Airwick Gatport

Hello and welcome to Flightthrough Entirety, the only Doctor Who podcast, working for the good of your colony. Remember, report anyone who thinks there is such thing as, oh, I don't know what I was going to say. I'm Brendan. I'm Nathan. I'm wearing mutant crowd claws and looking a bit perplexed. Which can only mean one thing. There's no such thing as Richie wearing New York type of crap quals and looking at perplexed. The insects. Yes. As we go into the doesn't exist terror. Yes. This is fine. I'm sure it's not fun. No, it's not yours. I'm not even asterisk here on my notes. I can talk about it. We've got new credits. Exciting new credits. We have exciting new credits with Patrick Trouton's mushing them which don't exist. Well, those ones don't, but we can't sort of see what it looks like, and it is the 1st time, and we went a long time in the new series without the doctor's face in the credits, and now we've got sort of looming terrifying capalli eyebrows coming at us from out of a giant clock. Yeah, so it is. We did briefly have a little bit of Matt Smith's smoky, shadowy face. A la the original Sylvester McCoy titles. I actually quite like that. But I like this. Sandup, as usual, mentions that this is a doctor who looks out of the television at you quite a lot. He's quite, you know, often portrayed on screens, looking out and stuff. And so this is, he's looking out, smiling beneficently at you from the television and it does tell us something about his approach to Doctor Who in that he is now unashamedly the hero of the show. Yes. We talked last episode about how the show had bedded itself down how it had found the thing it's going to do for the next 47 years. It's going to be bases under siege, spoiler alert. And he's the hero of that. Do you know what I mean? So, and so naturally he gets his face in the opening credits. And look at me talking. So who's going, is it? It's my go. Oh, okay. Me? This is my story. And I have to say, I think this one is absolutely the highlight of Patrick Troughton's 1st season. I know that's quite controversial in a season that also includes Power of the Dialects and Evil, but I will I will go on and explain. Now already we have had in this season the setup of the base underseage idea. But already we're subverting that because here we do have a base under siege. We got the colony under siege by grotesque insects, the macro which are actually giant crabs, phrasing. But the twist here is the base doesn't know it's under siege. In all the other base under siege stories we see, sort of when the doctor arrives, you've got the leader character saying, oh, yes well, we've got this problem here, and, you know, we're going to a rescue because you're up this new path, but the doctor says, no I'm not. Oh, no, you aren't, right? You can help us solve it. Whereas this one, The doctor turns up and says, oh, there's something wrong here. And everyone says, no, there isn't. We're all happy. We're all fine. So, Already we're subverting that great idea. Although, now this is our, this is our 2nd ever earth colony in the future, and the 1st earth colony in the future is power of the dialects, and power of the dialects was an earth colony that didn't realise it was under threats and thought that everything was okay. And as the audience, we knew that was all going to sort of turn into a sort of giant bloody massacre at the end and we spent some time waiting for it. Here. Here it's very different, isn't it? And within the space, like the conception of what an Earth colony is going to look like, goes from something that's sort of fairly standard to something that's much more crazy and whimsical, and I think we'll talk about why that is later. But so it is different from the base under siege thing, which we just said was, you know, had just been established. And we know as viewers, of course, that if there's, uh, if it's a Doctor Who story and someone's blathering on about monsters and things, uh, that, that, uh, we're going to be on the side, that thinks the monsters are real, you know, they're not going to be made up. And of course, in that role, you have the brilliant Terence Launch. I think I stayed there on holiday work. He plays a very similar role in some early Avengers stories. He's in some very good on a black man episodes such as the ringer and the man with 2 shadows and in the man with 2 shadows. Again, he's playing a brainwash character who has seen something. He's seen an enemy plan, but his mind is so broken that he can't say what it is. So does he meet off? He's Me Doc. That's right. And you've got Peter Jeffrey as well as the colony's pilot. He's a great appearance. He's always... He was a win cast for them. They hadn't had a major name on his level before. Was he made City? Well, you know, BBC at the time. Yeah, sure, in-house, but there was a bit of pre-propulosity for him. Yeah, well, very few photographs exist for the story, but those that do exist. tend to put him to the forefront in his very nice tunic and whatnot. What we can see of the story, it seems to be very well designed and a bit like in Stuart Black's previous story of the Savages, you know, they've really thought about the designs of this culture where everything is not as it seems. And in Stuart Black. This is his last script for the series, but in the 3 scripts he writes, there's a very clear sort of attitude from him, which would become quite traditional in 1970s, Doctor Who, of on the surface, everything is fine. But if you scratch the surface, you get into something really really nasty. And what's worse, there are people who know how nasty it is and they're doing nothing. So savages was very much like that. Savage was very much like that, yeah. And also the war machines, because you've got these respectable people, a professor and an ex- army man making these robots to take over the world. People know what's going on, but they're powerless to act because of the bureaucracy of the world itself. He's a very complex scriptwriter in Stuart Blake. He is not, I would say, as successful when he comes to writing the novels, his pro style is rather excitable. Again, much like the underwater Venice. I've taken a few notes. Now, for instance, within the 1st 30 pages of the book. I'm cutting you free, the doctor informed him blandly. That's not very polite, said the doctor blandly. The doctor turned to him blandly. I'm only trying to help you. Uh, it's just been strange. Not a lot of colour and flavour in that. You know, I think I think the novel was the 1st time that I ever sort of encountered the story and I have to say I quite liked it. Oh, I quite like it too. It's just it's just the writing style is a bit sort of odd. It's bland perhaps. Bland, yes. They don't improve much of the doctor. Did he not realise how desperate the situation was? And my own personal favourite. What are they doing? Polly wanted to know. We call that probing Medok Tolman. But at the same time, to be fair, something he's able to do in the novels is he really gets across the ideas he wants to put forward in the story. So this is an extract, I just highlighted, not because they amused me, but because I really thought it was funny. Another way of exercising powers over them, like voices in the night. The colony was nothing more but a multitude of marionettes, the strings being pulled by someone or something that they knew nothing about. And that short segment has 3 exclamation points, which I believe makes it a contender for an article in Doctor Who magazine. But in that paragraph. He really gets across the point of, you know, these people are being controlled. It's, he seems to be very much a boy's own writer, but with huge ideas and I really love that sort of melding. Well, I think that, I mean, I said this before when we were doing the savages, I think this is about capitalism and that it's a definite satire of capitalism and or maybe an allegory. So, you know, Power of Daleks at a very realist kind of approach to what a colony was like, this is a sort of strange colony that's a bit like a holiday camp and then dancing and there's someone who announces, you know, there's an announcer with an American accent who talks about, you know, what's happening next in the colony and gives you all these messages. You know, you will work hard and happily and all of these slogans and things and everyone is working in the colony and they're working really hard and they're mining gas and no one knows what the gas is for, you know, and when the doctor asks what's going on. Like why are people going to these great lengths and doing all this work to produce the gas? Everyone's evasive as if they've never, it's never occurred to them to ask the question before. And it turns out that the gas is being used to benefit the macra who are underlying the colony and controlling it. And so it is that idea that our labour is alienated from us. It's used to enrich other people. You know, that we work hard and everything in the colony is about working hard. you know, you work hard and happy happily, all of that, and it's to enrich, it's to enrich the macra and the macra our enemies. So, and we don't realise it. And the doctor essentially smashes capitalism in the, in, in, in this story is sort of resolution, and he's really happy about it as well. And we saw that in the savages, you know, where they were destroying the machinery of the entire system. It has the same outcome. So um, So I mean, there are sort of potentially dodgy things aren't there? You know, they've colonised an inhabited planet and, you know there are macro there and, you know, why aren't we on the macro side? But the macra are, you know, just sort of part of the allegory they're very ill defined. They're bacteria or insects or, you know, crabs, you know, we don't know, but they're malevolent and they're not acting in our interest, but we are mysteriously doing everything they say and working incredibly hard just to keep them alive. It's very much the sort of the sort of thing that the occupy movement is stating as well. You know, the idea that it's not the lower classes who are the parasites, because a parasite is something that manages to live off the host animal without being noticed, and the occupied movement goes on to say a bit like the top one% of people who own 99% of the world. Exactly. And so Ben gets hypnotised and ends up supporting the camp. Do you know what I mean? Which is very, it's very confronting because he is the most working class character of the 4 regulars. And I think that that's why that's why it happens to him because um, like, again, Sandra says this is a holiday camp. It's like Buttlands. Delta and the Bannerman. Perhaps Ben went to one of these on his holidays. He does actually mention, yeah, this is like the holiday camps when I was a kid. And it's also just... I heard of it. And the sound of it is pirate radio, just before radio one started radio Caroline. You know the story of pirate radio, outside Britain, where the funky sounds were coming illegally because the BBC was so dull and they, the mile, you know, just like the Goody's pirate radio station, which is a documentary of the time. Yes. So, so, um, Now I walk into Black Park. So I think that the reason that Ben falls for this isn't that he's working class and it's a holiday camp. It's that he's working class and the only way that the working class is kept, he's kept compliant. He's on a steady diet of this sort of mystification. where they're constantly reassured that their work is essential for the functioning of the society, even though they themselves derive no benefit from it. And so I think I think that that's why Ben falls prey to it. But the fun thing, of course, is the Ben isn't a robot or anything like that. He's not an automaton. He's not Jackie Lane or even Polly mesmerised by Wotan. He's still, you know, Ben. It's just that he's... It's a really beautiful point that you bring up, and that's why I think their writing in this is very elegant. And this is actually, possibly, politically and socially the most significant trout and story or Doctor Who story of this season. It's such a shame that the prisoner comes along later in the year and does it on a bigger budget so much better. Because the ideas are as salient and just as strong. You could say that this is about all, um, and that, you know, you know, that this, this is about brainwashing and the it Chris file and the smilest people stuff that we've seen with the Lacaro films and um, Alec Guinness. These are not the spies you're looking for. That sort of thing. Well, it's actually, you're right. It's about Saltzen Heightsen, Alexander Salton Heightsen and his novels, but it's also just as much about the USA. And the same way that we were being fed in misinformation about what was going on, Vietnam, and the psychology that Madison Avenue was using to tell us to be good little consumers. It's really clever. Because this is the 1st use of like radio jingles, which I don't think, do you know what I mean? Which is a Radio Caroline sound. Yeah, yeah, yeah. But also it is ITVs. It's kind of a spoof as well on the opposing network, isn't it? Turnover and this is what the earths sound like. And isn't it hell? staying with us and just get nice programming. So we've... So essentially, you know, we're anticipating the happiness patrol I think. Yeah, you know what I mean? Which again, is an earth colony in the future, but reasonably vague about when and where and why, where everything is sort of hyper real and sort of strange and where a definite, you know message is more important than kind of a realistic, um, sort of setting, really. Um, and it's not just the macra that are lifted from this story and put into gridlock. It's that whole attitude of maintaining the status quo, even though you know there's something terrible underneath. And, you know, it's in this story, they're being brainwashed by radio in that story, they're kept together and have a sense of community, thanks to the ability to radio one another, but it's no substitute for actual contact. And their religion as well. Redlock. We'll talk about gridlock in 2028. Yes. I'm a huge fan of Gridlock. Absolutely. He's only just now that it strikes me that it's terribly appropriate that the MacBook should show up. Yeah, even though like the macra in gridlock aren't the thinking intelligent creatures they are in the macraterra. They're still the commonality of theme, which is very nice. Getting back to Ben and specifically to Michael Craze, I think this is his best performance in the series as he struggles with the conflict between his programming that he receives in the camp and his sense of loyalty and sense of self. And when I was reading Anika Will's autobiographies. She talks about Michael Craigs, who, sadly, is no longer with us and how talented an actor he was and how she was always amazed that he didn't go on to have a huge career. When I read that, I kind of went. Okay, yeah, he's all, you know, he's all riding war machines because I hadn't seen. I hadn't seen or heard any of these at that point. But then when I watched the Macroterra, I went, well, you know just from the audio, I can tell that this guy is an amazing actor and it made me feel all the sadder that, one, he's shortly to be gone from the series. And 2, that he didn't achieve high heights later on in his career. I think he really should have done because it's a very subtle performance. And as you said, Richard, this story has a lot in common with the prisoner further down the line. And yeah, I think that Michael Graves could have become a big leading man in the same way that Patrick McGillan was. I think they do share some of the subtleties of acting in their performance and it's just a shame we didn't get to see more of it. It's very short though. Yeah, I was going to say, he's a big leading man. It's more a kind of shame or high noon, Gary Cooper kind of, you know, on a box. Don Adams was very short. Dawn Adams. She was. Polly's hair. Yeah. She surprised everyone going all me at Farrow, Twiggy... Really hot with the with the razor cut gaman style, and it's gorgeous. She gotten some short shrift. Yeah, she got a troubled lucers. Yeah. Yeah, but it really just makes her eyes and mouth look bigger when she screams. It works really well. She looks lovely. I mean, she just looks fantastic. And the whole outfit that she wears in, this is great. But, uh, they obviously travel around in the TARDIS for a while between this and the faceless ones because it's grown out completely by uh, by the next story. Well, I believe that's where Big Finish put all their, uh, Hanging Chronicles, so that works. So did she mention like every few episodes in those companion chronicles that she's decided to grow ahead. My hair was getting much longer now. Although she is amazing in those. I met Anika. I was very lucky she came to a convention and she was just lovely and I told her I was a Latin teacher and she told me she was an ancient Roman in a previous life and we just hit it off. It was... With the same haircut. But she's just gorgeous, absolutely lovely. Ben and Polly. Ah, shortly to be written out and only replaced by one character because the writers felt, oh, you know, you can't have 3 characters running about, 3 companions running about. But in their story, they use 3 companions to great effect. You know, you've got you've got Ben struggling with his control. You've got Polly working in the mines, and you've actually got Jamie as the one who tries to escape and is menaced by the monsters in what would have been a traditional role for the female character, whereas Polly then gets paired up with the doctor and helps him do scientific things. Yeah, I think it's less... Oh, the writers can't do anything with 3 characters. As maybe for some of the stories this season, they chose the wrong writers because Ian Stewart Black can clearly do something with 3 characters. It's funny, isn't it? Because it hasn't really settled down to what we kind of regard as the default mode, which is the doctor travels with a human girl and what we're going to get for the next 2 years is the doctor travelling with Jamie and Victoria. Victoria and Zoe. No, that's someone else. The thing that is going to make me sad and will come up, you know will get there in a moment, is that we're not going to have any recognisable human beings or audience identification characters from here on in until the 1970s. It's going to be Victoria in a crazy frock. or Zoe, but we don't have anyone who can make contemporary earth reference. Sure. 2 episodes in. They're into miniskirts and hippie beads and or MMP or cat suits and saying exactly the same stuff that Maureen O'Brien was made to say. No, I don't think that's true at all. I think Victoria is a much blander character than Vicky. Well, say she's not black. She's not there. We're not there yet. We may we may proceed towards that. I know this is your one, Nathan, but I'm just gonna say 1st and foremost. We have Dr. Pickering and Wanda Bentham for the 1st time. Yay, in Gatwick Airport. They're Benedict Cumberbun's parents, very sort of-ish. Well, no, she is. I'm not sure of it, no, not as such. Although, that means that Benedict Cumberbatch is part Lucertian and part air traffic controller. cabin pressure, that's right. We'll put a link to that at the end, please, in my favourite sick radio sitcom of all time that launched Benedict Cumberbatch's career and it's joyous. The final episode is aired this Christmas. And it's Stephanie Cole as well, isn't it? It is definitely Cole. It was going to be Wanda playing his mother in one episode, but for whatever reason, the lovely Prunilla scales does it and does it beautifully, but I can't feel sad, but they didn't keep it in the family like they did with Sheryl. Sherlock, yeah, yeah. So this is kind of funny and it's going to be like the faces ones goes for 6 episodes and we have episodes one and three. And for some reason they were kind of widely available even back in the late 80s. I remember. I'm sure that I had them on videotape. I'm sure that I had evil and the 2 episodes of the faceless ones. I think they were returned quite early on when the BBC put out a call and said, actually, we don't have these, if you have them, can you send them back? So I think they may have been returned by a TV station. Right. I could be wrong on that. Right. So, um, I mean, I kind of like this one. It's a little bit strange. It's a little bit formless and the funny thing is that it doesn't really end. You know, Ben and Polly disappear and then the doctor and Jamie just sort of wander off because the TARNIS is gone or something. So it's not, it's, you know, the beginning of sort of 7 episodes where they're just hanging around on earth. And it's set the day that Ben and Polly leave at the end of the war machine. So they've been gone no time at all, which I think is sort of rather fabulous. So it's set in the recent past and it's set in Gatwick Airport and you get this fantastic, uh, like, you know, most of Gatwick Airports just sort of crummy sets, obviously, but there are some really, really great, huge location shots of, you know, um, planes landing and things and escalators and these huge concourses and stuff. And that's that's really fun. Very Mauld. It is. trying to find just how cool and movie it can be. And we kind of forget too. And this is something that, you know, that when we do our, you know, flight through Russia with love podcast, we'll talk about this, but part of the appeal of the Bond films in the 60s is that people don't really travel abroad. No, it was a big groovy thing. You did it if you were young and you spent all your savings from working that year on a summer package trip, which meant you turned up at the airport. Chameleons, yeah. Yeah, yeah, yeah, yeah. But so airports are, you know, for us, an airport kind of leads to that sort of sinking feeling, doesn't it? But, um, because we've often felt going to... You know how they have their own police force and they've always had their own completely independent force with their own rights and rules and regulations. Yeah, which is why it's so very much like an episode of Thought about air we could Gapport, the famous Gapport. I think that's what he was to send to the lavatory. So But the other funny thing about it too. And it's completely incidental to the original intention of the story is just how crazy it is. So there's one point where they have to ring up foreign countries to find out what's happened to the planes and we're terribly worried about how much that will cost because, you know, like overseas, like making phone calls overseas. these sort of horribly expensive. Spectacularly twee mobulousness, script riding in the middle of something that's meant to be glamorous and international. Is it? The doctor pretends to throw a bomb at someone like... That is this story is about territoriality and fear of... We hadn't actually had hijackings yet or had we? This is a thing that was more with Paddy Hearst syndrome in the early 70s. and the Simbionese liberation army and, you know, a group of ash tons of intellectuals and kids that, you know, done a lot of asset and got a bit cranky about Vietnam and said, let's do some. I'm not meaning to belittle it. Because, you know, there's arguments on both sides, but Sinn Fein had been agitating, but not to the point that is familiar to ask kids now. So people weren't thinking the fact that the security and things are so lax and all of that, we haven't yet had, um, uh, hijackings and stuff. We haven't as such, but we did have a knock Powell doing his rivers of blood speech and we were terrified about immigration and the whole white Australia policy that we had operating in this time here, which is, you know, if you're English or South Africa you look like us. It's fine. You can come in and you're probably nice, but if you're not, well it's going to be a lot harder. Now, Britain's colonies, of course, were devolving, and you had a lot of immigrants coming from the West Indies and from other parts of the Monster Empire. This was causing a lot of chat in Parliament, as in the media, who knows if it was causing that much problem on the streets. It's just like now, isn't it, when we're getting stirred up for whatever reason. But do you think that this is, so you're saying there's an immigration kind of metaphor happening here? I suspect so, since a lot of it's about what's going on there. Well, where is the, where is the Frisson? Where is the agitation coming? So the chameleon tours have lost there. Was it a galaxy accident? In a galaxy accident? They lost their identities in a galaxy accident. Was it? That wasn't the Refusians? No. Just wait for Moffat to start picking up on this one. There be a galaxy accident. Anyway, some kind of terrible galaxy accident has happened. I'm sure it was there a few. You're probably right, but everything's a galaxy. Yes, a galaxy accident where although they weren't all horribly killed. They did way managed to get up the next day. and realise, oh, we don't know who we are, what we're doing, but I don't know, let's go to Earth and make spaceships that look like VC 10s and start up in an international business and appetize to a niche teenage market. How about that? Really, if you're going to have those sort of objections, we need to stop watching this show. Because, you know, running. I haven't even got to the whole why Polly is an alien pretending to be someone else pretending not to be Polly, when she doesn't just say, oh, they, well, the doctor's appearing to be a difficulty to our plans. Why not just squeeze her into that and she can sabotage whatever he's doing? Nah, I'm just going to sit here and pretend to be something. It's sitcom land really without the loud jokes. And yeah, it does rather imply, and it's never really settled. Is there actually a Michelle P out there who looks just like polish. Ooh, now that's an interesting other story all in itself. And so they're stealing human idea. They're miniaturising humans, stealing their identities, which is the kind of thing that racists fear, you know, they come over and they're going to take our place, invasion of the body snatchers kind of. But what does, I mean, you know, does that mean that this is a kind of racist parable then? Do you know what I mean? Because aren't we right to fear them? I mean, I guess the doctor does resolve it by, you know, helping them out and coming to an agreement and no one's blown up and no one. There's the evil Donald Pickering, who, you know, he's evil, but not all of them are evil. Well, I think there's definitely an immigration, possibly refugee theme to it because the chameleons are coming here because they are in such dire straits and they're coming here to have a life. Now, their methods may be questionable. But when they're confronted about earth methods and given an alternative, which isn't going to hurt anyone. They go, oh yes, definitely, let's do that. It's quite a typical ending, that ending. Um, with the doctor saying, well, how about you try this scientific method and they go, oh, you know what? Yes, that's wonderful. We didn't have the science to do that, but yes, that's definitely what we'd like to do because we hate that we have to do this thing. What do they do? They have to put you in a cupboard and then put on your identity? Yeah, exactly. This is also coming from, I mean, if you want to look at what, why this story is here, it's kind of, well, the laziness of this Lloyd. There was a film that just came out a few years before called so long at the fair, starring Dirk Bogart, who we already mentioned as being the glamour boy of 60s, um, Britain, the thinking set night. He's the kind of the Tony Perkins of Britain at the time has certainly seen as a simulacer, that guy, you know, all swab and satinine. Anyway, this film was set in the 1899 World's Fear, but it was about a bloke who was assisting a young girl's hunt for her missing brother. It was based on a true story or her missing brother. Brother. That's right, because, of course, we have the girl now played by Sula Black. No, she's pretty. Isn't she meant to be silver black? Oh, wasn't she being groomed? in this story to be? Yeah, what was that? She does look like she's a replacement companion. Well, they have this weird thing with Michael Craze and Anika Wills's contracts that they're actually contracted up until the end of Evil of the Daleks, episode two, but they decided let's actually write them out as early as possible for reasons we mentioned when we were talking about the macro terror. There was this conception that 3 companions weren't working. But it was apparently when they saw how Pauline Collins was working with Fraser Heinz, they offered her the job. Much like they did with Fraser. like they kind of went, oh, we like this up a lot of you a job. They did that with her and she turned it down. Right. She, I mean, she's terrifically funny in it, and she gets to do the accent that Dodo would have liked to have been able to do for longer. liveable. She's a Liverpool girl. She was a mate with the Beatles. He was talking about Sam or... or Sealer Black. Not sylla black. She's she's Northern, so it's possible. I mean, she, Pauline Collins will be known to new who fans as Queen Victoria. She does come back and play Queen Victorian. Without a Liverpool accent without the accent. But not amused. But she's really sweet with Jamie and like she kisses him. She kind of fancies him and stuff and makes that clear and that's that's kind of modern, you know, that skirts the problem of Susan a bit, doesn't it? It's like young female sexuality and she kisses him. But he takes the opportunity to steal her ticket and all of that sort of thing and she's bullshy and demanding and stuff and she's really plucky. She helps the doctor and she does work really well with Jamie. I think she would have been she would have been terrific. But, like, they're writing Ben and Polly out, but they choose to write them out in episode one. like they don't even get to go on it. Yeah, and then Polly reappeared. Oh, Polly reappears, the pens, or... Yeah, it's very, very strange. And what I find even stranger about it is. The story is about the absence of Ben and Polly. You know, because that's the doctrine that Jamie's driving force you know, they're constantly mentioned, what about them? What about Polly? about halfway through the story, they forget for a bit, and then start mentioning them again in episode five? But yes, it is very strange. And because their appearance in episode 6 is a pre-filmed insert at the Epic Airport, They didn't have to come into the studio after that 2nd episode. So it's, it's kind of odd because the doctor and Jamie spent the next few episodes. Oh, we must rescue Ben and Polly. We must rescue Ben and Polly. We never see them and they're not even there. So... Have they learned nothing from Dodo? But I think they handle it better than Dodo, though. And I remember thinking, because we've had this discussion before about how poorly served the 60s companions are in their departures and Dodo, in particular, who also leaves midstory and just never gets heard of again. But I actually thought that the final scene with Ben and Polly was actually quite sweet. You know what I mean? Like, that they did say a proper goodbye. And like it was. I don't I don't know, you know, I think it's a shame that they decided to abandon the idea of contemporary human companions. I always think it's a good idea whenever anyone in the new series is, but they're always girls from London, you know, like what's going on. I kind of think, well, you know, just think about the long 80s or you know, the late 60s when you don't get contemporary humans and that will cure you, I think, of that desire because, um, you know it's the, it's the contrast between contemporary humans and the crazy adventures that they end up in. That's the fun, that's the free song of it. And I've talked about hating historicals, but, you know, again Santa points out these people belong in history. Do you know what I mean? You can't do a historical, if your companions are Jamie and Victoria. Do you know what I mean? Because they're from the past. What do you do? sort of send them to mediaeval England or czars cave or something you know what I mean? Like, you know, there's kind of no point. I think this needs more jokes. I mean, I think it's, I think it's pretty entertaining. Do you know what I mean? Like, I think it does what it needs to do. The recon. So, of course, we only have episodes one and three. So loose cannon reconstructions have made a fabulous CG plane and a fabulous CG space station that the plane goes in. Which look very close to the existing telly snaps. They did a really good job in terms of design and in terms of their direction. Yeah, of the shots. I was pretty impressed and it was a fun surprise. I wasn't expecting it at all. So, but, you know, like it moves along and stuff and it's got some fun bits and it's got Wanda and Donald Pickering. And it still manages to be different from time flight. Yeah, how can you build a convincing air traffic control room in the studio in 196667. And then have air traffic control at Heathrow, a bigger airport as one little computer terminal in a cupboard in 1982. I do not understand. It's really not that convincing United States. Still manages to be better almost 20 years. No, no, no. This is quite fun. It's not the train wreck that time flight is. Spoiler alert. I am going to have fun when we get to time point, though, because even though it's a train wreck. I kind like it. It's a good thing and it balances humour and scariness and, you know, an intriguing spectacle better than a lot of other shows. It's if you want to look at what it is. It's, you're looking at this show, um, now it's Doctor Who. We haven't quite got to the point yet. Later on, as we do, is what's the new gimmick monster this week? It's what's the new gimmick situation scenario. We've been to the moon because that's what everyone's doing. Apollo had just learned, 1st Apollo had just launched. We're now in an airport because that's what groovy things are doing. So where worthy are we going to next week? He's got a ticket to ride. He's got a ticket to ride. He's got to take it to ride. but he don't care. That's pretty groovy, really. I think it was indistinguishable from the original, actually. Well, it's all we're allowed to use now because, as you know, from the audio versions of this, paperback writer was broadcast as part of their 1st episode of the interminably groovy and a bit spectacular evil of the Daleks, as was the seekers, nobody's known the trouble I've seen. and that is still on their BBC audio that said they'll be missing paperback writer, but we've got the next best things. Thank you very much, Brendan, for that. There's so much in this that's so much fun. Nathan, you were saying, the 1st episode is pretty much radically different from anything else this season or anything else in this story. Yeah, so the TARDIS has gone missing. And I think that that's announced at the end of the faces one someone you know, you know what, though, don't you? It was grabbed by the leather men. That's the removal company. I mean, it's not there's a hell of a lot of this Joe Wharton referencing going on in this. We didn't mention that Mr. Orton, in his diaries, singled out Fraser Hines as being someone he'd really liked to have cast in his notorious entertaining Mr. Sloan. It's being a lovely little boy. Yeah. There's a lot of that going on. That's when he was jumping up and down in his one piece rubber onesie wetsuit thingy. We don't get much of that in this story. We get a lot of other carry-on dialogue. If you listen to it as an audio as I do, it's very carry on. I mean, the funny thing about it, and again, it's another attempt to be really modern and as you were saying, really modern up to the minute. And so it's a coffee shop. It's like a cool coffee shop with a French name. And in fact, the funny thing about it is that trickleur, yeah. Yes, that's it. Nothing at all really happens for the 1st episode. It's a lot of marking time. It is. Richard Lester or the NAC. It's one of those Beatles Chase movies. We're waiting for TARDES, place over there. A bit of that as well. There's some great lines. And finally, then we end up doing Budum and Crash. Comic-Con, 2011, where you've got Professor Waterfield dressed as a Matt Smith fan. Exactly the same costume. really is. And the whole show then starts to do probably the biggest thing you know, as we've said before, this whole season is not so much about the monsters, I think it's more interesting because it says what can what else can Doctor Who be as a TV show in other TV shows, carrying on straight from that 1st episode when we look into the TARDIS monitor and see the whole world as a TV set. This one is doing what's the biggest hit right now on TV. It's the foresight saga, Donald Wilson's production. Yeah, exactly. The guy who's almost started Doctor Who kind of almost started Doctor Who. From the John Galsworthy novels. It was the hugest, hugest thing. It ran for 6 months, and it was still being repeated. I saw it as a little boy in the early 1970s on Australian TV bits of it. It was it went on for more than 10 years. It was just, I guess, before upstairs downstairs, one of those programs. Proto Downton Abbey. Yeah, exactly. Thank you. But about the politics of the upstairs and the downstairs. And the 1st one to talk about real class cataclysm, class clashes but without all of the stern drum, melodrama and soapiness of some of the later ones, it took itself reasonably seriously. But yeah, it was surprisingly for everyone concerned, phenomenally successful. And I think we'll start to see where the character of the young girl, who, in her 1st scenes is kind of fabulous, isn't she? Molly? Ah, how interesting. Yes, for about 5 or 6 episodes, 4 or 5 episodes of this, we get a plucky young girl again who has lots of great interaction with the young male lead who really has a winning and vibrant affiliation with the with the lead casting, who you think is just going to fit in so beautifully. And then, of course, she disappears completely, and it's the other one who's a bit whiny, but looks good in a frog. Big eyes, pretty big eyes. And she is very, she is very beautiful. Of course, we're talking about Debbie Watling. And when we mentioned Peter Jeffrey before, as being some coup casting for this season. Debbie Watling is apparently the biggest star doctor who had ever had up to this point. She was a child actor? Very much so. She played Alice in Wonderland. And that was so Keystone, Big BBC Pro. BBC thing, but she was not. Yeah, she was wildly known as a child actor and really, very good. I think she's amazing in that scene. This is David Whittaker doing, do not feed the flying. So, do not make up. Yeah, you know, she's clearly scared, but she's not petrified at the point of being meek. You know, she's quite bullshy with the Dalek, but still being realistically scared as a young Victorian lady would be. You know, it's a bit silly that, oh, we've got this new character from the Victorian era. What shall we call her? Victoria. They all went home early, you see, after they came up with that. But, you know, if the young if the young princess of the time was called Victoria, and then you had a daughter, it's quite understandable that you might call her Victoria. You know, there's probably going to be a lot of Kate's and George's being born in the next few years because the Princess Kate and the young Prince George. with just as much. Just as much narrative truth and reason for about it as well. Oh, yeah, look, this is carry on up. up the downstairs upstairs isn't it, really? And then there is more to it than that, though, isn't there? Because there's Maxtable and he's a really sort of sinister. Oh he's gorgeous. Yeah, and he outshines the later on in the story when you get to the big bad boys in the team suits, he manages to actually outshine both Paddy and the Daleks in the series, he's in with them. Because, yeah, it's like, it's one thing to have a dalek that's evil. You just go, yeah, okay. But he is just utterly selfish and evil. Like, he wants his gold. He wants his alchemic secret. And if you get in the way. Forget you. He's very much contrasted with Waterfield. I was thinking, waddling, I was thinking, Travers, you know thinking. So in this? Straight out of the Poachers season 7 shed or Dickens book, yes. Or Joe Alton play, actually. So he's he's really worried about Kennedy dying and then someone else dies and he remembers, do you know what I mean? And his hand ringing about it. And that's contrasted with Maxstable, and it gives us the chance to see how manipulative Maxstable is and how insincere. And so, you know, um, Waterfield and Maxville, Waterfield thinks they're accomplices, but Max Stables playing Waterfield the entire time. And what they've done is they've used electrified mirrors that have attracted Daleks into the past or something in this sort of crazy demented way. The alchemic way that David Whitaker writes static electricity. Yes, yeah. everything he does. gorgeous. It was static electricity. And so it is, it's this mad steampunk Victorian thing. Thank you. Where, you know, you've got all of these sort of strange machines and then you've got the Daleks gliding through looking for all the world as if they belong. They look terrific. But they're not given very much to do, and it is, I actually think you know, power of the Daleks makes us wait for the Daleks to be threatening. Here, we are here. I think the weight is a bit less successful and it just feels a bit longer and a bit more padded than power. And so, uh, even though you've actually got episode 2 of evil of the Daleks to watch. I actually do think it does start to wear out its welcome a little bit until we're off to Scaro. There is a lot of that chasing about corridors again, although we can't see it. There's a whole lot of visual impact in the description. Again, a lot of this feels like it's doing, um, contemporary plays and again, Joe Orton at the time, the image of Jamie and the Turkish camel, rottering about the corridors in, in such a way as if it depicted by Tom of Finland in the graphic covers for a Commonwealth Games brochure for nighting. They do sound like they're doing all the trials and tribulations that you do. It's a knockout or something or what's that? I mean, I didn't have that then. They had gamesmanship amongst the and that's chaps with, you know chasing hankies. It's very strange and I don't understand why camels mute. Why has Campbell got to be mute? And why is he's Turkish? Do they cast a big black guy to be mused? And when Maxwell says, oh, you know, he can't talk because his mind is undeveloped, but he can read, but he can read, he can read. He can perform complex physical tasks which involve things like deciding whether a beam can take his weight. You know, he can collude with others. I don't know why they do that. That's just annoying. It's off footing. And of course he has to be killed at the end, which just annoys me as well. I mean, maybe they're trying to sort of say, oh, this is what the Victorian era was like, and this is how people from other countries were treated. and, you know, yeah, but there's nothing they never do anything to reverse that. You know, it could it could have been quite fun if after Kimmel's adventure with Jamie, which I think goes on for far too long, you know, it stretches over episodes three, four, and a little bit into 5 as well. Yeah. Yeah. I think it would have been great if Kimmel had spoken to Jovi. And if people said to him afterwards, well, hold on, why have you never spoken to us, he could have said, well, he treats me like a person. You don't treat me like anything, so why would I talk to you? That would have been a wonderful inversion and would have added a lot of meaning to Camel and Jamie's relationship. In fact, the only thing that nearly saves Camel and it doesn't really go anywhere near far enough is that Victoria trusts him and likes him and... She's very fond of him. And that kind of sells him as a human being a bit, but it is lazy and a bit shoddy, I think, and a bit of a shame in an otherwise pretty a pretty good story. This, of course, is one of the ones where only one episode exists and of course, we're reaching the end of series four, thank God where we don't have a single intact story. Yeah, most we've got is half a story. half of 2 stories, I should say. Yeah, yeah, that's right. It's a bit of a slog. But the loose cannon reconstruction. So really fun. and Richard, you prefer listening to them. I like listening to them, yeah. But the loose cannon people. Actually went back to the location, the hotel in which this was shot. I did a day's filming and they had a Dalek. They had someone in a Victoria wig and in her frock who could just sort of see walking along long corridors and stuff like that. And then they do all this CG, they do CG, Jamie, and Campbell climbing up the balcony to get to Victoria. And like some of it's a bit cheesy. And there's stacks of CG Daleks everywhere. It's really, really fun. And they go out of their way to try and not introduce anything new because they're, you know, they're a bit OCD and that's how they want to do it. You know what I mean? I think they prefer the term purist. Purists. That's a much better word. And they do a terrific job. Like there's so much work has gone into it and they really, really do make it, they do make it watchable, which is kind of fun. They do make it a lot of fun, don't they? And it's a great lead up to the big bang end of the season where we once again end up on Planet Scaro, Musical Include. And those, the final 2 episodes on Scarrow, well, 2.5 episodes on Scarrow, they just really, really pick it up. It's quite amazing. It's a bit like the original Daleks, which is a game of 2 halves and the 1st half is vastly superior. But in this one, it's the 2nd half that's vastly superior, and we get the payoff. We get to pay off to the last 5 episodes, but we also get. We also get the emperor, darling. I was going to say we get the payoff to 5 years worth of Dalek lore because of course this is the end of the Daleks in Doctor Who for the pussyeable. They thought for truly for the end, and Paddy certainly behaves that way. This is where we get them. Thank you again, David Whittaker. His inclusion of his writing for the Century 21 comic strip, the Emperor Dalek, from that into the narrative of this. So we're really getting a lovely conclusion of the disparate Doctor Universes coming to the one story at the end. And what we've neglected is bringing them down to 2 allegorical forces. And power of the Daleks kind of does this where the Daleks represent or come out of the human evil that infest the colony politically. You know, colony and power of the Daleks, everyone's backbiting and stuff like that, and that allows the Daleks to emerge. Here we have, here we have humanity and Dalek kind, rayified as the human factor and the Dalek factor, and it allows us to do really new things with the Daleks, which include, you know, the fabulous Daleks playing, saying, dizzy doctor, that incredible cliffhanger is that episode four. With the trains. Yes, where the Daleks are playing trains and the doctors, you know riding on the diamonds. James horrified. And the Daleks call the doctor friend and all of that sort of thing. So the Daleks, thanks to Jamie and all of that padding in the middle episodes, there are now 2 factions of Daleks. There's the human Daleks, the human factor Daleks, and just the Dalek factor Daleks. Which are the ones with the pointy heads that look like the Lewis Marks pullback friction drive action dialects. That was Planet of the Dale. I do it in this one as well. They use Lewis Mark. Did you? The doctor gets to see the biggest, baddest badass Dalek in the entire history of Dalekness. Do you know what the emperor dalek was called on the set by pretty much most of the production crew? Gordon. I wish, the queen, darling, the queen died. To continue my thing. ostensibly maybe because of the honeycomb sets. So this is meant to be the same city that Barbara Ian and Susan visited all those years ago and Roberta Toby a year after that. Because you said, Richard, the doctor knows his way out of it. But the design is so different, isn't it? And the design is fantastic and it is this thing where a lot of trout and sets, you know, they paint the walls black and then they use sort of grids and things and so there's sort of negative space behind the walls. Like the top of the pops already steady go set for a dusty Springfield song. It was really very sensitive to pop iconography on TV. And it looks great. It really does. That's fantastic. And so the emperor dialect just sort of emerges out of that giant sand. You want him to start cracking into a song, don't you? It'd actually be probably more like a Bernard Crib than this right set, Fred, or something like that because he's he's getting a bit old. Do you notice he's a bit deaf? He actually asks that at one point the doctor, he asks the doctor to speak up. And he does have a one for a Dalek. He has a wonderfully pompous voice, you know, he doesn't have that pissed out. Like this. Very plumbing. Much more like Nick Briggs does it later on, but he's much more aesthetic and much more human. And he introduces himself. He says, you know, there's no direct speech and so you are the doctor. Do any of our little fanboy frontal lobes consider that it might be a descendant or clone of a Davros type of... No, no, it's Yavelling. Oh, of course, it was because it's David Wisaker, which could be coming. Share a bit of this because I didn't do that last time we were talking about... I didn't know that much about it. was just trying to be funny. No, it is the comics you are failing is the original person who created the Daleks in the sort of comic... tall and blue with Billy Hartnell wig. What, silver wig? And once again, the altered visitors who have made videos of all the Dalek Chronicles have also made made a video featuring Yav Delling's creation of the Daleks.. That's what we want to see. Something I find very interesting about this one. Because that's I've said before, I'm not a huge fan of this story. I think it's really let down by the padding in the middle. Could have been a great four, possibly potter, but the ideas it introduces are wonderful. And especially when Jamie says to the doctor, you know, people have died and you're treating this like a game when this is over we're through. And, of course, Jamie comes to realise that the doctor has tricked the Daleks and it's not like that at all. But in a way, what Jamie has said is coming true because the doctor doesn't seem to care that the 3 humanised Daleks he's created are beings as well. He just sends them off to fight the guards. So it's kind of weird because as you say, Nathan, it's the 1st time that we don't have an identification character from the modern day, I mean, even with Vicki, as you said before, Richard Vicki was very much a modern girl, we very briefly had a period between Vicki and Dodo where we didn't have that sort of present day character. But this is the 1st time where it's ongoing that way. So, The season ends just like it began. It began with a with a reboot of the doctor's character, and this is kind of another reiteration of you can't really trust him. You know, he does, he does fight for the good of all, but that that, that means some sacrifices. Do you know, it's never occurred to me to wonder that. I don't think the narrative, do you know what I mean? Do they foreground the idea that the doctor's sacrificing those dialects? No one else seems to care. That's what I find it to do because the Daleks are so humanised and so childlike. And I think that deliberate decision had to come from somewhere. Let me write it off pretty quickly, don't we? Yeah, no, it never occurred to me, but it is a thing, I think. And he does even encounter them, doesn't he? Does he encounter them on Scaro and talk to them and they have a little chat. And he kind of says to them, you know what you need to do. And it's hard to tell them, there may be a bit of remorse in his voice. It's hard to tell without the visuals, but, you know, he still sends them in 3 daleks against the emperor and all its guards in a bloody firefight. Do they do they infect people or convince them or something or do they hand out, I don't know, sandwiches laced with human factor or something, like, is it just them? Hello, my name is Elder Alpha, and I would like to talk to you about this amazing book. Yeah, yes. Do they do that? I think that's more of a Dalek is certainly fearful that that will happen. that they will introduce the notion of questioning. And I think at one point Daleks do go along to dispatch them and the human Daleks start questioning them and the other Daleks are like, I don't know what to do with this. So I'll return to base for orders. So it does, we see a small breakdown which leads to the line of the civil war later on. I actually quite like that ambiguity and for me, it saves the story. It's not just about the doctor directly destroying the Daleks which is something that Hartnell really didn't do. He would only attack the Daleks as a last resort. You know, most of the time he was just trying to get away with, get away from them, but this new doctor's just like, no, I've had enough of wiping you out. I mean, the 2 Dalek stories this season, reimagine the Daleks rather than just being an occasional threat. This is the point at which they actually become iconic representations of evil. And so it's not just their allegorical role in the power of the dialects, but also the fact that the doctor needs to face them in order to become the doctor, you know, the new doctor. And then here, you know, is this sort of giant empire and things and we bring it around full circle by going back to the original Dalek city. And so they have become mythical. And, you know, that's the progression, you know, he, the doctor meets them in a tiny city, then he meets them in earth, then he gets chased through space, then they try and invade the galaxy, and then they just become these giant mythic forces, even though their plans themselves aren't anywhere near as as big a deal. They are a big deal in this. And I wonder with something of a cinematic quality. After the Dalek movies. I think that's achieved by the sound. Did either of you notice how good the score is for this? It's Dudley Simpson, but it's as good as the last time we had. I really like to score to macro, even though it's crazy. But this is... This is, um, this does really quite beautiful things with with the score. He uses hobo, flute, timpani, uh, marimba, and vibrophone, but then he froze in over that, a processed piano, and he does that before George Martin and the Beatles did it. I wonder if John and George Martin were watching this one and going, ooh, I like the sound of that one. He was that one. Wow. I don't know. That's actually Simpson. But it's the score is gorgeous and it really works to compel the story along. There are moments, yeah, when it's dull and it's sort of, you kind of feel that it's plodding along a little bit too slowly. But then it'll just throw us into some really different environments that are completely unexpected and support that and go along with it. That's the beauty of Whittaker's writing. He never lets you down in the moment. There's always something that'll grab you and that's surprising and keep you involved. In the end with this story. You know, power of daleks, as you said, Nathan, the doctor had to face the Daleks in order to become the doctor. Now Doctor Who's getting rid of the Daleks because we have this new doctor, the show survived and we don't need them anymore. And we're losing the rights to them. They are kind of alive. Try and be poetic. There is despite what John Peel says, there is a Dalek still moving at the end. It's a little bit like the shot of the little cybermat heading away at the end of 2 of the side. Oh, but we're getting ahead of ourselves. So starting with Jenny Laird award, for me, I've already mentioned it, but Jenny Laird award has to go for Nigel Robinson. I don't know whether he came up with slapping Polly into submission, but he certainly didn't try to sugarcoat it through his novelisation either. So that's my choice for the Jenny Laird award for puzzling creative choice. Oh, my journey Laird Award is equally obvious, I guess it's poor old John Peel, not the radio one DJ that we're talking about radio but the writer. of the evil of the Daleks novelisation. Have either of you read it? No. You know how you get all of that padding in the middle third? This is kind of like a musical set piece in 3 parts, isn't it? The middle fur is stretched out. episode four. into 2 episodes. And John Peel describes every single moment of it. You know that Wisaker would have said, okay, that was just part of what was required for TV. Let's shrink it down. and make something interesting. Isn't it sad that Whittaker didn't write the novelisation of this? Yeah, so yeah, once again, John P. or Dong gets mine. It gets my genie. You know, mine actually goes to the entire production team. And I tell you why. And normally we think the Jenny Land award, it's, you know, it's for a puzzling creative choice, and not necessarily a bad creative choice. Okay. just in case the name confused you in some way. Puzzled you. And so here it is. Here I think it is the way that the change in cast is dealt with in series four, the change in the lead. And we've just very recently had this happened. We've seen Matt Smith go and Peter Capaldi take over as a doctor and Matt Smith's departure was, you know, massively telegraphed given huge amounts of publicity. We had TV shows about it. Um, you know, there was, it was all over the news. He was given a Christmas special, which was all about growing old and leaving that was thematically all about what his era had been about, that was a giant celebration of his era, that right from the beginning was set up as Matt Smith's last story. And Peter Capaldi's thing was set up as a dinosaur to parallel how old Peter Capaldi is. There's the half-faced man. you know what I mean? wondering whether he's still the same person after he's replaced all of his bits over the years. You know, it's thematically all about that change and the change we're reassured all the way through. Do you know what I mean? Like everything is, uh, is geared up these days to ensure that we don't go away because we don't like the new guy. There's an accidental kind of anticipation of Hartnell's departure by his collapse and disappearance in episode 3 of the 10th planet but the 10th planet is in no way a regeneration story and the way that we think about it now. There's no celebration of the era. There's no mention of anyone. It's just heat for the last 5 minutes. And then there's no attempt. And I think this is deliberate and I think it's risky and it's amazing that it comes off, but there's no attempt to reassure us that Trouton is... Is the doctor. And in fact, there's plenty of things that put us off. early on in power of the Daleks and it's such a strange choice of recasting in the 1st place and it's dealt with in such a surprising way to a modern Doctor Who audience that that's what gets my award. I think that's pregnant, yeah. And now we also have our picks or recommendations. Someone we've spoken about a lot over the course of these episodes is Anika Wills. She, along with Fraser Hines, other 2 surviving members of the main cast from this point, Deborah Watling, of course, as well, but we'll talk more about Deborah Watling in next month's podcasts. So I would like to recommend Anika Will's autobiographies. They 1st came out a couple of years ago. They're currently out of print, but I believe, um, There is some talk about them going back into print with a new publisher. They are Anika Will's naked and Anika Will's self-portrait. Uh, naked covers uh, her time on Doctor Who and her early acting career. But there is so much more to her. And it's actually the parts that weren't about Doctor Who that I found the most interesting in reading these. They are readily available on Amazon for good prices thrown out of print book. But actually, as we release this episode, a new autobiography, a picture autobiography with many rare photos from Anika's collection, Anika Wills in focus, will have just been released. It had a limited release 2 years ago, but this is a general release and will include the link for that on the website as well. I think we had better include the link because I just Google searched on Anika Wheels naked and that's not something that I don't remember. Richard, your recommendations very quickly. very swiftly and absolutely on the tail and... generous exposition. I just thought if you want to get a grip on what was happening at the moment and we've talked about the Beatles and we've talked about the look of feel of the era. I've plumped for the Joe Wharton diaries. If only because, very similarly, there is a reference to the very young Fraser Hines and how Mr. Orton wanted to cast him as the juvenile lead in entertaining Mr. Sloan, opposite Patricia Rutledge. She is our very own Hyacinth Duques. think I would have been fantastic. So it's a shame they didn't carry on with it. He's producer, also called Wiles, said to him, you're going to have a very jolly time of it, aren't you? What a shame that didn't happen and he, well, he was murdered at the end of that year. But yeah, he was right. He does mention having watched an episode of Underwater Menace does he? Yeah, he does. And the faceless ones. Oh, really? I've mentioned that too. He says there was on Doctor Who tonight. Oh, sorry, Richard. Well, I have it right in front of me here. Look at the diaries and he says, well, you've got to just trudge through it because there's a hell of a lot of Kenneth Williams on every single page. Why would you not pick it up? He says on Saturday I was watching an episode of Doctor Who and spotted a little boy in that called Fraser Hines. So I rang John Wiles up and he said, my word, you are going to enjoy yourself, aren't you? That's it. That's all we get on Doctor Who in the actual, everything else has been inferred. You can do that with this kind of man. It's just a really great taste of the period and there's so much you can look at, as we've said, not just TV wise, but writing wise on. This is a fantastic year for England and for creative writing generally. And this season, despite all its many, yeah, not so great success as manages to give us a taste, a smoggish beyond, if you like, of little bits of all of it. really. We got a lot of different shows in Doctor Who this year. And Patrick is astounding. I don't know that many people would have been able to pull it off. No, that's very true. In my pick of the week is, and it's kind of, you know, along the same lines that I've come up with many times before, but I had intended to spend this morning planning lessons for the upcoming week, uh, but I became alerted to the fact that uh, volume 5 of Philip Sanders, TARDIS, a Rudatorum, complete with an interview with Gareth Roberts, uh, in which he talks about the Graham Williams ears, uh, that's out on Amazon. And so I won't be winging it tomorrow. I know what I'm doing. But the rest of the week, goodness knows what's going to happen. Looking forward to that one. So next month, our next episode will be released on November the 16th. And gentlemen, your story allocations for season five, Doctor Who? Nathan, you will be leading discussion on the recently recovered enemy of the world. And sadly, still missing theory from the deep. Richard, you will be covering the recently animated, Ice Warriors. Yes, animating a dead corpse. Standby for more. Oh, it's really good. And the mostly recently recovered weather theatre. Oh no, this is a good one. Okay. And I will be covering Tomb of the Sidemen. The abominable snowmen and the wheel in space. And the reason I get the tomb of the side men is because you 2 both have a full or almost full story and otherwise I wouldn't have done and that's not bad. Fair enough. So, um, as Nathan has to rush off, we're just going to say a very quick goodbye and thank you for listening. Good night. Good night. Goodbye and thank you. You've been listening to quite your entirety with Nathan Bottomley Brendan Jones, and Richard Shan. This episode, Airwick Gapport, was recorded on Sunday, 12th of October. The next episode will be released on November 16th. You can find us online at 52 Entirety.com, 52 entirety on Facebook and iTunes and FTE podcast on Twitter. I am a student of human nature, especially Mikey. Wow. That helps.