Latest / A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast / Talks to Peter Ould & Paul Dunn about their choice of State of Decay (3/4)

Transcript

Talks to Peter Ould & Paul Dunn about their choice of State of Decay (3/4) · A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast

• 0:33
  Hamster with a blunt. Pen knife for doing quicker
• 0:35
  quicker. My name is Peter Old, and I'm
• 0:38
  one of only 5 people in human existence to have ever bought
• 0:41
  and read and understood Doctor Who the unfolding text.
• 0:45
  I'm. Joined by everyone's favorite
• 0:47
  exorcist, Paul Dunn, and the man for whom sucking necks is second
• 0:52
  lecture, Joy, Joe Joy, Joy, Mr. Ford.
• 0:55
  We'll, we'll call him that. Together, we are the three who
• 0:57
  drool the blunt pen knife. The three who drool Joy.
• 1:04
  Actually, I must rather be called Joy.
• 1:08
  Yeah. Oh, actually, no, not after
• 1:10
  Joyce. To the world I wouldn't.
• 1:11
  Good God no. No, no that.
• 1:14
  Is terrible. Talking of tacky, I mean, I
• 1:16
  mean, you know, it's joy to the world is like that closing scene
• 1:23
  from Lagopolis, right? With the three layers of of
• 1:27
  grass, right. It's like, it's like just when
• 1:30
  you think, just when you think that is the worst piece of
• 1:34
  scenery in all of Doctor Who. That little hill scene at the
• 1:38
  end of Joy to the World goes Hold my beer.
• 1:42
  God, God, imagine if they put this out on on Christmas Day.
• 1:46
  You know, something like State of Decay, a lovely little gothic
• 1:48
  science fiction story. Tom Baker turning to the screen
• 1:52
  and wishing his merry. Christmas.
• 1:53
  Oh my. God, but I do remember.
• 1:56
  I do now. I do remember though, before
• 1:58
  there were Christmas specials, I do remember watching Doctor Who
• 2:02
  over Christmas because it would just run on The Saturdays,
• 2:06
  right? And, and so you would just watch
• 2:07
  it the Saturday before Christmas, the Saturday
• 2:10
  afterwards, you know, in the days when it actually was
• 2:13
  properly from autumn through to spring.
• 2:16
  See, now, the only Doctor Who I ever watched at Christmas was
• 2:19
  the ones I because I came in, obviously right at the end of
• 2:22
  the classic run. Was it the VHSS I want to get at
• 2:26
  Christmas? But those Christmas watches for
• 2:28
  the what presents I got? So exciting.
• 2:31
  Oh, we've gone quiet. I just sat here listening to
• 2:42
  your stories of Christmas cast and just considering considering
• 2:47
  our life choices at this point that we've chosed to spend a
• 2:50
  Sunday evening with you talking about what you had in your
• 2:53
  stockings. There is no way to spend a
• 2:56
  better Sunday evening, you know, here all I have to have a blood
• 2:58
  pen knife watching State of Decay part three.
• 3:01
  Yeah, I'll segue that quite well.
• 3:02
  Didn't I have? You done this before.
• 3:05
  One or 1000? Yeah, well, who's going to count
• 3:10
  us in then? Oh, it's.
• 3:11
  Going to be my turn, right? Oh well, yes.
• 3:14
  You go. They're in 321.
• 3:19
  Go. It's just so nice to be in your
• 3:21
  hands there, Peter. I was just very, I felt very
• 3:23
  safe. That's a that's a double meaning
• 3:26
  as well. We've been talking about double
• 3:27
  meanings this evening. There we go.
• 3:30
  That's fine. You're going to notice in a
• 3:32
  minute on the retake of the the rebit of the end of Episode 2
• 3:37
  that they're going to drop the close up on Orkins Island.
• 3:40
  Boo. And that is a real
• 3:42
  disappointment, real disappointment for me.
• 3:45
  Yeah. You know, with the law of
• 3:47
  constitutional shift that we've been talking about, yeah,
• 3:50
  training happens in terms of sort of personality quirks as
• 3:52
  well. Maybe I'll become like a nun
• 3:55
  over time, you know? Well, let's not go into the
• 3:58
  rounds of fantasy. Yeah.
• 4:01
  Yeah, there's. There's weird stuff and then
• 4:03
  there's there's. What's like the polar opposite
• 4:06
  of your personalities, Peter? What would you become in the
• 4:08
  future? If you like, take a diametric
• 4:11
  shift. I'd just be a quiet, a quiet,
• 4:18
  very social because I'm, I'm sociable in places like this,
• 4:21
  but the because I'm sort of autistic and so on.
• 4:24
  I don't like big parties. I really don't.
• 4:27
  I can, I, I can do, I can do parties for like an hour and a
• 4:31
  bit and then I have to go and people who, unless it's very
• 4:35
  close friends and just pour some good wine or good whiskey and
• 4:38
  just talk about stuff and catch up.
• 4:39
  I can do hours of that. But big parties, lots of noise,
• 4:42
  lots of sensory in can't do that.
• 4:44
  This stuff do you know I could do for hours.
• 4:47
  I mean, Jesus Christ, what? I thought I we are the same
• 4:50
  there man. We should go to a party together
• 4:52
  and then fuck off after an hour and just go and have a drink.
• 4:54
  You know I understand. Paul, what's the diametric
• 4:59
  opposite of you? Healthy.
• 5:03
  You've been rich over time. OK, Well, you sell some of that
• 5:06
  merch, all right? I wish I was.
• 5:08
  One of the social and better at small talk, but.
• 5:11
  Yeah, I mean, I'm very good at small talk.
• 5:14
  Is the more in depth talk terrible at, right?
• 5:18
  What's occurring on the screen here?
• 5:21
  So, so Orca is basically offering them to be, to, to be
• 5:23
  part of this, right? So, so he's, he's basically
• 5:26
  saying so, right. OK, we're, we're vampires.
• 5:28
  We're about to Duff up the, the entire universe once the great
• 5:31
  one arrives. Come and be part of the gang,
• 5:34
  right? Do you want to be in my gang?
• 5:36
  My gang, my gang? Did I say to the pair of you,
• 5:39
  you know, when we were talking about State of Decay, you have
• 5:43
  been chosen. You have both been chosen.
• 5:48
  Well, that's nice of you, Jane. I feel.
• 5:51
  Very clearly. It's a certain sort of
• 5:55
  privilege, all right. It's interesting though, right?
• 5:58
  Because this is, I mean, we are, we are, we are now getting thick
• 6:03
  into vampire mythos, right? I'm beginning to we, we, we
• 6:09
  haven't yet melded it with the Doctor Who mythos and created
• 6:13
  this, this, this new law. And as I said before, it
• 6:17
  shouldn't work, but it does. It's so well not to not go for
• 6:22
  Peter Capaldi. It's a fabulous hybrid though,
• 6:24
  isn't it, of the two things that vampire mythology and Doctor Who
• 6:29
  mythology? And, and, and it's, it's I think
• 6:33
  individual story, right there wasn't Adric.
• 6:35
  So I think it was like Ivo's son who was meant to be the chosen
• 6:38
  one and then kind of rescue him. And he, he kind of gets very
• 6:42
  lost in story. I mean, he gets chosen and boom,
• 6:43
  gone, right? And that's why you have the two
• 6:46
  choosings so close to each other.
• 6:48
  It's beyond all custom, right? And I think actually I love how
• 6:54
  Adric looks in this. I think he's dressed fantastic.
• 6:57
  As well. In this coming off.
• 7:00
  I mean, he doesn't cry. It's really well.
• 7:04
  Like Orcon has a certain power over the Doctor here.
• 7:07
  Like the the you know. Shades of sort of suite or yeah.
• 7:14
  Stuff like that. A sort of a more flourish suitek
• 7:16
  maybe, you know. Yeah, here we go.
• 7:20
  That's great. The way they met her grabbing
• 7:22
  the spike. I mean, I don't know, the spike
• 7:25
  exploding is great. No, never mind.
• 7:30
  Time Lords, the ancient enemies. Right now we're making the
• 7:32
  connection. Yes, yes.
• 7:35
  And and then what we're going to do is go back to the TARDIS and
• 7:37
  have that explained Do. You know what, gentlemen?
• 7:41
  I shall drain the blood from your bodies, drop by drop.
• 7:47
  OK. Nothing.
• 7:53
  Whatever fills your boots, Joe. Oh, all right then it is high
• 7:58
  Peter and Paul or Con, your ever favorite servants, you know, so
• 8:01
  I did tell you when it got more Florida.
• 8:03
  I'll do some quotes, OK? That's good.
• 8:06
  So what's interesting is right or Con is the one who talks to
• 8:11
  the great vampire, right? So he's plays the high priest
• 8:16
  role here, which is a very sort of, if you've got organised
• 8:21
  religion and so on, this idea of that you need to have somebody
• 8:25
  who's the the intermediary. So this is playing on classic
• 8:29
  religious tropes as well. Chosen no when he goes Time
• 8:37
  Lords. That's great.
• 8:41
  But I mean, there could have been a really interesting story
• 8:45
  in there about the hierarchy, right?
• 8:47
  Because it should be the law than the lady that are in charge
• 8:49
  and the high priest is absolutely in there for all.
• 8:53
  But the hierarchy here is Alconis.
• 8:55
  Yeah, top dog. Yes, and so Camilla and Zargo
• 9:00
  relate to the great Vampire through or con, right.
• 9:05
  And this is used of quite a this sort of basic idea of structural
• 9:09
  belligerent through the high priest.
• 9:11
  Think about like Peladon, particularly the monster of
• 9:14
  Peladon, which is a very sort of, you know, is it.
• 9:17
  Hi, Pesh talks to Agador, right. You don't get to talk to Agador.
• 9:22
  Hi, Pesh talks to that. The high priest talks to Agador.
• 9:25
  I'm trying to think of other examples of of that.
• 9:28
  It's Oh yeah. In the face of evil, what's his
• 9:31
  face? The high priest.
• 9:32
  Neva. Neither talks to Zion and stuff
• 9:35
  like that, and through everybody listens to him and so on.
• 9:38
  And that's an interesting dynamic here, because they are
• 9:40
  in some senses equal, aren't they?
• 9:42
  Yeah. And you'd expect Zargo as the
• 9:44
  captain to be in charge, but he's not.
• 9:48
  But later he goes Zargo Camilla and he orders them to do
• 9:53
  something. He's absolutely in charge and.
• 9:55
  Of. Course spoilers in terms Dick's
• 10:00
  blood harvest is Zargo who comes back, right?
• 10:02
  Zargo, who's kind of resurrected.
• 10:04
  Yeah. I I'm disappointed by that
• 10:07
  because I think blood harvest changes a lot of the of the of
• 10:11
  the story here, because in this story, there's only one, only
• 10:15
  one castle, only one village. That bloody ending on Gallifrey.
• 10:18
  I mean, what was that about? Madden.
• 10:20
  Well, well, that's what it was about, right?
• 10:24
  And therefore it just feels a bit convoluted and so on.
• 10:27
  But if we're like going to the end of Gallifrey, hit that line
• 10:29
  there. I love that line where he says,
• 10:31
  why am I still afraid? Yeah, there's still a person in
• 10:35
  there. Yes, exactly that these are not
• 10:37
  Cybermen, right? These are these are these are
• 10:39
  undead humans who are vampiric and therefore have have given
• 10:43
  themselves over to that. Now that's something that Paul
• 10:45
  Cornell in Goth opera really explores.
• 10:48
  He explores it in what's the female character at the start
• 10:50
  who shacks up with the with the vampire, but it explores it
• 10:53
  through this is dynamic as as well.
• 10:56
  That's really clever. I like that.
• 10:57
  Do you know the trouble with those two books?
• 10:59
  So right, yeah. Is that Virgin?
• 11:03
  They're just one's got a load of rape references in it, the other
• 11:06
  one's got a paedophile priest in it.
• 11:08
  It's like, why do we need these things?
• 11:10
  For God sakes, just tell a Doctor Who story.
• 11:14
  It's so bizarre. Paul, this is quite a nice
• 11:16
  scene. I once worked in the Bureau of
• 11:19
  Ancient Records, you know. Did you know that?
• 11:24
  You didn't, did you? There was an emergency
• 11:27
  instruction. You know about vampires in it?
• 11:30
  Yeah. Should you come across them, you
• 11:32
  should fire a mighty bolt of steel through their hearts, if
• 11:36
  you know, if you can get a hold of that sort of thing.
• 11:38
  Do you have anything to hand? No.
• 11:42
  OK. A.
• 11:43
  Mighty bolt of steel, Joe. I never know when you're making
• 11:48
  a doodle entendre, a triple entendre, or whether you're just
• 11:51
  completely. I mean, I'm hoping none of none
• 11:54
  of our penises are made out of steel, for God's sake.
• 11:57
  Hold on. I do.
• 11:58
  I do have a crucifix hanging up here just above.
• 12:01
  It's my, it's my, my grandfather's crucifix from when
• 12:05
  he he was a Lutheran Superintendent in Austria and.
• 12:09
  Well, so if their vampires come, we'll come to you then, all
• 12:11
  right? Yeah, well, yeah, I mean, I've
• 12:13
  done 2 exorcisms in my time, so yeah.
• 12:16
  You have. Yeah, I'm a Church of England.
• 12:18
  I'm I'm an ordained Church of England priest, so I've done 2
• 12:20
  proper. Exorcisms.
• 12:22
  In my time, that's that's, that's another story.
• 12:24
  You do it on the living as well. I mean, I could do with getting
• 12:26
  rid of him, you know? I I think we could reintroduce
• 12:32
  Simony perhaps? That's just called house
• 12:35
  removals, isn't? It carrot the trait look.
• 12:40
  Yeah. Stuart fell, and there he did.
• 12:44
  If you look at the backgrounds here, right, is this like this
• 12:47
  is like corroded metal? It's great.
• 12:51
  Isn't it amazing? And I think it's there's a sense
• 12:53
  of. Real, real.
• 12:55
  Age here, right and look at those we're we're getting some
• 12:58
  really close-ups of the background.
• 13:00
  They look fantastic. They are.
• 13:02
  You think it's brick at 1st and then you look at it closer.
• 13:05
  No, this is the spaceship. Yeah, corroded.
• 13:09
  And it's, it's, it's like a rich golden rust.
• 13:13
  It's like, it's just like whilst they're they're suggesting the
• 13:15
  age, it is visually sumptuous as well.
• 13:19
  Absolutely. It's just, it's just the design
• 13:22
  work on this. It's beautiful.
• 13:25
  This is the perfect time, right? We're in the show where you've
• 13:29
  got two time laws, so you can literally do this exposition
• 13:33
  scene with the Doctor and the companion with her going Oh
• 13:36
  yeah, I read up about that one when I went to the Bureau of
• 13:38
  Ancient Records. The.
• 13:40
  Talk. We're talking about the hermit,
• 13:43
  right? That's a that's an illusion
• 13:45
  back, isn't it, to Thai monster? To planet spiders.
• 13:49
  Yeah, you'll be able to that and so on.
• 13:51
  Again, this is, this is Dick's had his best.
• 13:54
  He's weaving the Time Lord law, the Gallifrey Law.
• 13:58
  He's creating. He's he's expanding it, just
• 14:02
  adding to it. It's really clever.
• 14:07
  It is a very clever and do you know?
• 14:09
  What this comedy there as he slams the door on?
• 14:13
  Him, he goes, oh, sorry, yeah, I'm fine, don't worry.
• 14:16
  Oh, he can't help but do a Better Business, can he, Tom?
• 14:21
  No, no. How about you come in right and
• 14:23
  smack the door in my nose? Yeah, OK.
• 14:27
  Yeah. Did you notice that in that
• 14:30
  scene, the chemistry between Tom and Lala is just fantastic.
• 14:34
  Yeah. Everything.
• 14:36
  'S oh they are fucking there, the pair of.
• 14:38
  Them so. To come on.
• 14:39
  Yeah, he goes, you. Oh, wonderful.
• 14:43
  And she goes, oh, am I? Have you ever had that
• 14:47
  conversation with anyone, Paul? You know.
• 14:49
  Not recently, no. Oh, what?
• 14:52
  What? What is going on?
• 14:53
  Oh. No, it's a crime.
• 14:56
  If there are any ladies out there listening to hamster a
• 14:59
  blunt pen knife. All right, I've got his number.
• 15:00
  OK, let's just say that Doctor Who fan for sale.
• 15:06
  Did you say I'm free like Mr. Humphrey said I did?
• 15:08
  OK, that's. Not going to help is it?
• 15:13
  Although there's probably more of that sort listening, so yeah.
• 15:18
  So here's Ivo. I did not realise he plays
• 15:23
  Marshall Stake in the two doctors.
• 15:25
  He does. He does.
• 15:26
  Yeah. Clinton grain is it?
• 15:28
  Yeah. Yeah, he's.
• 15:29
  Too tall for a Sontaran, really. Did you?
• 15:31
  Learn when you're when you're researching for hamster it's.
• 15:35
  Fantastic. He is so Paul, he is too tall.
• 15:37
  But I'll tell you what the indignity of what that Sontaran
• 15:40
  goes through in part three of the two Doctors it's.
• 15:42
  When he gets back in the leg. We're coming up to the TARDIS
• 15:46
  scenes where there is some, there's a, there's a real gaff
• 15:51
  and then there's an absolute beauty of a shot, right?
• 15:55
  So in a minute we're going to have the target scene.
• 15:57
  Look out for the shadow of the boom microphone early on, right?
• 16:04
  Then look out for when he's talking about the record of
• 16:08
  Rattalon. There's this crane.
• 16:10
  Shot Oh, it comes right out and. Round and again, Peter Moffat,
• 16:15
  we salute you. I mean, you look at his latest
• 16:20
  hardest scenes, he ain't doing none of that.
• 16:22
  You know, he really is trying to impress.
• 16:23
  I was just wondering, you know, this was a 45 minute new series
• 16:26
  episode. Yeah.
• 16:27
  Just imagine that for a second. I think the whole thing, like
• 16:30
  you said earlier, Peter, about the sun, that would be the in
• 16:33
  there because there's always an emotional drive to the new
• 16:36
  series episodes. Yeah.
• 16:37
  There will be so much more focus on that.
• 16:40
  Oh, I love this bit. She goes in a sanctum, please.
• 16:44
  And he goes and takes her. But what's so great is she's so
• 16:48
  competent, she's so great he trusts her to stay there and
• 16:53
  dice with the vampires whilst he goes back to the TARDIS.
• 16:56
  Yeah. Yeah, he's not daft, is he?
• 16:58
  He's. Not yeah, yeah, you can't do
• 17:01
  that. Yeah, it's.
• 17:03
  Not that he genuinely trusts. And of course she isn't.
• 17:05
  She's dressed like Van Helsing. Yeah, that's that.
• 17:07
  She's she's, she's well up for it.
• 17:09
  I also think this is one of the few times where the actors
• 17:13
  absolutely spill into the dialogue because he goes, oh,
• 17:16
  what about Adric? And he goes Adric like that in
• 17:19
  such an angry way of like that prick.
• 17:22
  I'm not dealing with him. Ruined everything.
• 17:25
  You sold him out. But I think if if that unit had
• 17:31
  lasted a bit longer, you could have had a really nice family,
• 17:34
  mum, dad and the alien kid. It could have been really nice.
• 17:38
  But I just don't think they all jailed in the way that they
• 17:41
  needed to. Exactly that.
• 17:44
  I mean, talking about, sorry, talking about Adric, do I mean,
• 17:47
  I think he works much better with Tom than he does with Peter
• 17:50
  Davison. Yes, but I agree.
• 17:52
  I mean when they're on their own together.
• 17:56
  Because there's a clear age difference between yeah, so, so
• 18:00
  they kind of like Joe said, be the father and son.
• 18:03
  And then Tom just Tom is like, oh, well, I, I get to be the
• 18:07
  person in charge. As you're right with with Peter
• 18:10
  Davison, there's only about 10/11/12 years between them.
• 18:14
  He's basically older brother father figure.
• 18:17
  You know what else shifts as well is that when Janet and
• 18:21
  Sarah and Peter come in, he's then the longest serving actor
• 18:26
  in the show of the regulars. And I think there's a shift
• 18:29
  there. There's a little bit of
• 18:30
  arrogance. You know, he's fucking under
• 18:32
  that off quoted thing about him giving Richard Todd acting
• 18:37
  lessons on this. I mean, come on, Matthew, Jesus.
• 18:40
  Christ, this God, right? Who's this?
• 18:43
  This young God who's standing up firm and shoulders back and
• 18:47
  some. This is his scene and he's
• 18:50
  getting every penny, obviously, isn't he?
• 18:53
  Look at him and she goes, do you know the lady Camilla?
• 18:56
  Yes. I just happened to be her blood
• 18:58
  group separator. It's great.
• 19:03
  Fantastic. It is great dialogue.
• 19:05
  I mean, Terrance can knock those lines out in his sleep.
• 19:08
  That's one thing is books get brilliantly.
• 19:10
  They're just full of witty lines.
• 19:11
  Yeah. Yes, of course.
• 19:14
  What's interesting is when she turns around the car and slots,
• 19:16
  it doesn't actually fall in properly, but the door still.
• 19:19
  Opens This was one of my favourite cliffhangers when I
• 19:22
  was a nipper. I think this is so well done
• 19:24
  with them coming away, him being stabbed and pulling the knife
• 19:28
  out, all of it. It's so well done.
• 19:32
  I mean that lighting is so good. Look at how you can pick out the
• 19:35
  cobwebs there. That's.
• 19:37
  Brilliant. Sorry, Paul.
• 19:40
  I was just going to say what Brilliant said it is.
• 19:41
  It's just so, I mean, not often do you get the light and turn
• 19:46
  down that low that you get the atmosphere, do you?
• 19:49
  That pull back there. Look, did you say K9's still got
• 19:52
  a couple of jump leads into the TARDIS canine, old chap.
• 19:56
  We need a bit of exposition here about the old ones.
• 19:58
  You know the great one. And to be fair, that double
• 20:01
  shadow from the TARDIS console is indicating that the
• 20:04
  lighting's a little bit. It's it's a.
• 20:06
  Studio. It's a studio.
• 20:08
  It's. It's almost the the first time
• 20:10
  in this story that you think that's a studio.
• 20:13
  And it's because it's that matte boring colour console room,
• 20:17
  isn't it? Yeah, it's a real problem as you
• 20:20
  go into the later 80s and and you go from something like Marco
• 20:23
  Dorani, which has got beautiful sets of location work and then
• 20:26
  to that hideously bright artist it's.
• 20:29
  It's falling apart. You can just.
• 20:31
  See it? You can just see it looks
• 20:32
  wooden, doesn't. It Yeah, it looks wooden.
• 20:35
  It's just. Yeah, I do like the new console
• 20:38
  that comes in in the five Doctors with all the buttons
• 20:41
  the. Way he's he's sort of polishing
• 20:44
  it and. Have you ever seen it?
• 20:47
  You're never allowed to touch the bloody thing.
• 20:49
  It's always got a big rope around it.
• 20:52
  I just want to touch every button where it says.
• 20:54
  Look, there's only about four buttons on that one.
• 20:57
  Oh look in the. Bed.
• 20:59
  It's a bat over the bed. The sort of head head boards a
• 21:03
  bat and he needs a wooden stake and he hasn't got one.
• 21:08
  That's how my mother used to sleep like that.
• 21:10
  He used to scare me senseless. She'd just sleep with her.
• 21:12
  Yeah, her arms, like, across like that.
• 21:14
  And then she'd have, like, her eyes half open, sort of blinking
• 21:17
  like this. I said, Mama, you're fucking
• 21:19
  ghoulish. You are when you sleep, Dracula.
• 21:22
  'S. Pride, I wouldn't be surprised.
• 21:27
  We haven't talked about, we haven't talked about the music,
• 21:29
  but the music here, I mean, the whole score is a, it's a great
• 21:34
  evocation of like a hammer score.
• 21:37
  But in this cliffhanger, it builds and builds and builds.
• 21:41
  And you wouldn't think good here, and you wouldn't think
• 21:43
  electronic music should work for this sort of thing, but it
• 21:46
  really does, doesn't it? It does, yeah.
• 21:49
  Because it's old fashioned ticket tape, Yeah.
• 21:51
  Umpire. Army, even Tom, though he can
• 21:56
  sell it, can't he? Yes, yes.
• 22:00
  Listen to this canine. So powerful were the bodies of
• 22:04
  these great creatures impossible to kill.
• 22:10
  So we're raising the stakes now. All right, Yes.
• 22:13
  Do, I mean, do we know at this point that there's an enormous
• 22:15
  vampire underneath the ground? I think we do, don't we?
• 22:19
  We know that there's a great one there and Auckland is talking to
• 22:21
  the great. Just the ground was sort of
• 22:23
  bulging, wasn't it? We've not had the, the we've
• 22:28
  contain yourself, sorry, we've not had the the sort of
• 22:32
  underground sort of sensor thing to see it and so on.
• 22:37
  I would have gone with breathing.
• 22:39
  That's all I was saying. All right, Yeah, I didn't agree.
• 22:42
  The word bulging into this. Yeah, that is gorgeous, isn't
• 22:46
  it? Well, and because he I think he
• 22:47
  wants to get Kayline into the shot, but he doesn't want to do
• 22:50
  those boring two shots where Tom has to Crouch down.
• 22:53
  From from above down and Tom's, Tom's.
• 22:58
  I mean, I don't know if Tom's taking notes or just knows how
• 23:00
  to do this, but he does it really well and even like the
• 23:03
  placement of the ticker tape leaves a gap for canine in the
• 23:07
  shot. It is.
• 23:09
  It's Mr. Moffett. You're doing well here mate.
• 23:12
  And Tom looks haunted, doesn't he, by the information he's
• 23:15
  getting. And I mean, he sort of looks at
• 23:17
  the camera a couple of times and goes, Oh, yeah, Like, are you
• 23:21
  aware how serious this is, kids? It helps if he's I'll at this
• 23:25
  point, almost he looks poor. He looks like he's, he's kind
• 23:28
  of, there's a, there's a sense of, of the 4th doctor here of
• 23:32
  like, oh bugger, how do I fix this?
• 23:36
  Big stakes. Yeah, literally.
• 23:39
  Well, you need a big. Stake.
• 23:41
  Of course I've just remembered we've seen that enormous bloody
• 23:45
  tube of blood going into the ground.
• 23:46
  Of course we know there's something there.
• 23:48
  There's something down there, yeah.
• 23:52
  Using it to become stronger. Here we go.
• 23:53
  It's actually this is a really nice way of seeking together all
• 23:57
  the information we've had so far into into the narrative.
• 24:00
  Now. Is it predictable, though, that
• 24:05
  the tower as a spaceship will be fired up and come down mighty
• 24:12
  bolts of steel? 6 year old me had no idea.
• 24:17
  That's all. That's all that matters.
• 24:18
  And I think as an adult, who cares, you know?
• 24:22
  Yeah. And when you look at the tower,
• 24:26
  you don't realize that actually the top of it is 3 different
• 24:30
  ships that come off and go down. You don't, you don't kind of get
• 24:34
  that. So actually it's not obvious.
• 24:38
  Great jump scare there of Adric's eyes suddenly opening
• 24:41
  and then them waking up. I remember watching this guy.
• 24:43
  Oh my God, look behind you waking up.
• 24:46
  Come on. And you're right, Joe, this is
• 24:48
  an awesome cliffhanger. Ah.
• 24:50
  So the fear of God? Yeah.
• 24:53
  There's almost like this, there's like a scream in the
• 24:55
  music as he's pulling the knife out of his chest and he's loving
• 24:59
  it and he's not going. And I hold the Cardiff in the
• 25:03
  air by his neck and that's quite scary.
• 25:05
  Yeah, like, what does he actually does he twist his neck
• 25:08
  or something? Like, it's quite graphic, isn't
• 25:11
  it? It is.
• 25:12
  Oh my God. Look at Rachel Davis.
• 25:13
  She's going full vampire now. Look.
• 25:15
  Yeah, are. Those real candles, because it's
• 25:18
  just phenomenal. Yeah.
• 25:20
  And the whole sort of stone that that that backdrop is like a
• 25:24
  rude screen in a church. It's just phenomenal.
• 25:27
  But with the pipes for the ship as well.
• 25:29
  Like this stuff just doesn't age, does it?
• 25:32
  No, it's brilliant, absolutely brilliant.
• 25:36
  Too late. Killed him.
• 25:37
  Even I haven't tossed a man that dramatically.
• 25:40
  Good grief. Did you surprise me?
• 25:42
  Oh, no, not, not on a point where they were dead.
• 25:46
  Paul. Jesus.
• 25:47
  Oh, goodbye, that good. Oh, the line.
• 25:51
  The blood of the dead is stale and flat.
• 25:54
  I must feed on the living shit. You're right.
• 25:57
  She's the best vampire, isn't? She, she is.
• 25:59
  She's brilliant. Just look at her going for it
• 26:01
  now. Oh my God, her teeth are bad.
• 26:05
  Her claws are out. Oh, look at this he he is great
• 26:13
  and the. Knife comes out.
• 26:14
  Both How he's gone, yeah, Knife is gone.
• 26:17
  That that is possibly the best cliffhanger of season 18.
• 26:21
  It's. I think you're wrong.
• 26:23
  Isn't. It and because it isn't just a
• 26:25
  quick moment of jeopardy, it starts off with the suspense of
• 26:29
  them opening their eyes and then it goes into action.
• 26:31
  And then it's the great pull out of the knife at the end.
• 26:35
  Wonderful. Oh my words.
• 26:38
  Oh fellas, what a great story you chose.
• 26:41
  Brilliant isn't? It well, look, I'm going to head
• 26:44
  back to the ham fam and now I'm heading over to the Patreon
• 26:48
  page. All right, so this is that bunch
• 26:51
  our John Arnold says. Oh have we sort of answered
• 26:55
  this, but does Bit Me's SF fairy tale approach to Doctor Who help
• 27:00
  or hinder the story? It's a help.
• 27:03
  Absolutely your help. As we've said previously, it it
• 27:06
  just creates this fusion of gothic, medieval and sci-fi that
• 27:12
  just it it creates the tension in the first episode or two
• 27:16
  episodes, but it also undergirds the law and makes it work.
• 27:21
  I think. I think the law without the
• 27:23
  sci-fi bits wouldn't work. It it it it's it's no answer is
• 27:29
  helps. I wonder if it.
• 27:31
  Fits into the season, doesn't it?
• 27:32
  Yeah, if this was if this was a season 15 story, I actually
• 27:37
  think it would be moodier. It would be darker, but the
• 27:40
  world wouldn't be as well defined.
• 27:43
  So there would be like strengths and weaknesses either way.
• 27:45
  But yeah, I'd say help as well. Fabulous.
• 27:49
  Lucy McCall. Hello, Lucy.
• 27:51
  She. Says, oh bother, I can't think
• 27:54
  of a question. Well, thank you for that, Lucy.
• 27:56
  But she says welcome Peter in any case.
• 27:59
  Thank you so much, Lucy. It's a pleasure to be here.
• 28:03
  Oh, we're in trouble here. James Lark.
• 28:04
  Are you ready for this? Oh, fucking that was written a
• 28:07
  dissertation. Are you ready?
• 28:08
  Of course. He has is Mr. Lark.
• 28:10
  How different do you think this would have been if it Oh well,
• 28:13
  no, we've kind of answered this. This has been made by Dicks when
• 28:16
  he wrote it for six and 15. And do you think the Hammeresque
• 28:19
  post Hinchcliffe style would have suited it better?
• 28:22
  Or does it benefit from a shiny new J&T Polish?
• 28:26
  It benefits from the Polish I think.
• 28:28
  OK. Is it AJ and T Polish or is it a
• 28:34
  bid me Polish? Well, it's a bid me or is.
• 28:36
  It a let's Polish. All of them.
• 28:39
  I think it would mention this in Season 17.
• 28:44
  It wouldn't be executed like this, would it?
• 28:46
  It wouldn't look as good as this.
• 28:48
  He also asks on the different subject.
• 28:50
  I make a change in Season 18 is the approach to the music.
• 28:53
  How do you think this most sympathy of score stands up
• 28:57
  today? Is this Paddy Kingston's finest
• 29:00
  moment? I wouldn't say it's it's finest
• 29:08
  moment, but it's it's pretty good.
• 29:10
  But I think, I think the whole, I think from from the moment
• 29:15
  that new Peter Howe theme comes in at the start of the Leisure
• 29:19
  Hive, the very fact that it's new, it's not just the graphics,
• 29:24
  but but the whole electronic tone of the theme music tells
• 29:27
  you this is a new era. This is we are, we are, we are
• 29:31
  now not what we were. And we are, we are into the 80s,
• 29:37
  right? We are, we are doing things
• 29:39
  differently. And so it's it's, it's all kind
• 29:43
  of in, in one, right. You still get sort of music that
• 29:47
  harks back to the 70s and so on, don't you?
• 29:49
  But but this is definitely an an 80s story, not least because of
• 29:55
  the music. Oh.
• 29:58
  I, I think that's correct. I mean, I think although it's, I
• 30:03
  mean, I said earlier because it is very, very sympathy and it's
• 30:06
  very 80s, but somehow it lends itself to the period it's trying
• 30:11
  to portray. And you get medieval and you,
• 30:14
  you know, you get all that and you get the bit of gothic as
• 30:17
  well. So I think it's a pretty, it's a
• 30:21
  pretty spot on score. I'm going to make a bold claim
• 30:24
  now. I actually think the scores in
• 30:25
  Season 18 are some of the best musical scores of Doctor Who.
• 30:30
  I think the Radiophonic Workshop came in and weren't really
• 30:33
  trying to impress with the best people that they've got.
• 30:35
  They wanted this gig. They finally got it, you know,
• 30:39
  warriors gay Ligopolis has got a beautiful.
• 30:41
  Score going to say that joke. Ligopolis is.
• 30:44
  You cannot think of Ligopolis without that score.
• 30:47
  That's Kingsland as well, isn't it?
• 30:48
  Ligopolis, yeah. So, yeah, and that's better than
• 30:52
  this. Yeah, yeah, yeah.
• 30:54
  Although this is a great score, but yes, I mean, Leisure Hive is
• 30:58
  warm to warm. You look in that.
• 30:59
  I love the March of. Come on.
• 31:07
  Yeah, wonderful.