Rehabilitation

Hello, dear listeners, and welcome back to Flight Through Entirety. The only Doctor Who podcast pressed onto two plastic discs for your listening pleasure. I'm Brendan. I'm Nathan. I'm Todd. I'm Richard. And today we are having a whistle stop tour through the big finish range, focussing on the adventures produced with Colin Baker as the doctor, and the 1st story we're going to be looking at is Jubilee. Well, this is yours, isn't it, Nathan? Yeah, I chose this one. Without actually having heard it before, it was really just on the reputation of Rob Shearman, who wrote Dalek, and who was kind of asked to somehow adapt Jubilee for the screen or to use elements of Jubilee for the TV program, and in particular, it's the incredible, I think, Cliffhanger, who episode one of the audio that he virtually reproduces years later with Christopher Eccleston, which is the reveal that the prisoner in the Tower is in fact, a single Dalek who's been chained up and tortured for decades. And so this shares a lot, I think, with Dalek. But nevertheless, the kind of setting is extremely different. And I think so is the message. I remember, um, years ago when Rob Sherman was at a Huvention, he was talking about the writing process for adapting garlic, and he said the 1st draft was very much like Jubilee. And then in the 2nd draft, I changed it slightly so that the owner of the dialect wanted to make the Dalek sing happy birthday for his wife. And yeah, then it became very different on television. But this is, it's an amazing piece of satire, I find. Jubilee. It's a beautiful piece like all of Robbie Schumann's work. Have you seen his books? There are some of his short stories you can get through big finish as well, or at least, you know, via the website, you'll find them. I've downloaded those and I've been reading those as well. He's got a really acerbic, cynical, Charlie Brooker kind of feel. It's the closest Doctor Who's got to Black Mirror, if you've watched any of those. Yeah, so it's really beautifully done. sort of a near future. In this case, it's an alternative future, we have a British Empire again, to whom the, to which the Americans kowtow with hilarious results, and indeed every other nation, and a president and his wife. But not the queen. Anyway, they're in a fantastic couple. You can see they're definitely sending up. There's so much in this. The underlying structures behind power and why power is never actually something to be sought or why capitalism confines it. Humans themes are vast and really nicely contained. It's extraordinary. He shoves that much into one little disc. So the titular Jubilee is the commemoration of a 100 years since the doctor defeated the dialects. Correct. And that gives rise to this. It's actually worse than a British Empire. an English empire. That's right, it is an English empire. With all of the racism, you know, and colonialism that that implies and doing this podcast while we're in the throes of Brexit just makes it resonate even further, actually. You said, we're, you see, you're meant to have said, we are. Sorry, I'm doing contraction. which are not allowed under the English empire. Nathan, had you listened to many audios before? No, I have to admit that it's not a medium that I like very much usually because all of my listening kind of happens when I'm walking the dog in the morning and I don't really want to pay much attention to a narrative. So I mostly listen to just old episodes of Flight through Entirety actually. Every morning. There is no plot, I assure you. So coming to this, as somebody who hasn't listened to the 6th doctor on audio, what did you think of the interpretation of the doctor and Collins performance? So Colin, I think, is really quite different from what we've seen before. And I think I've mentioned in previous episodes, because this isn't the 1st episode we've recorded since I've listened to Jubilee, I think he benefits enormously from being up against Evelyn Smythe, who is a really, really great character. It took me a little while to warm to her. I think she's a little bit staging, a sort of very talky initial scene at the beginning of this story, but she settles down. She's really good and she just can't be bullied by the 6th doctor and the 6th doctor isn't mean to her. And this is clearly set at a time after the 6 doctor has kind of settled down and stopped being quite so obnoxious. And so you get to see Colin at his best when he's being funny. You know, he's almost immediately wrong about things. You know, the TARDIS suffers this malfunction, which causes the entire problem. And, you know, he dismisses it and gets it wrong. And I think that he really benefits from that and she's a really great character and a sort of shame that it would literally be impossible to conceive of her as a companion on television. Did that put you off listening to this or like initially, did you find it hard to break into that having never listened to any of her introductory stories? Yeah, I had never heard her before, but because Jubilee has such a reputation. You know, I was kind of happy to give it a listen. And I was hugely impressed by it. There are some really great performances, and I think this is Martin Jarvis's best work. isn't it great? Yeah, we need to cite Jarvis. Yeah, so he's president of England. Yeah, President Rochester and his real life wife, Rosalind Ayres is Miriam Rochester. So they're a real couple. Really? Yeah. And doesn't it show? I imagine. they had a lot of fun. Yes, you putrescent ugly cat bags. I really am fantastically ugly. Yes, you are. I think Shiman is also riffing a bit on Mindwarp as well because Rochester at one point takes the doctor aside and says to him, no don't you realise everyone in the city's undermined control? I'm not really like this. I'm having to play along. And then that whole thing comes around full circle. like no, he really is insane. But the lie he tells himself is that he's not insane. I think there's a lot of Tony and Cherie in this as well. Of course, because this was getting towards the end of Tony and Cherie. very true. At that moment that I'd forgotten about because I had heard this before. I re-listen to it for the podcast. The bit I'd forgotten about when they're flying about in the Dalek solar disc, the bit where Rochester says, oh, no, this, you know all this rubble and damage isn't from the Daleks. This is from us. I'm like, oh, wow, you know, yeah, that's that's really quite biting for now. Yeah, well, in Sandra's review, take a drink. He compares the fact that Rochester is spending money on the Jubilee instead of providing housing. He compares that to the Olympic Games, of course, in 2012, where we have people on 0 hour contracts preparing for the games, money being spent on the games, the whole of London being militarised with missiles placed on the top of tower blocks and things like that. And the fact that this whole thing is a celebration of sort of English imperialism, at the expense of the actual well-being of the English people, and Rochester actually says they would much prefer a big street party, though I'd much prefer a jubilee to adequate housing. And so there's something obviously about that sort of neoliberalism thing and just the idea of using history and patriotism in order to get people to ignore their own welfare essentially. And so we do get these giant crowds. the end, the whole thing culminates, doesn't it, of the Jubilee, which is this massive giant celebration of English nationalism. It's very prescient for now, isn't it? You could feel as if it was just made to shear or last year. And June the 8th, well, no. how close it is. Yes. Did you find yourself comparing it to the episode on television like trying to find similarities all the way through or did you forget about that once you got into the story and that sort of thing? I pretty much think that after episode 2 where we really get to see the Dalek and the doctor interact, there isn't actually much in common between this and the actual story Dalek? Because you've got less time in Dalek and because the job of Dalek is to reintroduce the Daleks to a completely new audience. And so Dalek is fairly simple. It is just a dalek escaping a base and killing a whole bunch of people. Whereas here, it kind of relies on the fact that we know who the Daleks are. It also relies on in terms of Evelyn. This is about Evelyn's, I don't know, 7th or 8th story. She's already met the Daleks in her timeline. So she still takes on the role that Rose would later take on of saying, you know, this is a creature in pain, but she doesn't have the naivety Rose has. I'm not using naivety in the pejorative sense. Rose literally doesn't know what the Daleks are capable of, whereas Evelyn does, but at the same time she distinguishes that, hold on this Dalek is very different to other Daleks, and she even pulls the doctor up on it far more strictly than Rose does. She says to the doctor, in that case, I cannot see the difference between you. Yeah, yeah, it's the you would make a good Dalek line from Dalek. And in fact, that dalek does become a character and Nick Briggs does just an incredible job. Like, he really is a superb choice for the new series and for Big Finish, as someone who does these monster voices, because I think they introduce Davros in the 70s and keep him going in the 80s because, generally speaking, the Daleks are sort of fairly boring conversationalists. But here, he's given a real character and all of that stuff about needing orders and stuff, I guess, stays in in Dalek. You know, he's been abandoned, he's got no sort of purpose. And I guess we discover through his complete lack of purpose that in a sense, the Daleks don't make any sense as a threat because they define themselves against the other. Their whole purpose is to destroy everyone else. And so once they've done that, the only thing that they can do is invent another within their own ranks and fight against each other until there's literally only one left. And what's the point of that? And I guess that that is supposed to be a commentary on the humans themselves. I mean, the doctor tells this story about this sort of warlike race of people who fight until everyone's sort of eliminated, and he's giving that as a big speech at the Jubilee, and we're all supposed to think he means the Daleks, but he doesn't. He means the English Empire. He means the human race. Speaking of that, Ross, with all the lines in the beginning about the prisoner in the wheelchair in the tower. Now you hadn't heard this before. I did actually know this though. I had been spoiled. So that is another doctor, the doctor from 1903, who had gone back in time and he'd been captured and horribly mutilated and stuffed in the tower for 100 years. And Colin gets to do some proper acting. You know, he's not normally called upon to be anything other than himself sort of slightly louder. And I think he's really good there. But I think that's one of the strengths of big finish and certainly their vision and Gary Russell is that they wanted to regenerate this doctor in the eyes of fandom and really change the character or give common, you know, different things to do to show what he could do, which, as we've discussed, you know, behind the scenes stuff on the show, just never really gave him that opportunity fully. Well, I think this is the best Colin story that I've seen or heard. I think it's certainly better than anything that made it to television. It's much more complicated and much more interesting. While still being sort of camp and silly and funny. But funny in a way that's increasingly unpleasant, you know, and difficult to tolerate. Yes. Well, the poor little people in the Daleks, especially the one from America who doesn't fit. Yeah, so what he saws his arm off or something. Yeah. So he fits in the dalek. Like all of that stuff is gross and black comedy, but it's black comedy that's actually done well as opposed to the sort of black comedy that Seward does, which is kind of not very sophisticated. Yeah, yeah, yeah. I mean, that's the thing, because especially when Rochester does cut off that guy's hand, his immediate reactions doctor is, just saying, no, remember, I'm not actually evil. I'm just pretending, the doctor's like, no, you just chopped off someone's head. That's evil. You keep that in mind, Nathan. Yeah, sorry. I won't do it again Something I love about that old doctor in the wheelchair scene is Colin has that rare talent in an actor where you know, you've got the whole storytelling thing of show don't tell. But in about 30 seconds, the doctor tells us what he suffered in the last 100 years. And I think the most affecting part is when he talks about how Evelyn died, his version of evil and died. And he just has that line of I had your bones to talk to, but then they took them away. And, you know, it's like one of those things of, you know, write a sad story in 10 words kind of thing. But it's just the way that he says it, not exactly without emotion but without an extreme of emotion. You know, he's all cried out. He's not gone insane, but he's just like, he's done. He's just done. He's resigned to it. And then his scene with the Dalek at his dare. I mean, I can just imagine Colin going, hey, I get to die as the doctor and keep going all in the one script. We all love a good death scene. dear listener. We just recorded our time incorporated, and I think Nathan and Todd had the most amount of fun when I told them they had to grapple in the time vent and scream at each other. Yeah, no, we've already arranged a date to reenact that. much like this podcast, indeed. There's a lots of cod Shakespeare in this too, which is also something that Rodri Schimman does really nicely. So, you know, they are, as Cherie and Tony were, the current Lord and Lady Macbeth. Yes exactly. Well, and she's sort of fabulously scheming too, Miriam is really really terrifically good. Is Miriam our favourite big finish, naughty girl? I think she might be one of them. She is really terrific. So there's even that very opening scene and it's not entirely clear what's going on. But they're playing naughty sort of games with each other and contracting their words. So they're saying isn't mustn't to each other. And Rochester slaps her. Then we discover that she's actually plotting against him and we think, you know, the slaps. absolutely fantastic. Yeah, and but the reason is, no, she's even more evil than him. Yeah, yeah, because she doesn't believe that she's doing this because she has to hide the fact that she's a good person. No, she's like, no, we want revolution. Well, in fact, the slab, which is meant to be a signifier that Rochester's evil and that she isn't. Her actual objection is that the slap wasn't hard enough and that he never once broke her skin. And this is a world where women are sort of subjugated and relegated to 2nd class status and where foreigners aren't allowed into the country and once you leave the country, you're not allowed back. And, you know, it's really, it's a really, really gruesome dystopia. And it's kind of funny that the doctor doesn't kind of remark upon it initially and it's not entirely clear how it's arisen. And so for a while, we think that this is what the world is like. And apparently, Schumann had wanted big finish to actually leave this world in place and maybe go back and revisit it. And I've read a comment on Santa's blog by him where he actually says that he thinks that episode 4 is a bit talky and doesn't quite work. And that's partly because Big Finish wouldn't let him keep this as the status quo and everything had to sort of revert back to normal at the end. So it is really kind of dark and I really, really like the alternative creepy, horrific world that it creates. alternative anymore, is it? Well, I think that that's the point of alternative worlds, isn't it? You know, a lot of science fiction set in the future is actually just set in the present day. British asset. specialised on in that since before the war. And it's not just Orwell and Huxley. We've had so many of them doing this. All the great writers have looked at it. We're just getting closer. Well, in fact, there's an adaptation on American television at the moment of Margaret Atwood's Handmaid's tab. I was just thinking of Handmaid's Total when we were talking about Miriam. Yeah, it's very close. Well, that's about the present. You know, that's not about a speculative future. about how women are treated now. And I think this sort of strain of English fascism has sort of been present in Britain for, you know, decades and decades. And so the doctor's done something that really unleashes it here. So from an alternative present to a rather distorted version of the past, it's Doctor Who and the Pirates. Was this your choice, Brendan? This was my choice, and why did you choose this one? Apart from being able to go... Um, there's a few reasons I chose this one. One of them, of course, is Billy... Bill Ody is the... playing Bill Ody. But also, you know, Bill Oddie, famous for being in the goodies comedian, you don't expect him to play a villain and he's funny and chilly in this story. It bookends nicely with the previous story, doesn't it? Because you're not quite sure which side the villains are and then are they as, ooh, they are. Ooh. Oh, I also enjoy the story because it works on a few levels. So the story starts with evil and visiting one of her old students who is quite upset about something. So Evelyn starts telling her the story of when she and the doctor met some pirates. She's rescued her from the chip vat, hasn't she? Down in the uni canteen. That's right, yes. Yeah, it is a bit Bill, isn't it? Yeah, and so starts telling her the story. And Sally, this girl who... It's Helen playing the part again. Helen Goldwin. She's so good, yeah. And for a moment I thought, oh, is this Sally who later turns up as a companion to the 7th doctor, but no, it isn't. But we're getting ahead of ourselves. So Evelyn's telling the story. And the great thing is all the way through part one, Sally's breaking in with, hold on. no that doesn't make any sense. I think in the story, like Evelyn Gibbs, Bilotti's character, 2 peg legs and hooks for hands. And it's kind of like, well, how does he walk? How did he draw a sword, you know, and she complains that all of the pirate tropes are actually sort of historically inaccurate. Yeah, and all the pirates are called Bill Billson and John Johnson and they all, but they all sound the same. You've already done that. Remind me, who wrote this one again? This one was written by Jacqueline Rayner, who also created Evelyn and she Jack Rayner does a fantastic job with historical. She's great with sci-fi as well. She's got a good blog too. And she also writes wrote that page in Doctor Who magazine for ages. Yeah, about introducing her children, Doctor Who, which is so lovely and heartwalling and you get you get things in there like they're watching time flight or time lash and really loving it and enjoying it, you know, that sort of thing. So we have a level of artifice in this story because it's evil and elated the doctor telling Sally. This story about meeting up with pirates. It's funny too, isn't it? Because the whole thing is a very definite short story kind of premise. You know, it's the evening, the doctor and and Evelyn turn up to tell a story to Sally and they resolve something in Sally's life by doing it. And it's not entirely clear that the pirate story is going to matter or indeed go anywhere. But that story really develops and becomes engaging. At the end of episode one. I think at one point in episode one, there's some throwaway line from someone suggesting that the story actually doesn't matter or there isn't really a proper story or anything like that. And I found myself a little bit irritated by the inset story while still enjoying the framing story, but that inset story actually becomes quite compelling, I think. Yeah, yeah. It does become compelling. And again, it kind of becomes compelling almost entirely because of Maggie Stables as Evelyn. You know, the doctor's companions are always the human touch and identifying the human emotion, and Evelyn is so incredibly human. You know, she tries to stop the pirates fighting by giving them all a piece of dairy milk. Only she could do that. Exactly. And she's like one for you and one for you and one for you. But then Red Jasper jumps across to a pirate who's contradicted him just before that and rips out his tongue anyway. You know, we have this combination of Evelyn's great humanity and jolly hockey sticks kind of attitude, counterpointed with this extreme and possibly historically accurate violence and punishment and torture. And we also get the sense that we're not sure where the story ends and the truth begins and not to preempt, but at the end, it seems that all of these things were in part way true. Yeah, absolutely. And yeah, as the story goes on, we discovered that something has happened in Sally's life and she's been responsible for someone's death, which is why Evelyn has come to see her and Evelyn starts to imply that she knows what that's like and she's like, no, sorry look, I can't tell any more of this story. And so the doctor says, I think you need cheering up and says, how about a musical? The cliffhanger team. going to sing. That's the cliffhang of the episode too. And it is it is Colin going, oh, and the cliffhanger cuts in. And the weird thing is with the music and I don't know if it just takes some getting used to, but at the beginning, the musical is just bloody horrible. It is Colin very cleverly, Segigo, a rewrite of, I am a very model of a modern major general. Well, in fact, most of the songs are taken from Pirates of Penzance, but there is also... There's a bit of pinafore in there as well. Because they had been talking about Gilbert and Sullivan beforehand in the plot. But the songs, I think, become very good. There's one occasion where Sally starts singing in the present day which is a ballad and that intertwines with the stuff from the pirate ship. In fact, I think that that's terrifically clever because the only reason the pirates are singing is because Evelyn and the doctor are telling the story in that way. But suddenly in the real world, in the framing story. She starts to sing to express her emotions as well. So that artifice leaks into the framing story, which I think is terrifically clever. And that's really where we discover that what Evelyn wants to do is actually try and persuade Sally not to kill herself in remorse at the death that she's caused. And one of the ways she does that is, of course, showing that she's in the same position, but is still managing to live on despite her own loss and her own feelings of guilt and responsibility. Yeah. I think it's one of the things I really like about these audios is that it allows original series actors and their doctors to actually be able to be put into a more modern day context and be given these really heavier plots or, you know, stopping her killing herself is something that we see on television today. Whereas back in, you know, 1986 or whatever, these things weren't really explored with any complexity. That's one of the things that I like in these audios that you can actually go there with the cast and see how it all develops. Yeah, absolutely. And as you say, there's some real modern kind of storytelling here. Not only with kind of the 4th wall breaking, but particularly when Jasper starts to kill Jem, the character who's sort of become Evelyn's companion during this. He the cabin boy of the ship that the pirates rob, and he's resourceful and plucky and charming and sweet. Exactly. And unwittingly, he knows where the treasure Jasper is looking for is, but he doesn't know that he knows. So when Jasper's asking for information, he can't tell. And that's when Evelyn says, look, I can't tell any more of this. And when we see Evelyn again, it's already too late and we get a beautiful scene between her and Colin, where there's hardly even any words, it's just the sounds the actors are making. And it's shortly before then that instead of poking holes in the story. Whenever we cut back to Sally, she's saying, but what about this? And what about that? You know, she's like a five-year-old kid wanting more information. And it kind of proves where Eric Sayward was on a bit of a false premise in this era of the show, where he's talking about, you know, in order for violence to be effective, you must, you know you must show the blood. And it's like, not really. You know, the violence there is effective, not because we don't show the blood. It's because we show the human reaction afterwards. And not only that, it's also not a gratuitous death because Evelyn is able to... I hate to use the word use, but Evelyn is able to show the other pirates and sailors, look, this is what's happened to Jen. This is what it will happen to all of you. This guy doesn't care about you. We're giving you a chance to escape. So he doesn't die in vain in a way because all those other lives are saved, which is a very modern Doctor Who thing as well. But it's not just those lives that are saved, but Sally's life that's saved as well. It's that death that enables her to connect with Sally and really reach her. And I think that's really good. You know, there's, there are superficial things about the big finish audios, like the 4 episode structure and all of that sort of thing, which just makes it seem like they're there for sort of fanboys to kind of slot chronologically into their appropriate spots. But here I think it uses that episode structure and really kind of subverts it. It does something that Doctor Who could never, ever, possibly have done during Holland Baker's era or indeed during the entire classic series. Yeah, and I love how it takes, you know, we've always said, and fans always say, the 3rd episode is run around, get captured and talk in lots of corridors. So it kind of goes, right, if the plot never advances in episode 3 anyway, We'll make that into a musical where, you know, the doctor drinks a sailor under the table and throws him overboard. Yeah, it's just the plot doesn't really go anywhere in that episode. But hey, who cares? It's using an otherwise useless part of the story in an interesting way. Yeah, and then we get the beautiful ending where the thing is, evil and doesn't kind of say to Sally, this is what I think you should do. Evelyn just says, look, that's the end of the story. I don't know if it helped and maybe it was the wrong story to tell. But by then it's morning. And I think it's really very sweet. This is a historical story. I think that really benefits from not having any pteroreptils in it. That's a first. Well, after all, that sadness and death, I think it's time to pop down to the great plaza of Generios for a party in the one doctor. I approach this a bit differently from everybody else. In terms of, although we've been talking about go and listen to these things, I kind of think that some of our listeners won't because they're not into audio. They might only like Doctor Who on screen. They're very busy people too, I think, Todd generally. That's right. And very attractive people, which has to be said. So fun at parties. So I just want to say, I'm not a big fan of Doctor Who in other mediums other than what we see on the screen. I'm not into the books. I find after a while with reading the books when they start introducing you characters. I lose interest because I can't visualise them. They're not real people that I've seen on screen. I'm not into comics, so that means nothing to me. And so I like the Doctor 2 movies. They a bit of fun. But when it comes to audio, I guess, you know, we've got missing episodes of Doctor Who, which we can only now hear on audio. So for this, I thought, well, I wanted to try and appeal to perhaps those of you out there who don't particularly like other mediums, but might be prepared to listen to the actual original stars of the show. And so when I chose this, I basically said, well, I'm not going to choose Evelyn, who I really love and think is fantastic. So the choice was either Perry or Mel. And of course, Perry has got so many audios with not only the 6 doctor, but the 5th doctor, so I thought, well, I'm going to go with Mel. Now, if you've been listening to the podcast, you know that I'm not a huge fan of Mel, and I do prefer her with the 6th doctor over the 7th doctor. So when coming to this, I think in deciding to do the one doctor, I thought, well, let's have a look at the entire range, and I decided that I wanted to actually go with the very 1st one that they've recorded together, right? And this is fairly early on in the big finish range. Bonnie's only done one before this, the fires of Vulcan with Sylvester, which is, I think, number 12 in the range. This the one doctor is number 27. So it's still very early on. I personally think that big finish are fairly variable in their 1st 50 to 60 titles. But the titles that actually do work are actually all the Collins. Later on now, I think they work really well with all the doctors and have really honed the companions and the doctors and getting strips that work. But at this point in time, for me, like 90% of the colon or the 6 doctor scripts work. So anyone I don't particularly warm to is probably, I think, the 1st one, which is the whispers of terror with Perry. So anyway, so I decided to go with Mel. Now, for me to choose Mel, I think does say something about the big finish audios. I don't buy all the audios anymore, and really, for me, the pinnacle of the audios are the 6 doctor and Eve. The only other ones that I will always buy. Are the 6 Dr. Mel or the 7th Dr. Mel. Wow. And what's the one and of course, the common factor there is Mel. And I just think Bonnie Langford is absolutely brilliant in the audios. Not only her performance. But like the rehabilitation they've done at the 6th doctor, they finish do the same thing here with Mel. Bonnie's allowed to use her own intelligence in the part and actually, and therefore flesh out a character that really wasn't much more than a daisy duck without the bustle. Yeah, no, it was just getting Bonnie in. That is a costume, Brendan. looking at you. Yeah. But you see, this chronologically is the 1st one that she does with the 6th doctor. It's a damn good one too. I agree. And I think one of the things here is that they actually allow light and shade. when he gives it light and shade. She's still plucky. I've actually just watched Time and the Rani, and one of the biggest problems is that Mel screams and is given just terrible dialogue that Bonnie has to contend with. And I actually now appreciate what she's trying to do. in that performance. And here, she's given much better dialogue. And the character can actually make fun of herself. And that's one of the strengths, I think of this one doctor story is that if you've been listening to the range so far, you would already be in the mode of the new 6 doctor, right? So you already know what he's going to be like. But here with Mel, it's sort of like, well, is she going to be like she is on screen? One of the things I just enjoys the fact that she can be earnest and forthright and, you know, is going to succeed. But at the same time, she can rid the doctor, the doctor can rib her, she can make fun of herself, and that's throughout this entire script. Now, this script is by Clayton Hickman and Gareth Roberts. And Gareth, of course, has written a number of stories on screen such as The Shakespeare code, the lodger, closing time, Unicorn and the Wasp. And there's a lot of comedy in those. And I like comedy in Doctor Who. And this is like their Christmas special. It's also fairly early on in the range in that all the doctors are still using the pert we Tom Baker theme in their 4 episode format. They haven't done all the individual titles. So if you're listening to this for the 1st time, you'll get what you think is the wrong title sequence, but just... didn't have the rights at that time. But just listen for... I think it's episode three. And that's all. It's a carnival, isn't it? wonderful. That's all I say. Okay, so that's why I chose this. I mean, that's very long winded, but, you know, I wanted, I absolutely adore Bonnie Langford. So the story, the doctor and his companion, Sally Ann, have just defeated the evil Skeloids on the planet of Generios, and they couldn't possibly take payment, you know, for their services, but they are going to. Then the real doctor and Mel turn up and are suitably outraged by Mel is certainly by this situation. And uh, it gets more competitive because then some actual aliens do turn up and want to, you know, destroy the 17 planets of Generius or whatever it happens to be. And this is where I think it gets really funny, is that I can just imagine Gareth and Clayton, much like perhaps Nathan and Richard having a few drinks one night and then deciding to get more and more outrageous and then coming up with a way to sort of poke fun at the show, but also refer back to things that they really do like in terms of the show. So they have to go on a quest. right? A bit like the key to time, right? To do a few different activities. I actually think it's more like it's more like the keys of mariners. Oh, yes, actually, you're right. With a nod to Douglas Adams. But what's really wonderful is the fact that this fake doctor played wonderfully by Christopher Biggins, right, takes an instant shrine to Mel, like in a, yeah, in a way that, you know, Mel's got to sort of, she likes him, but she's got to vend off his advances. It's very funny. The doctor can't stand him, so there's this friction. Likewise, Sally Ann finds the 6 doctors so attractive and, you know, wants to get her on with him, much to the annoyance of Mel right? So this is just wonderful interplay between all of these characters, like the opposites. And then they've got to go off on their little separate missions. And it's just, I just find it delicious. I have to say that I think that the beginning part is stronger than the rest of it. And the best thing is, of course, the take that Christopher Biggins's character who's called Banto, I think. Banto Zane. Yeah, and Sally Ann have, you know, and when the president of Generios leaves the room, they start cracking open beers and kind of snogging and stuff like that and all sorts of things that the doctor and Mel would never do. And all of that's really funny because you've got Colin Baker who's a large sort of bombastic performance. And then you've got Christopher Biggins, who is, of course, TV's Nero from Claudius, and he's sort of famously Anto. Yeah, yeah, huge Enpanto. And so you've got 2 characters, both Mel and Colin Baker's doctor are big. And so Christopher Biggins and Sally Ann. But after that, I do think it gets a little bit tiresome because they do head off and their quest involves some fairly kind of some fairly kind of generic satire. Do you know what I mean? Like IKEA furniture. Gosh, is an IKEA furniture hard to assemble? Let's make a cliffhanger about that. Yeah, or when you're waiting for a delivery, you get given this like 4 hour time window and the moment you nip out for a sliced loaf, that's when they come and deliver. And those are sort of fairly well-worn kind of observations. And they're sort of charmingly done and there's some wonderful sort of fun performances, but the things themselves are just a little bit kind of predictable. Yeah, I do think, though, that just sort of gives more strength to the performances. Like, um, spoiler alert, the IKEA furniture bit, that's something Mel and Banto have to do, the fake doctor played by Biggins. And there's a bit where Banto wants to give up and Mel gives this really stirring speech about how she never gives up on anything and she tells a story about her childhood. And I won't spoil it, but there's a bit at the end of that, that it takes a turn. You just don't expect from Mel and it's just really, really funny. Similarly, the doctor and Sally Ann, like you said, Todd, she can't keep her hands off him and the doctor's just a mixture of annoyed and confused by this. Like what on earth is going on, but again, that's something that pays off at the end of the story, again, in a way I won't explain. See, I like, I really like the whole IKEA furniture thing with the dissemblers, because the dissembler, they remind me of the stones of blood and the Megara, the justice machines and like, you know Mel and Banto are, you know, up against it with this IKEA furniture and their their instructions and they're going to be dissembled if they spoil alert, don't finish it. But she's also having to fend off his advances at the same time. I just keep laughing and laughing. And their solution to that problem is actually genius. It is genius. This was recorded, I think, in 2001. So it's 16 years ago. This is before the new series. And so the doctor and Sally Anne have stumbled upon this quiz show which is sort of like the weakest link. Yeah, yeah, yeah. And it's got this super brain. Mentos is the super brain. Yes, it's plain toss. sometimes. But I kind of think, well, okay, so they're sending up not only the weakest link, but also their super brain is sort of like Aurak from Blake 7. And of course, you know, the whole thing with the 6 doctor thinking, you know, he's going to get it right, but of course, he doesn't. And, you know, Collins sort of the sort of fumbling around and sort of the embarrassment at that. But then giving Sally Anne the opportunity to actually solve that problem. Is I just... One Essex way. Do you love the name check of Sally Anne as well? Do you remember the math show in the mid 70s that some of us were forced to watch? It is on YouTube, and there's the phonus, and there's some bloke in a sort of really roony-oed version of, what's his name, who does all the Dead Ringers audio? Yes, a really many times a roonyoed version of John Colshaw, as Tom. And he's a companion is Sally Ann with the little bobbles in her hair and being just as plucky and annoying as we loved it. It was so exciting to see Pastasia Doctor Who in school in the 70s. But now they've done her as an Essex character, and she's really nicely foreshadows the character of Rose. I do agree with you, Nathan, that I think the last segment with the Jelloid is the weakest of the three. And you know who's the Jelloid is. The geloid is Matt Lucas, who, of course, plays Nadol in the current series of Doctor Who. He's also the voice, I think, of the actual aliens that are going to destroy the system. It's a great voice too. And that Jelloid character is really funny and terribly sweet. It reminds me of, um, there's a Futurama episode where they go to planet that's all sand. Yeah, the creature from the pig. And I think fry drinks, like there's a glass and drinks the king whereas this is sort of in reverse. Like, so it is, I do find that quite funny, but I do think it does run out of steam in that sense. I just think for people out there who perhaps aren't into audio and not even necessarily into Mel. I think this is a really good example of how the characters can be regenerated or rehabilitated. And if you like a bit of offbeat humour like I do, then it's not too heavy and you can, and if you're willing to go with it sending up things, but in a fun way, I think, you know, it's a great enjoyable hour of your time or hour and a half of your time. Now, before we go on to our last story, Todd is going to leave us because we're discussing a story called The Brink of Death, which is part of a 4 story box set called The Last Adventure, which has 4 adventures featuring Collins Doctor, the last one of which is the Brink of Death, which finally, with Colin in the role and performing it, shows the events leading up to his regeneration. Now, Todd, last time we were talking recording, you actually told me why you didn't want to stick around for this one and I thought it was a really lovely thing to say. So would you mind telling the listeners? I don't want to actually listen to this until such time. And so such time when we can't record any more stories with this doctor. If people understand what I'm saying there. There will come a time when Big Finish won't be able to have the previous doctors working. So I actually want to leave this until that time. Like, this is the end of that, and that will be the end for me. I listen to everything else, but I'm just, at the moment, I'm just decided that I'm just going to wait, you know, another 15 years before I actually, you know, listen to it. So, Todd has stepped out, and we're going to discuss the brink of death, which... I think we should talk about him, actually. Well, that's really what this episode is actually all about. It's Todd. That's right. I get where Todd's coming from and I kind of like to put them in order of listening. I just have to throw this in. I know I've said it before, probably. Audio is my prime favourite way of experiencing Doctor Who, and it came about through the missing episodes of the Hartnell and Troutens, which I love more than watching them on television, even the rediscovered ones. Webber fears a lot more exciting when you don't know what it looks like or how when it drags, you've just got the musical cues. Doctor Who works best in a dreamlike state, like a lot of good cinema, there's that suspension when you're in the dark room and you're, there isn't any other interference. I just think it's a purer way of presenting the narrative. I think this really takes advantage of the medium as well. Really does. It's a great little piece. They're 4 little set pieces. They need to be heard all together, as we were saying, Brink of Death is just the final of the four. We get back all the surviving companions, extraordinary that even in the audio period that makes it really salient, what Todd's saying. We've lost Maggie Stables. So of course she doesn't get a chance to do this. We have the fantastic Miranda raisin with 2 L's and no wine. You know, it was Tallula in Daleks in Manhattan, who's now the new companion. And that's who we thought, I 1st thought, well, we should go with her because she's just so fun and she's a Bletchley Park girl and all the rest. So we get to meet her. We get some lovely moments and some clever things and I want, if you haven't, I don't know, it's hard to talk about something in case the listener hasn't listened to it. So we'll just assume you have. Yeah, I think now, I think, you know, this episode is going to go out with a spoiler warning. Yeah, yeah, yeah. They all should. But I really recommend. I, as I said to you, I couldn't do the wrap-up thing because I hadn't been able to get through Collins era and I couldn't in the 80s and I really can't now. But I love him in the audios. And so for me, this doctor exists in the audios, much more than he does on TV. I think the advantage of this particular story, the brink of death is that instead of trying to be a four-part traditional Doctor Who story, it frees itself up by just being an hour long. And a lot of it isn't set in any kind of real place. I think it is very, very clever. Set in Sapphire and Steelland for the 1st episode, isn't it? Very much so. Oh, yeah. But we didn't want to talk about the other stories, do we? We should talk about this one. Quick rundown of the other stories. The 1st one with Miranda Raison is Constance Clark, as you said, is the end of the line, which is set in a sort of weird netherworld railway station. The 2nd episode, the red house is on a planet of werewolves with India Fisher as Charlie Pollard, and the 3rd episode stage fright features Jago and Lightfoot. And the audio companion flip. Yes. But linking all 4 stories is... Yes, so the Valley Yard appears. Our own Nathan. Well, I say all four. The Valiard appears in he's sort of pressaged in the 1st three and then it appears in the last three. So it doesn't appear in the first. Michael Jason is so fabulous in this too, listening to him again. Have you ever heard him on BBC 4 reading Rogue Male Jeffrey Household thriller? Written before, Hitler came to prominence, but about a single X Soldiers game to assassinate Hitler? And it's so true of people who've lived in the trenches and because this man spends most of his time literally in a burrow in this novel and chased and is just, anyway, everything he brings to it is fantastic. So, of course, it just works so much better in this one. There's a really clever ways that they play with the threat of losing tenure of losing life and it almost happens and then it almost happens. And then Colin just deals with it in the most beautiful way that the doctor should do. And it's a very current series way of you give up your life for a friend. It explains the opening of time in the Rani, which you would have assumed would be inexplicable beautifully. It really does a very good job of that, I think. It's really nice. It's satisfying. It also gives Colin something really interesting to do because what happens at the very beginning is, you know, the Valiard and the doctor change places kind of inexplicably. And for a 2nd it's hard to work out what's going on, whether we hear Michael Jason's voice so that we know that it's the Valiard because it's audio, but Mel is seeing the 6th doctor, but it does actually turn out that they've swapped places and now thinks that Jason is the doctor. And it's a doctor. Exactly. It works beautifully in audio and couldn't work in any other medium. And also, you get this exciting here. What were the value I'd have been like, had he been able to have a life outside trial and be, of course, he's wonderful and much more horrid than the master could have ever managed. Yeah, yeah. And I love Jason and Bonnie together. Yes, they're great. Because the weird thing is, Bonnie Asmel is still sort of bright and bubbly and what have you. And Michael Jason. his line's on paper. He's been quite charming and what not, but just the way he delivers them behind every line is, I'm going to kick you out of the 1st airlock combined with no one else around. Miss Bush. Yeah, it's nice he keeps calling her my dear. Okay, kind of old-fashioned doctor. But in the meantime, Colin is like this weird, you know, for... His shadow of his former self. In fact, it's the hiatus colin, isn't it? I'm just trapped in this non-reality on hold. I might not even exist or you won't, actually. You've got 6 minutes. Yeah, and that's that's why it's called the brink of death. You know he's constantly just a moment away from death. And we have a lovely new Scousey companion, don't we? wonderful, isn't she? Janesta. She's a uh, a time-lord technician or a galifrain technician who spent some time like in Birmingham or something. And she's really, really funny. And the doctor doesn't have to explain to her any of his earth idioms or anything like that. Rodan all the time, wasn't she? Not the chompy monster, but the other chompy monster for invasion of time. And if you're familiar with Big Finish, you kind of know that this situation could lead to her becoming a companion. So when spoiler alert, she's revealed to have either been taken over by the valiard or to have been the valiard all the time. It quite affecting. awful. What I find really strange is something we've criticised the Davison and Colin Baker era a lot for is, you know, whenever they want the villain to get a bit further ahead in the plot, they just lock the doctor in a room for a while. Yes. It's like Nick Briggs has said, right, well, you know, I'm writing for a particular era and that's something that happens in this era. How can I make it interesting? And he makes it interesting by still giving the doctor a difficulty to overcome, which is in convincing Janesta to help him when he has so little time and then concocting a plan, despite the fact he can't physically influence the universe using what's at his disposal. And it really emphasises the best part of Collin's interpretation of the character, which is the doctor's mind, his intelligence and his vocabulary. So it's like, let's just give him those things and see him work his way out of it. I think Briggs also does something that this era of the program does that I don't like quite so much. And I guess it is kind of slightly unavoidable given who the Valiard is and what the conception of his character is. And that is that the resolution all becomes about the matrix and symbiotic nuclei and all of those kinds of time, laudy horrible... Well, and you know, the Valiard has given an explanation, which is pretty... I like the explanation. No, I like that he has a reason. He's not a midi-chlorian. not that bad. No, it is pretty bad, though. I liked it. Because that wasn't one of the most unsatisfying things for me this era of Doctor Who and why I didn't watch much of it. It just none of it made sense. It's all a bit too time-lordy, I think. And yeah, I know. If you're going to do it, do it in this story, but I've already said that I really hate the Time Lords, and I'm glad Russell killed them all. And so, you know, I don't think you can have an audio where it isn't all word peril from beginning to end, can you? Because it's an audio, but it is very word parole. You see, I quite like the whole thing of, you know, it's the Matrix and it wrestle on imprimatches and that sort of thing because it retroactively creates a story arc for the era that ties together season 22, 23 and the audios. I agree with you that it's continuity heavy, but big finish for the last, they're coming up on 20 years, producing Doctor Who plays. They have sought to redress that failing in the colon era of too much reliance on continuity. And I think this is an effort by them to say, okay, we're honouring what we did, but at the same time, we're not ignoring what happened on TV. So it's like, how can we smush those together? And also, it's a matter of the only people who are really interested in, oh yeah, but how did the 6 doctor regenerate, are people who are going to know what a megabyte modem is and a particle disseminator and a time vent? It's okay to include all those. Bloody time vent. gets you every time, doesn't it? Oh, we prime the bolts, you know. So it does do one thing which I do think is amazing where it does turn. Colin just accidentally hitting his head on the console and falling over into the doctor sacrificing his life to save the entirety of the universe and the time lords and everything. By giving the console a Liverpool case. Yeah, yeah. Yeah. that is really terrific. And I think I think it was a brave idea to have, you know, the last half of the audio, have the 6 doctor played by Sylvester McCoy in a wig. Spoilers. You got a lovely little moment there with Silver, don't you? I love this story. Thank you, Brent, because Brennan was saying, no, you need to get this one. This is really good. The last adventure is worth it. And since he said that to me, I've actually been buying all of them and I've been enjoying all of them. Yeah, yeah. I think when, and this is just a comment on the range in general. When Nicholas Briggs took over as executive producer, there was a run of maybe one or 2 years when things weren't bad, but there were no real standouts. That's correct. There was none of the Baroque silliness that you were getting with say, some of the stories we've discussed earlier, Todd's one doctor, is a really great example, but we haven't had anything of the level of Jubilee. Yeah. or Holy Terror or what is the parts? Bare parts is extraordinary. But it's also that those riders have now gone on to bigger things. Yeah. Whereas now they have been getting new writers in off the back of things like the Lost Stories range. And yeah, there's a lot more of variety now. There is, there's so much. In fact, it's really hard to keep up and it's expensive, but it is worth it. But yeah, I mean, really, there's any point you can jump in on even, even that early sort of Briggs period, it's still good and it's good. And, you know, that's when they started, that's when they got Janet Fielding back. Oh, yes. In fact, what a coup. And our Tom. Yeah, yeah. Whoever thought that he would come back. Yeah, and whoever thought that he'd be recording with Lala Ward although they squeeze Tom into that old perspex octahedron that they had to squeegee Billy out of, don't they, for when he's recording with Lala? not actually allowed to leave it. Todd had been using that. I hope they cleaned it first. And he's back in the room? I am here listeners. Well, look, uh, Colin has recorded over 60 plays for next finish as well as guest appearances in Jacob and Lightfoot, the Worlds of Doctor Who, the Excelus Range... Bag puss, rhubarb, and custards. And weasel. Well, and also including not as the doctor, sapphire and steel. The Avengers where... Game of Thrones version. I, you know, I've been wrecking my brain and I've been trying to think of a bad 6 doctor audio and I just can't think of that. No, there aren't any. Todd, are there? Besides that one that I mentioned. That one-ish. Initial whispers of terracotta. But yeah, the 1st few aren't that great. But they're still not bad, but they're better than the ones around them by the other doctors. Yeah, they are actually, yes. I agree with you. 95, 99% of the 6 doctor ones are actually they're just written for him. He knows how to play it from the get go with which companions, and they just rehabilitate the entire character, if you don't like the character from the series. And whereas I think other doctors aren't as well catered for initially, but as I said now, I think it's much more an even playing field. Yeah, or indeed, I think the big thing is, the reason we didn't do Peter Davidson, one of the reasons we're not going to do a Sylvester McCoy one is, well, we might, but we're not currently planning to, is that... as good as they are. There's not much in the audios that they didn't get a chance to do on television. Whereas, as you say, Collins audios are about rehabilitating the character, redressing the kind of damage done to the character by production decisions, whereas Pete's doctor and Silv's doctor weren't as badly affected. Yeah, they had stronger support behind the scenes as Connell was pretty much by himself. exactly. But they also get variation like in the show. like, you know, Peter does do 3 years and Sylvester doesn't have a season of an overarching one story, basically. Yeah, yeah. So that's the main reason that we thought we definitely had to focus on a make a big finish special because he has worked so very hard to create this new characterisation of the doctor. And it's really good, even if you don't check out the fall we've talked about today. All of the ones he did up to the 50th big finish story, they're $3 to download. So do go and check them out. In the meantime, you can find us online at Flight Through Entirety sexy, Flight Through Entirety on Facebook, Apple Podcasts, and Google Play and at FTE Podcasts on Twitter. Don't forget, you can vote in our Tom Baker commentary, and the 4 options are the hand of fear, the sun makers, the stones of blood and the horns of Nimon. You can find a link to the poll in the show notes and also at flightthrough entirety.sexy. Over on Bondfinger. We've recently completed the Timothy Dalton era of James Bond. We may even have started on Pierce Legs. Brosnan by this point. You can find that at Bondfinger.com, Bondfinger on Facebook, Apple Podcasts, and Google Play, and Bondfingercast on Twitter. Until next time, may none of you hit your heads on the console. Thank you very much for listening good night. Good night. See you soon. Good, everyone. That was Flight Through Entirety, starring Todd Beelby, Nathan Bottomley, Brandon Jones, and Richard Stone. Theme arrangement by Cameron Lann. This episode, rehabilitation, was recorded on the 23rd of April 2017. The next episode will be released on the 11th of June. FDE productions are proud to announce a new range of full cast audio dramas, including the Doctor Who Technical Manual, Travels Without the TARDIS, and the Pit by Neil Penswick. This is my final recording with the team. Joking. Okay. Don't do it again, Tom. That was magic. What are you talking about, Richard? Don't spoil it. It's you don't know when you used to come in and do your sound segues. And I said once that you were floating in that, and then it became the meme and then he stuck the little tinkleation music over you. Is Tom doing that, has he? No, that's how that's the only way they could actually get Lana into the room. That's right The first, he won't allow her to record with him because he's too old in his words. Not quite, but I don't think they're actually, when the 1st ones they were doing, they weren't in the room together, were they? They weren't in the studio together. Yeah, different days. Are they still doing them that way? believe so. Wow. She looks really well. He's fine with, like, they're okay. Like they're okay, but he doesn't want her to see him as an old man. No. He could watch. Day of the Doctor. Yeah, basically that's in tailor. not recording them at the same time. Good God. Wibbly wobbly. I'd also heard that he gets to the studio 1st and sneaks into one of the booths and insists that she's putting a booth where she has no eyeline with him. Rubs himself all over it. So I have heard that for some of them they've been in the studio together and talking, but he's just like, no, don't let her see me. God, that's fantastic. He's like Shara's Jack. They're doing feud next year. Did you hear? Yeah, shooting that. With Tom Baker and Lala Ward season 18. You know that actually feud is as a concept going to go on with other stories. Yeah, this is only the 1st one. Charles and Diana. Yeah, Tom and Lala. David Nathan Turner. Yeah, Tom and Lala. Yeah, yeah. No, truly. Charles and Diana are the next one, yeah. and everyone else. I was going to say John Wiles, but hey, Janet and Liz. Janet and everyone else except for Todd, whom she loves. Deny that. really love Janet. I think we should do it, Janet season. talk about Janet. Christopher Eccles doing Keith Boke. Christopher Eccleston and eventually everybody's in the production. Except for Camille. we still here? Yeah, okay.