Hello, dear listeners and welcome back to Flight Through Entirety
the only Doctor Who podcast who wouldn't even say no to a salami
sandwich.
I'm Brendan.
I'm Nathan.
And I'm Todd.
And we are here today to discuss Lewis Mark's final script for the
series.
We're having a bit of a party despite the fact the world's coming
to an end in the Mask of Man Dragger up.
Right, Nathan.
The randomiser has assigned this story to you, which I'm greatly
looking forward to knowing your love for historicals and your love
for Lewis Marx.
So, I'm sure you really enjoyed this one.
Well, you know, ever since I was a child, I actually thought this
one was a little bit dull, and I think the main reason is that
there isn't really a monster.
There's a sort of red sparkler that attacks people, but there's no
one in a rubber suit, menacing anyone.
There's, you know, a lamentable lack of sontarans and tteraleptils
and things.
And so when I'd watched it, this time I had kind of hoped that
with my sort of newfound maturity and my long experience of
watching Doctor Who that I might find a sort of more grown-up, you
know, interpretation or a more grown-up kind of assessment of it.
And I have to say that while the story has a huge amount going for
it, I still think it's pretty tiresome.
Oh, no.
We don't even have any wine to take a drink with this episode.
Well, Todd, I know you're going to be glad to hear this.
I don't mind this one too much.
I have my problems with it, but on the whole, I quite enjoy it.
Oh, I've got my hands and my head like, oh, it's great to be
backlisted.
I adore this as a child and I just love this.
I even love it now.
I know there's flaws, but I still love it.
So let's talk about why it's good.
Do you know what I mean?
Because I think that we can spend quite a lot of time on that.
It looks spectacular.
From the sets to the location work.
I love the whole altar temple and the way in which it's all dark
and then the Madragara Helix brings it back to life.
I mean, do you like that?
I think that's terrific.
It's so well done.
And I think what it is, I think it's black gauze, isn't it?
And the paintings are behind the black gauze, so they only appear
when they're lit in a certain way.
It's so effective.
It looks like an incredibly expensive effect, but it's actually
been achieved really simply.
And as for those locations.
You know, where are we?
Convention anecdote number 264.
We are, of course, in Port Marion, the famous location, or rather
the location made famous by Patrick Maguan series, The Prisoner.
Now, when I was watching this story with Rod, he is a huge fan of
the prisoner, but I didn't mention beforehand where it was, about
halfway through episode one, he says, hold on, that's number 2's
house.
And for that reason, he adored the story.
We got to the end of it.
He said, I don't know what happened with the plot.
I don't care.
We're in the village.
And they dress the location as well.
It isn't just the location.
It's some crazy Welsh guy who like built some Renaissance
village.
Yeah, yeah, you know.
Yeah.
My favourite use of the location is actually the market street
where there's a few chase scenes through that.
And I just think that looks so so gorgeous.
You know, it reminds me of Disney's Aladdin, which has it seen in
the market.
It's seen in the marketplace.
You know, it looks properly historical.
I mean, as a child, when I was watching this, I never realised
that they didn't go to Italy or it was some location, like when
Sarah's walking through the orchard or when they're getting chased
or whatever. didn't realise they'd taped the oranges to the
trees.
No, I just thought it was a gorgeous location and wherever it was
it really was like it was in Renaissance Italy.
Yeah, it looks just spectacular.
And then, and then we go indoors into the studio.
And the sense of like Barry Newbury, and they're fantastically
detailed, like there's so much going on in each one of them.
And there's some that look like a great big marble hall with
pillars and like Hieronymus' studio has all this stuff in it.
And they all have these windows and, you know, they don't look
massively convincing, but it's really rare to have windows that
Sky is visible through in sets in Doctor Who and they look great.
And I think that's one of the strengths, is they don't try and do
anything outside with that sky.
It's just a blue sky and you know you're in a room and I think
it's one of the things that I'm picking up more and more through
homes of script editor is that a lot of things are based around
We've got this set or this room.
We don't necessarily need to see outside and we get from one to
the other and certainly, you know, having the location work and
that in this story, you know, enhances all that.
You don't necessarily see outside of Juliana's mansion or whatever
it happens to be.
It's simple and it's effective. and you're in that moment.
And then we got the costumes.
A lot of the costumes come from a 1954 film version of Romeo and
Juliet, apparently.
Oh, right.
You know, everyone just looks terrific.
Sarah looks spectacular in episode 4 for the mask.
Oh, she's gorgeous.
And I love her other outfit as well, you know?
Yeah, yeah.
Liz just looks amazing.
It's very 70s, the outfit, isn't it?
It's very period, but it works really well in that era too.
It's beautiful.
You could imagine Margot Led better getting around in that in an
episode of The Good Life.
I was gonna say you can imagine, you can imagine Felicity Kendall
but no, it's really more of a Margot outfit, I think.
Yeah, yeah, it's really nice to see Sarah doing sort of something
different with the dancing and all that sort of stuff in episode
four.
It's really nice, you know?
And, you know, 0 my god.
Despite the fact that she's almost been sacrificed in the story
she actually gets to have fun in this one.
You know, she gets to wander around the countryside and eat an
orange.
She gets to go on a dance with a handsome, handsome prince, despite
the fact he's probably not that interested in her more on that
story later.
Getting back to Barry Newbury, though.
Of course, we have Barry Newberry's Tartar set.
Oh, do you like it?
don't like it?
Oh, I usually see that face on Nathan.
Can I just say, 99% of this set I adore.
There's only one thing I don't like about it.
That'd not be the door.
And that's that's the black.
It is the door.
The blackness in the middle, in the door.
Like I love it in all the other sets where you can open on
straight out to things.
That, to me, is a little plot device, which is going to come back
into play in 2 stories time that's just so convenient, which
really gets my goat, but I'm going to leave that until we discuss
that particular story.
But that's the one thing I don't like.
I like the door.
Yeah, yeah, especially with the transporter pad.
Yeah, yeah, yeah.
I like leaning up to it and everything like that.
I just wish there was some sort of... door to that blackness.
It's just the one thing.
It solves the problem of previous tartar sets where the inner and
outer doors are just completely, like there's just no way of
reconciling them.
And so when when they're on Earth in 1980 in Pyramids of Mars and
you're looking in, you can kind of see the exterior of the
interior doors and stuff and that's happened before.
It didn't quite work and they've solved it in the new series in a
wonderful way by having the interior doors be police box doors
which I just think is terrific.
And that comes from the Cushing movies. yeah.
So I think that that solves that problem.
But it's a great, you know, all the railings and stuff.
It's like a ship and yeah, yeah.
And and it's the scanner that we have for the rest of the the
classic series, the scanner that survives.
Yeah.
The one part of the set I don't like is actually the console.
Why, because you don't have a time rotor?
Well, it's not so much that you don't have the rotor, but it's on
casters and quite often when Tom touches it.
It moves.
It's very obviously a piece of moveable scenery.
And, you know, they could have recessed it into the ground and
still had it removable.
I understand why it's removable.
And again, it's not so much the lack of the rotor, but Hinchcliffe
and later Graham Williams kind of made the decision that they
didn't really like it because it wasn't visually interesting.
And I do have to agree with that.
And maybe you don't, maybe you don't need the rotor for that, but
when you open those panels, you don't just want to see push
buttons, you know, you want to see something into it.
It needs to be a beset itself is beautiful.
It needs to be a bit bigger and a bit more stuff on the actual
console.
Yeah, yeah, it is rows of coloured button.
So I gather that the reason for it, and correct me if I'm wrong
gentlemen, is that there was some kind of demarkation issue
between, you know, which department exactly was responsible for
operating the time rotor.
And so they created a console that didn't have the time rotor in
order to solve the problem.
You know, I think that makes a lot of sense.
The thing was plagued with industrial action, as we'll discover, in
the next few years, and I, look, I could be completely wrong about
that, but that's the fan myth that I sort of knew about.
Going back to the look of all of this.
I absolutely adore the masks of the brethren.
I love the fact that, you've got the leader, you've got the deputy
and then you've got the minions.
I like that sort of structured things. and the robes.
I just you know, they're really creepy.
But then at the freaking ball, like the ram's head and that other
thing, they just freak me out every time and the way it shot like
from that angle and shooting people.
Yeah, I mean, when the brethren appear.
Yeah, yeah, yeah.
I'm just like, you know, all of that, just really...
And again, the brethren's masks.
And I know I've talked about comedia de latte before, but they're
very much sculpted in that style.
You know, Barry Newbury has really done his, really done his
research.
And of course, this was at the time when the BBC Shakespeare was
in full swing.
This is around the time a few years after this, I think we had
John Cleese in Taming of the Shrew.
Yeah, yeah.
I watched lots of those BBC Shakespeares at school and I think I
tried to get hold of some of them sort of myself.
And certainly the sets are a bit like that season of Shakespeare.
Certainly the windows are heaps like it, and the kind of fag
staginess of it.
I love Tom's lion mask that he wears.
Yes, and then he then he's silly in it, you know, and irritates
Sarah.
I think there are other good things to say as well.
It sort of has a strong, you know, thematic thing and maybe it's a
little bit obvious and that's the, you know, superstition versus
science and progress.
And so you get Hieronymus and Federico to some extent, but
basically Hieronymus and the cult of Damnos representing
superstition and religion and things.
And then you get Giuliano and maybe the doctor representing
progress.
And the threat that Mandrago poses is that human beings will stop
investigating things, they'll stop learning science, you know, and
everyone invited to the ball is, you know, there's great thinkers
and philosophers.
It's not just great noblemen.
The waters are muddied a little bit, I think, by the fact that
Mandragara is right and Hieronymus is right, you know, and the
fact that Mandragara operates on astrological principles, you know
it'll become powerful when Mandragara swallows the moon and so
on.
And so, I guess the idea is that because Mandragara operates on
these principles, if it takes over the world, the world will be
you know, a place where it's all governed by magic and astrology
and things.
Yeah, well, the thing is, I'm not sure if it's exactly that.
I think it's more.
Advanced science being indistinguishable from magic.
So the reason that Mandragra becomes more powerful when the
Mandragra constellation eats the moon is not because of the
astrological significance of that, it's because that is when the
energy is aligned and that leads the human perception to being an
astrological magical perception.
Oh, sure, but I mean, Mandraga is a lie.
Do you know what I mean?
thematically with the idea of, you know, retarding human progress
and with Hieronymus and that kind of thing.
And so, is that a problem?
No, no, no.
I think that's another good thing.
There's a strong kind of formatic thing, which I love all that
stuff that Auronymous goes...
All of his predictions.
It's just wonder if I just sit there basking in it, even if, you
know, it's it's not accurate or whatever, I just love the dialogue
and and...
Well, just I have a glow about myself when he starts, you know
spurting all that stuff.
I just I just sit there smiling.
Well, in fact, he's brilliant.
Oh, wonderful.
That's Norman Jones, who's been in the show twice before.
He was cre-song, of course, in Abominable Snowman. and who was
wonderful in that.
And then he was in the Southern?
Yeah, he's a major baker in the Silurians.
And again, 2 terrific performances.
And he's wonderful here.
He's got that rich Welsh voice and a fabulous beard and like a
great costume.
He's a real highlight, I think.
I thought it was just Giuliano, her beard, but moving on.
But I really look, I think he's fantastic.
But I also love Count Federico.
I love it in Doctor Who, when you've got these villains who think
they are the be all and end all, but there's actually something
worse than them and they don't realise it. yeah And they're going
to get their cup, what's the word I'm looking for?
Come up, correct.
And you know it, but they don't know it.
And then it's so satisfying when it actually does happen.
You know?
Yeah, yeah.
Although at the end of part three.
The cliphanger for part 3 is Frederico being killed.
Yeah.
And it's always interesting when Doctor Who does a cliffhanger
about a villain.
So one of the other big examples is the master being threatened by
a Zaal in the demons.
And I think we do have a thematic resonance here with the demons
of this alien entity judging humanity's progress.
And one that's associated with magic.
I actually think this is more effective than the Damons in that
regard because the Mandragara Helix is such a different life
form.
And despite the fact, you know, it doesn't have much of a physical
presence of itself, I was terrified of it as a child because of
that first peasant at kills.
And, you know, the flesh is bubbled and burned and turned blue and
yeah, that is an image that has burned itself onto my
consciousness.
And the doctor's reaction, his utter horror and shame at having
been the one who's responsible for this.
It's very powerful.
I agree with you and as a kid, like all of the contusions and that
reminded me of when you go out into the forest and you see a tree
that's been filled and they've got all moths and all sorts of
stuff going on.
It just reminded me of that sort of look.
And that stuck with me as a kid.
They really linger on it in part two.
There's like quite a close-up for quite a prolonged time of one of
the dead guards.
It is, uh, it's uh, the usual sort of Hinchcliffe, slightly too
horrible for tea time.
But it's no surprise that it's memorable.
And I think that cliffhanger of episode 3 that you mentioned is
also one of just the most memorable moments, this whole season, and
I think we'll come back to it over and over again.
This season is like Doctor Who for me.
This is this is the bit that I watched over and over again as a
kid.
It's the season that I remember just maybe the best of all, you
know, even more so than maybe 12 or 13.
I think this is the this is the season that's etched itself into
my memory.
And I think from the following season onwards, and I could be
wrong about this, I will have to look it up.
I was aware that there were these were new seasons sort of coming
along and I think season 16 is my 1st real proper memory of that
but I had a vague idea of about that with season 15.
So season 14 has a huge place in my memory and for that reason I
have a real fondness for these stories.
Even when they're not that good sometimes.
Oh, I'm gonna echo what you're saying, because we have similar age
and this season for me is full of so many memorable moments.
But after this season, then I think I'm aware that new stuff is
coming after this point.
Can we talk about some of the characters in this other characters
in this story?
think so.
And one of the things that always struck me as a kid.
Giuliano, who, who I really adored as a character.
He's got the worst wig though, doesn't he?
Yeah, that might be true.
But, you know, well, you could swish it around, you know, I
thought that's kind of cool.
I think it's just the fringe really.
It's the fringe.
The fringe introduces Marco is his companion.
Is his companion?
Yes, yes, yes.
My loyal companion, Marco.
When he did that as a charter, I was, I just like thinking, that's
a strange thing to say.
Discuss.
What is there to say?
Well, yeah, I, the whole Giuliano Marco thing is, no matter what's
going on, it's quite wonderful. whether they're just friends or
whether there is something more there.
And despite the conservative nature of television in the 1970s, you
know, I think we're still Mr. Humphreys is only just a new thing
on TV at this point.
Quentin Crisp is, of course, still making waves.
But, um, I think regardless of their, of their actual relationship
in the script, I think there is a conscious effort to imply there
is something else going on.
But even if There isn't.
At the very least, there is an incredibly loyal friendship between
them and camaraderie, because there's the bit where they're both
being tortured and they both refuse to give up or recant the other
which, you know, is either a heartwarming friendship or
heartbreakingly romantic.
There's a bromance going on.
In fact, there's so many romances in this.
You've got Count Federico and Rossini.
You've got Heronymus and the priest.
Shipping them.
There's these duos all the way through.
Yeah, there's, there's your 3 pairings.
Of course, well done production team.
We've got no other women besides Sarah Jane and a few nondescript
people at the ball, which is very strange. you know, They could
have worked in.
And, you know, being this period in history.
They didn't have women in this period of history.
Well, that's why Giuliano and Marco have to be.
So, like the Time Warrior.
They could have worked in a character like Meg, because Meg, in
the time war, it was fantastic, the head of the kitchen.
Give someone a sister, for God's sake.
It's not that hard. one of the brethren, mean woman?
don't know They would have been sister on them.
What do you think of the hairdo of the...
The deputy leader of the brethren.
He's the guy from that 1st episode of Blake 7.
Robert James, yeah.
He's less Van Glynde.
Yeah, he's Leicesterson.
Oh, is he?
Lesterson, listen.
Lester listened.
Wow.
What do you think of the moustache swirling of the executioner?
That's Jerry Walsh.
Really?
Yep.
Terry Walsh watch.
That's Terry.
And then he got changed into Tom's costume to jump off the gala.
Can I just say that is one of the ropey elements in this story
when Terry plays Tom, whether it be off the horse or doing sword
fighting?
so obvious. really obvious.
I think, I mean, we've got an eagle eye for Terry after all this
time, but the whole body language is just wrong.
Yeah, yeah.
You know, I think I think possibly Terry spent so long getting
trying to get John Pertley's body language down.
And he had it pretty well by the end.
You know, he would stand like John Pertwee in the fight scenes
that maybe it's not happening.
So we're here, plus Tom's physicality is so unique.
You know, even John Colshaw, who does the amazing impersonation of
Tom.
He doesn't try to stand like Tom Baker because no one can.
The executioner, like the actual going to chop the doctor's head
off.
Have we seen that before in Doctor Who?
Yeah, wasn't it going to happen in the time warrior?
Is that the only other time?
And then it happens later in the visitation.
Oh, well, that's spoilers, people, we don't know what to know.
That is the worst.
Like, I actually think the doctor's about to be executed.
Cliffhanger is really terrible because you know he's not going to
be.
It's the most boring possible way of putting him in peril.
And in the visitation, of course, someone comes in and says, no
wait.
And that puts a stop.
Here at least, you know, he leaps onto a horse and does some
fabulous staring too and stuff.
But I think we're getting close to the objections that I have to
this story.
Overwhelmingly, it is that the action is a bit trite.
And so Sarah is being sacrificed by a bunch of cultists, the
doctors going to be executed by Federico.
There's a lot of standing.
Moffin has that line about classic Doctor Who being a lot of
people standing urgently in corridors, talking urgently in
corridors, sort of thing.
There's a lot of just laboriously explaining what's going on to
each other, and a lot of scenes that don't really contribute to
the plot very much.
And the whole thing just goes to hell, I think, in episode 4 where
there's a giant attack on the palace by the brethren, which is
entirely narrated by Marco, that we see absolutely nothing of.
We don't see them going through the streets.
We don't see them hounding out the villages.
There's this big giant climactic attack, you know, this whole mask
is being besieged, and we don't get a single shot of the breath
run until they get into the room.
Okay, but I mean, that's true enough, but I kind of see it as what
Bob Holmes is trying to do is to bring things back into just rooms
and the characters that you know.
And so for me, it's like, yes, this is happening outside, but we
care about Sarah, we care about what's happening in the palace.
So I actually go with that and I actually see it as not a
limitation of the story.
I actually see it as being, well, you know, if we had to go and
film that and do that, it could really crap.
So let's not even go there.
Let's just keep it back.
And for me, so I don't have a problem with that.
I can see I take your point of view, but I don't have a problem
with it.
And also, it's the Shakespearean tradition.
Because if you look at Macbeth, the 1st scene of Macbeth is a
soldier telling King Duncan how wonderful Macbeth was in battle
and how he sliced up 200 of the enemy soldiers all by himself, you
never see it.
And then the next scene after that is the witches discussing the
battle and, you know, it's all these people talking about
battles.
So, yeah, I mean, I'd never had a problem with that again, because
as Todd says, it's the intimacy of these of these characters, not
just the doctor and Sarah, but we've come to quite know Giuliano
and Marco by this point as well.
And the scene, I think, really helps with that very early on, is
that scene where Giuliano is talking with Sarah about how he
believes there are other worlds around the lights in the sky.
And last season, we were talking about how Sarah loses a bit of
her humanity as she sort of becomes a bit aloof and a bit above
things.
This is a scene where Sarah regains a lot of that humanity because
of course, she doesn't want to say to Marco, oh, yes, you're
absolutely right, and I'm from the stars, because that's my, you
know, that might be a bit overwhelming, but she just listens and
says, oh, go on.
Wow, you know, I think you might be right.
I think, you know, from, it could be performed as patronising, but
I don't think that Liz Slaton performs it as patronising.
She performs it as, I know you're absolutely right.
But this is about your idea.
This isn't about me validating you.
You know, she, she, she's letting him take the stage in this
conversation despite the fact she knows better.
I know I haven't been around for the last discussions that you've
had in the last few episodes.
But for me, even when I watched this as a kid, in terms of
Elizabeth Stone's performance, I always had this feeling that
there was a difference in her performance, like there was just a
feeling, I just, there's something different here.
And I think maybe because she knows that she's leaving and I think
when you leave a job, you do change, like you do in the months
leading up to it if you've got a deadline.
And it's still a great performance.
Don't get me wrong, but there's just this feeling that there's a
difference in Sarah and I can't really quite put my finger on it.
I guess the 1st scene where she's walking in the corridor with the
doctor in the TARDIS and they have the discussion about being from
earth or human or whatever it is.
And it's struck me that in the new series, Jackie has this
conversation with Rhodes about the fact that over time you'll lose
yourself and not, you'll just be this nondescript woman in the
crowd.
You haven't heard our episode Planet of Evil podcast episode yet.
Because I bring exactly that up.
Yeah, yeah, yeah.
But I kind of feel that now having watched this through and having
you know, I had no connection with the brand of movies because I
never saw it as a kid.
But I now look back and I see that they keep bringing Sarah back
to Earth and she's a journalist and, you know, that still happens
in Zygons and Kermins and Mars and Android Invasion.
But after that time, it just goes away.
And it becomes Sarah Jane Smith, Wonder Woman, where she's put
through all these trials of things and survives, you know, falling
downstairs, blindness, mincing machines.
She's going to survive a frigging cliff explosion. like, you know
like she is Wonder Woman, but she's suddenly not, she's not the
journalist anymore.
She could be anywhere.
And there is this difference that I am now perceiving, you know
through these last few episodes and here as well.
I think it is a function of the problem that the production team
has with women, honestly, where Sarah gets turned from a person
into a plot device.
And so she gets into peril and she survives it.
Here, there's that, you know, she gets hypnotised and it's, she
does 2 stories this season, in each of them, she gets hypnotised.
So she's hypnotised to kill the doctor here.
I just think that's really not very interesting.
And again, cliched and try it, you know, sacrificed the virgin
sacrifice, the being hypnotised, all of these things that happened
to her.
And just a lot of the action is really not very novel or
interesting.
And Sarah really suffers from it because by now she isn't any
recognisable human being.
You know, she goes through all these things with no ill effects.
You know, she might bitch about them a little bit afterwards, but
really, she's stopped being anyone that you can really properly
recognise as a person.
I guess one thing I like about hypnotism is the fact that, yeah
she actually asked the question that's never been asked.
Why can she understand other languages?
And I like the fact that Robert Holmes will actually address this
and the TARDIS inside, the bigger on inside out with an
explanation. this season.
So I actually like the purpose of the hypnotism here to actually
put that question for this.
Oh, I agree.
Because I think it's like an elephant in the room that's never
asked.
Now, he gives you answers that are really answers that are very
vague and no answers, but I kind of like that in my Doctor Who
because I like it being left open rather than this is the
definitive fact and we're like Star Trek and this is the way it is
and it's just, you know, scientific gobbledy-gook.
I like the fact that it's vague enough that you can make it
whatever you want it to and accept it and move on.
It leads to that the fabulous fit in fires, Pompeii, where Donna
has such fun speaking Latin.
Rod and I are currently watching series 4 of Doctor Who.
And it's interesting what Stephen Moffat says about classic Doctor
Who being people standing around talking in corridors because what
is silence in the library, but people standing around and talking
in corridors.
There's loads of it. and it's done really well.
But we've also watched Pfizer Pompeii.
Something I didn't pick up on the 1st time was whenever the doctor
or Donna accidentally used some Latin in Peter Capaldi's
presence.
He replies with Welshisms.
Hey, there's lovely.
He says at one point.
You know, it's it's really good.
That's just another example of how great Capaldi is.
Look, I take your point, Nathan, about the cliches in this, but
much like Almost every story last season, Hinchcliffe and Holmes
are borrowing from other stories.
So the cliches here are stuff they've nicked from Hammer horror
films with the Virgin Sacrifice and the hypnotism and what have
you.
I think what does make the story so special and...
I was about to say it's Lewis Mark's best script for the series
but Day of the Daleks is pretty bloody good.
Perhaps it's his best original script then.
Because I do think his characterisation is wonderful.
I think even though we've got cliched plot events, they're
presented with really great style and panache.
Cliche pot event.
Let's leave the Tartar store open.
So space alien energy thing can come to worth.
Like, that's my pet hate in the series, but the doors are left
open.
It's like, ah.
Didn't you?
I mean, didn't you think it seemed weirdly old-fashioned, though
just the way the way it was plotted?
Yeah, but I liked that.
It felt like a Hartnell story.
And it felt like a good Hartnell historical.
You know, you, I could imagine...
They didn't go to the pub or prison.
Oh, they did go to prison.
But no, I could easily imagine.
I could easily imagine Billy and Barbara in this.
That would have fixed it for me, actually.
Look, I just adore this and it's one of my favourite stories of
all time.
Well, dear listener, that is all the time we have for the Mask of
Man Dragra, and as everyone knows, after a big party, it's time
for a bit of a come down.
So next week.
Sorry, I'm just laughing, 'cause I'll know what's next win.
Yeah.
The hand of fear.
Nathan, the randomiser, put you in charge of that again.
Until then, please check us out online, dear listeners, at
flightthroughentirety.com, flight through entirety on Facebook and
iTunes and FTE podcast on Twitter.
And don't forget to check out bondfinger at bondfinger.com.
We currently have 2 commentaries available, one for Dr. No, and 14
from Russia with love.
Thank you very much for listening and good night.
Good night.
See you soon.
That was Flake Your Entirety with Todd Beelby, Nathan Botany and
Brendan Jones.
This episode, a fabulous beard was reported on the 2nd of August.
The next episode within released on September 20th.
We ain't going in there either, Giovanni.
There's nothing but a growling beach ball at the end of that
tunnel.
I don't know what happened in the plot.
I don't care, we're in the village.
Sorry.
That was me trying to turn airplane mode off.