Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Daniel Rawnsley about his choice of Revenge of the Slitheen (1/2)

Transcript

Talks to Daniel Rawnsley about his choice of Revenge of the Slitheen (1/2) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:16
  Welcome back to a hamster with a blonde penknife.
• 0:19
  My name is Daniel Ronsley Pasamir de Slavin and I don't
• 0:25
  know how far this is going to go.
• 0:28
  No, keep going. Come on.
• 0:30
  I'm not helping you out here. So some of you may listen all
• 0:36
  the way through and you have a bright future ahead of you
• 0:40
  children. That is the best assembly I've
• 0:44
  I've ever seen I think. Anyone who's not listening all
• 0:48
  the way through, you're from the planet thick, all right?
• 0:54
  Yeah, Daniel, this might be a slight clue as to what we're
• 0:56
  talking about today. Yes.
• 0:58
  So the we're covering the episode well, episode 2, but
• 1:03
  episode 1 of series one of the Sarah Jane Adventures, Revenge
• 1:09
  of the Slovene. Wasn't it episode 1 of series
• 1:12
  one Invasion of the plane? It was the the New Year's Day
• 1:16
  special, yes. That sort of episode 0.5. 0.5,
• 1:20
  which is basically the yeah, the the what we would call the
• 1:23
  pilot, even though it wasn't conceived as a pilot, but but
• 1:27
  yeah, yeah, yeah. So the proper beginning to the
• 1:31
  to the series because it introduces a a new character.
• 1:36
  It does. Can I let you in on a little
• 1:39
  secret? I think this is probably the
• 1:44
  weakest of the first season, and I think it's great.
• 1:49
  So that goes to show good batting average, the the quality
• 1:53
  of this first year. Yeah, like I, I had a blast
• 1:56
  watching this, but I know what's coming and I just thought
• 2:00
  Invasion of the Bane was such a great start.
• 2:04
  There's a few sort of pantomimic performances in this that you
• 2:06
  could possibly wince that if you weren't in the right mood and
• 2:10
  things like that, but sort of on every conceivable level that I
• 2:14
  judged TV by, I thought this was pretty good.
• 2:18
  Yeah, I mean, I had a lot of fun with it and well, and as as a
• 2:22
  sequel to Aliens of London and World War Three from Doctor Who,
• 2:28
  it's very good. Are you shaking your booty?
• 2:31
  Daniel, I'm Oh yes, I'm shaking my booty.
• 2:36
  Didn't he say? What did he say at the assembly?
• 2:38
  He farts and goes, was it? Oh, spinach and.
• 2:41
  The wife gave me. Yeah, the wife gave me.
• 2:45
  Another thing to thank Jamie Oliver for something like that.
• 2:48
  I was like, oh man, now that's a good point.
• 2:51
  Now let us get this out of the way before we go into this
• 2:55
  episode. A very witty, very funny, very
• 3:00
  clever script. This written and also invasion
• 3:04
  of being Co written by Gareth Roberts, now a problematic
• 3:10
  character in certain corners of the universe fandom for some of
• 3:15
  his controversial views. Now we're going to be covering a
• 3:21
  lot of scripts by Gareth Roberts as we do this run, so let's.
• 3:26
  Probably come up again. What was I say, let's have this
• 3:28
  conversation now and then let's enjoy the episode, surely, Yes.
• 3:32
  Well, so. So yes, for the for the
• 3:35
  avoidance of doubt, you know, Gareth Roberts who torched his
• 3:38
  own career by making some very nasty transphobic comments and
• 3:42
  then doubled down on those comments and made that his whole
• 3:44
  personality. So, but anyway, he was, I say
• 3:49
  was because he was a, he was a writer, a very, and I think very
• 3:55
  well, good, funny writer. Really good, a great writer of
• 3:58
  books as well. Yeah, yeah.
• 4:00
  Well, yes, he wrote several Doctor Who books, didn't he?
• 4:02
  What was it? English.
• 4:03
  English Way of death. Did you read Only Human?
• 4:06
  Yes. Boy Jack and Jack Caveman.
• 4:15
  So, yeah, with with characters like Gareth Roberts, there is
• 4:18
  this this question that keeps, well, I think it comes up with
• 4:22
  many problematic people, which is can you separate the art from
• 4:26
  the artist? For which for me is never really
• 4:30
  been a very well worded question because, because who made the
• 4:34
  art? You know, the artist.
• 4:35
  But I think the question we mean when we say that is can you
• 4:38
  separate the artist from their personal life?
• 4:42
  And my answer to that would be will they arrive separately and
• 4:45
  you can choose whether to connect them or not.
• 4:49
  It does get a bit more complicated when that spills
• 4:51
  over into their work where they literally put sort of their
• 4:55
  views or aspects of their life into their works, which is why
• 4:58
  some film directors like Roman Polanski or Woody Allen, I find
• 5:04
  hard to kind of follow their work much further because they
• 5:07
  kind of start putting a lot of their, you know, of their own
• 5:12
  very problematic lives into their work.
• 5:15
  So the. Biggest example I can think of
• 5:18
  is probably HP Lovecraft, right? Oh yes.
• 5:23
  The very heavy elements of racism and xenophobia.
• 5:26
  There, xenophobia, anti-Semitism.
• 5:30
  But like, I mean, I recently watched the Chronicles of Narnia
• 5:36
  right? And there was some heavy
• 5:40
  religious themes in what are essentially fairy tales for
• 5:45
  kids. Oh yes, yes, Lewis was very,
• 5:48
  very devout Christian, wasn't he?
• 5:50
  So even. There I was like, you know,
• 5:52
  that's not a bad thing, that's not a bad thing.
• 5:54
  No man's a Christian and religious, but it's not my
• 5:56
  viewpoints. And I'm felt as if I was sort of
• 5:58
  being hectored and lectured a little bit within.
• 6:01
  Those, Oh well, gave it away when?
• 6:03
  When Aslan the Lion was sacrificed himself and then was
• 6:06
  resurrected. Absolutely, yes.
• 6:09
  Well, what? And what happens in that last
• 6:11
  one where they all end up dying or going to heaven?
• 6:15
  Do you remember? Going to heaven?
• 6:16
  Yeah, yeah. Very.
• 6:17
  It was very strange. And also one did they?
• 6:21
  No, no. Well, and you know, that's how I
• 6:26
  said yeah, very witty, funny writer.
• 6:28
  You know, those things don't have to be mutually exclusive.
• 6:31
  You can be a terrible person and still be a good writer or funny
• 6:35
  writer. And the two things can be true
• 6:39
  at the same time, I think. And.
• 6:42
  What do you say to I'm going to I'm going to ask this question
• 6:45
  and you may choose not to answer it.
• 6:47
  What do you think too? Because this is my issue with
• 6:50
  this whole subject is I don't like being told what I can watch
• 6:56
  and read. And I feel there is a contingent
• 6:59
  of Doctor Who fan that says if you engage with that in any way,
• 7:04
  you are, you are. Platforming and supporting.
• 7:07
  You are a transphobe, you are, and I just don't buy that at
• 7:11
  all. No, no.
• 7:13
  And I feel like, you know what? You're as bad because you're
• 7:15
  literally you're pushing something on to me that I don't
• 7:21
  subscribe to just because I want to watch a episode of
• 7:24
  television. Well, I mean, in my experience,
• 7:27
  it's been these sort of slightly performative discussions where
• 7:31
  everyone kind of winces and sort of tip toes.
• 7:33
  They're like, oh, like I can't like the Sarah Jane Adventures
• 7:37
  anymore because it's written by that horrible man sort of thing,
• 7:40
  which is, you know, correct, Correct.
• 7:41
  It, it is written by a horrible man.
• 7:43
  But, and that can, that can change your relationship with
• 7:46
  the work. So everyone's I'm, you know, if,
• 7:49
  if, if, if you don't want to go any further with that, then
• 7:51
  that's fine because we are in a position of privilege where
• 7:55
  we're not really affected by this or that person's bigotry.
• 8:00
  So JK Rowling, Gareth Roberts, you know, so, but it is
• 8:05
  uncomfortable. And I think, I think a lot of
• 8:08
  people react like that because they don't like being
• 8:11
  uncomfortable. They don't like the, the
• 8:14
  discomforting thing that you have to live with.
• 8:18
  The, the, the, the beautiful things can be made by ugly
• 8:23
  people. And when I say ugly, I'm not
• 8:24
  talking about appearance. I mean in character, you know,
• 8:29
  and, and for me, that's what, that's kind of what, what part
• 8:33
  of, of, of that's part of art in a way, is that you, you know, it
• 8:37
  can be very well made. It can be beautiful and it can
• 8:39
  be made by a, you know, a horrible person and, you know,
• 8:43
  you have to wrestle with that. And it's ongoing.
• 8:45
  It doesn't sort of it's not black or white.
• 8:47
  It it, it you know, you may feel differently in a few years.
• 8:50
  Not black or white. You're right, it's a a nuanced
• 8:54
  argument and there has to be leeway for both sides to say OK,
• 9:00
  fine, that's OK for you, but it's not OK for me.
• 9:02
  But I feel I feel like sometimes that isn't.
• 9:04
  But then like my other argument is like, you take this to its
• 9:08
  natural conclusion. Well then you can't watch any
• 9:11
  First Doctor stories because Hartnell was a racist, right?
• 9:14
  You can't watch the Russell 2 Davies here because Noel
• 9:16
  Clarkson. You can't watch, you cannot
• 9:19
  watch any of 80s Doctor Who because I think it's detailed in
• 9:22
  that Richard Marsden book. JNT was a bit of a sexual, you
• 9:26
  know, like like if you've got issues with all of those things
• 9:29
  and most you know, good, you should of racism, yes.
• 9:32
  By all means, condemn it by all means.
• 9:34
  Then you shouldn't be able to engage with any of that.
• 9:36
  You know, you and people just hone in on one thing and I find
• 9:41
  it a bit hypocritical, but sort of Long story short, I can
• 9:46
  enjoy. Gareth Well, I mean, a good
• 9:48
  example is, you know, Miles Davis, you know, one of the
• 9:50
  great musicians in the history of jazz, you know, revolutionize
• 9:55
  the art form, huge talent and huge influence.
• 9:58
  And everyone's heard his one, you know, record of his once in
• 10:02
  a while in one point in their lives.
• 10:04
  And and he also was a violent drug addict who physically
• 10:09
  abused his wife. So the the challenge for us as,
• 10:13
  as the people who listen to his music is to be able to hold all
• 10:17
  those things in your head. So he was this, and he was this,
• 10:20
  and he was this and he was this. So it's, it's, it's for me.
• 10:24
  You can't separate the art from the artist, but you can
• 10:27
  compartmentalize it, as we do with every aspect of our lives.
• 10:31
  Absolutely. Well, in the sense that, you
• 10:33
  know, we get, you know, all the horrible stuff going on in the
• 10:36
  world and it's it's awful, it's frightening.
• 10:39
  And there are days where we feel it more acutely and then other
• 10:42
  days where we don't really think about it.
• 10:44
  So because if we did, we would go insane I think.
• 10:48
  So, and we wouldn't watch anything, we wouldn't read
• 10:52
  anything because there's problematic things in everybody,
• 10:56
  right? Somewhere there are problematic
• 10:58
  things in everybody. I think nobody is Lily white,
• 11:01
  nobody is black and white. Everybody has Shades of Grey.
• 11:06
  So and, and, and, you know, a good, a good, an interesting
• 11:10
  exercise is to think, well, you know, a few years from now there
• 11:13
  may be behaviors that we took for granted that will then be
• 11:18
  considered problematic. Well, this sort of, yeah, it's
• 11:20
  this slightly sort of narcissistic, narcissistic thing
• 11:23
  that, oh, we've reached sort of peak, not peak humanity, but
• 11:27
  peak morality. And and so we don't have
• 11:30
  anything to sort of think, we don't have anything to sort of
• 11:35
  think about ourselves, you know, so, so things like, you know,
• 11:39
  eating meat, you know, people still eat meat, but maybe in a
• 11:42
  few years time that will be frowned upon.
• 11:44
  I love a bacon sandwich. Good grief.
• 11:48
  Well, I mean, that's a terribly serious way, you know, to start
• 11:52
  what is going to be another jolly adventure with Sarah Jane
• 11:55
  and and The Muppets. But yes, I thought like, let's
• 11:59
  just get that out of the way because I think some people
• 12:02
  listening may have an issue. And, you know, I'm just here to
• 12:06
  say that's fine, that is fine. And don't listen to this and
• 12:08
  don't watch this. We will.
• 12:11
  Yes, exactly. Yes, exactly that was.
• 12:14
  We will without condoning his behaviour.
• 12:18
  Yes, because I think, you know, that's the other thing is, yeah,
• 12:20
  we're all grown-ups. I mean, not, not everyone in the
• 12:23
  Sarah Jane Adventures is a grown up, but we're all capable of
• 12:26
  distinguishing, you know, good behaviour and bad.
• 12:31
  Well, I I say we are, but we we can make the distinction
• 12:35
  between, you know, where am I going with this?
• 12:41
  Sorry, no, I mean, I was a bit appalled, frankly, that you were
• 12:44
  suggesting I was an adult there, like you've heard somebody's
• 12:50
  right. Well, look, should we go in and
• 12:53
  and have a see what revenge of the Slovene has to offer?
• 12:56
  Shall we? I mean, OK, two talking points
• 13:00
  before we press play. OK, yes.
• 13:01
  Is it a savvy move bringing the Slovene the least popular
• 13:08
  monsters from Series 1 of Doctor Who, At least in terms of Doctor
• 13:12
  Who fans? You know, Well, yeah, I'm glad
• 13:14
  you made that qualification because.
• 13:16
  Yeah. The kids love.
• 13:17
  The kids love. Them.
• 13:18
  Yeah, yeah. Well, I think they were already
• 13:20
  getting, as soon as the episode came out, they were all sort of
• 13:24
  already getting reports of kids, you know, doing the unzipping
• 13:26
  the forehead. So I said he went past the
• 13:30
  school and saw loads of kids doing it in the playgrounds.
• 13:34
  Oh, unzipping their heads. Sorry.
• 13:36
  Sorry. Yeah, yes, yes.
• 13:37
  Unzipping their foreheads. Yes, yes.
• 13:40
  I mean, come on. I mean, as a politician, as a
• 13:45
  rude windbag was a funny joke. But for, for this audience,
• 13:50
  making it a teacher, the head teacher, right, is a total
• 13:53
  windbag. He's really stupid out of farts.
• 13:55
  I mean, that's just delightful. Well, yeah, get going back to
• 13:59
  that sort of that that kids fantasy of, well, the very
• 14:02
  relatable kids thing of, oh, you go back to school first day of
• 14:06
  term, you know, you're a bit nervous, got to make new friends
• 14:09
  and your teacher's a Slovene. Wonderful.
• 14:14
  So, so you think that was a good call blend?
• 14:16
  Yes. Well, and also it gets, it gives
• 14:18
  them a chance to do the Celine again, shall we say, slightly
• 14:22
  more successful. I In terms of execution I was
• 14:27
  quite impressed actually. Yeah, yeah.
• 14:30
  We'll get into that. But yeah.
• 14:32
  Savvy, a director there as well. Yeah.
• 14:34
  My other question for you was now we talked a little bit
• 14:38
  towards the end about Sarah James sort of hastily adopting
• 14:42
  Luke Smith. So what do you think about this
• 14:45
  sort of and it runs through basically the series, her sort
• 14:50
  of feeling her way into being a mother.
• 14:52
  And do you think that was a good a good approach?
• 14:55
  It felt like a sort of natural progression for the character, I
• 14:58
  think, because if you well, if you just rewind back to School
• 15:02
  Reunion, where she's actually, out of the four leads, the
• 15:05
  Doctor, Rose, Mickey and her, she's the only grown up in the
• 15:09
  room really, the Doctors in this sort of, you know, little boy
• 15:13
  lost world of his own. And Rose is, you know, really
• 15:18
  jealous and petulant. And Mickey's kind of sort of
• 15:21
  realizes he's a bit useless. And, you know, and it's kind of
• 15:25
  enjoying the fact that there's a bit of tension between her and
• 15:28
  Sarah Jane. And she's the one who has to
• 15:30
  remind the Doctor at the end. You know, the universe has to
• 15:34
  move forward and I've got to grow up and I've got to.
• 15:37
  I can't keep travelling with you and your targets.
• 15:39
  I've got a life of my own because life on Earth can be an
• 15:43
  adventure too, as she says. She said last time she just.
• 15:46
  Said you've got the most hideous light inside this console room
• 15:49
  at the moment. I couldn't possibly travel with
• 15:51
  you with this green light. Isn't it ugly?
• 15:54
  It was a curious choice by one of the, I think it was one of
• 15:57
  the directors of photography who decided, yeah, yeah.
• 16:02
  Break out the green jail was everybody.
• 16:05
  Very Moody, yeah. School reunion now.
• 16:08
  But I do think as well, I think the the big difference that I
• 16:11
  see with this and a lot of other CBB stuff, but I've sort of seen
• 16:18
  peripherally with nieces and things like that is I think
• 16:21
  Sarah's always written in a really mature way.
• 16:24
  And like, yeah, a lot of these shows, I see the parents,
• 16:29
  they're sort of big pantomime characters, you know, hands on
• 16:33
  hips, like, oh, what you up to now, Tracy Biko, you know, all
• 16:36
  this sort of stuff. Oh yeah.
• 16:37
  And there's none of that with Sarah Jane, is there?
• 16:39
  She she just comes across as a genuine adult in a difficult
• 16:44
  situation where she's suddenly a mother and coping with
• 16:47
  everything that comes with that, and I think it's really nice.
• 16:50
  Well, I think it's that's part of the her, maybe her discomfort
• 16:53
  with the whole thing as well, because she she's treats, she
• 16:56
  treats Luke like he's an adult and he calls her mum and she's
• 17:01
  that. So that's the sort of a
• 17:02
  dissonance like, oh, well, well, no Sarah Jane, it'll do fine
• 17:05
  things, that sort of thing. She's not used to that, you
• 17:07
  know? But I think like without that,
• 17:10
  this is just like, you know, mad Slavine trying to turn.
• 17:14
  Running around school. With that, there's a real
• 17:17
  emotional through line to this stuff and I think like we said
• 17:20
  in Invasion of the Blame, generally speaking, there is
• 17:23
  always that in every story in one way or another there there
• 17:26
  is something a bit more substantial than the Alien of
• 17:30
  the week going on. Well, and this one's all about
• 17:33
  family dynamics, actually, because there's not just the
• 17:35
  Slovene, there's Maria's family, there's Sarah Jane and Luke,
• 17:40
  there's Clyde's dad who's not around the.
• 17:43
  Contrast between Sarah and Luke and Maria and her dad that I've
• 17:51
  seen this. Well, let's go and watch.
• 17:53
  Let's go and watch. I think we'll have good fun with
• 17:55
  this. All right.
• 17:56
  Well, would you care to count Lazine?
• 17:58
  Or shall I count Lazine? Let me just bring it up.
• 18:01
  Where is it? I can hear that.
• 18:06
  Oh yes, music already. OK, you go ahead then.
• 18:12
  Oh, me. OK.
• 18:12
  Well then let's go in in 54321 previously on Daniel.
• 18:21
  Oh, there we go. Previously on The Sarah Jane
• 18:23
  Adventure. Although it's intercut with
• 18:27
  newly filmed bits, isn't it? It's quite Clipper.
• 18:29
  Yeah, they do a flashback to last week's The last time, the
• 18:32
  last time we saw them. And then Fast forward, flash
• 18:35
  forward. Yeah, yeah, yeah.
• 18:35
  So. It's like this is what you've
• 18:36
  missed. This is what's coming.
• 18:39
  Yeah, exactly. And weirder and weirder.
• 18:43
  Oh. Daniel, that house is so sexy,
• 18:45
  isn't it? Yeah, it's a bit spooky and very
• 18:50
  grand. Grand and sort of, you know.
• 18:54
  But interesting to see because this is a new director now,
• 18:56
  isn't it? Alice Trouten Direction In the
• 18:59
  series we had Colin T. Midnight, then midnight.
• 19:02
  One of our favourites, you know. Yes, and the doctor's daughter.
• 19:05
  Oh my God I just saw that bus crashing through the wall again.
• 19:09
  Can you say the line please? Oh yes, I hope I'm not too late
• 19:13
  for the party. Why do kids wear these little
• 19:18
  ties? What's very natty little tie,
• 19:20
  isn't it? Yeah.
• 19:22
  I think you spoke. Oh, no, some of them are longer.
• 19:24
  Oh, it's just she's just been fashionable, I think.
• 19:26
  Yeah. Or she didn't get a yeah.
• 19:29
  She's just been fashionable. Yeah.
• 19:30
  Look, all these fucking kids. I mean, where's forget all these
• 19:33
  kids from? Kid, kid, kid extras.
• 19:38
  There's a book, right? Yeah, Well, that one, although
• 19:40
  is a bit ugly. Sorry.
• 19:43
  Yeah. Oh, here we go.
• 19:46
  Here we go. So catchy.
• 19:50
  I mean they're not really making a secret of it.
• 19:51
  You saw the the teacher's head fall to the floor there in the
• 19:55
  pre title sequence. And the big claw.
• 19:57
  Yeah, yeah. Yeah, and it's called Revenge of
• 20:00
  the Slovene. Revenge of the Slovene, so it's
• 20:02
  not exactly subtle. There was ever a Doctor Who
• 20:06
  title? I mean, they're going for it,
• 20:08
  aren't they? Revenge of the Slovene.
• 20:10
  Very very classic daughter who actually Revenge of the
• 20:13
  Cybermen. Yeah, I think.
• 20:15
  Oh, there he is. Daniel Anthony just walked past.
• 20:17
  Where? Where?
• 20:18
  Oh fabulous, isn't he? Just fab and just so
• 20:23
  naturalistic compared to Kelsey to.
• 20:25
  Kelsey. Yes, to Kelsey, who we know we
• 20:27
  don't know what. We miss you, Kelsey.
• 20:30
  RIP. Oh, no, not RIP.
• 20:32
  Sorry, you're not dead. You have to ask Gary Russell
• 20:36
  anyway. Do.
• 20:37
  You see these special effects of the building, the sort of the
• 20:40
  new science block, right? It reminds me so much of, do you
• 20:43
  remember when they sort of put that terrible satellite dish in
• 20:46
  the Android invasion? When they sort of add added to
• 20:50
  the building? I'm like, my God, Sarah, you
• 20:52
  were in that story. Well, it's supposed to look
• 20:54
  ugly, I suppose. So now please help me with the
• 20:57
  names. What's the name of this man here
• 20:59
  on? The road.
• 21:00
  So Greg Blakeman as the as the headmaster and Tim Jeffrey as
• 21:05
  the new teacher. And this is very funny.
• 21:06
  The whole bit where he says, can you just stand there?
• 21:08
  No. Particular glasses or I'll.
• 21:10
  Take you the glasses and and then the Slovene taps him on the
• 21:14
  shoulder. I mean, so that's a murder,
• 21:17
  right? In the past five minutes and
• 21:21
  he's been skinned, yes. Yes, well, and this is not dwelt
• 21:25
  upon because there's later a child slaveen and you know, we
• 21:28
  can only assume that the real child has been.
• 21:30
  Skinned. Oh God, I couldn't even think
• 21:33
  about that. Oh my word.
• 21:34
  Because it's a CBBC programme, they're not going to dwell on
• 21:37
  that. Not to mention the
• 21:38
  slaughterhouse in episode 2 when they all start blowing up all
• 21:42
  over the place. It's not the Texas Chainsaw
• 21:45
  fucking Massacre by the end of this.
• 21:49
  No, go ahead. What do you think of Clyde then?
• 21:52
  Well, he was just so cool. I thought, I want, yeah, I
• 21:55
  wanted to be him when, when I when I was when I saw, when I
• 21:59
  first saw the Sarah Jane Adventures.
• 22:00
  And The thing is, he's, he's cool, but he also thinks he's
• 22:03
  cool. So there is a bit of that sort
• 22:05
  of deflating his ego a little bit.
• 22:07
  So you can use him as Comic Relief quite efficiently because
• 22:11
  because he's very charismatic, but he also, you know, will
• 22:15
  sometimes have the completely wrong reaction.
• 22:17
  He can handle the drama as well though, can't he?
• 22:19
  Like, yeah. Have you seen the one where he's
• 22:21
  homeless? No, that's in the last series.
• 22:25
  Oh boy. I'll break your heart when we
• 22:27
  get there. He's a bit older as well, isn't
• 22:30
  he? The actor was a bit older than
• 22:31
  the other kids. Yeah, I think that's also part
• 22:34
  of his appeal, is that he's allowed to kind of get away with
• 22:37
  the kind of bad behaviour because he just makes it sort of
• 22:41
  more naturalistic, I think. What's surprising is they didn't
• 22:44
  do the Buffy thing of having like 20 somethings playing the
• 22:47
  kids. No proper kids.
• 22:49
  Which they generally like to do 1 because they're allowed to
• 22:52
  work more hours. Yeah, it's.
• 22:53
  Not 4 1/2 hours. Isn't it like kids are supposed
• 22:55
  to work? Yeah.
• 22:56
  And two, they're more experienced actors.
• 22:58
  I just think they struck gold with the younger actors they
• 23:01
  chose in this the they they're good performers.
• 23:06
  Well, and Clyde is very much the sort of Han Solo to to Luke and
• 23:10
  Maria's sort of Luke and Leia. You know, he's the guy who can
• 23:13
  be the Rascal and the trouble. It's literally that dynamic,
• 23:17
  isn't it? I never thought.
• 23:18
  Because Luke is basically Luke Skywalker.
• 23:20
  He's the talkie kind of hero, really, you know?
• 23:24
  And Maria's got gumption, you know?
• 23:26
  Gumption, you say? Yeah, I can imagine if I thought
• 23:30
  a big bun head like Princess. Yeah, exactly.
• 23:34
  Oh, do you remember school dinners?
• 23:36
  Oh God. I think I got off quite lightly
• 23:38
  because my my school dinners were generally really good.
• 23:41
  It was when we had to go and visit another school that they
• 23:44
  were terrible like the other. The grass was always worst on
• 23:48
  the other side something. Oh, I had the best school dinner
• 23:51
  lady you could ever imagine. Oh, what was her name?
• 23:53
  Hickly. It was a bit Hickly.
• 23:55
  No, that was my English teacher. I can't remember.
• 23:57
  She was a big fat lady, right? And she tell the kids to piss
• 24:00
  off all the time. They were really bad.
• 24:02
  We absolutely loved her and she slapped the food down on the
• 24:06
  plate. Oh boy, oh boy.
• 24:08
  So did she say, oh just pick the bad bits off if it was mouldy?
• 24:11
  It was all looking like that. It all looked oh God, the food
• 24:15
  was ghastly and it was cruelly, though you know, it's the
• 24:18
  England's equivalent of a third world country.
• 24:20
  Yeah. Oh, oh, do you know what he said
• 24:26
  as well? I couldn't believe it, he goes.
• 24:28
  We've also locked out anything. Dubious from your adolescent
• 24:32
  minds? What are they talking about poem
• 24:36
  there like Oh my God. Well, having been to a few
• 24:39
  computer classes, the teacher did have to sort of keep a close
• 24:43
  eye that they weren't going on any sort of naughty websites and
• 24:46
  you know. Now, Mark was watching this from
• 24:49
  me earlier and you see the sort of banter here between Alan and
• 24:54
  Maria. He goes, my God, this sounds
• 24:56
  like me and you when you come in.
• 24:57
  He goes, he goes to a, oh, we can't have you making dinner,
• 25:01
  you know, not that you've given all the journey you've had home.
• 25:04
  That's the thing, he says to me when you're on the stay away.
• 25:07
  Well, and you have that reaction from Elizabeth Sladen as she
• 25:10
  watch she she almost kind of jealously watches their dynamic
• 25:14
  and and you almost didn't need that line that she then says to
• 25:17
  Alan, well, how how do you get like that?
• 25:18
  You and Maria kind of clarifying it for everybody.
• 25:22
  Sarah, don't come straight away. You've got to work on this
• 25:25
  relationship, all right? How long?
• 25:27
  How old's Maria? 15 years like.
• 25:30
  So they've got a sort of shorthand now that, you know,
• 25:32
  they can just, you know, like that be at the beginning where
• 25:35
  they're sort of flicking paint at each other and yeah.
• 25:38
  I liked as well. I did like how this plot,
• 25:42
  because Alan works in construction, so he has some
• 25:45
  input into the plot as well, which was really nice.
• 25:48
  And again, like when Sarah was talking to Mrs. Wormwood about
• 25:52
  the bubble shock and all of that, there was some stuff in
• 25:55
  there where she's putting together, you know, all the
• 25:57
  different places that they've put the science blocks into, the
• 26:01
  cheap labour that they've used to get it.
• 26:03
  And I was like, do you know what this is?
• 26:05
  Not punching down to kids. She's being a journalist.
• 26:08
  Yeah, yeah, yeah. And she kind of that, that's The
• 26:10
  thing is she there's focuses a lot on the kids this episode and
• 26:13
  she gets to be the sort of grown up sort of backup if you like,
• 26:17
  you know, So she goes off on her own to do some investigating,
• 26:20
  but she'll help them out as well.
• 26:23
  Yeah. I loved it, this attic set at
• 26:25
  night when the moonlights coming through the skylight.
• 26:28
  It's kind of magical, doesn't it?
• 26:31
  Yeah. And that old computer.
• 26:34
  I love that old computer. They had it, didn't they?
• 26:36
  The Doctor Who experience, They had a whole corner where they
• 26:38
  had the attic set up. Oh, brilliant.
• 26:41
  Yeah, it was lovely. I was like, I don't want to
• 26:43
  leave, I want to move in here. Oh, she's actually learning the
• 26:48
  tough lessons, isn't she? I shouldn't have taken you in.
• 26:50
  I shouldn't have give you a kiss in front of all the other kiddie
• 26:52
  winks. Yes, well, that that's so, so
• 26:55
  he, she, you know, he says, oh, I made all these social mistakes
• 26:58
  and he said, well, I made some too.
• 26:59
  So again, sort of, you know, they're we're going to get
• 27:02
  through this together. And, you know, they're both
• 27:04
  learning what how, what it's like to be a parent and what
• 27:07
  it's like to be a kid, you know? I thought that, good God, I
• 27:12
  can't remember his name. Tommy Noy.
• 27:14
  I thought he was really good in this.
• 27:16
  Like I it wasn't a showy performance in any way, but
• 27:20
  delicate and subtle. I really think, yeah.
• 27:24
  So my ex-husband Simon, he can fuck off.
• 27:26
  I think he's right. Well, they put a lot of work
• 27:29
  into sort of making him a relatable character, you know,
• 27:32
  and, and, and he's got that sort of naive innocence as you know
• 27:36
  what he says. Well, why are farts funny?
• 27:38
  You know, he doesn't really understand, you know?
• 27:40
  Oh, there's some bits in episode 2 where he was just like he
• 27:44
  didn't understand a bloody thing.
• 27:46
  Oh, she what? Sarah said.
• 27:47
  There she went. Oh, it makes a change for me.
• 27:49
  Not aliens for once. Oh.
• 27:50
  Yeah, little do she no. Oh no, the mother was here.
• 27:56
  Back again she just drops in like I think you I don't even
• 28:01
  sort of like why are you here then you know she just comes to.
• 28:05
  School and she goes excuse me you don't need that double duvet
• 28:09
  anymore you've got the single duvet I was like that is the
• 28:13
  harshest thing she ever said you know I left you for another man
• 28:18
  oh and can I have our double and.
• 28:21
  We find, I think we find out this episode that he was a he
• 28:23
  was a judo instructor. I think you left photogenic Alan
• 28:28
  for. You know, what did you say the
• 28:31
  ultimate deal? Yeah, it really those two
• 28:36
  Slavine. They're having the best time,
• 28:38
  giggling like school children but rubbing their hands
• 28:40
  together. Yeah.
• 28:43
  Oh yeah, it's like quite a nice living room, actually.
• 28:47
  Yeah, well, and she even says you did an all right job, Alan.
• 28:49
  It's. Like everyone was.
• 28:51
  Asking value your opinion Chrissy.
• 28:52
  Thank you so much, Jesus. Christ, that's all you need.
• 28:56
  This is another relatable thing of power cuts.
• 28:59
  I mean, you know, I remember when I was a kid that was I
• 29:01
  almost used to dread the power cuts because when they happened,
• 29:05
  there was nothing to do. You can watch TV can go on the
• 29:07
  computer, you can really read. Candles handy now, Daniel.
• 29:10
  Yeah. Oh, yes, yes.
• 29:12
  We do too. Well, I mean, I've got all my
• 29:13
  books, so last time we had a power cut I've just put on a
• 29:17
  load of candles and red. Well, now that's blissful.
• 29:20
  Actually. Now, now I could say, you know,
• 29:22
  I'd love to just read my candle line, but now.
• 29:24
  But back then I was like, oh God, no.
• 29:27
  I know. Imagine what the Wi-Fi family
• 29:29
  would go through. I mean, they'd have to talk to
• 29:31
  each other. I.
• 29:32
  Mean we'll just have to have a conversation.
• 29:38
  Oh Jesus, the best. Do you know what?
• 29:40
  It's a well remembered joke though, isn't it?
• 29:42
  For all the wrong reasons. Yeah.
• 29:45
  So, you know, they have their own impact in a way then.
• 29:48
  I like this in a minute when the candles all started coming on
• 29:51
  that they try to light up. Yeah.
• 29:53
  Obviously it's just reverse, right?
• 29:55
  They've blown them out and reversed.
• 29:57
  Yeah, I think so, yeah. They put a little noise effect,
• 29:59
  you know, Yeah, there's a quite a funny joke with the two
• 30:03
  Slavine as well. It's like, you know, sort of
• 30:05
  synchronise the the megawattage and the other ones like
• 30:08
  synchronise the war and he's like just pull the fucking Levi.
• 30:12
  It's the massive red one. With the bright red one I.
• 30:15
  Think the first one I'd go for if I'm honest, you know, on the
• 30:19
  console, that big red one that opens the door, That'd be the
• 30:22
  first one. I'll yes.
• 30:26
  OK, what's going on here now? So in the school, right, So
• 30:33
  they've got the new science block, and then on every single
• 30:35
  science block there's a big Dead Space, and that's where they've
• 30:39
  got their sort of battery equipment where they're sucking
• 30:42
  in all the energy. That's right, yeah.
• 30:43
  Draining all the energy. And there's sort of sites all
• 30:46
  around the world, which is quite clever.
• 30:48
  That's the kind of clever thing is, you know, these sort of
• 30:49
  cheaply made buildings, new buildings sort of, and you can
• 30:53
  say, oh, it's the new computer building.
• 30:54
  And so that's a sort of great undercover way.
• 30:57
  Again, sort of like aliens in a school like School Reunion.
• 31:00
  You know, they sort of. Have you seen those new council
• 31:02
  states they're putting up, like, so cheap They look like a good
• 31:06
  gust of wind could blow the house.
• 31:07
  Yeah. Yeah, yeah, they look.
• 31:09
  They're popping up all over the place here.
• 31:11
  No one wants to move in. I don't blame them.
• 31:15
  Oh, have you got one of those sort of what they're called the
• 31:19
  Alan's jacket? A figure hugger?
• 31:21
  No. Oh, the wind.
• 31:21
  Cheater, a body, woman, whatever.
• 31:24
  Yeah. Yeah, he looks again.
• 31:28
  He looks so sort of, Yeah, charismatic with a garden fork.
• 31:33
  Was that? Excuse me?
• 31:36
  A fork. A fork, I say.
• 31:39
  Now, I think they've got a good chemistry.
• 31:41
  Elizabeth Slayden and Joseph Nielsen.
• 31:43
  There should have been a little romance happening.
• 31:45
  He just said to it, you've been married.
• 31:47
  And she went, no, he went, Oh wise move.
• 31:49
  Yeah, yes, yeah. Well, that could have been a
• 31:52
  thing, and Chrissy could have noticed.
• 31:54
  Instead, she goes for Nigel Havers, of all people.
• 31:57
  I mean, he's so drippy. Oh yeah, there you go.
• 32:04
  That's a big, massive space. Actually, now, my, my dad, who
• 32:07
  was an architect for like 15 years, would have sort of
• 32:10
  immediately picked up on that saying, what's that big white
• 32:12
  square there? Yeah.
• 32:15
  Oh, so now this is the first of many instances where Luke Smith
• 32:19
  is the one in class who knows all the answers.
• 32:22
  Oh, a bit like School Reunion and A.
• 32:23
  Bit like Milo where he answers yeah, not Kenny.
• 32:27
  Kenny was the one who blew up the school, wouldn't he?
• 32:29
  Yes, he is the one who saved the day.
• 32:32
  I do all the stuff in the school though, I just love it.
• 32:35
  Well, and the utter contempt the Slovene have for the children,
• 32:38
  you know, is that when they when they send them off, they're like
• 32:40
  goodbye repellent pubescence. Tomorrow.
• 32:43
  Yeah. Repellent pubescence.
• 32:44
  I couldn't believe that. Like God.
• 32:50
  And then what does he have? A cold chip sandwich.
• 32:53
  Yeah. I mean, given the leftovers, so
• 32:55
  Daniel told me yeah, earlier for dinner today.
• 32:57
  I'm, I don't think you can throw any shade on anyone, all right,
• 33:00
  Like get a chair on the call. Which what did I have?
• 33:05
  Lentils, pasta, scrambled egg and toast.
• 33:08
  Not mixed together. Not together.
• 33:10
  Not together, No. Yeah.
• 33:12
  Side dishes. And this, this the cold chip
• 33:15
  sandwich has. Well, I suppose it's Chekhov's
• 33:17
  cold chip sandwich because it comes into play later, doesn't
• 33:21
  it? Yes, yeah, the vinegar.
• 33:25
  The vinegar again is. Now I've got a question, another
• 33:28
  sort of awkward question for you here and it's about fat people.
• 33:32
  OK, now I'll say this as a fat person, so I don't mean any
• 33:34
  offence, all right. And that is well.
• 33:38
  Should the people play in the Slovenes be a bit insulted that
• 33:41
  they just play those roles or because they do not conform to
• 33:46
  TV norms? IEA lot of people on TV are very
• 33:50
  attractive and slim. Should they just be happy for
• 33:53
  the work? Yeah, that's a good question.
• 33:57
  I think when the slalene were originally conceived, it was
• 34:00
  sort of so that, like we said, the kids in the playground so
• 34:02
  that they'll say that the bullied fat kid wouldn't
• 34:04
  wouldn't feel so sort of monstrous anymore because he
• 34:07
  could just unzip his forehead and kill all the kids who
• 34:09
  bullied him, I suppose. But I think then they can't
• 34:13
  overcome that problem later on where they bring the slalene
• 34:16
  back and they're sort of inside slim people so that it's not
• 34:20
  viewed as it might not be viewed as fat phobic sort of later on.
• 34:25
  In sort of R2D2. I can't imagine them pulling
• 34:29
  this off. Right.
• 34:30
  You wouldn't. You wouldn't do the saline the
• 34:31
  same way I think. They should bring them back.
• 34:35
  I don't mind the joke that they're a bunch of fat wing
• 34:38
  bags, you know, like. Well, and also they're overgrown
• 34:41
  children too, because they've got the baby face and belly and
• 34:45
  and they and the performances, as we mentioned, where they, you
• 34:47
  know, they sort of giggle and fart and all the time.
• 34:50
  And you know, there was what was that one in in an aliens of
• 34:53
  World War Three? Where was it Joe Joe Green kind
• 34:56
  of goes at the end. Victory should be naked.
• 35:02
  Excuse me? You keep your clothes on, all
• 35:04
  right? Oh, boy.
• 35:06
  Oh, look now. The campus performance is
• 35:10
  probably Carl. Actually, he's very camp, isn't
• 35:12
  he? Hello.
• 35:16
  Delighted to be on this. What is it?
• 35:18
  Lunch, lunch, science club, or whatever.
• 35:20
  It is. You would have seen me for
• 35:22
  toffee at lunchtime Science club.
• 35:24
  Good grief. Well, and that's the thing that
• 35:26
  that is true to life though, because they in the school I was
• 35:29
  at, they did have all the clubs were at lunchtime.
• 35:31
  And you're like, I'm not going to miss out on like an extra
• 35:34
  half hour at lunch to just go to some club, you know?
• 35:37
  I mean, the joke there was, wasn't it, that Luke was the
• 35:40
  only person there? I was hoping for a slightly
• 35:44
  larger turn out but. And this is great as well, like
• 35:47
  at the end of Invasion of the Bone, because he has got all of
• 35:50
  this knowledge. He's he's a bright kid and he's
• 35:52
  got all that knowledge in his head.
• 35:53
  So he's the one that figures out the transistor, isn't it?
• 35:58
  And basically he allows them to almost take over the world.
• 36:02
  That's quite a responsibility to have on young shoulders.
• 36:05
  Yeah, yeah. And this is sort of again, him,
• 36:07
  he, he, that's the things he sort of feel was regret about it
• 36:11
  later because he's like, oh, you know, I messed up.
• 36:14
  I gave them the the all the things they they needed for
• 36:17
  their plan. There's no way you wrote all
• 36:20
  that equation just then, all right?
• 36:21
  They cut away and someone broke up on the board.
• 36:26
  You're all right, though. What's the, what's his name?
• 36:29
  Carl is so camp. Oh yes, at.
• 36:32
  The end of the episode at. The end There's no way out.
• 36:35
  I have a child of the Sabine. And this is my hunt.
• 36:40
  We were doing quite good actually.
• 36:42
  You know, it was a pair of calls.
• 36:43
  Here we go. And that's the other thing, how
• 36:48
  they bring Clyde along because he just think he's just so
• 36:50
  baffled by Luke's sort of complete nerdy behaviour.
• 36:53
  And and and, but, but the unspoken thing is he's got he,
• 36:58
  he hasn't, he's, he hasn't got some other cool crowd to go and
• 37:02
  hang out with. And I'm quite glad they didn't
• 37:04
  do any sort of scene where he tries and goes and hangs out
• 37:06
  with. Yeah, me too.
• 37:07
  Which would, which would be a bit sort of talking down to the
• 37:10
  kids and sort of saying, oh, see, you don't get it.
• 37:12
  Well, let's just put a scene so you get it.
• 37:14
  Have you watched much Buffy? No, there's no Cordelia
• 37:19
  character in this. And she was like the popular,
• 37:22
  you know, rich bitch character who just happened to fall in
• 37:26
  with all the geeks and help them out and eventually became part
• 37:29
  of the gang. There's no one like that in
• 37:31
  this, and I'm kind of pleased. They're all sort of social
• 37:34
  outcasts that have found each other.
• 37:36
  I pick like I stop true fans. You know.
• 37:40
  We can all relate. Well, that's the thing Luke says
• 37:43
  to him, You know, go and find some normal people if you don't
• 37:44
  wanna hang out with us. And he's like, no, I'm gonna
• 37:46
  come in the morning. Although I do like it in a
• 37:49
  minute where he just goes, you know, stop being weird.
• 37:55
  But unlike Kelsey as well, Kelsey had like a sudden shock
• 37:59
  where that enormous squid almost drops on her head from the
• 38:02
  ceiling. Yeah, it's a staggered of, of
• 38:05
  Clyde starting to reel there. This he's eased.
• 38:08
  Into it isn't. It something weird is happening,
• 38:10
  He's behaving in a strange way, they're keeping secrets, and it
• 38:14
  it the whole story sort of builds up to him learning about
• 38:16
  the. And it's not until Part 2 that
• 38:18
  he actually comes face to face with a slaveen, isn't it?
• 38:20
  So, yeah, yeah. There were some really good
• 38:24
  tracking shots in this as well. I, I know I, I bang on about
• 38:26
  tracking shots quite a lot, but, and I know they're a staple part
• 38:29
  of TV now, I don't know if they're a staple part of kids TV
• 38:32
  at the time. No, no, yeah, it's, it's it
• 38:36
  makes it very dynamic. There was a.
• 38:37
  There was. A lot of walking and talking
• 38:39
  scenes isn't there. The two, the head teacher at the
• 38:41
  Tuslavine, they were walking for recorders and there was kids
• 38:44
  walking either side and it was going through about four rooms.
• 38:47
  And I'm like, that's great. Sophisticated.
• 38:50
  Sure. What?
• 38:50
  And you have to block. You have to block all that, that
• 38:53
  oh, Janine sandwich Janine. Now look, have they put her in a
• 38:58
  chair that leans back so we can really see her stomach?
• 39:02
  Yeah, I do. Out of all the out of all the
• 39:05
  Slavine, I think she is one who's perhaps been written to be
• 39:10
  the most mean spirited. Funny enough that the person who
• 39:15
  was originally going to play her was Debbie Chasen and.
• 39:20
  Voyage of the Damned. Yes, and she only got in Voyage
• 39:22
  of the Damned because she said oh I fan, I'd rather fancy being
• 39:24
  in Doctor Who rather than the Sarah Jane spin off show.
• 39:28
  And Russell heard that and wrote her as food.
• 39:30
  Gave her the part of food I. Mean I loved food.
• 39:33
  Yeah. But I do have a sneaky love for
• 39:35
  Janine as well. Yeah, Daniel, are you
• 39:38
  frightening me? Yes.
• 39:41
  What? Oh, this scene where Maria hides
• 39:47
  under the desk in the computer. This is creepy.
• 39:50
  It's really scary actually, when he kind of does that little
• 39:53
  skip. Wherever you Yeah, What is it?
• 39:58
  Ah, little and girl, fresh as a Daisy.
• 40:01
  That's. And he slams his head is it's a
• 40:04
  really violent action he does on the desk.
• 40:08
  Yeah, there you go. And, and he's a, you know, she
• 40:10
  really should be hanging out at school after hours.
• 40:15
  Then he takes off his freshly skinned flesh suit and then
• 40:21
  hunts her through the corridors. I mean, just delightful.
• 40:26
  So yes, Sarah, she's putting it all together now and Janine just
• 40:29
  goes. I strongly advise you to piss
• 40:32
  off right now. Yeah.
• 40:38
  All right. You haven't got to put a
• 40:39
  sandwich in around. We know she's big, all right?
• 40:42
  Yeah. Is it doesn't that come into
• 40:44
  play too? So they do mention that she had
• 40:46
  a sandwich like in Part 2 where it's like, what are the Slovenes
• 40:49
  sort of vulnerable to, you know, is it, is it bread?
• 40:53
  No, because she had a Oh I. Didn't even think about that.
• 40:56
  Yeah, that's clever. Yeah.
• 40:59
  Now let's say are they reusing the special effects from Aliens
• 41:01
  of London or? They don't, they don't do the
• 41:04
  flickering lights, I think, which they did in Aliens of
• 41:07
  London where like all the lights go down and.
• 41:09
  When it pulled his face down, the head went pop up the top.
• 41:16
  I just think the shooting of the Slovene is so much better here
• 41:20
  than in Aliens of London. Well, and they've got brand new
• 41:23
  costumes too, because the costumes they used in Aliens in
• 41:27
  London, I think they just, they put them in so many exhibitions
• 41:29
  that the costumes eventually wore out.
• 41:31
  So they. They're darker, aren't they?
• 41:32
  They're like a darker green. Yeah, it's a much more vivid
• 41:35
  green. Yeah, so.
• 41:38
  I notice as well the eyes blink a lot more than they did.
• 41:41
  In yes, although that was originally to kind of sort of so
• 41:44
  people would sort of not scrutinise the, the, the
• 41:47
  prosthetics too much. So give them, give them lots of
• 41:50
  blinking so that the audience kind of is distracted.
• 41:52
  I just noted loads of scenes where she was shooting from
• 41:55
  below, right? And they're sort of moving from
• 41:57
  side to side, so it feels like the head's got far more
• 42:00
  flexibility. Than it's.
• 42:01
  Actually got. It's a clever trick.
• 42:05
  Yeah, they look a lot more agile, don't they?
• 42:07
  But there's one, there is one amazing shot, I don't know if
• 42:10
  it's in one or two, where it's shot from below a Dutch angle,
• 42:15
  half light and a tracking shot and it just looks so dynamic.
• 42:23
  Keith Bowers is getting in a naughty chair.
• 42:27
  Yeah, so that was the big thing in Aliens in London, wasn't it?
• 42:29
  Because they couldn't work out how much of the prosthetics to
• 42:33
  use and how much of the CGR to use and how to blend the two
• 42:36
  together. And that was on the first block.
• 42:38
  So they really got, you know, it was a lot of teasing troubles.
• 42:41
  Yeah, here we go. Look at this tilted angle
• 42:44
  tracking short from below in the half top.
• 42:47
  As it slowly marches down the corridor and sort of, you know,
• 42:51
  sniffing from the side. It's literally menacing the kids
• 42:55
  watching at that point. Yeah, that is a great shot
• 42:58
  actually. Less so that one up the stairs.
• 43:01
  It's like a French bloody fast now, isn't it?
• 43:03
  They're running up. And down the street, well,
• 43:04
  that's the that's the thing in Aliens in London, isn't it, When
• 43:06
  they go like from one end of the room to the other and then the
• 43:08
  CGI. So they come, comes really fast
• 43:11
  after them. Yeah.
• 43:13
  Now that room that Luke goes into, I think it's the same
• 43:16
  room. It's the cloning VAT room in the
• 43:19
  Sontaran stratagem. Because it's the same.
• 43:22
  It's the same floor. They probably have got a list of
• 43:25
  like, right? We'll use these again, you know,
• 43:27
  when we need them. They do a good job of because
• 43:30
  it's the same flaps as well plastic.
• 43:32
  Flaps. We've got Alice Trout on this
• 43:34
  time, giving us a lovely sort of green and blue effect.
• 43:36
  It's the that disgusting yellow and purple.
• 43:41
  The slimy colours. Ugly, Daniel.
• 43:43
  It was so ugly. What were they thinking?
• 43:46
  Do you remember Bakaki Martha? Oh, who can forget her?
• 43:50
  She was glistening all yellow and purple.
• 43:54
  Yeah, and Green and yeah, yeah. What did I say it was again?
• 43:59
  Buck ache. Oh, sorry, Bakaki.
• 44:02
  No, there's no way out. That is like a brilliant
• 44:09
  cliffhanger too, because but while they had they, that was
• 44:15
  one of Russells unused ideas for the stolen earth.
• 44:18
  He was going to have Margaret Slavine come back, but as a baby
• 44:21
  after she's grown up after the egg.
• 44:23
  And she would, she even recorded her line apparently, where she
• 44:26
  said, daddy, Take Me Home. I don't like the nasty policeman
• 44:30
  and and of course, you know, all those aliens that he'd
• 44:33
  originally drawn up to be in were just removed for cost
• 44:36
  saving measures, you know, so that's why they only have that
• 44:39
  one office with the Judoon in it.
• 44:40
  That picture in the Writer's Tower is enticing, isn't it?
• 44:43
  Of all those aliens. Beautiful, isn't it?
• 44:45
  Yeah, mate, Daniel, look at this.
• 44:48
  We're getting a pretty sort of this is what's coming next week.
• 44:51
  Next time. End, end of episode now.
• 44:53
  I do like that though. This is the excitement that's
• 44:55
  coming next week yes so we are following the Doctor Who you
• 45:02
  know there's a pre title sequence there's a post or pre
• 45:06
  credit sequence, but fundamentally it's classic who
• 45:12
  right it's half an hour it's. Half an hour.
• 45:15
  Yeah. Well, I think also, yeah, that
• 45:17
  was wise too, I think because kids have shorter attention
• 45:19
  spans. Well, I mean.
• 45:22
  Yes, yes, yes and no. No, because every story is an
• 45:26
  hour long and I I genuinely think that is one of Sarah Jane
• 45:30
  Adventures greatest strengths is that they're not stuck to that
• 45:33
  45 minute format. They've and I think maybe that's
• 45:37
  where you get the extra character stuff in.
• 45:40
  Yeah, yeah, probably, yes. And I, I was reading the
• 45:43
  original draft of this and they, there's a whole bunch of stuff
• 45:45
  they cut out. So the fact that they cut out a
• 45:47
  lot of stuff and there's still all these these character beats
• 45:50
  in there is is very is pretty striking actually.
• 45:55
  As we're going to see in a minute, they couldn't have
• 45:57
  squeezed much more in Episode 2. Bloody hell.
• 46:00
  There's so much of it, isn't there?
• 46:02
  I've never felt more like an old band.
• 46:04
  I was going tomorrow. Hey, what?
• 46:05
  What's happening now? Company.
• 46:07
  Too far to understand what's going on.
• 46:10
  Slow it down please. Hold speed.
• 46:13
  But for kids, it is literally, you know, like.
• 46:16
  The sugar rush. Isn't it?
• 46:17
  Yeah, it's basically channel hopping, right?
• 46:22
  Well, yes, and it kind of does do that because it jumps between
• 46:25
  locations all the time. Well, I don't know how to say
• 46:28
  this in an innocent sort of a way, but Are you ready to watch
• 46:31
  some more amazing Slovene action in episode 2?
• 46:35
  Let's do it. Lights out, London.