there's a different dynamic.
• 11:39
  There's a different dynamic between Doctor Who and Zoe and
• 11:43
  Doctor Who and Victoria, and there was a different dynamic
• 11:45
  between Doctor Who and Perry and Doctor Who and.
• 11:48
  As there should be, yeah. Yeah, so you get, but you know,
• 11:52
  it's not to say 1's better or worse than the other, it's just
• 11:55
  different. What is strange, I think, is I
• 12:00
  don't think the dynamic between Mel and Seven is anywhere near
• 12:04
  as strong as her. I think she's built for Colin.
• 12:06
  She's built for definitely, yeah, and it works much better.
• 12:10
  They're very they have some lovely scenes in 24, don't get
• 12:13
  me wrong, but it's interesting that in those stories they're
• 12:17
  split up more often than not in Tom and the Ronnie.
• 12:20
  They're separated for most of it in Paradise Towers and.
• 12:25
  Yeah. And then in dragon fire so they
• 12:27
  don't really get a chance to bed in, whereas in just this one
• 12:31
  story I'm convinced that a run with these.
• 12:33
  There's a history of between these characters and that you
• 12:37
  you feel despite everything. But then going back to what
• 12:40
  we've seen before, would would the Pip and Jane version of
• 12:45
  Season 24 have a better Shawin for Mel?
• 12:48
  Definitely. Oh, I think so, yeah.
• 12:50
  I think they know her. Sorry.
• 12:52
  They've established. Her, Pip and Jason.
• 12:54
  After her first first nine out of 10 of her her first episodes,
• 12:59
  she's a Pip and Jane Baker character.
• 13:01
  If they're not writing her would how much would they insist that?
• 13:06
  I think they'd have taken care of their characters.
• 13:09
  Go, you know, once you've finished listening to this
• 13:12
  fabulous commentary, of course, go and listen to it's free on
• 13:16
  Spotify and Apple Music, the one Doctor, the Big Finish and just
• 13:20
  go and listen to how good a Colin and Bonnie season of
• 13:24
  Doctor Who could be. Oh, there's so Mel, how's your
• 13:28
  wilting Willow impression? What I mean, faint.
• 13:31
  Well, why didn't you just say that?
• 13:33
  It's so great. Mr. Raj, you do have a knack of
• 13:42
  land in yourself in hot water. Dr. It's true, like the
• 13:46
  Elephant's child. Never mind, just those stories,
• 13:52
  thank God. Looks tricky happy to me.
• 13:57
  Oh my God, you'll be arrested forthwith.
• 14:03
  Are we in a period drama now? Lovely bit of business where he
• 14:07
  goes the wrong way. Yeah, I know that.
• 14:10
  Yeah, he's been taking. Notes from Peter Davidson.
• 14:14
  It's got the matrix, he goes. What's this?
• 14:16
  Bullshit. Come on now, get on with the.
• 14:18
  Story. It's called back a mysterious
• 14:20
  planet, isn't it? He does that the same thing in
• 14:22
  that. Oh, here it is.
• 14:25
  Yeah, deliberately flouting authority.
• 14:28
  The evidence does seem to contradict your stated aim.
• 14:30
  Doctor says thing was done. I do love their luxurious
• 14:39
  loquaciousness. Pip and Jane, though.
• 14:41
  Yes, I do like because there are some words I've gone and looked
• 14:44
  up from a Pip and Jane, especially the.
• 14:47
  Book. I remember looking up
• 14:48
  Antediluvian to try and understand that because I've no
• 14:51
  idea what happened. Loquacious.
• 14:53
  I might have looked up. Did you look up a dermatologist?
• 14:57
  I. Did.
• 14:59
  Yes, heroin relations are definitely looks up.
• 15:02
  What the hell is he talking about?
• 15:03
  Do you think the Hyperion Free is quite a sleek design?
• 15:09
  It's a good. Yeah.
• 15:10
  Do you know, it reminds me of the Hecatee from Nightmare of
• 15:13
  Eden. And in in every way, because
• 15:17
  it's shot exactly the same. I think it looks the effect
• 15:23
  itself is a bit smoother here, isn't it?
• 15:26
  Like I know it's shot on video, isn't it?
• 15:30
  That was a bit wobbly. And it it, it is, I think the
• 15:35
  last time the model work is done on videotape and it's all film
• 15:40
  after this. If there's one lesson that you
• 15:44
  gentlemen can take from this story all right, that is that
• 15:47
  fire alarms are not playthings for irresponsible buffoons all.
• 15:50
  Right, it's true. Well, I quite happen to be quite
• 15:54
  a responsible buffoon, so ow. Oh no, that old man, Mr. Kimber.
• 16:02
  Oh no. I.
• 16:04
  Mean by the end of the story, nearly ever.
• 16:05
  I thought they were supposed to be toning down the violence.
• 16:08
  But you don't see it. That's the thing most.
• 16:10
  Of the time the body is there. Lion in a big oil.
• 16:14
  Big compost. Heap, what is the doctor says
• 16:16
  like? Melons in a heap.
• 16:21
  No, it's such an old busy body. She'd be unbearable in real
• 16:24
  life. I wouldn't she, She'd be that
• 16:26
  one on the parish council, you know, never let anyone go.
• 16:28
  So it's all been all been discussed.
• 16:33
  Is she supposed to be middle? Class Oh, I think she's very
• 16:36
  definitely middle class. OK, have you ever been to Peace
• 16:39
  Pottage show? It's.
• 16:40
  Quite nice actually, isn't it? Quite.
• 16:42
  Yeah. Quite pleasant, oh.
• 16:46
  No. They're going to put that old
• 16:50
  man down. He'll be down there for a week
• 16:51
  till they. Record episode 4.
• 16:54
  Look at this. Oh my God.
• 16:56
  Oh my God, they never get any bits.
• 17:01
  Now, can I tell you, gentlemen, a story about the one time I
• 17:06
  went down on a woman, right? It only happened once and well,
• 17:12
  there was sort of like hair like that sort of coming at me.
• 17:15
  I mean, it was very that it does look like lady parts.
• 17:20
  That's all I'm saying. I I have never been there so I
• 17:23
  cannot even comment. It looks like men parts as well,
• 17:27
  though it's it's quite the. How did you know?
• 17:30
  Right. Yeah, look down.
• 17:33
  Yeah, he's got them. Oh, how did we get here?
• 17:40
  It wasn't there. That's it was inevitable.
• 17:45
  Well, I never did it again, all right?
• 17:47
  It was very traumatic. Oh, it doesn't say to the doctor
• 17:53
  now. Yeah, they're working together
• 17:55
  now, aren't? They certainly, Doctor, I'll
• 17:58
  match you for candor. Don't you love Michael Craig
• 18:01
  going? You know, I couldn't believe it.
• 18:02
  You know, no one had ever called me up to being Doctor Who or
• 18:05
  Jack and Nori. I've got both in the same year.
• 18:09
  I felt like I won the lottery. Yeah, and he was.
• 18:12
  He was a regular pretty much in Robin of Sherwood at this point
• 18:16
  as well. So he was the father of the new
• 18:19
  Robin, played by Jason Connery. Oh, that's Sean.
• 18:27
  Do you like the Space Invaders game that they play?
• 18:30
  Yeah, I thought that, and I thought that was a really cool
• 18:32
  effect back in 1986. And the way they managed to sort
• 18:36
  of pan rounds and still keep the game going was just a very
• 18:40
  subtle special effect. You see what this sort of
• 18:43
  foliage behind and they're all over the stairs.
• 18:45
  Did you see that? That's a bit like what our
• 18:47
  bedroom looks like nowadays thanks to Frasers and Misses.
• 18:53
  Oh my word. Good do.
• 18:55
  You know what? I think he's scary about the
• 18:56
  Vervoids. It's less the design, which is
• 18:59
  good and weird. It's that sort of weird judgery
• 19:02
  movements that they do. When they get agitated.
• 19:08
  Yeah. Oh look, he's got a quite.
• 19:09
  Nice little bit of a weird planet and they brought dancers
• 19:14
  in to play the. The part because they were
• 19:17
  dancers that Bonnie knew from her stage work.
• 19:20
  Yeah. Is this the triumphant return of
• 19:22
  Rosalinda Winter? Not quite I.
• 19:27
  Hope this sounds great. Brought there a Dolan.
• 19:32
  You tried ripping that computer paper?
• 19:37
  I love it when he goes was it you, me, even the creatures we
• 19:40
  spawn, the sole representatives of this great advance, and we're
• 19:45
  all encapsulated on this ship, on this ship, and he gets him.
• 19:53
  It's good to know that in 900 years time we'll go back to
• 19:57
  using paper. That is, that's a very flimsy
• 20:00
  room. He's just locked him in now.
• 20:02
  Did you see it sort of wobble? Yeah, it was a bit bit wonky,
• 20:05
  wasn't it? Yeah.
• 20:07
  We've seen shoddier sets than that.
• 20:10
  Honestly, I've never known a woman exercise as much as
• 20:13
  Professor Lasky. Really Not now.
• 20:16
  I'm up by exercise by. Absolutely vital.
• 20:21
  I love it when things are absolutely vital.
• 20:24
  Very much of its time wasn't. It's not like the aerobics and
• 20:27
  yeah, and. This is clever though, isn't it?
• 20:30
  Because obviously it's Dolan that comes back and puts Mel in
• 20:34
  the bin, but they're tricking us into thinking he's going to go
• 20:37
  now with Lasky, right? Yeah, exactly.
• 20:43
  But he doesn't, because Mel interrupts him.
• 20:45
  And then she seals her fate. There's quite a bit of foliage
• 20:52
  in the. Gym as well isn't.
• 20:53
  It there's foliage everywhere on this ship.
• 20:55
  I think the fur boys have got a. Fry here, you know.
• 20:59
  It's all plastic. Yeah, well, it lasts longer
• 21:03
  though. Phrase.
• 21:03
  Yeah, it wouldn't be so good under the studio lights.
• 21:06
  Oh, just imagine a plastic vervoid.
• 21:10
  Now this. Is vervoid.
• 21:12
  This. Is the.
• 21:12
  Scene that Mark does all the time, right?
• 21:16
  So he pretends he's got a headset on and he's doing
• 21:18
  exercises and then he starts climbing up the bloody wall like
• 21:21
  she is here goes amplifier. Start pressing buttons.
• 21:27
  Yeah. I mean, she's gone for it.
• 21:28
  She's properly. She is.
• 21:31
  After. She's really physical.
• 21:32
  Yeah, saying she ain't got time. I'm sorry, Fraser ain't got time
• 21:38
  for all that bloody angst and love that Ice gets Lombard with.
• 21:41
  No, she's straight in there. We must not make animal kind
• 21:47
  aware of our existence. Gently won't go with this
• 21:51
  commentary. We are doing splendidly.
• 21:57
  So just like to say a word here for Malcolm Clark, who has
• 22:05
  brilliantly, and I only realized this recently, bookends the
• 22:08
  radiophonic workshop era of music because he does the first
• 22:12
  radiophonic workshop score with the Sea Devils and he does the
• 22:16
  final one with Tariff the Vervoids.
• 22:18
  And this is actually, I think one of his his more conventional
• 22:24
  scores and is better for it. It's not quite as farty as the
• 22:27
  Twin Dilemma. It's quite melodic in places.
• 22:32
  He he does some quite interesting things and he has
• 22:35
  some little flourishes all the way through.
• 22:37
  He did get a bit flatulent around sort of attack of the
• 22:40
  Cybermen, didn't he? Yeah.
• 22:42
  Yeah, Twin dilemma, attacking the Cybermen, not so good, but
• 22:45
  this what? He goes out on a high, I think.
• 22:47
  He like the attack of the sabremen.
• 22:49
  Oh, it's. A horrible noise.
• 22:51
  Are you mad? Where, Where?
• 22:53
  Where? Where where it?
• 22:55
  Sounds like those sidemen are blowing off all the time.
• 22:59
  Well I might be home Saber farts sound but.
• 23:02
  True, there's still people in there, I suppose.
• 23:06
  But yeah, this is a nice, nice bit of score.
• 23:08
  I think he does. Agreement as well, doesn't he?
• 23:10
  He does, yeah. And I think he's.
• 23:12
  I think that's his best. Enlightenment a class step he.
• 23:15
  Puts in all that choral work, doesn't he, when they're out in
• 23:17
  space. Yeah, and makes it eerie and
• 23:19
  weird. So he can do it.
• 23:21
  I think it's when he's given the direction.
• 23:23
  He does a little waltz motif, doesn't he to when they're like,
• 23:27
  having the parties and whatnot. Yeah, the Enlightenment scores
• 23:30
  absolute banger. But this scene here like this,
• 23:34
  he paces this scene really, really well.
• 23:36
  The music sort of ramps and ramps and ramps, yeah.
• 23:38
  But Chris got attention. Because he he's cutting back and
• 23:42
  forth from the bin to Colin from the bin.
• 23:44
  To Colin, as you keep seeing, it keeps putting the number of the
• 23:49
  bin forefront so you know which one she's in.
• 23:53
  And that pulp Frizer that mean that's so simple, just that red
• 23:56
  light and a bit of smoke, but it works.
• 23:59
  Don't. Convince me.
• 24:00
  Howlin, Joe, you? Think of, think of, you know, in
• 24:03
  Underworld when they get tipped, tipped into a hallway.
• 24:05
  It looks much more convincing than that.
• 24:08
  Also, every time we have an establishing shot of the ship,
• 24:11
  you get this sort of Star Wars. Yeah, very sort of sweeping,
• 24:17
  ethereal score, isn't it? Yeah.
• 24:19
  As we glide through space. Yeah.
• 24:24
  Oh, Mr. Rudge, he's not very good at his job.
• 24:26
  Is he? He's not.
• 24:29
  Maybe it's it's a good, you know, I had Bonnie Langford, you
• 24:32
  know, because she knew all the dancers playing the Vervoids.
• 24:35
  She was there having a gossip with him on the set all the
• 24:37
  time, you know? They're doing splendidly, that's
• 24:41
  right. Congratulations must be delayed,
• 24:44
  gentlemen, until the commentary is finished.
• 24:46
  I love that the verboids are so chatty.
• 24:48
  It's it's really ridiculous. They're doing proper body acting
• 24:53
  because you can't see the pier. So they're doing body.
• 24:55
  Acting. It's also nice to know.
• 24:56
  Talking now. Not only is there paper in the.
• 24:59
  Future but also. Old fashioned 80s cassettes,
• 25:02
  doesn't it? Every set.
• 25:03
  Tapes are back. Yep.
• 25:04
  No. One comes back to them.
• 25:05
  Is it retro? Yeah.
• 25:07
  Could be retro tech just on this this particular spaceship.
• 25:11
  Oh, look at Mel throwing some shade at Janet.
• 25:13
  All the stupid. Ass.
• 25:17
  She's like, I'll have her bumped off.
• 25:18
  Yeah, I'll be the pretty. One in this story that is a
• 25:24
  really, I mean, what are you going to do on that climbing
• 25:27
  frame in the gym? Scaffolding and down and up and
• 25:33
  that's it. Aerobics with sigh heart.
• 25:38
  Up and down and up and. Down.
• 25:43
  Oh boy. Oh, look at that.
• 25:45
  Bit of a heart on the wall. I know I'm sort of looking at
• 25:47
  the sets now, but oh. He touched her nose.
• 25:52
  That's what McCoy does with Ace. Yeah.
• 25:55
  Fuck off, Janet. Yeah, that's it.
• 25:58
  You don't want that poison coffee.
• 26:02
  Sorry, didn't mean to do that. I do like to think, you know, in
• 26:05
  that last scene, you know, when the doctor goes away singing on
• 26:08
  with the motley, that she then pulls out a knife and plunges it
• 26:12
  into Commodores back. Oh, she's.
• 26:14
  Absolutely does. Yeah.
• 26:15
  And then she goes back. Oh, it was me all along.
• 26:19
  Oh, this? Oh dear.
• 26:22
  Yeah. It.
• 26:24
  Should not be here at all. The same with Colin and the axe.
• 26:31
  It really it it it has no satisfactory like part in the
• 26:37
  plot. No, no, it doesn't go anywhere.
• 26:41
  But it's, it's, it's not the plot for this story.
• 26:43
  It's the plot. For the trial.
• 26:47
  In general. And it was.
• 26:48
  It was, it was. We're told to put it in, you
• 26:51
  know, just put some random stuff in about like the Matrix Lion.
• 26:55
  Why is that? Well, just because no one knows,
• 27:00
  because we haven't made that bit up yet.
• 27:01
  Just put. That in so we know from what
• 27:06
  what I've just said that the communications room has to be
• 27:09
  destroyed. So who did it?
• 27:11
  Janet. Yeah.
• 27:13
  Janet, Yeah. Was always reckoned it was
• 27:17
  Bruckner. It must be Dolan.
• 27:20
  Wasn't it? But it's got to be Dolan,
• 27:23
  really. But.
• 27:25
  Well, why is he trying to prevent any communication?
• 27:27
  He wants to go to Earth with the verb voice, doesn't he?
• 27:31
  Well, he doesn't want the police waiting for him when they
• 27:34
  arrive. Yeah, yeah, yeah, that'd be a
• 27:36
  bitch. How you're going to sneak them
• 27:38
  out in your luggage. Anything to declare just these
• 27:42
  murderous plants. Oh hang on, already the Time
• 27:46
  Lords awake. Oh yeah, they seem to be doing
• 27:48
  all. They're quite perky there's.
• 27:49
  Quite a bit of. Incident in this one, isn't it?
• 27:51
  You know you keep them awake. Mel going for everyone's
• 27:56
  clothes, I'll tell you, she'd be a right busy body.
• 28:03
  Oh, Bonnie in the shower. This is a particular type of
• 28:07
  story for people now. Fraser, Is Bonnie attractive?
• 28:13
  Well. This is not bad.
• 28:19
  Damning. Was Nicola attractive?
• 28:24
  Yes. Oh wow, there we go.
• 28:27
  Was Sophie. Yes, very much when I was
• 28:32
  growing up. Sheer vandalism.
• 28:35
  Vandalism and utterly useless, yeah.
• 28:41
  This is a bit where he beats her up in it, yeah.
• 28:44
  You can't go around smacking on a Blackman in the face.
• 28:48
  I'm not on a Blackman. She'll smack your back.
• 28:51
  To use your own phrase. Phraser.
• 28:57
  It's all academic now. You can't unlearn knowledge.
• 29:03
  We get a bit about Galileo here as well.
• 29:06
  Galileo. Yeah.
• 29:08
  Galileo, Figaro. You.
• 29:14
  See the name Lasky inscribed in the history book.
• 29:17
  Rubbish. This podcast.
• 29:19
  Has been a team effort. Yeah.
• 29:25
  Well fellas, you've led me to see the fault in my strategy on
• 29:27
  the frame. You, you me, Fraser.
• 29:31
  The opinions we've spawned, the toxic ideas in this enterprise.
• 29:37
  Received wisdom we've challenged.
• 29:41
  All encapsulated on this podcast.
• 29:48
  Is this where he says I didn't even hear the Oh my God, Carly,
• 29:57
  I love you. This is zipping by, isn't?
• 30:00
  It thank you for tuning into the Doctor Who Quotes podcast.
• 30:10
  That's it. More, more.
• 30:11
  Chatter amongst the verbals. We are the only men.
• 30:15
  It was a stupid decision allowing them to talk.
• 30:18
  I realise we sort of needed it for plot purposes, but they
• 30:21
  would be scarier if they just went around murdering people.
• 30:27
  But. That sort of helped me out with
• 30:31
  the anatomy there, that sort of yellow, the sort of outer rim
• 30:35
  there of the verb void. Is that like a vulva?
• 30:40
  Yes, I think it's meant to be kind of like an aloe Vera, like
• 30:45
  a plant. So it's a kind of succulent.
• 30:49
  So and it's got that I'm keeping this on track.
• 30:54
  I'm not having any of this. And so the, the, the bit in the
• 30:59
  middle, that's the labia, yeah. I'm that's the.
• 31:04
  Place. Hey.
• 31:06
  That's the penis in the middle. Stick the hell out.
• 31:10
  OK, right in the middle. It's it's, it's, it's a
• 31:12
  mushroom. Key too.
• 31:13
  I mean, there's no way you could say that's an innocent designer.
• 31:16
  Can you really? It is in as much as no one's
• 31:23
  actually went out to do that. The no one's actually went.
• 31:27
  You know what would be really good?
• 31:29
  If we got to talk to who monster that look like both sets of
• 31:31
  genital at the same time? If the house.
• 31:36
  If that was the point, you know the hands are hats off to them
• 31:39
  and. And it made it to the screen.
• 31:40
  I mean, a few years earlier, J&T had complained that the Fender
• 31:45
  was like a giant penis creeping down a corridor, and they'd put
• 31:49
  wings on the side of it. And a few years after this, he'd
• 31:52
  complain that the original design of the hemovore was too
• 31:56
  rude. But this one seems to have got a
• 31:58
  free pass. I mean, nothing is worse than
• 32:01
  the creature from the. I was gonna see.
• 32:03
  Well, yeah. That enormous phallus that comes
• 32:06
  down the corridor. That Tom Big I blew isn't him,
• 32:08
  Yes. Ohh this is so.
• 32:10
  Funny, right? And the the.
• 32:11
  Scripting of this last. Well, your.
• 32:15
  Pollock in there is aiming us, aiming the ship right into the
• 32:20
  eye of the black hole of Tartarus.
• 32:23
  Don't talk in riddles man. I think he tells us like 3
• 32:27
  times. You exactly what's happening.
• 32:33
  I love it when. They say lines like it's.
• 32:35
  Designed to be hijacked proof when he's just fucking hijacks
• 32:38
  it. Now he's blowing off some steam.
• 32:45
  Oh, well done. Oh.
• 32:49
  Things are getting desperate. You know when the coffee cup
• 32:51
  starts. Shaking.
• 32:52
  Oh my God, yeah, absolutely. And the straws are on the floor.
• 32:54
  Someone's. Going to have to clean that up.
• 32:57
  What? Do you think of that video
• 32:59
  effect for the black hole? Oh, it looks like a load of
• 33:02
  Cornetto is flying about. That's where the cliffhanger
• 33:08
  should have been on his. Face.
• 33:10
  Yeah, with the the red lighting on his face is brilliant, but
• 33:13
  this is just ridiculously telling you what you've just
• 33:16
  seen on the screen. Sorry the next time you have it
• 33:22
  off. With Jason.
• 33:23
  Will you say or maybe it's directly for the blackout?
• 33:28
  Of Tartaros, please. So sorry.
• 33:30
  I'll bring it back down in the last episode, I promise.
• 33:33
  You will not. Oh, come on, Pip and Jay man,
• 33:38
  they've just seen the openings are all there, literally.
• 33:43
  There is nothing rude in this script.
• 33:45
  I think you're fine. Of course not.
• 33:47
  Of course not. Well, that's absolutely.
• 33:50
  Delightful. I just.
• 33:51
  Spent the last. Time laughing episode, wasn't it
• 33:54
  you? Know so I have a big question
• 33:57
  though, because that cliffhanger is on Colin's face, but it's not
• 34:02
  a crash zoom. So are we counting that as a
• 34:03
  are? We counted up the ones that were
• 34:06
  not crash zooms. Name two, name 2.
• 34:10
  I think you know there's a little spoiler for the future
• 34:13
  the. Best one is yet to come in
• 34:14
  episode 4. It's the ultimate crash.
• 34:18
  Into the ultimate phone. Well, he's just murdered an
• 34:23
  entire. Species so I.
• 34:26
  Not yet he hasn't. Not yet, he hasn't.
• 34:28
  So sorry. Oh, Diana Walker.
• 34:30
  Yeah, get rid of the Wicker chairs.
• 34:34
  How are we going to out this episode?
• 34:37
  I don't know, let's just cut it there.
• 34:39
  Just. Just some say something about
• 34:42
  genitals and we'll be fine.