Hello, dear listeners, and welcome back to a new year of Flight
through Entirety.
The only Doctor Who podcast who smothers themselves in bat's milk
for strictly medicinal purposes.
I'm Brendan.
I'm Nathan I'm Todd.
I'm a generous serving of front boob and a blouse for this
episode.
I can do so.
Happy Christmas past, everyone.
And for a Doctor Who story at this time.
There's actually a significant lack of boob.
It is the Caves of Andrazani.
Marry a boob, really, is there?
It's almost flawless, almost.
Except for one or two glaring circumstances.
Can we just cast our mind back a few weeks to Resurrection of the
Daleks?
And I said that I thought that was...
I said that I thought that that was the worst Doctor Who story
today.
And the reason it was bad was that the doctor was barely
involved.
He certainly didn't really do anything to resolve anything.
And it was a lot of people with guns, shooting other people with
guns, a lot of matcho dialogue, a lot of obsession with sort of
hardware and weaponry.
And the funny thing is, this story has all of those flaws.
It's very, very much like resurrection of the Dale.
A lot of frock, is there?
Except it's really, really astonishingly good.
I know that not everyone on the panel agrees with me.
What's happened here is for the 1st time, I think, in John Nathan
Turner's tenure, perhaps since David Fisher.
We've got a writer from, well, you know, the golden age of the
program back, and that's Bob Holmes.
And you remember that when we did our Pertweis retrospective, all
of the stories I chose as good Pertweis were Bob Holmes stories.
And this is really, really on another level as far as writing's
concerned.
And then there's Graham Harper as well, who, again, I think this
is the best directed story today.
The 1st Doctor Who.
He had only been working for 2 years.
He saw this as his big breakout in the business and the industry.
He really wanted to get into film and he'd studied film very
closely.
And you can see this. is a very filmic director.
I would say that he understands how the movement and the action
and the characters are the same thing.
So the camera and the movement, and the dialogue should all work
together.
An actor doesn't move unless it's actually part of his
motivation.
But uh, you can kind of look at the stories either side of this to
see where that doesn't actually happen.
But here there is no gesture that's made without a damn fine
reason, even to the point of doing a very, that very 17th century
that very Jacobean way of, shall we say, side eye to the camera.
But, um, and does lovely side boob to the camera as well.
There's a lot of signing to come.
Look, some people might say it's the best episode of Blake 7 ever
made.
That's what you think, Brendan.
Yeah.
Brendan.
I'll I'll come back to what I think of this story later, but what
I will pressage by saying, I think this is Kezvan Rosani is a
brilliant piece of television.
Yeah.
I'm not convinced it's very good doctor.
Ooh.
What do you think, Tom?
Look, I like it.
I think the direction is great.
And I think the direction actually helps the script.
I mean in the last couple of episodes, like all the gun stuff, I'm
pretty much over.
Yeah.
And I actually like a lot of the stuff in the 1st episodes more
perhaps than towards the end.
I mean, if I cast my mind back to when I was a kid, I didn't think
it was any better or any worse than any other Doctor Who.
It was just another story, it was the 1st time that I knew the
doctor was regenerating.
Yeah, because of the 20th anniversary BBC Times radio special.
So we knew all the stories that were coming this season, the 1st
time ever.
And listeners will know how much I detested the Peter Davis and
doctor as a kid.
And so I just wanted him gone.
So my focus was, look, to try up and die, right?
Gets get on with it.
No, no, no, honestly.
Just hurry up, die. get on with the new doctor, that's what I want
to see.
And so, and I was talking to a friend...
Simon Moore, about this, we were in year 7 at the time.
And we actually enjoyed the following story more, right?
Because there was a new doctor and that sort of thing.
That was my perspective.
I think it's well directed, but there's no doubt about it.
And I understand why people are going to say it's like one of the
best stories of all time, but it's not my favourite by any means.
Robert Holmes's dialogue is delicious.
Yeah.
I have a question for you, Todd.
And it's something you raise there.
Last time you were on the podcast for season 20.
You had a rather disturbing obsession with the fact that almost no
one was dying in the show, and we commented a few weeks ago, I
think, during resurrection, that you must love resurrection
because all the deaths.
I mean, the opening scene, I think 12 people are gunned down.
What's your opinion of the use of death in season 21.
I'm laughing, listeners.
I'm laughing because I commented in the 5 doctors about the cyber
massacre and how like over the top that was.
So I got to Warriors of the Deep and everybody gets massacred and
you know, et cetera.
And I'm going, okay, that's, you know, fine.
Yep, got to resurrection of the Dialects and I'm going, oh, for
goodness sake, just, I just want this death to stop, you know?
Right.
Just stop.
So I was over it.
I mean, that story is just so bleak.
You can have too much of a good thing.
There is no need.
There is no need to kill so many people, right?
And again, this happens here.
I'm all for death and dying, but I think it has to be federation
drink, listen.
But you need you need you need people to be killed off, but you
don't need to kill everybody.
Otherwise it loses its impact.
A rogue one?
Spoilers.
So yes, so, you know, buy halfway through Resurrection, the Daleks
I'm going, I don't want anybody else to die.
I think the problem with the resurrection of the Daleks, though
isn't that everyone dies.
I think that it's just incredibly terrible.
And um, this one where literally everyone dies except Perry and uh
Kraut Timmon, uh, the women live, the 2 women in the story live
but literally everyone else, including the doctor dies, including
the magma creature, including all of the queen bats who've
descended down to the lower levels to die.
And you remember that Pete and Perry are dying the entire way
through.
So, It was always sort of fun.
I do remember at the time watching this for the 1st time where
you're kind of wondering what's going to take the doctor out.
And yeah.
Yeah, and it's deliberately set that up that way, isn't it?
You really do think everyone, I thought the dodgy lift might get
in.
But the fact that, like, really early on, they fall into the
spectrocks.
Well, they bounce into each other.
You see Nicola going...
Her bum comes back into shock.
I'm pretty sure she goes A over T, actually.
She is the most...
She's the most buoyant of the dolphins.
That's something that is wonderful about the story because with
the 1st doctor's regeneration, it's kind of it's ceded early on in
the story that something is happening to him.
And even then that was, that was a production necessity because
Hartville had a week off.
You know, so they had to have the doctor collapsed.
And this as well.
God, I didn't even spot him under the latex cape.
But, you know, all all of the other regenerations have been
something that have happened in in a flash in the last episode.
Yeah, you know, whereas this, we get this wonderful moment at the
end of part 3 where the doctor is trying to land Stots's ship and
starts to see the regeneration effect in front of him in the
screen and he sort of shakes it off.
And a lot of people have come to the DVD since and said, you know
I never noticed that on broadcast and I never noticed it on
video.
It's noticing it on DVD.
He's kind of shaking his head and you see from his perspective.
Really?
I just thought it was cheaply reusing the same effect, you know?
Same here.
Well, I like that interpretation, though.
Well, according to Graham Harper, the idea is, from that moment, he
could regenerate at any time.
He does like do a lot of crawling and stumbling and stuff and fall
you know.
He's holding on.
He's the best falling over doctor we've ever had.
Yeah, absolutely.
I mean, crapful.
His falling is one of the best, his falling is the best thing in
terminus, let's face it.
Yes, they're much other.
Anything else to recommend that much?
Sorry.
But something I've often said about this story.
This seems to be the Doctor Who story that Robert Holmes has
always wanted to write because he's written it twice before.
He's written it as the Space Pirates, and he's written it as the
Power of Kroll.
I was going to say, it is actually the sister story and possibly
in the same universe as Power of Kroll.
They work together really well.
Absolutely.
But I think what makes this one works so well.
In space pirates, you had the goodies and the baddies.
The Baddie, Craven, played by Dudley Foster, I think, was really
good.
Yeah.
The good guys, General Hermak, played by Jack May. was pretty
funny.
I love Jack May, but he just wasn't a commanding presence, you
know.
In Power of Kroll, really no one's a good guy.
No.
Yeah, you've got the refinery workers who are horribly racist and
you've got the swampies who are painted as the aggressors and
literally painted in green.
But they're not particularly presented as having much agency, you
know, the kind of ruled by their religion and the ones who
question it, don't really get much of a look in, et cetera.
But in this story, you have wonderful villains.
And you have wonderful, quote unquote.
Good guys.
General Chelak, he's he is a good guy by default, but at the same
time, he's a complex character who makes decisions we find
appalling.
But we understand people to die.
Yeah, yeah, yeah, yeah.
But we understand his reason and it doesn't reduce our sympathy
for the character.
You know why he was cast?
You know, you do know that.
Well, because Harper wanted him to be like Earl Flynn.
So he found the closest actor he could get with a face like Flynn
and put stuck a moustache on him.
He looks like Flynn.
I actually think he's I actually think he's a very brigadier like
don't know.
That's very true as well.
I think I think that the way that it's written.
Holmes is obsessed with colonialism.
This is another colonialism thing.
And um, and so he's a sort of blustering idiot general and he
doesn't overplay that, but certainly Morgan says that he's
obtuse.
And he just seems to be a little bit thick.
Yes, he hasn't really picked up on it all.
No, and and, you know, clearly he's being out.
If we were a blow-up toy for the last 3 months, that's quite
worked it out, yeah.
Has your hair always so perfect?
Where is he getting his product from?
So he doesn't play it very big or broad.
He plays it sort of fairly naturalistically, but he is
disappointingly unlikeable.
And there is, there's no one in the story who isn't evil, is
there?
There are no good guys.
Curry is quite, you know, as we're about to find out, you know, the
quintessence. on.
Well, the thing is, I look at Shara's Jack.
I don't think he's particularly evil.
Not at all.
Exactly, he's the most sympathetic.
He's a villain, certainly.
And he frocks up like one, certainly.
And it's, it's really the beginning of the unfortunate trope of
villain fancies peri.
But at the same time...
At the same time, there is there's a complexity to that
relationship, one of the best scenes to exemplify that is when Jet
gets his mask ripped off, and Perry is hiding, and he goes to
check on Perry.
She sees his face and she screams and he recoils in terror.
But just before the camera cuts away, Perry starts crawling
towards him to check on him.
And it, you know, it's a blink in your mission.
It shouldn't have been it shouldn't have been cut quite there
should it?
Well, it at least...
I think, in a way, it shouldn't, but in a way, it leaves a bit of
ambiguity as well.
It's it's certainly an uncomfortable characterisation, but There
are shades of gray in most of these characters.
I would argue with the exception of Stots and Morgas.
Yeah.
You know, I actually think that Sharon's Jake is horrible and much
much more horrible than I thought he was on previous viewings.
And I think the reason is that he is horrifically rapey when it
comes to Perry, like absolutely revolting.
And we talked last time about how Perry is here to be the victim
that she's here to be manhandled and pushed around by men, and
it's going to be the big characteristic of her run.
And the only thing that saves it is that she is so charming and
she plays strong and saki in this.
It's very easy to forget with the big mistake that's coming up, if
you want to see it that way.
But, um, and the 2nd Bob Holmes story she does actually, but she
kind of regains some of her tenure.
But in this one, she's strong and feisty and totally likeable.
And kind of the Tegan we should have had all the time.
I actually completely disagree.
Really?
I find it very compassionate.
No, she is.
She lovely.
Look, I really like her a lot.
I think that interplay that we have with her and Pete at the
beginning of episode one is marvellous and she's really terrific
in it and Pete's really doctor-ish and, you know, Richard, you
said how lovely it would be.
It would have been to have a season of those 2 together.
But in fact, all we get is that one episode because the 2 of them
are very quickly separated.
And then she's very quickly incapacitated.
And so when she 1st meets Sarah's Jack, she's frightened by him, he
keeps wanting to touch her, and attempting to touch her, and she
doesn't want that to happen, and she's flinching and screaming
whenever she thinks it's likely to happen.
And there's one really awful moment where Pete puts his hand on
her to reassure her.
But because she's in his presence, she she flinches and screams
slightly at Pete's.
Because she's such a good little actor.
She is a good actor, but the fact is that this is more stuff about
her being a victim and her being pushed around by a man.
And it's really, really horrible here.
One of the moments where I think maybe it can be read as sympathy
because of the way that Jack looks after her when she's sick, he
turns the air conditioning on, which will eventually lead Morgus
and Stotts to his base.
He's keeping her face cool.
He's looking after her.
But the way I was reading that is she's now so incapacitated that
she can't even object to being touched by him anymore.
She's got no power at all to do that.
And I think that's awful and, you know, Holmes is famous for his
mistreatment of women, the companion who's had the worst time of
any companion up until Perry is Sarah James Smith, and that was on
Bob Holmes's watch.
And so he or she gets really, really horribly pushed around.
And so I just can't read Shara's Jack as anything other than a big
creepy vase or...
He was Twiggy's partner and the boyfriend.
The 1968.
Christopher Gable actor, yes.
He's got very nice hairy hands, doesn't he?
was astonishingly so, Brendan.
Did you not notice that Graham Harper's story that Christopher
Cable always called Harper Twinkle on all the previous productions
and he was absolutely terrified and mortified that he'd be doing
the same thing on this, but he didn't.
Yes.
Yes, yeah, sort of according to Harper, um, Christopher Gabble was
a... actor as well, but he saw, and very pretty, which is why he
actually had him cast as, um, was it Morgus or Stott, so it was
one of the money.
He was cast as one of the other roles because Harper didn't think
he'd want to wear a cowl mask, but then he saw how pretty the mask
was.
No, I must have that.
His eyelashes are lovely.
He brought his own line, I should say.
Christopher Gable saw this as an opportunity to stretch himself as
an actor.
And there's a feature on the DVD archive or recording because
Christopher Gable is no longer with us.
Um, an archive recording where he discusses, if you like, his sort
of method for getting inside the mind of the character. wrapping
up.
Graham Harper has even speculated that perhaps the reason he
didn't do the whole twinkle and jokey thing was because he saw
this as an opportunity to play a real part, if you like.
Because, I suppose as a dancer, it's very easy to end up in the
chorus with no character at all.
Whereas, you know, you're given a character, you're gonna run with
it.
Little world on Graham Harper.
He was uncredited as the director for several scenes of Warrior's
Gate when Paul Joyce was removed from the set before being invited
back on.
Paul Joyce, much like Graham Harper, was trying to be a filmic
director and as such, fell massively behind time in the BBC set to
the point that John Nathan Turner came down and said to him, right
you're out.
Graham and I are going to do this.
We don't have time.
Paul Joyce went and sat in the BBC bar.
And half an hour later, John Nathan Turner came to him and said
look, we can't decipher your shooting screen.
I'm sure something can be arranged.
So I think Harper even then directed a few sequences afterwards
sort of simpler sequences while Paul Joyce focussed on the more
complex ones.
So Graham Harper makes far more a success of the filming approach
but there are still moments that were dropped.
Do we know about these?
No, quite a bit. every episode overran.
And they still overrun, but yeah, it was quite a considerable
amount cut out.
There are deleted scenes on the DVD and there's one very famous
sequence that just wasn't shot at all because they wanted to a bit
like Pertwee's departure.
They wanted to tick a few boxes for Pete.
So of course they explain what the salary is for.
It turns purple in the presence of gases in the praxis range. at
which point he is good for his team.
And it's a powerful restorative on the black galafrase.
And can be inserted nasally.
Yes.
And they also wanted to give him a sort of heroic fight scene.
And that's what the magma creature was about.
Really?
I'm going to fight the magma creature.
Yeah, yeah, yeah.
So in episode in episode four, when he's trying to get to Perry, he
was going to fight the magma creature and they ran out of time.
They left for the end of the day.
And so it's replaced with the doctor finding it shot despite the
fact, and Graham Harper says this.
We've seen bullets don't affect it.
So what's killed it?
We don't know, and that's why the doctor finds, but says, hmm, it's
not your day either.
But in a way, that's more Davidson.
Yeah, a fight scene.
And it continues that theme of everything dying.
The magma creature has to die.
The magma creature is another of sort of Bob Holmes great.
Great loves, like when he has to put in the crap creature that
they have to visualise, you know, it's a man creature.
We also get the giant bat as well.
Yeah.
Which is kind of true.
At least that's covered in smoke, you know?
Well, I mean, he, when the magma creature attacks someone.
And of course, it's got rubbery hands.
So it stars in the Cliffhanger to episode two, which is very
exciting with its rubbery hands.
When the magma creature attacks someone, Graham Harper just makes
the camera go out of focus so that we can't see how truly terrible
it is.
It is shocking.
It's great abs though.
It's well fit and great sturdy but very short little legs because
you know Janet was still actually engaged in being paid for the
performance in this.
It probably played in the in the 1st 15, the Andrazani major 1st
15.
No, it's Janet.
She was still being, yeah.
We can never, ever act Janet on Twitter.
My main problem with the magma creature is the stupid cape.
Yeah, why does it have a cape?
And the thing is, it's this rigid carapace that it doesn't quite
fill out.
It's covering up something that was even worse.
It gives it a bustle.
Well, I don't know.
Did it look like a penis or something?
That's the only reason to give something a cape in Doctor Who.
Sorry, Justin Chatwood. not saying you.
You are.
A penis.
No that would be unkind.
Yes.
However, so who else do we need to talk about?
I mean, Perry's sort of sidelined because she's sick.
Pete's sideline because it's Bob Holmes doing a Seward story.
I think we need to talk about the Trow and the crowd.
Yeah I think we probably do.
You know who they originally cast us, don't you?
Steve and Mrs. Peel.
I wish, and Charles Morgus, and John Normington is just the
greatest thing in the history of the universe.
Harper wanted Alan Lake and Diana Dawes.
Wow.
We've covered a lot of this in the fabulous story called
Underworld when we talked about Dinosaurs and Alan Laker were kind
of like the old wheezy couple, but they were both very fine
actors.
Alan Lake especially.
Very, very good actor.
I think it would have been amazing as Morgus.
And John Normington, I think, is he doesn't get the credit that he
deserves for this because I think he's absolutely superb.
Oh, he makes this.
The best thing about him is he's constantly expressing sort of
regret and panic.
Think about when the president falls down the lift shaft or when
the Northcore copper mine, blows up or whatever, and he's
constantly expressing regret or these serious emotions, and he
does it in this completely affectless way.
Yeah, yeah, yeah.
Which just makes him sound fabulously, superbly insincere.
How tragic.
It could been worse.
It could have been me.
Yo, that it's such a chilling line.
Talking of the president down the lift well.
Like, I mean, I just remember that as a kid.
It's just something that just sticks in your mind, like the fact
that he's, he's just done a, and have the attendant shot as well.
A technician shot.
It's just like, really?
like you've just planned all this.
It always bobs back into my mind because in LA law a few years
later, there was a character called Rosalind Shays played by
Diana...
Moldar.
TV's Dr. Pulaski.
And she was sort of the semi-regular evil sort of bitch villain.
They call the lift, and next thing you know, she's talking to one
of the guys and just walks straight in and the lift hasn't arrived
and she falls to her death, you know?
And I just, and I always think of case of Andersani and think
whoever wrote that episode of LA Law, I reckon must have seen this
episode of Doctor Who.
It's tremendous the way that Morgus.
Morgus goes to shake his hand at the president who moves his hand
towards him and then he just pushes him instead.
It's so terrific.
And the president is wonderful as well.
He's got this sort of great posh voice and there's all this stuff
about morality.
The president almost risks being a good guy.
Yes, there's the level of my, I've had to suppress my ethics for
power, but he actually does believe himself to be a moral man.
He certainly judges morgas.
Remember, there's that conversation about closing some of the
plants in the east so that people can work for no pain.
Exactly, which, well, welcome to Australia.
Do you not over in the West for less than $2 a day if Ms. Reinhardt
can bring them in?
It's so topical.
But I think it gives us a really lovely posit of something Holmes
was always talking about the politicians are actually powerless, no
matter how decent their motivations may be.
They are nothing but puppets that can be dropped from a great
height whenever necessary.
And he is cynical.
I mean, the president still is cynical.
He goes, you know, I suppose we might make that seem morally
justifiable.
Yeah.
And I mean, Holmes is a great cynic and here he just gives it free
reign.
Not a lot of new hope in this, is there?
It really isn't.
No, no, it's very it's very much a hopeless story.
As a kid, I really disliked all the asides.
When he turns to camera.
Look, I just hated it.
You didn't have BBC Shakespeare.
Well, you were having to sit through all of those Lala wards doing
side-eye.
And I just felt it got worse and worse is like at 1st it's at the
to the side and then it's directly into the camera.
And I really disliked that.
Maybe if you'd been 3 or 4 years older, because we loved it.
What do you do now?
No, but we were 15, we're sorry, I'm just, this is the best thing
ever.
I just went, oh, really?
Now I still am annoyed by the direct shots to camera later on.
I like the earlier sides.
I mean, you know, I've got that baggage from a kid and as a kid
and I, you know, but I think his performance is great and then...
You know, it's an accident, don't they?
Yeah, the notes were to slightly askance to the camera, but
Normington interpreted doing it as Jacobean drama is, you know, as
Cod Shakespeare's.
Yeah, and apparently...
You remember House of Cards where Ian...
In Richardson very, very frequently turns to Cameron and it just
shows his control of the entire television program, that there can
be people around him actually listening to him and he's so
confident that he can just deliver it soliloquy. bring that up
because when you see Spacey do it over the period.
How long has Cast of Cards of US been going 17 seasons, something
like that?
Yeah, something like that.
Four at least.
Yeah, 14.
Okay, yeah.
But it's so successful.
Those are sides.
Because it's weird.
I had this one on video as a kid, but...
I don't recall ever watching it in full.
I would fast forward to the end and I would watch the regeneration
scene over and over again.
Spoiler alert, um, but I don't, you know, I don't know if it
scared me or there was something else I didn't like about it, but
I never watched the full story until it came out on DVD in, what
2000, 2001.
Just check the show notes, it'll tell you.
Yeah.
So, you know, 1st time I watched this, I was 18, 19.
And those asides, I knew there were asides.
I knew that, but the 1st time, and I think his very 1st aside is
straight down the camera.
The 1st time he turned to the camera, I jumped in my seat.
It's really funny.
I think he just says, you spineless critton or something like
that.
I mean, I just thought it was part of the direction and what makes
this story stand out is that direction.
And also, isn't it a 3D shop where they walk around?
Oh, that, yeah, that magnificent 3D monitor in the middle of the
room. yeah.
Yeah, which is something that, you know, hasn't hadn't been done
before as well.
So, you know, I think I think they do work.
I mean, I'm not, yeah, I think, you know, the direction.
But one of my overriding things is in the Australian broadcast is
at the end of episode 4 where the mask is pulled off Sheriff's
check.
It cuts from the mask being pulled off to the whole labs on fire
and everybody's dead.
Right?
That's one of the overriding things.
I remember I just went, what the hell?
Like the fact that his face is so hideous has caused this entire
destruction like within a second, but obviously I knew the sensors
got to it.
And it's one of the few times in Doctor Who, where I really went
oh my goodness, you know, there has been a big cut.
So there are quite a few cards.
So when Sharon's Jack threatens to pull the doctor's arms and legs
off, that's cunt.
The scene where Stotts and Kralpa, where Stotts is holding Kralpa
down, has a knife to his neck and is forcing him to eat a cyanide
peel.
That's cut.
The scene where Stots and it's a fantastic scene, where Stots and
Morgus go off, leaving Kralpa behind in the shuttle and then Stots
comes back and just casually guns crop her down and smiles and
then leaves that was cut completely.
And I've objected to that sort of thing in Doctor Who, you know
over the last little while to, you know, pus coming out of
people's faces and people screaming in terrors, they're killed and
all of that sort of thing.
Like, I don't think that that's right for tea time TV.
But here, I just think it's, it's so confidently done and so
good.
And it is kind of Bob Holmes.
You know, Bob Holmes has this thing where he gives, say, would
what, say, would want in a kind of stuff you sort of way.
But it's just done with more, well, intelligence.
Yeah, it's so well done.
It's done with characters.
It's rather than archetypes.
Which we were talking about in the beginning.
There is no action that is not without the character's full
motivation.
It's not saying going to the plot.
So think of that scene with Stotts and Krelp, where Stotts is
force feeding him the pill.
It's very powerful.
So it starts, stots is lying on the ground relaxing.
Krelpa stands over him.
Harper shoots between Cralper's legs at Stotts who's lying down.
And then there's that conflict where it's all about men manning
and being men at each other and that kind of thing.
You manned me in the face.
That really hurt.
Sorry, go on.
But then the end of the scene is the exact reverse of that where
Kralpa has been defeated.
He's lying exactly where Stotts was lying and the camera is now
shooting between Stotts' legs.
It's so thoughtful and so well done.
It's grotesque and it's over the top and it's super violent and
stuff, but it's, it's really, really good at establishing the
relationship between Stotts and Kralpa.
I have to say, because it's been a while since I've treated the
listeners to a comment from Broad.
Yeah, that scene, the end of that scene, we both just looked at
each other and at the end of the story when he was giving me his
notes.
He's like, that bit with the pill.
Bit homorotic.
I like, yeah.
Yeah, and it helps that it's Maurice Roves.
Yes, isn't he tremendous?
He is special import, Maurice Rue.
And a special import twice, in fact, because he did live in the
States.
And the original location filming.
There was a scratch on the film and they had to recall him.
Wow.
And it was remounted between the 2 studio blocks, which presented
a problem because if they couldn't get him for that location
filming, they already had one studio block with him the stots.
They couldn't recast the part, they would have had to rewrite all
the stuff.
He was already back in the States because I think everything he
had to do in studio was done in the 1st studio session.
But he said, yes, of course, you know, of course I'll come back
over.
You have to pay for my flights and accommodation and whatnot.
But I don't think he even asked for an extra fee or if he did, it
was not a rush fee or anything like that.
He was quite happy to come over and do it because he enjoyed the
work so much and the quality of the script.
And because he was just sitting by the pool otherwise, wasn't he?
With all those lovely pounds around him.
Why do you have to send overseas for an actor?
He is really good.
And I think they were trying to recreate Scorbi, but I mean, he's
better than Scorbi from Seeds of Doom.
Is that right?
Did I dream?
Or Captain Peacock, right?
Or Captain Peacock.
He does play a Romulan many years later.
Are you being served reboot, Todd?
Yeah, Scorbit.
Yeah, okay.
Yes, not Maurice Rose.
No, he's Miss Brahms.
He's a Romulan in a really terrible CC6 Star Trek episode.
Yeah, that's right Which also features Linda Thawson.
As a Cardassian.
And it's just like, I wish she'd come back on Deep Space now
because she's fabulous.
She's really good in that.
She just walks in and insults everyone without even opening her
mouth.
She's brilliant.
Speaking of brilliant.
Crow timid.
Yes.
I think she's wonderful.
And I just like the way how she swans in and is asked to do all
this sort of stuff and you kind of, you kind of not sure if she's
really taking any interest in it all.
And then it's just so delicious when she just turns the table on
Morgus at the end.
But, you know, to promote this secretary to this position, she has
obviously got files on so many people and it's not like she's
actually really a nice person because she's in it for herself to
get that job.
But it's, it's a, I just think it's a fantastic moment in the
story.
She does question him one time is that there's a wonderful moment
where Sharon's Jack says that he wants the head of Morgas at his
feet congealed in its own evil blood.
And then we crossfade to the head of Morgas and the head of Morgas
is issuing the directive about the director of the Southcore
copper mine.
I think every time I mention that mine, it's from a different
point of a compass. which one it is.
But he's died, and he orders all of the staff to stand silently
for a minute in remembrance of him, and then he goes, no, wait a
minute, make that half a minute, that she kind of does the eyebrow
as him as if she, you know, can scarcely believe it.
And that final scene where she comes in, she's at Morgas's desk
and she just completely schools Morgas and tells him off and she
does it.
Like not from close-up.
We never actually see her directly.
She's on a video screen.
She's like on a television, which is, you know, in the middle of
the frame.
She's not very big in the frame, but she absolutely controls the
scene, nevertheless, and she's sitting there with her feet on
Morgas's desk.
She's just tremendous.
That, though, is so Shakespearean as well.
Not just the betrayal of the lieutenant, if you like, but say at
the end of Macbeth, when the battle is being lost, a soldier comes
in and says to Macbeth, the battle is being lost and it's just all
off stage.
Well, this is off stage and it's so off stage, it's just in the
video monitor.
It's just from the perspective of Morgas, who is the hubristic
figure in this, just like Macbeth was, and Morgas has killed the
king.
He's killed the president.
Not exactly to assume the office of the president, but to assume
the power, as Macbeth does, as well.
And in this, you've got Krautim and just reporting from afar, you
know, the battle is lost, sir, right?
The messenger from the battlefield.
But it's got that modern twist of, yeah, if Shakespeare had had
video screens at the back of the stage, he would have used that
kind of thing, you know, because that is the modern messenger at
this point.
It's really clever of Holmes and Harper and especially the way
Harper shoots it.
Yeah.
Yeah, we're not even the camera isn't even directly on the video
screen.
The video screens at an angle.
It in the middle.
It's not a very big part of the frame, but she completely owns
that scene.
And especially it's it's the only time that Morgus looks surprised
in the whole story.
And even then his voice doesn't waver.
He's still got that crap.
Why?
Are you sitting at my desk?
He's so good.
Well, I don't think there's a weak performance in any of this, and
we've talked about Chelac, and Sharon's Jack, and Morgus, and...
Janet Field.
Salatine is, for me, initially, whenever I watch this, I kind of
think, oh, that performance, but those teeth.
I know looking, isn't he?
to the fact that he's playing an Android, and then you see the
difference in the actual real one versus his Android version, and
it makes me appreciate what he's doing, what he's doing.
But initially, I kind of always go, I always go, you're a big crap
but I understand why.
I think the Android is spectacular, and there are some great
moments where, so for instance, he sees the real Salatine and
Perry in the next room through the wall, but he doesn't say
anything, and it's all just told visually, and he has this great
eyebrow thing as well.
He's constantly behind Shellac because Shellac's always forward in
the frame and and Salatin's behind him talking to him.
And he does lots of turning and raising his eyebrow.
And there's that wonderful thing where Pete suggests to Shara's
Jack that Salatin can't be a perfect copy and that someone will
eventually see through it.
And again, we cut, or maybe even crossfade, to an interaction
between Salatine, where Salatine is just super ludicrously
efficient.
Yeah, you know, in this really preposterous way.
And then we cut back and there's no dialogue explaining why we're
going to that or anything like that.
It is just this, and here's why Salatine's not going to be
convincing.
Yeah, you can see how fastbinders completely based your entire
performance, but alien Prometheus and Covenant is coming up.
I think also, Salatin is another example of characters who you
might expect to be good guys being evil, and it happens twice that
when a character is told that both Perry and the doctor are
suffering from spectroxoxemia, The character laughs at them.
And Salatine laughs uproariously at the revelation and is kind of
glad about it.
And so he's evil as well. everyone we meet is evil.
The thing is, though, with that laugh, I've got a slightly
different interpretation of it, he's been prisoner with Sharon's
Jack for months.
So all he's got for company are Androids and a Madman.
He's started to go a little bit mad himself and that laugh he
does.
It's not.
It's not a kind of I find this hilarious laugh.
It's an hysterical, ironic reaction, and it's not because they're
dying.
It's because Shara's jack has been foiled again.
Yeah, although he does say to the doctor, I don't suppose you see
the funny side of it.
Yeah, yeah, yeah.
And yeah, I love the doctor's reaction to it.
Oh, marvellous sense of humour.
What do you mean we're dying?
Pete is so darkly funny in this.
Like when Shara's joke is saying, oh, you know, I've got company
now, the doctor says, oh, yes, long walks on the beach, picnics
well-prepared meals, that sort of thing.
It's it's homes again, and we talked.
We talked about this when Bidmead was writing for the doctor in
Frontios, and he just said, stuff that I'm writing, Tom Baker
dialogue, and Pete delivering that just absolutely Sean.
And here you've got smart mouth, Pete. doing what he should always
have done.
I mean, it's still the same acting performance, but he's got such
good dialogue to play.
It is his best performance.
Yeah definitely.
And, you know, he even tries to kind of laugh Perry out of it when
they're prisoners and they're about to be sent before a firing
squad and he's making jokes with her.
Do try and speak English, Paris.
Yeah, yeah.
But it's kind of gentle and when she does say that she's scared, he
doesn't then dismiss it.
He like, oh, okay, I'll stop doing the jokes now.
And Nicola is brilliant in that scene.
She says, like, I don't mind dying.
I, I, I don't want to be shot.
It's just a very subtle thing.
Thing is, when he's then pacing up and down trying to figure it
out, she is also looking around the situation and kind of warns
him that, well, you don't have very long, I think they're about
ready for us, you know, she is incredibly brave.
She gets that funny line too, about when they're discussing the
itching and the blisters and stuff like that, and she says, I
don't suppose we'll die of it in the next hour, which I think is
really pretty terrific.
Yeah.
And we did lose another scene on the last studio day in the
Tartars because this show, this story and then the twin dilemma
was affected by industrial action as well.
The scene shifter strike.
So the last studio session of this was actually the 1st studio
session of the twin dilemma, which we'll be discussing in a couple
of weeks.
Then the last studio day overran and they very wisely said, we've
got to get the regeneration and we'll do that 1st and if we get
time, we'll do the opening scene.
And the opening scene was meant to be explaining why they'd come
to Androsani Minor.
I think you can work it out, right?
I haven't seen the scene, but they came there to get some sand to
get some glass to make a new reticular vector gauge.
That's right.
And what the conversation essentially is, is the doctor explains
all that.
And she's, and Perry said, oh, do you have glass making material?
Oh, I learned glass blowing from the monks of Barastoboln 6 and
she says to him, what were you doing in a monastery?
And he says, I haven't known you long enough to tell you that.
Oh, you're such a pain doctor.
And that so when they dropped that scene.
They decided it was too long to just have it in overlay as we get
as we get in the finished product.
So they went back and just redubbed enough information to get
through to the new scene, but it does then give Perry that weird
line of, they wanted, they wanted to get some sand, to blow some
glass, to create a new reticular factor cage.
Yes, your accent does drop there.
I did note that in my notes.
I actually wondered whether there had been something in that scene
about Pete making fun of her for saying glass and so she says
gloss.
You'd think so.
It's a possibility, certainly.
That's a pretty masterful thing.
There's a beautiful glass shot.
A glass shot at the beginning by the artist, Jean-Pierre, who did
glass shots earlier in the season and for Hitchhiker's Guide to
the Galaxy.
The only thing is, because it's film kind of wobbles, but on the
DVD, they fixed that.
So it doesn't wobble and the glass shot is nice and stable, but
you can select that as an additional option, dear listener, for
those of you, for those of you on the...
Yeah, yeah. who want to wobble who want the original spanner in
the pirate planet.
God damn it.
We have 2 cliffhangers that we need to talk about before we leave
this story.
And one of them is the cliffhanger to episode one.
Do any of you, not you, Brendan?
Do any of you remember this as a child?
Yes, and I thought, how, you know, they get shot and, well, well
the guns go off and I actually stood sat there going, How are they
going to get out of this?
Did we had conversations about it at school the next day?
Yeah, well, we've just seen the Diana Reek episode, The Living
Dead, on 1st broadcast after about 15 years, on Australian TV, the
same year, and which was a similar thing, but you hear the guns
going off and there's Emma Peel.
I think the only time we ever see her with a machine gun, killing
12 people.
And she does.
Yeah, and she's really good at it.
Actually, could have a bit more of this.
Um, and saves Patrick McNee.
So it's almost shot for shot.
So, if you'll pardon the pun.
So in this one, um, yeah, it was, it was, it was the topic of
conversation over the sale.
It's done like a magic trick as well, because, you know, they put
the, they pull the cloak down over their faces and the music is
all these, these drum rolls.
Like 2 plum puddings waiting to be immersed, yes.
And it isn't quite a cheat, I think, because you do get that
montage of Sharon's jack. got the 2 of them on the screen.
He sends for 2 androids.
There's things going through pipes.
He's pressing some buttons.
They're curiously affectless when they are about to be executed so
they could be Androids.
So it's he doesn't just pull it out of a hat.
And the way it's resolved is so incredibly well done because we
get the execution.
We see that they're dead.
They get cut down.
We go back to the conversation between Morgas and the president
that was interrupted at the end of episode one.
Uh, and then we see Pete and Perry walking into uh, Sharon's
Jack's headquarters and only then do we find out that they were
Androids.
I do think that it's hilarious that Sharistjet can just produce
these androids very, very quickly.
He's got a great production line.
Yeah, yeah, yeah, yeah.
I think the master and probably Rex Farrell helped him install
it.
Well, you want to know something, though.
Salatine did see them a while ago.
So salad, Android saladine could have been relaying information
back, you know, like data and Star Trek can very quickly measure
things.
But he has cameras everywhere. you did have a shot of them.
There's 2 things I love about that cliffhanger so much.
And one of them is the president's line just before the
cliffhanger, who he's disgusted by the fact they're getting the
red shroud for executions because the red shroud was for
soldiers.
And Morgus kind, Morgus kind of looks at him like, what does it
matter?
Yeah, you are crazy.
The other thing I love about this cliffhanger is apparently as
scripted.
The music was meant to come in before the gun's fired.
It was meant to be ready, aim.
But, It was Graham Harper who said, no, let's actually have the
guns firing.
Make it even more.
As you say, Todd, how are they going to get out of this one?
And I think that is such a great subversion because we expect it
to be ready aimed.
We expect it to be the doctor kneeling down with the with the
miller overhead with the scythe and then someone comes in and says
stop.
But no, nobody...
Yeah, and that's, so maybe that's, you know, Robert Holmes
subverting again, although, and I'm not saying this to be
uncharitable.
I doubt Robert Holmes was watching every week, if at all.
You know, he probably...
He hadn't seen Peter Davis.
He wrote for Tom.
It works so well though, doesn't it?
Yeah, which means you can just, as we've said before, you can
write great lines and any actor can do it.
You don't write for a doctor, you write for the doctor.
But I will say that when I saw this at 18, obviously I knew they
weren't dead at the end of episode one, because I'd seen the
regeneration, but I didn't know the beats of the story, I didn't
know how they got out of it, and then the great storytelling trick
is as soon as they walk into Shara's Jack, you go, of course he
can make androids.
Yeah.
It is that thing where it's not, do they survive that we care
about?
It's how do they survive?
And so having them survive before you say how they survive, I
think was terribly clever.
Yes, yes.
The other cliffhanger?
Well, the cliffhanger, is it a cliffhanger?
Let's call it the end of episode four.
Okay, the regeneration.
Yeah.
So Pete's almost upstage by Nicola's cleavage.
He likes to go on about that story.
It's the 1st regeneration where there hasn't really been an arc or
any other over umbrella meaning overwinning meaning to it.
There isn't a journey, there isn't, you know, the self-discovery
there isn't, there's, there's, in other, in every other's, Doctor
Who renewal, if you want to call it, for that, and the confidence
about to presage that as well, isn't he?
But there's always been some meaning behind it here.
It's just another incident to the plot.
It's meaningless and that's what Holmes is always, that's Holmes's
really cynical humour is, yeah, this has just happened because
somebody made a wrong term.
I think that that's true.
Like he dies sort of by accident, but he's also found himself in a
situation where his stuff doesn't work anymore.
And the thing that reminded me.
Yeah, being charming doesn't save you in this world.
I'm the doctor and this is my friend Perry and it has no effect.
He gets shut down immediately.
And the thing that reminded me most of is episode one of the war
games, where the doctor turns up for all we know in World War one
which is a real historical, a real horrific historical event, and
he has no power to prevent himself from being executed at the at
the end of that 1st episode.
And it seems inevitable.
He can't do anything, none of his charm.
None of his usual stuff works.
And here, all of Pete's usual stuff just completely fails to
work.
And this is a story where he hasn't saved anyone. where he hasn't
changed anything, where he's been powerless to have any effect on
this situation.
So it's finally the doctor faces the situation that just kills
him.
What I, what I like about that sort of tension, though, is, and
it's happened a lot to Peter Davidson's doctor, that he's a bit of
a, he's a bit of a whipping boy of the universe.
You know, something goes wrong.
He immediately gets locked up and the plot keeps on happening
without him.
Where is here?
This may be part of your objection, Tom.
No, I'm not objecting.
I agree completely.
It was yeah, a lot of wastage of the principal character, yeah.
But here, you know, he spends the 1st 3 episodes trying to be
charming.
He tries to charm.
Chelak, he tries to charm Chero's Jack. tries to charm, stots, and
he tries to charm Morgas.
Android, he tries to charm that Android.
Yeah, thing is that works.
And I love that x-ray thing where his hearts are outside his
lapels.
But, um, what seems to happen is after he's tried to charm Morgas
and that hasn't worked.
I think he's kind of figured out, you know, he's going up the food
chain a bit.
So, you know, a general, then the general's enemy, then the
general's enemy's enemy, and then the general's enemy's enemy, the
boss.
And at that point, he just goes, Okay, you know what?
It's not working.
You want me to be mean?
You want me to be nasty?
I'm going to steal this ship.
I going to crash it.
I'm going to get back to my friend and to hell with a lot of you.
And he becomes this really powerful character, but he doesn't
forget his manners.
Because when Stotts burns through the door to get to him.
He says, ah, starts in.
Have you enjoyed your rest?
You might want to hold on to something, Cos.
I don't know how to land this thing.
And that's the thing.
He, in becoming this more action-driven character who has kind of
gone, I've given you all the chance. forget all of you.
He doesn't become like David Tennant ranting and screaming.
He keeps his calm, he keeps his cool, but he's just like, no, I'm
done with this.
I'm going to do the only thing I can do now.
I've you know, I've tried peace between you.
I've tried persuading you against violence.
None of you are listening.
I'm just gonna save my friend now.
And I think that is so powerful and that is so central to Pete's
character, especially seeing as, you know, we've discussed the
fact that his doctor is so emotionally reserved.
He's not giving up on his principles, but he's kind of like, these
people are not interested in my principles.
So I will use the word.
Oh, get some more.
I'm going to use the one principle I have left, which is I'm not
going to let another one of my friends die.
It's an amazing final episode, actually, because I think he only
exchanges a handful of lines with Sharon's Jack and that's it.
The rest of the time he's running and getting shot at.
Stay warm.
And then we get all the floating heads.
Yes, yes.
So Janet and Mark are still under contract.
It is a bit Futurama, isn't it?
I believe they recorded Gerald Flood's line as comedian.
Tell speaks the truth, doctor.
I believe they recorded that at the end of Planet of Fire, so that
was pre-recorded.
But they had to issue new contracts for Anton Anley, Matthew
Waterhouse, and Sarah Sutton.
And there was some concern, I believe, that I think Matthew
Woodhouse was overseas during the initial filming. in London.
That's that is an a notorious production of Hamlet.
Yeah, about that one?
He did it in Connecticut as well.
Yeah.
Yeah, yeah, yeah.
Was it dinner theatre or...
Should we put some of the reviews up?
But when they moved the filming dates, he was suddenly available
but there was discussion of not having him in there and...
Well, the rationale was they could get away with it because the
character was dead.
But I think it's so much more effective having him come up last.
It's Pete's last word too, isn't it?
Yeah, yeah.
And as rationalised by Eric Saywood in the twin dilemma thing, that
pushed the doctor on because he never really liked Patrick and he
felt guilty.
Thank you, Eric.
We'll talk more about that normalisation in a couple of weeks.
It really is a cynical piece of work.
Well, you know that Saywood was espousing at conventions that he
wrote a great deal of this script.
Yeah, well, yeah.
I mean, he will come.
He wrote the whole salary piece.
He will go on to write this script again at the end of the next
season.
Not quite so well.
Also directed by Graham H?
Yeah, yeah, yeah.
And so the generation happens.
I think the regeneration's pretty amazing.
There is that there's that thing where the light pulls in life
yeah.
He's definitely lying down as Pete.
He suddenly sits up in his column and instead of the rollback and
mix thing that we used to get, and he's just, boom, suddenly he
sits up in his column. with his flies open.
You know that story?
That was Pete's spare costume, but Colin couldn't get the flies
up.
So because he's big boy, even back then, and he famously mooned
Sandra Dickinson on St.
Peter's then wife, and got a rousing murmured cheer from the rest
of the production staff who had apparently been completely
ostracised by Sandra over the last 3 seasons, which was not the
easiest of guests.
No, you can go to Pete's autobiography for more of that.
Yeah.
The funny thing is that costume, which, as Colin, quite frankly
says, was...
Well, also split up the back, there was a V cut out of the back of
the pants.
Peter then had to wear that costume to do time crash.
Well, you know, it was still around.
It was still around.
Ian Levine hadn't been doing it as a party.
Was that the Doctor Who experience?
Graham Harper has said about the regeneration effect that he got
it to about 90% of where he wanted it to be.
And he says that on the commentary and Peter and Nicola are just
saying, what?
But it looks great.
He's like, no, no, no, no, no.
You know, you never have enough time to do exactly what you want.
But I got it about 90% there, which says a lot about the man.
But yeah, of course, a day in the life.
The note at the end of the Beatles day in life was the influence
for that sort of chord that plays as we're going into the howl
round kind of effect. 1st time we've seen how around since 1973.
And then, yeah, you get that explosion and Colin sits up and
yeah.
And he gets to say some lines by Bob Holmes, which is kind of
nice.
He'll do that again.
Is it Bob or is it?
We wish it was neat. in about, you know, forced through time.
I, I, I really like that bit.
That's 3 eyes in one breath.
Well, I do, I was quoting.
I really like that bit where, for the 1st time after a
regeneration, a doctor is actually really self-assured, it's not
it's not like he just kind of sits up and looks around dazed like
Davidson did.
It's not like he's unconscious like John or Tom were, and it's not
like he can't focus on his surroundings like Pat was.
He just sits up and straight away.
He like, yes, it's me.
Hello.
It's just very quiet and very self-assured, and I wish they'd
continued that quietness, self-assured.
I'm glad he lost the eyeliner, though.
There was a hell of a lot of eyeliner in that shot.
Oh, there's still a hell of a lot of eyeliner in 2 weeks.
Oh, is there, guys?
It's very much the Shatner approach to main character acting, isn't
it?
I like the more of that.
I like the confidence in that in that moment, in that performance
but I'll talk more about that.
He does Fluffy's line though, doesn't he?
That final line?
Does he?
Well, he's supposed to say, and it seems not a moment too soon, but
he appears to say, and it seems on a moment too soon.
Oh, I always heard it as not.
It's always not.
Yeah, have another listen.
No, it's definitely not.
No, I've heard him say things about his dissatisfaction with his
delivery of that line before he's so farewell to Pete.
Todd, do you had Peter the convention?
I know you had Nicola at a convention.
No, never.
You definitely had Nicola, so to speak.
And did she talk to you about this 1st story and her expectations
for the role that perhaps didn't quite come to fruition?
You know how she she said to you?
She said to us all that she'd written a backstory for the
character.
Of Perry.
She'd sat down like a proper little actress starting out in a
career and that Howard and, and the doctor, you know, she saw his
very much, or her original father, she saw his very similar and
but, but Howard was, of course, more like the master and was cast
as a, written as a much older character.
But, now, Perry had a full, Nicola had written a full back story
for her character, which never got to happen because it was, it
was going to, she was, she'd talked to Pete about how they would
both express this as a role and Peter went, actually, I'm going.
Put them off.
The only thing that bobs into my mind is that, you know, she's
talked about, the fact that Pete spent the entire production
whining her up over the fact that this Colin Baker person was
coming in and just winding her up as to how bad it was all going
to be.
And that's why they, it takes them the next story to really work
out not only onscreen, but behind the scenes to get into a proper
working relationship because of this sort of this thing that's
been built up into her mind.
Very naughty.
Todd, before we go, because I think this is going to be important
in 2 weeks time with the twin dilemma as well.
What did the audience think of this story?
It's no better or no worse than the rest of the season?
It picks up a cool 1000000 for the last 2 episodes?
It does.
6.9, 6.6?
And then the last 2 episodes in that week is 7.8.
So it does jump because it's the end of the doctor.
Yeah, and it places those 2 episodes play 62nd. you know?
The previous week was 66, 75.
So, you know, it's one of the higher rated ones of the year.
So Peter over the last 3 years has really sort of hovered around
the seven, 8000000 mark.
You know, he hasn't lost that many.
Well, I mean, I think looking at it probably 6.5 to about 7.5 is
where most of his stock sits after that 1st season.
Do we think that the Monday Tuesday thing was a mistake?
Well, I mean, it's been juggled around like 2 nights a week for
the last 3 years.
It was, you know?
and so they're going to change that for next year.
Um, because they felt that it needed to be on at a set time rather
than, you know.
So decisions have been made behind the scenes, but I might talk
about that more next week and next season because there's going to
be, you know, they've made a lot of decisions over the last few
years that have worked out for the positive of the show, just by
happy accidents, things have happened, but now decisions are going
to be made and it's going to have, it's going to go the opposite
way.
Dear listeners, we bid a fond farewell now, too, Peter Davison, but
do come back next week for our retrospective looking at his entire
era.
Over on Bondfinger, we will be shortly releasing view to a kill
finishing off the Roger Moore era as we finish off Peter
Davidson.
You can find that at bondfinger.com, Bondfinger on Facebook and
iTunes and Bondfinger cast on Twitter.
We cover him in sticky stuff when he gets a rash.
Don't forget to check out flights through entirety.sexy, flight
through entirety on Facebook and iTunes and at FTE podcast on
Twitter.
And Nathan has recently regenerated the Randomiser.net where you
can now find an array of options.
You can get it to randomly pick you a story based on doctor, story
length, missing episodes, not missing episodes, and if we've
recorded a flat through entirety podcast, You can even find it
through going through there.
Until our Peter Davidson retrospective next week, may none of your
trampolines be Spectrox nests.
Thank you very much for listening and good night.
Good night.
See you soon.
It doesn't stop, does he?
I think there's something in that for all of us.
That was Flight Through Entirety with Todd Bealby, Nathan
Bottomley, Brendan Jones, Richardstone, and his Kenneth Williams
doll. theme arrangement by Cameron Lamb.
This episode, men manning and being men at each other, was
recorded on December the 28th, 2016.
Next episode will be released on January 15th.
If you'd like to jump in the mud bath with the rest of us, you can
at least buy some spectrums first.
Hairy books are sexy.
Yeah, well, the thing is, I've had to stop waxing.
The last time I last time I waxed it, I've had about 50 ingrown
hands and I just look like I've got measles now.
No, don't work, sir.
As long as you don't engage the zipper while you're doing it, we
assume that you actually have a zipper.
Are we actually recording at the moment?
Yes.
This is where we get our tag scene.