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

Transcript

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

• 0:22
  13 Bannerman Rd. is where Daniel Rosley lives and it's host to
• 0:28
  our whole world of adventures. Hello, Daniel.
• 0:31
  Hello, I'm quite pleased to have moved over to the UK.
• 0:34
  Suddenly, suddenly, not so far away.
• 0:37
  Are you ready? Oh, what's going on there?
• 0:43
  What happened? Sorry that was sorry that was
• 0:47
  that was Dailymotion going on its own for some reason.
• 0:51
  It was just playing on its own. It's fine are.
• 0:53
  You watching episode 2 already? Yeah, I'm so excited.
• 0:57
  I can't wait. I've totally thrown now.
• 1:00
  I don't know what I was going to say to you.
• 1:02
  Revenge, though, I'll start that again.
• 1:05
  Revenge of the Slovene Part 2. Part 2 These things are
• 1:10
  two-part. These things come in twos.
• 1:12
  They do now. We said that the sequence where
• 1:16
  the Bane attacked Sarah Jane in her house was of, you know,
• 1:20
  frenetic and exciting. I mean, I've got to dare to say
• 1:24
  that this whole second episode is is.
• 1:25
  It's all action, isn't it? Yeah, 30 minutes cases and and,
• 1:31
  you know that was the well again to go back to to to, you know,
• 1:35
  to aliens of London. That was the big sort of
• 1:37
  sticking point I think for a lot of people is seeing these great
• 1:40
  big, you know, very, very intricately designed Slovene
• 1:44
  costumes. And then they realize, oh, wait,
• 1:47
  we've got to put these in chase sequences as well, you know,
• 1:49
  which they hadn't sort of thought ahead of time.
• 1:51
  And here I think they, yeah, there's a new adult Slovene
• 1:55
  costume and a new and a child's Slovene costume, which is just a
• 1:58
  genius idea to have a baby Slovene.
• 2:02
  And they kind of, they don't shoot them all in the same scene
• 2:07
  together, not all the time. So they kind of find clever ways
• 2:10
  to cut around that, you know? And unlike aliens in London in
• 2:14
  World War Three, they don't cut between for the time,
• 2:18
  sophisticated CGI shots of them very fluidly running about the
• 2:23
  place. And then lifting their arms up
• 2:25
  like. Going towards the screen like a
• 2:29
  wobbly duvet. Yeah, it's all, it's all I'd say
• 2:33
  puppets, but it's all costumes in this, isn't it?
• 2:35
  Apart from the heads coming out at the end of episode yes, two.
• 2:39
  I think that was a good move. Well, and.
• 2:41
  Yeah, and the camera work does a lot of the legwork, I think, in
• 2:45
  this. In this.
• 2:46
  Yeah. So it makes those costumes look
• 2:49
  exciting and, and you know, the Selena very much lend themselves
• 2:53
  to, to to, I mean, that's what I that's what I loved.
• 2:57
  It was they were the kind of the, the exciting new monster of
• 3:00
  Doctor Who series 1. And to see them then be a
• 3:03
  natural carry over into the Sarah Jane adventures, into kids
• 3:06
  TV, into CBBC. They've they're such a natural
• 3:10
  fit for for that sort of program.
• 3:12
  They do it again with the Judoon, don't they in serious?
• 3:15
  Yes, yes, a lot of those, sort of some of those monsters from
• 3:18
  Doctor Who and you. Yeah.
• 3:20
  And you think, yeah, though that would work?
• 3:22
  Yeah. The.
• 3:22
  Jadoon. There's nothing cooler than that
• 3:24
  Jadoon in the police car. Do you remember?
• 3:27
  Oh, we will get that. That is one of my favorite.
• 3:29
  Scenes. Oh, hilarious.
• 3:33
  Oh, that was great. Oh my God, can you do that whole
• 3:36
  commentary as a as a Jadoon place?
• 3:38
  So have a nice day. Quite sexy, actually.
• 3:42
  Oh, do you know another thing I wanted to highlight before we go
• 3:46
  in because I will probably forget because like I said, this
• 3:51
  doesn't skip its sprints is there's a sequence and I was
• 3:55
  messaging you as I was watching it.
• 3:58
  Chris Chibnall take notes. All right, there is an
• 4:02
  exposition scene in this episode.
• 4:04
  You have to point out. Between all of the regulars,
• 4:08
  right, where all of the different puzzle pieces that
• 4:11
  they have been given in episode 1, they put it all together like
• 4:16
  a beautiful jigsaw puzzle and everybody's chipping in with OK,
• 4:20
  and this is happening and that's happening.
• 4:21
  So they must because of this, because of that, Oh my God, it's
• 4:24
  worldwide. It's in every school, it's all
• 4:26
  over and and it's so beautifully done.
• 4:29
  Everybody gets a moment. It's packed full of personality,
• 4:32
  It's packed full of jokes. It's.
• 4:34
  Really fast and it tells the plot in a really sophisticated
• 4:38
  way. I was watching it going, man
• 4:40
  that is some good right in there.
• 4:42
  Sophisticated for for Yeah for Yeah for kids TV as well.
• 4:46
  You know, it wasn't the, you know, 15 minute PowerPoint
• 4:48
  presentation or for Timeless Children, it was all done in
• 4:52
  about 30 seconds. And just really, and they do it
• 4:55
  again with the vinegar when they're trying to figure out,
• 4:58
  well, what is it that that made him recoil?
• 5:01
  You know that in the classroom and they're all putting
• 5:03
  together. Yes, yes, because they don't.
• 5:06
  Because, because, because I think in it was in World War 3,
• 5:09
  Christopher Eccleston has to carry off all that exposition
• 5:11
  himself. And here they say.
• 5:13
  Narrows it down. Narrows it down, narrows it
• 5:15
  down, narrows it down. And then in here they kind of
• 5:18
  share it between all the actors, which is much cleverer, I think.
• 5:22
  Yeah. Yeah, just great stuff.
• 5:24
  Well, I'll tell you what, let's let's try and keep up with
• 5:27
  episode 2 if we can. I'm rather afraid, you know,
• 5:32
  that the sun may go out before the end of the episode.
• 5:34
  And now? We will get into that.
• 5:37
  Typically, you know, I think that that might be the end of
• 5:40
  the earth. Yes.
• 5:41
  Well, that is basically, I think that that that estimation, that
• 5:44
  was it Luke gives us. He's like we've got 32.1 minutes
• 5:47
  or something. And you think, yeah, that is
• 5:49
  basically how long we would have if the sun really did go out
• 5:53
  you. Know sort of constant of all
• 5:55
  running down the road with one of those squeezy bottles.
• 5:59
  Oh, man. Hello.
• 6:01
  Well, should we go and have a look?
• 6:02
  Yeah. Should we watch the thing?
• 6:04
  All right, well, you count us. In all right, let me tease tee
• 6:08
  tee this up OK, so in. Your brave, you know,
• 6:13
  Dailymotion. Jesus Christ, that is.
• 6:15
  I know. Notoriously unreliable.
• 6:17
  Yeah. Yeah.
• 6:18
  It was basically because because I was worried that the iPlayer
• 6:22
  might mess up the recording, so yeah.
• 6:26
  OK. Well, OK, I'm ready if you are
• 6:28
  all. Right.
• 6:29
  So in 321 play. Boom, here we go now Mark
• 6:38
  commented that there was a very long previously on.
• 6:42
  Yes, but you know, it does all the sort of like relevant plot
• 6:46
  information, so. Of course, we don't normally
• 6:48
  have to do this in Doctor Who, do we?
• 6:50
  Because it's all in one episode. Yes, yes, well, though, yeah.
• 6:53
  So every I think every Part 2 has to have a recap, doesn't it
• 6:56
  was? It twice a week, Sarah Jane Or
• 6:58
  was it? Was it?
• 7:01
  I don't remember, I think it was once a week but it was every
• 7:04
  week though I seem to remember. Did you see in that equation
• 7:08
  there was RTD and two? No.
• 7:13
  It's the future I. Did not see.
• 7:16
  That oh actually I did think as well you know when he finds that
• 7:21
  empty space he figures out hang on a minute this corridor is is
• 7:24
  too long for the space that's here and he finds that it
• 7:28
  reminded me of sick you're deaf he's.
• 7:30
  Had usually of death, isn't it? Yeah.
• 7:33
  Yeah. Oh, do you think anyone does
• 7:35
  fear better than Elizabeth Slayton?
• 7:36
  Do you see her there? She's terrible.
• 7:38
  Yeah. She looks scared there.
• 7:39
  Yeah. I'll be more scared of the big
• 7:43
  woman eating the sandwich, you know, than the Slovene.
• 7:47
  Oh, here we go. Call the tax.
• 7:53
  I am the child, that's it. It starts literally run and we
• 8:05
  don't stop running for the whole fucking episode.
• 8:09
  It's funny the way he runs to the little the little Sabine.
• 8:14
  Oh, God, come on, boy. Oh my God.
• 8:16
  He's just went to grab Luke. He's a predator.
• 8:19
  Get away from him, Stranger danger.
• 8:22
  Oh no, he's just Levine. And she uses perfume against
• 8:27
  them, doesn't she? Oh, she's a gold.
• 8:30
  Yes, I love your your smell. Positively fragrant.
• 8:32
  And then you know, she throws the whole thing at her.
• 8:35
  Oh my God, the way she practices that Sonic lipstick, man, so
• 8:39
  camp. She's that straight down.
• 8:42
  I think she was really pleased that she got given that
• 8:44
  actually, as a sort of like her version of the Sonic
• 8:47
  screwdriver. Oh no, look, they're locked in
• 8:49
  like school reunion. Yes, exactly.
• 8:52
  There is a funny bit later on where they get away and they
• 8:55
  shut the doors against the Savine with the Sonic lipstick
• 8:58
  and then you have to savine like banging on the glass window with
• 9:01
  its claw. You.
• 9:04
  Could smash that to pieces. What they need is K9 in a car to
• 9:09
  come smashing through the doors and let.
• 9:11
  Well, we don't have K9 this episode.
• 9:12
  We do have Mr. Smith. You wait till he comes out the
• 9:17
  wall, it goes on for it. All the time, yeah.
• 9:26
  Oh, this is brilliant. Where he he he gets out.
• 9:29
  What was it? Yes, Axe body.
• 9:30
  Well, it's not Axe body spray. It's Wolverine body spray.
• 9:33
  Pure masculine action. He goes, I need something that
• 9:39
  smells strong and Luke went a skunk.
• 9:44
  Luke Rand, you are the funniest. I didn't realise the first time
• 9:47
  round how funny Luke was, but I've really enjoyed him I think.
• 9:51
  It's sort of like, yeah, his, his sort of naivete is, is just
• 9:56
  brilliant. Look at this.
• 9:59
  You see they're floppy claws as they went running.
• 10:01
  Yeah. Oh, here she goes.
• 10:03
  She goes, yeah, this, yeah, this is, she gets them out.
• 10:06
  This is where she gets them out. And then, oh, you're saying they
• 10:08
  could have just smashed the window?
• 10:09
  Yeah, yeah. Like literally, they come, they
• 10:11
  come round and then there's a shot as they leave and he's just
• 10:14
  like, there he goes and. Very gently as well.
• 10:19
  Don't break those glasses, all right?
• 10:24
  Yeah, he's barely trying. Oh bless.
• 10:27
  Oh, that's the other funny thing is yeah, Daddy, I wanted to kill
• 10:31
  them. Oh, you'll kill them later.
• 10:33
  Look, that's the main kid even sort of walks along with a
• 10:36
  stroppy sort of way. Yeah, yeah, he looks so
• 10:39
  petulant. This actor, man, he must have
• 10:42
  thought, what the fuck am I doing here?
• 10:43
  These two green aliens. There's a great shot later on
• 10:48
  because they're meant to be brothers, these two, the two
• 10:50
  adults. And so there's a great shot
• 10:52
  where he's got the Savina's, got his claw around the guy's
• 10:55
  shoulders, and they're sort of like walking like.
• 10:58
  Oh, it's a fallow angle one as well.
• 11:00
  I think so, yeah. Yeah.
• 11:05
  So, darling, how was work today? Well, what a great slimy aliens
• 11:11
  claw around me shoulders, you know.
• 11:15
  So Maria does the The Sarah Jane thing of trying to shoo him away
• 11:21
  and he's like, oh, I could just go to the police.
• 11:23
  I'm going to say it exactly the same way I did an invasion of
• 11:26
  the Bain. Right, Clyde?
• 11:27
  Fuck off home, all right, and leave us.
• 11:29
  There he goes. Oh yeah, it's going.
• 11:33
  So that's ridiculous. I mean, you could take a
• 11:38
  screenshot of that. Everything for love about the
• 11:42
  Sarah. Jane, that should be the iPlayer
• 11:44
  screenshot for the episode. Yeah, why do you love their
• 11:47
  faces with the sort of chubby cheeks, The Slovene?
• 11:52
  Yeah, the kind of giant babyface and those those costumes look so
• 11:55
  good that they've used them basically in every promotional
• 11:59
  material for the Slovene since. So all the big finished covers.
• 12:03
  I think the Aliens of London Target novel that's coming out
• 12:06
  soon that's got a baby Slovene on the front somewhere.
• 12:09
  I mean, they were just everywhere, wouldn't they?
• 12:11
  They did the Slovene in two books, didn't they?
• 12:14
  As well? The Slovene excursion was and
• 12:17
  the monsters inside as well. That's the only book I think
• 12:21
  that got it's plot details actually in an episode right
• 12:25
  Just this year. Just this year and they
• 12:27
  mentioned the Blatherine I think will turn up later in the Sarah
• 12:30
  Jane adventure. That's Miriam Barker leaves and
• 12:32
  Simon Callow playing those two. Just you wait.
• 12:36
  Oh, it's very funny. Oh, here we go, Right.
• 12:38
  Clyde's finally in the attic. Yeah.
• 12:42
  And yeah, that's the other thing.
• 12:43
  He comes out with all these sort of really sarcastic asides all
• 12:46
  the time. Did you hear Sarah Jane?
• 12:48
  Then just shut up, all right? I'm busy and you're not
• 12:50
  important. All right, love.
• 12:52
  Yeah, again, it's that sort of like that, that thing of her
• 12:57
  being a very guarded person. There's that brittle side to her
• 13:00
  that that she's kind of must have developed since school re,
• 13:05
  you know, having to, you know, all these things and she can't
• 13:08
  share them with anyone. And so when she had, when she
• 13:10
  is, oh, here he goes. I'm sorry, He's, he's got like
• 13:13
  extra jets of gas coming out of the wall, Mr. Smith.
• 13:18
  In Clyde's React, Clyde's reaction.
• 13:20
  Even though Maria was sort of like hiding her face as all The
• 13:23
  Jets of hacked gas with hitting her.
• 13:27
  Now, watch, this is the scene where they figure it all out.
• 13:31
  Yeah, yeah, yeah. So they Mr. Smith brings up all
• 13:33
  the locations of the different schools and then they realise
• 13:36
  it's all around the world and they just put it all.
• 13:39
  And that's why they're using the resistance.
• 13:41
  And that's why it smells like that.
• 13:42
  And that's why the foods going off.
• 13:45
  So yeah, all the pieces kind of click and paste just as the
• 13:48
  scale kind of expands as well. In fact, this is so Buffy.
• 13:53
  The speed of the dialogue, the gags and the fact that it's
• 13:56
  telling the plot, this is this is what put Buffy on the map, is
• 13:59
  this sort of scene so. And RTT did say he wanted a bit
• 14:04
  of that in Dobs. Who didn't he?
• 14:05
  Yeah, it's true. That's true.
• 14:07
  Buffy at the school setting as well.
• 14:08
  This is basically Buffy. It is a bit Buffy, isn't it?
• 14:11
  Yeah, yeah. Here we go, linking all the
• 14:16
  different railways around the world.
• 14:19
  Yeah. Well then you realise, my God,
• 14:21
  it's on a global scale and then we know it's serious because
• 14:24
  Trinity Wells turns up. The prophet of doom, she.
• 14:28
  Goes she goes, we don't know how long the power is going to last
• 14:32
  and suddenly all the lights go out.
• 14:34
  Oh my God, you know what they should have had?
• 14:38
  They should have had her innovation of the bane going
• 14:41
  drink it's. Yeah.
• 14:43
  Oh, that would have been brilliant.
• 14:45
  Yeah. Well, that's the thing of of
• 14:46
  sort of, yeah. They get into the trick they'll
• 14:49
  use in Doctor Who as well. Yeah.
• 14:50
  Putting the the broadcasts and making the world feel bigger
• 14:54
  than it actually is even, you know, even even World War Three,
• 14:57
  which is set in like 3 rooms. And because they use all that
• 15:00
  news footage, it feels so much larger, you know?
• 15:04
  Trinity. Well, that's just always.
• 15:06
  That's a bit of colour, don't you say?
• 15:08
  Well, I kind of, yeah. You kind of get upset when she's
• 15:10
  not there. Really.
• 15:11
  Would she go? For RTD 2, she was.
• 15:13
  Wasn't she was, yeah, she was one of those sort of an anti
• 15:16
  vaxxer sort of thing, you know? Was she in?
• 15:18
  The war between the land and the sea as well.
• 15:21
  I think she was in the first episode of that.
• 15:23
  Yeah, positive, possible. There you go, Maria.
• 15:26
  The candles went out. So that's because the capacitors
• 15:29
  are charged up. They act as transducers.
• 15:33
  Yeah. Great.
• 15:35
  And and at the same time, Clyde sort of wandering around the
• 15:38
  attic, sort of picking stuff up, becoming accustomed to this new
• 15:42
  world. What have railways got to do
• 15:44
  with that? They act as a cooling system for
• 15:47
  all of the power that's being generated.
• 15:49
  Oh. You're right, yeah.
• 15:50
  It's all comes together in this one scene.
• 15:53
  I just think it's really clever. I like it's a skill to do it at
• 15:58
  this speed. Yeah.
• 16:00
  And for it all to make sense, it's the sort of thing that
• 16:02
  David Tennant did brilliantly, just rattling off plot points.
• 16:06
  I think the speed is the key because I think if you, if it,
• 16:09
  if you, if it sounds, you don't want it to be too slow,
• 16:12
  especially in a kids show where they'll think, oh, this is
• 16:14
  boring. They're just talking, you know,
• 16:17
  and here there's sort of this constant sort of movement or
• 16:19
  reactions or. Yeah, here she is.
• 16:24
  Oh, here she is. AM M AM NN American National
• 16:29
  News Network. Los Angeles has gone dark.
• 16:33
  She goes. And I told him how to do it on
• 16:37
  the day I was born. Oh, bullshit.
• 16:42
  Oh, that's, oh, he's having a grand old time, isn't he?
• 16:45
  So don't. Maybe Aunt Parry, you know,
• 16:48
  doesn't he go RCA Rome? You know.
• 16:51
  Howdy, London. Oh, dear.
• 16:57
  Any weaknesses we can access? Right.
• 16:58
  Come on, Daniel. We've got to figure out how to
• 17:00
  defeat these Slovenes. Oh, yes, yes.
• 17:03
  And then they, I think they do that as they go down the stairs,
• 17:05
  just about they're about to leave them.
• 17:08
  They're about to leave the the the the house, aren't they?
• 17:12
  That was the best line in the whole thing.
• 17:14
  He goes, let's have a high school, you, a High School
• 17:17
  Musical moment, a group hug or sort it all out.
• 17:20
  And is he taking the piss out of vaginal debate?
• 17:22
  Remember, we did like that, but didn't we?
• 17:23
  Yeah, yeah, I think that's the thing.
• 17:25
  He's he's got no time for the sort of the hand wringing that
• 17:29
  you kind of see sometimes in, in, in Doctor Who as well, where
• 17:32
  you think, Oh, well, you know, we've got to understand the
• 17:35
  aliens and it's like, no, let's flipping blow them up, blow up
• 17:38
  the school. We even bomb them.
• 17:39
  He. Says yeah, bomb this, let's bomb
• 17:41
  the school, which I think is a line you could not get away with
• 17:44
  today. Oh, for the love of Clom, he
• 17:47
  just said. Oh, and he's.
• 17:51
  He's the one who can carry off the the long the name of the
• 17:54
  sledine planet Rexacoricum, A fellow pit warrior that.
• 17:58
  Was great calcium based life forms right?
• 18:04
  Narrows it down. And right as he's about to give
• 18:07
  them the answer, that's when there's another power car, isn't
• 18:09
  there? Which is like perfect timing.
• 18:15
  And then it cuts to him. The Prime Minister's promise the
• 18:18
  blackouts will not affect the UK.
• 18:19
  Lights go out. Oh, thank you, Prime Minister.
• 18:25
  You didn't need that scene. But it's just there to cut off.
• 18:28
  Cut the two exposition scenes. So there's something in between
• 18:32
  them. Well, yeah, Yes, exactly.
• 18:34
  Yeah, Yeah, exactly. You spread out.
• 18:35
  You spread it out over several scenes.
• 18:38
  It's like Gareth Roberts hadn't had he written for Doctor Who at
• 18:42
  this point. Yeah, he wrote for the
• 18:44
  Shakespeare code, didn't he? About this time, though.
• 18:46
  About at the same time. Yeah, yeah, yeah.
• 18:49
  Oh, but he'd written TV, hadn't he?
• 18:50
  He dumped soaps and things like Coronation Street.
• 18:53
  I think he knew about the speed of, you know, and dialogue and.
• 18:57
  Yeah, yes, this is when they're literally about to go out the
• 19:01
  door and that's when Clyde mentions, oh, I had my cold chip
• 19:04
  sandwich. And because, you know, there was
• 19:07
  what sought and vintager in there and and they, they, they
• 19:11
  go through salt and think, no, it's not salt.
• 19:13
  And then they they think, oh, vinegar, acetic acid.
• 19:17
  It's so, I mean, and they're trying to figure out how to to
• 19:20
  murder a load of aliens. What kids would love this?
• 19:25
  Oh, just great. Oh, do you know what I love?
• 19:27
  Tank Fastix. You just mentioned Tank Fastix.
• 19:29
  You ever tried them? Oh no.
• 19:32
  They're Haribo sours. Well, that's the line that
• 19:36
  Celine ABBA, isn't they? You know, oh human children, all
• 19:39
  Haribo and pubescence or whatever it is.
• 19:43
  Did you see that there? She put the camera inside the
• 19:46
  cupboard and shot Sarah Jane opening the doors, opening the
• 19:49
  Yeah, you need to do that. You didn't.
• 19:54
  Time for the coup de grace, the Denimon.
• 19:56
  The coup de grace which he you know.
• 19:59
  You know who said that? The Ronnie, the Daniel Moore
• 20:02
  doctor. Well, yeah, they are similarly
• 20:04
  camp. The same camp isn't.
• 20:07
  It OK, Amara could have been a great Slovene, couldn't you?
• 20:10
  Yeah. Sarah Jane Smith, you're going
• 20:13
  on a journey. Do you know that Slovene boy
• 20:18
  there? You're sort of pot bellied?
• 20:20
  Yeah, I think that's a bit what I look like when I was sort of
• 20:23
  eight, you know, Look at this again.
• 20:26
  Extras Cars. Yeah, and it's just a Bourbon
• 20:30
  Street, but they're literally running down that whole street,
• 20:34
  you know, and talking as they run, which is, again, making it
• 20:38
  very dynamic. This is great.
• 20:40
  How did it start doing all of this?
• 20:42
  Look, if we survive, I'll tell you.
• 20:43
  All right? I've switched off the sun.
• 20:48
  OK, 32 minutes. Yeah.
• 20:50
  Do you know what? That sun there, It looks just
• 20:53
  like the the Ice Star from Amy's Choice.
• 20:57
  It does, yeah. She comes.
• 21:00
  Chrissy, Alan. At the end of the world, she's
• 21:04
  still there. She's like, where's my daughter?
• 21:07
  She's. Like, oh, it's just gone a bit
• 21:11
  nippy, don't worry. To be honest, who's Daniel with
• 21:14
  At the End of the World Came? I'd probably be running into
• 21:16
  Alan's arms. I think every everyone would.
• 21:20
  Give me a hug, Alan. Come on.
• 21:23
  Oh, that line. She's an old woman with a funny
• 21:26
  lipstick and all. Yeah, and all.
• 21:29
  With a funny lipstick. His whole performance is
• 21:33
  basically. I assume I need no introduction.
• 21:36
  Oh, it's just great. You know, I'm going to put you
• 21:38
  up for that role. You know, although you're so
• 21:40
  skinny, that's trouble. You're really slim.
• 21:42
  We're going to have to fatten you out for the part.
• 21:44
  Oh. I can, I can.
• 21:46
  I'll make the sacrifice. I'll do that method acting
• 21:48
  thing. They whether you be oh, coming
• 21:51
  out of the shadows. I should put in a repeat order
• 21:54
  for Dunkin' Donuts or I'll start turning up next week.
• 21:56
  We shoot in a month, yeah. It's just the way they move,
• 22:03
  they kind of swing their arms. It's like it's.
• 22:05
  Really, I mean, look, you can't see this, but I'm sort of doing
• 22:08
  Slovene actions right now as well.
• 22:10
  I look at a bit like I'm having a stroke, but you know, you know
• 22:13
  what I mean. Well, and I think there's like
• 22:15
  one of those reference books that says that the the that
• 22:18
  those arms are basically used to swim across the great seas of
• 22:22
  Raxakova Laboratorius. So, you know, that's why they
• 22:25
  kind of look so weird. Don't you love this bit where he
• 22:27
  threatens Maria? He goes.
• 22:29
  That's why you're rubbish. You weren't doing anything, you
• 22:32
  know. Yeah.
• 22:33
  And she's. Fucking murders him.
• 22:35
  She throws the vinegar right in his face.
• 22:39
  Daniel explodes. Yes he does, Just like in World
• 22:43
  War Three. It's that scene in the kitchen
• 22:45
  with Jackie and Mickey, but with kids instead.
• 22:48
  They get covered in Slovene guts.
• 22:51
  That's the best you you know, it's a kid show now.
• 22:54
  Because they literally, I mean, Duncombe.
• 22:56
  Duncombe. Yeah, that's not the only one
• 22:59
  they. Now it looks suspiciously like
• 23:01
  lime Jelly. It does, doesn't it?
• 23:04
  But. I mean, she has just killed
• 23:07
  someone there. Yeah, I think they sort of
• 23:10
  simplify that to sort of, you know, she, you know, it's the
• 23:12
  sort of, it's like that thing of saying a kid like, you know,
• 23:16
  don't do it or you'll be in trouble and the kid does it
• 23:18
  anyway. I mean, by the time we get to
• 23:21
  whatever happened to Sarah Jane, you've got a child hanging off a
• 23:24
  peer that literally falls to her death.
• 23:28
  Like strong stuff. They're not afraid to go there.
• 23:33
  No, and I think that's what made it so successful as well, is
• 23:36
  people didn't feel like they were being patronised.
• 23:39
  There's different levels of edgy, isn't it?
• 23:41
  It's actually for a kids show. Yeah, for a kids show, Yes, yes,
• 23:44
  yes. Oh, where she is?
• 23:45
  What's her name? Doreen.
• 23:46
  No, Janine Doreen. Sorry.
• 23:50
  Doreen does sound like a Slovene name.
• 23:54
  Doreen Felfach. Slovene at your service.
• 23:57
  Oh, I've got a name here somewhere.
• 23:58
  Oh yes, Blonde Roxfae Feneral Slam Slovene.
• 24:02
  Feneral Slam. Feneral kind of like, I don't
• 24:06
  know, like I don't know did. You see when that Charles Davina
• 24:09
  hugged his dad because he was scared.
• 24:11
  And he said, Daddy, I'm scared. He put his arms around his big
• 24:14
  belly. It's really funny, but I mean, I
• 24:20
  don't know if you remember the plot twist from the end of this
• 24:24
  that impacts the finale. I'm not going to say anything
• 24:30
  there. They basically give you the
• 24:33
  impression that they have murdered the Slovene child at
• 24:36
  the end of this. Yes, that's right.
• 24:39
  Yeah. Or Sarah Jane certainly thinks
• 24:40
  that, doesn't she? Yeah.
• 24:42
  I think that does just give it a bit of an edge like we've won,
• 24:47
  but. I wasn't much more victorious.
• 24:50
  Yeah, yeah. Where it was, Maria just threw
• 24:53
  the vinegar and laughed. You know.
• 24:57
  Well, and it comes, it's all part of Sarah Jane's role as a
• 25:00
  mother too. So he's like, because he says,
• 25:02
  he says that he says, you know, we're doing this for our
• 25:05
  children. The Slavine dad says.
• 25:07
  And then he says, you know, take my son, you know, spare my son's
• 25:10
  life and, you know, sort of basically saying, you know, you
• 25:14
  as a parent would understand sort of thing.
• 25:17
  So actually that their relationship, the dad and the
• 25:20
  the baby Slavine and daddy Slavine are probably the
• 25:22
  healthiest. If it was Jack in Torchwood, he
• 25:26
  would have just picked up a shotgun and shot the kid,
• 25:28
  wouldn't he? He would have murdered them,
• 25:30
  yeah. Sarah should have gone.
• 25:31
  Actually, I'm quite a new parent and just pulled the lever
• 25:34
  anyway. Sorry, of course not going on
• 25:37
  about murdering kids, you know, like it's.
• 25:40
  It's not the, it's not the first and last time that's going to
• 25:42
  happen, is it? No.
• 25:43
  It's not a good look, but they do murder a lot of kids in the
• 25:45
  same adventure so. Oh, here she chucks the Sonic
• 25:49
  lipstick in slow motion. Although I think it's a better
• 25:51
  slow motion than from Invasion of the Pain because you it
• 25:55
  actually looks sort of a bit more dramatic.
• 25:57
  And the music's like, oh, sorry, that was Star Wars.
• 26:01
  I don't know what I was doing there.
• 26:04
  I do like as well. It was just at least is it now?
• 26:06
  I was like, what the fuck's going on?
• 26:08
  They're all ducking and diving. There's explosions going off
• 26:11
  everywhere. I was like, I'm going to start
• 26:15
  up in there, electric fit in a minute and.
• 26:17
  Then Janine pops like a balloon, doesn't she?
• 26:21
  Oh, gets quite a grizzly end. Is it that stead radiation
• 26:24
  effect from the? Oh yeah, yeah, it kind of burst
• 26:28
  into rose petals. Yeah, fabulous.
• 26:30
  Yeah, it's a bloody massacre. The Slovene Chainsaw Massacre,
• 26:37
  starring Elizabeth Slayden. No.
• 26:40
  Please help the child. Look at him.
• 26:42
  Bless him. Yes.
• 26:43
  So I think you can clearly see him teleport.
• 26:45
  Yeah, but the characters are sort of meant to.
• 26:49
  But he's not just dad. His dad dies.
• 26:52
  Yeah, yeah, very, quite traumatic.
• 26:55
  Oh, but, and actually, that's noise that the dad saves his
• 26:58
  life, you know, sort of, I don't know, I know, I know I'm
• 27:01
  suggesting there's a bit more emotional worth here than there
• 27:03
  probably is, but there's some, there's some thought.
• 27:09
  Yeah, and I think that's also why she then decides to sort of
• 27:12
  say to Luke at the end, well, yeah, no, call me mum, you know,
• 27:16
  she has something, her role as a parent.
• 27:18
  Same ability. Do you remember when Christopher
• 27:20
  Eccleston, that ridiculous pig in the space suit, dies and he
• 27:25
  then makes you break it? Break your heart when he goes.
• 27:28
  Scared. And she just said there he was
• 27:31
  12 years old. We've been laughing at that
• 27:33
  stupid puppet Slavine, and now we're like, oh, I think we
• 27:37
  shouldn't have laughed actually, you know?
• 27:40
  I would love to the break. She's calling in unit.
• 27:44
  Was Unit A furniture shop? Clyde says.
• 27:48
  Chrissy. Oh, Sally Anne.
• 27:50
  Bless you. She's terrible.
• 27:53
  She. Yeah, and she has that scene,
• 27:55
  doesn't she, where she sits down with Maria and says, now I've
• 27:57
  noticed all these funny things going on.
• 27:59
  And Maria's like. And Maria's like, oh God, is she
• 28:02
  going to find out about Sarah Jane and these aliens that we'll
• 28:04
  be inviting? And it's like it's all about me,
• 28:08
  how it's because I'm cursed. If I can't move for disasters,
• 28:14
  she says no. That's what I knew that Chrissy
• 28:16
  was me. That's exactly how I would feel.
• 28:18
  I would be a periphery character, but I just felt like
• 28:21
  it was all about me. Well, she had that line, doesn't
• 28:24
  she? Doing the power cut where she
• 28:25
  says, you know, I, it always happens when there's something
• 28:28
  good on the telly. You know, I remember once the
• 28:30
  power went off right in the middle of Manimal.
• 28:32
  I was distraught. Because it's a bit like Donna
• 28:37
  and they missing the alien invasions, you know?
• 28:40
  Yeah, she just misses it every time, doesn't it?
• 28:42
  Yeah. I love Chrissy so I think about
• 28:45
  it. Right?
• 28:46
  You move in opposite Sarah Jane. If one turns into zombies, you.
• 28:50
  Know yeah, she does say zombies, you know, so she she is kind of
• 28:54
  aware of all these things, that thing.
• 28:56
  But we haven't even. Doesn't connect the dots.
• 28:58
  Best Chrissy stuff yet. You know, Daniel then later on
• 29:01
  in the season, she is just amazing.
• 29:04
  Do you remember her reaction when it comes up on the news
• 29:07
  screen that Luke Smith is a lost child from another family and
• 29:13
  she she's the one that calls the police and Dobbs in Sarah, Oh.
• 29:17
  Yeah, no. So she acts like the sort of
• 29:19
  like a responsible. Parent because I knew there was
• 29:21
  something wrong with her next door, you know?
• 29:24
  Yeah. Great stuff.
• 29:25
  Oh, Sarah, put that back. You know when you're done with
• 29:27
  it all right? So we kind of get a sort of
• 29:30
  slightly scaled down version of that scene where she kind of
• 29:35
  sort of wax his lyrical about the doctor because we've had
• 29:39
  that scene before. So she has to sort of simplify
• 29:42
  it a bit to to Clyde. And Clyde goes, oh, he sounds
• 29:45
  cool. Which kind of sums it up.
• 29:47
  Really. Which kind of sums it up.
• 29:48
  Yeah, yeah. What's he like, a big green
• 29:51
  pick? No.
• 29:52
  No, he just looked like you and me.
• 29:56
  Oh, Sarah, we are but. She sells those scenes spicy.
• 29:59
  She just has to sort of stare off into the middle distance.
• 30:01
  And wow, and you can see it all, you know, crinoids and.
• 30:06
  The Time Warrior. Zeta miner, dinosaurs in London,
• 30:10
  All of it. Eldrad must live.
• 30:17
  I have to bring that up at the end actually.
• 30:20
  She's got her own saying now. Drink it.
• 30:23
  Drink it. Actually, she does get to play
• 30:26
  evil. When does she do 1?
• 30:27
  Doesn't she? She does.
• 30:29
  We'll get onto that. She hammers her up.
• 30:31
  Daniel, Jesus Christ. Also, we've got a new member of
• 30:36
  the team, Clyde Langer. Yes, yes.
• 30:39
  So he kind of he had to sort of almost sort of fight his way on.
• 30:42
  But she's she does sort of accept him in the end says, you
• 30:45
  know, can I trust you? And you know he's yes.
• 30:47
  I promise not to tell anyone. He turns out to be the longest
• 30:51
  serving. And he does, doesn't he?
• 30:53
  He becomes the most loyal. The two of them, they have great
• 30:57
  scenes going ahead, Sarah and Clyde.
• 30:59
  Yeah, no wonder they kind of gave him the sort of intro at
• 31:02
  the beginning where he welcomes you into the show, literally,
• 31:04
  because he's so sort of confident on camera.
• 31:08
  What we say in two hours, isn't he?
• 31:09
  Are you ready? Yeah, always.
• 31:13
  Always. Oh, now this bit was the bit I
• 31:16
  was talking to you about on the message, Daniel.
• 31:18
  It's a bit of a sneaky bit, isn't it?
• 31:20
  Beware your curiosity, boy. Boy, you know Mr. Smith.
• 31:25
  Why has he got that? Very ominously.
• 31:28
  Yeah, and then never mentioned again, you know?
• 31:31
  No, no. It just kind of dropped in there
• 31:33
  at the end. Fuck that finale.
• 31:35
  I can't wait. I cannot wait to get that
• 31:37
  finale. As I do remember most of this
• 31:41
  first season, but I think there's like, yeah, the finale,
• 31:44
  I don't remember too well so. The one I'm not looking forward
• 31:47
  to is the evil Bradley Walsh clown because he scared the life
• 31:51
  out of me when I first. Oh, that's right, Bradley Walsh
• 31:53
  is in this you. Can't put Pennywise on the
• 31:56
  screen for a load of Muppets, for God's sakes.
• 31:58
  Oh, it's very scary. Oh, I love this.
• 32:03
  When they come in and go, right, introduce these words into all
• 32:06
  the news networks about what's happened.
• 32:09
  Yeah. Well, I suppose that's what they
• 32:10
  do, right? If they ever want to spread
• 32:13
  disinformation or information, I guess they start introducing
• 32:17
  those words and then it just spreads like a virus all over
• 32:20
  social media. Exactly.
• 32:22
  Exactly. So This is why, you know, this
• 32:24
  whole thing of, oh, why does nobody notice that the aliens
• 32:26
  are around? Well, again, I mean, it's very
• 32:29
  plausible nowadays in this era of misinformation and
• 32:31
  disinformation information where you just, you just spread a few
• 32:34
  keywords and people believe anything, you know.
• 32:38
  Oh, look. At it.
• 32:39
  Oh, there's that bug on screen. And she looks delighted.
• 32:42
  That's a nicer hug than that terrible slow motion one we had
• 32:46
  last time. Greek hug at the.
• 32:48
  End Oh, Daniel, I'm going to say this.
• 32:51
  I don't want to break your heart when I would do anything in the
• 32:55
  world to hug my mother like that again.
• 32:58
  I mean anything. I felt like she used to get the
• 33:01
  best hugs when I was a nipper. Yeah.
• 33:05
  And Joe, what? Right, I mean, I'll show you
• 33:07
  some pictures. She in the right light.
• 33:10
  She does have a bit of a look of Elizabeth Slayden about her as
• 33:12
  well. Maybe that's why I was so keen
• 33:14
  on this. Oh my God, it's the Gorgons.
• 33:19
  Oh yes, next time. Oh, this is a fabulous story.
• 33:25
  I love the Gorgon. Money on the screen, that
• 33:28
  enormous Abbey that they shot in.
• 33:30
  Yeah, yeah. Which I think they did go back
• 33:32
  to at some point, didn't they? We get Fuller to Lloyd and
• 33:36
  Doreen Mantle. Doreen yes, that's right.
• 33:39
  Yeah, wonderful stuff. Well, OK.
• 33:42
  Wow, it was literally a Sprint wasn't it?
• 33:44
  All the way to the end. We were just going, Oh my God,
• 33:47
  look at that, look at that. I mean, there will be a bit of
• 33:49
  that in these because they are fast, but some of them are
• 33:52
  slower. Well, come on, let's do our free
• 33:56
  fabulous thing now. If you prepare something this
• 33:58
  time or are you going to make it up as you?
• 34:01
  Go. Well, I have thought about it
• 34:03
  over the course of the two recordings, but come on.
• 34:06
  But yeah, it's all right then I go first this time.
• 34:09
  I go first this time. OK, well, I'll just get the
• 34:11
  obvious one out of the way. Clyde, the new addition to the
• 34:14
  cast very much needed, I think, because you needed someone who
• 34:20
  who could balance the sort of the the the other two kids
• 34:24
  performances. And like we said, he's the Han
• 34:26
  Solo to the Luke and Leia dynamic.
• 34:28
  And yeah, and he's sort of he, he's just so sort of charismatic
• 34:34
  and confident and, and, and we all like, I mean, I wanted to be
• 34:39
  Clyde when I was younger, you know, so, and the fact that he,
• 34:43
  he, he kind of, he fights his way onto the team.
• 34:47
  Like, you know, there's a bit of resistance from Maria and Sarah
• 34:50
  Jane, but Maria is the one who kind of warns him away at first.
• 34:53
  But they both connect in that early scene in Part 1 where they
• 34:57
  both, I mean, they're both, both their parents are divorced and
• 35:01
  his dad is, he's got an absent father.
• 35:04
  And so there's an immediate connection.
• 35:06
  So even though he kind of makes it like, oh, I'm just going to
• 35:09
  be with you guys for a while because I'm on the lookout for
• 35:11
  the cool kids. He he's immediately drawn to
• 35:14
  them at the beginning. And yeah, so Daniel Anthony is,
• 35:17
  you know, the the perfect sort of replacement to to Kelsey
• 35:22
  Hooper, who mysteriously disappears.
• 35:24
  We miss you, Kelsey. Yeah, lot aliens are.
• 35:27
  Real whoever in our hearts shut. Up.
• 35:30
  What was it again? You're dead if you haven't got
• 35:32
  the music channels. I mean, he's a bit more
• 35:35
  sophisticated than that. I know.
• 35:37
  Well, I am going to be succinct unusually and say that I think I
• 35:42
  said at the start of this episode, I'm saying it now.
• 35:45
  I think that exposition scene in Episode 2, there's two of them.
• 35:48
  It's caught up with comedy scenes with Chrissy and Alan and
• 35:52
  all sorts. Everyone gets out.
• 35:54
  It's great scripting. You have to be a bloody good
• 35:57
  director. You need all the right reaction
• 35:59
  shots for it. Everybody's on great form.
• 36:02
  I mean, I think Alice Trout does a brilliant job in this anyway.
• 36:05
  She's a great director. But that scene in particular, I
• 36:10
  think delivering that kind of sophistication in scripting to
• 36:16
  children. Bravo.
• 36:19
  Yeah. And I, you know, I, I had, I
• 36:21
  didn't really pick up on it until you sort of highlighted
• 36:24
  it. So yeah.
• 36:26
  Yeah, I think they're taking their cue from narrows it down,
• 36:29
  because that's the same thing where it's just loads of quick
• 36:32
  dialogue. Built on it, yeah.
• 36:34
  They kind of build on that. And they do the same with the,
• 36:38
  the, the scene in the kitchen where they're preparing, they're
• 36:41
  preparing their sort of squeeze bottles full of vinegar.
• 36:44
  And I think Clyde even says, what are you going to do?
• 36:45
  Throw pickled eggs at them? And that's literally what Jackie
• 36:48
  did in Aliens of London then. And yes, that.
• 36:50
  And he's like, I was joking. Well, what's your second then?
• 36:55
  My second one is, well, it will be the IT will be the sardine
• 37:01
  actually, because although the the tone is, is very similar to
• 37:08
  aliens of London and World War Three, I think it's more
• 37:11
  confident than the than that 2 parter.
• 37:14
  And the slaveen costumes are much better.
• 37:17
  They shoot them in such dynamic ways.
• 37:19
  The genius edition of a baby slaveen Carl, you know who you
• 37:25
  know is, is. Yeah, that's it.
• 37:26
  May it may they managed to make him quite scary and very, very
• 37:30
  funny as well. And you know, all those, those,
• 37:33
  those lines, you know, one more step and we destroy this planet.
• 37:40
  He's so camping. Big Finish, if you want to bring
• 37:43
  back this, the headmaster, Daniel, it's available.
• 37:46
  Okay, can you say the planet name again one last time?
• 37:51
  Rex a Coraco fella. Petoria.
• 37:54
  You could see why I played it that way, right?
• 37:56
  That's why I'm talking. And, and you know, Gareth
• 37:58
  Roberts wrote this other episode of Doctor Who, the Caretaker,
• 38:02
  and they have a line about the caretaker, don't they?
• 38:04
  Earlier in Part 1 of Revenge of the Sardine where he says, what
• 38:07
  about the caretaker? He's like, I've taken care of
• 38:10
  the caretaker. Oh, the jokes in this boy, boy,
• 38:15
  God, it's a world of riches, this ridiculous show.
• 38:18
  And OK, my second thing then is going to be it's going to be
• 38:22
  that they kill off characters in episode 2.
• 38:26
  I just think like they didn't, they were kind of they had itchy
• 38:31
  feet about killing people in series 1 of Doctor Who, didn't
• 38:35
  they? Where they were like, can we do
• 38:36
  this? And we've sort of got to the
• 38:38
  point where they've decided, yeah, we can because we.
• 38:40
  Can get away with it. Sound of drums.
• 38:42
  We're murdering, you know, 2/3 of London or half the world now,
• 38:45
  10% of the world. Yes, decimate the population,
• 38:48
  the pop the the correct use of decimate literally, you know.
• 38:51
  Quite a lot of people, isn't it? You know, here we only murder a
• 38:55
  handful of Slovenes, but, I mean, they all date some.
• 38:58
  A child loses his father. Maria literally murders
• 39:01
  something in cold Blunt. Yeah.
• 39:05
  I mean, I love that stuff. I'm pleased.
• 39:07
  I'm pleased I went there. So yeah, Gunk basically is part
• 39:11
  20. Yes, getting spotted with gunk,
• 39:13
  yeah. Slovene guts all over the wall.
• 39:20
  OK, my final one then will be well, surprising even myself
• 39:25
  actually, Gareth Roberts, the the just the fact that the
• 39:28
  script is so it's so it's very funny.
• 39:32
  Basically, that's the The thing is that it's not just the
• 39:35
  performances which are so camp, you know, they're campus
• 39:38
  Christmas, but just that, you know, he he he has a sense of
• 39:43
  humor about him. I mean, I'm just thinking of the
• 39:44
  other episodes he's written like, you know, Unicorn and the
• 39:47
  Wasp, which is like several gags per minute in every and not just
• 39:52
  the book references. You know, there's all kinds of
• 39:54
  humor in that episode. Or, you know, the Shakespeare
• 39:57
  code where the one thing he got absolutely right in that one is
• 40:00
  everyone is just really flirty with each other, which is
• 40:03
  exactly what those Shakespeare comedies are like.
• 40:07
  And in this one, it's all the things that, again, the sort of
• 40:10
  kids will relate to. So power cuts and farts and
• 40:14
  school dinners being terrible and making fun of your teachers.
• 40:18
  And well, Clyde's very funny so and he becomes Comic Relief of
• 40:22
  the of the show. And yeah, it's just got a great
• 40:26
  sense of humour about itself. So even though the peril
• 40:29
  ratchets up, it still remembers to have a a good laugh as well.
• 40:33
  Because it's a kids, you know it's a kids program.
• 40:36
  You have a gag that got me Wizards Part 2 and it was Luke
• 40:40
  again where she went, it's a bluff.
• 40:44
  And he just went. What's a bluff?
• 40:49
  That innocence, man, it is, it is gold.
• 40:53
  Well, my last thing then is going to be Alice Trout and
• 40:56
  specifically how she shoots the Slavine, which it's not an easy
• 41:00
  task because those are cumbersome costumes.
• 41:04
  They didn't have to look as organic, as fluid as she makes
• 41:08
  them feel. It's the body language of the
• 41:10
  actors. It's the angles that she
• 41:12
  chooses. It's the speed of the carts, you
• 41:16
  know, and it's the lighting as well.
• 41:17
  There's lots of sort of shadows and different.
• 41:20
  Yeah. Like it's it's unforgiving, the
• 41:23
  lighting in Agents of London. At times, yes.
• 41:27
  Downing Street is very bright, you know, whereas here we're in
• 41:30
  a shadowy school at night, you know, And it's that that does
• 41:33
  bring a different sort of atmosphere to it.
• 41:36
  And I think, I think Alice Stratton does do a couple more
• 41:40
  actually. So I'm really.
• 41:42
  She does, yeah, Yeah. But I think we're 2 for two so
• 41:46
  far in terms. So fashion, yeah.
• 41:49
  So can we make it free for free? I think you know the answer to
• 41:53
  that one. Chrissy's moving back in next
• 41:55
  time. Oh, that's right.
• 41:57
  Yes, she decides to, you know, keep a closer eye on Maria,
• 42:00
  doesn't she? The pit always makes me laugh,
• 42:03
  you know, you thought, well I can remember it.
• 42:04
  Sorry, I know I'm pre empting this but it's where the nun
• 42:09
  turns up and she's pretending that she's there collecting for
• 42:12
  the roof of the. Church.
• 42:13
  And Alan Scott quitting one hat and A5 were in the upper.
• 42:19
  She puts the quid in and then she takes the fiver.
• 42:23
  Oh, it's so great. But I do remember it being very
• 42:26
  poignant as well. There's a dementia plot on,
• 42:29
  isn't there? There is, yes, Which I've I
• 42:31
  completely forgot about until very recently when I sort of
• 42:34
  thought about the episode again. Yeah.
• 42:37
  Well, until we end up in the old people's person, haunted by an
• 42:42
  evil. What is this she?
• 42:45
  What's that thing with all the sort of claws?
• 42:47
  Oh, the Gorgon serve the Gorgon. We've got another.
• 42:52
  Saying another chant. How do we end this in a sort of
• 42:56
  revenge of the Slovene sort? Of a Revenge of the Slovene.
• 43:00
  Well, we'll synchronise the mega wattage.
• 43:05
  Mega what? Which buttons?
• 43:06
  That one, That one.