WEBVTT

NOTE
This transcript was created on 2026-06-07 at 21:56:19

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Maximum Power.

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Welcome to Maximum Power, the Blake 7 podcast that knows the word, the word, the word, is consanguinity, and we'll get more familiar in a family way with that later, but we're here to talk about hostage, the 8th episode of series B of Blake 7, and I'm joined today by the Creme de la Cremos.

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Let's introduce ourselves.

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I'm Pete.

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I'm Colin, and I could murder a relaxant.

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I'm Hannah.

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And I'm Cy.

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Welcome to maximum power, Hannah.

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Do you want to dive in 1st and tell us.

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What your overview of this particular episode?

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I really love it.

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Hence why I wanted it to be here.

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And mainly for Travis.

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I like the development we've got to by this point with Travis.

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And whatever your opinion about both Travis's, you know, it's hard having change and this is the episode where I was really certain that I love Brian Crouch as Travis.

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Fantastic.

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Oh, there's not many people who say that. have a different view.

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Go on then, Colin.'s yours?

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I think it's one Travis episode too far.

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How can you have too far?

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I guess it takes us to voices from the past and and eventually what happens to him, but it does feel like, yeah, 0 God, here's another space battle to start with.

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Okay, we're down on the planet again.

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Oh, look, it's a quarry and oh, we're trapped and Travis has an evil plan that he's trying to convince everyone that isn't an evil plan and actually is an evil plan and he's sort of, you know... literally the show.

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He literally, yes.

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Thank you for listening to Break 7.

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I feel like you've named all the things that I love about it.

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No, that's fine.

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Look, as our sort of godfather of the podcast, Peter Griffiths always says, is there are no bad episodes of Blake 7.

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You know, even, you know, they're all great, even the, even the bad ones, you know, I think, I think I'm quite correct.

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There are no bad episodes, even the bad ones.

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Something like that.

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I have to try, Peter, that's what he said.

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Even the bad ones are good.

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That's something like that.

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And you know, this is very average Blake 7.

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It feels like by the numbers, Blake 7.

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There's lots of things that we've seen in the show already.

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And I don't know whether this is one that Alan Pryor has come to write sort of very quickly or kind of last minute because something else has fallen through, but it feels like it's just taking bits of different episodes and mixing them into a new episode.

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Let's seek locate X bar, you know.

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Yeah, deliverance and all of those.

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Well, people may call the battle sequence at the start padding, but I think it's really fun padding.

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I'd like padding like that in my life.

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I've got to say, even though it's not particularly plugged into the rest of the episode, those 1st 8 minutes, hey, hit the ground running.

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I think you're right.

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I think Pete, it's like when we were playing elite back in the day.

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You had the basis of it, which is all the great sort of dialogue and people sort of sort of urgently saying what speed they need to go at.

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And then you would imagine the rest.

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But there are some good bits.

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There's like this really good bit where it feels like in a, like in a space, you have this sort of like red blood cells or something around the ship is all red on the outside, and I think that was a really nice sort of effect.

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But you do, is it Mr. Fibrilli in that ship?

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It's this Aphibia?

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Yes, the nameless space commander.

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Although, although I think his name should have been Mark because he says that a lot.

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He's like, shoot them.

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Target that weapon.

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Mark.

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But and it's, I feel sorry for his, um, his, um, mutoids who no longer have the hats in that scene.

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Muters are now allowed to take their hats off.

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This is a brake make.

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Maybe that's they can change it.

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They can have blonde hats if they wish. or something.

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They can see like different types of mutoids as well because they see they look they look older than the previous ones you've all been sort of dark and very like very kind of sort of youthful looking whereas.

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These look a bit experienced.

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Yeah, they're from an agency maybe, well, they're having a shortage of the usual...

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Well, there's the episode title.

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Yeah, I know.

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But it is the French...

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Well, it is the Flintstones of Space Chases.

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You know, you got all these ships going past the same Starfield and all these things.

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Blake gets the weirdest line at one point where he's like, put the, the peak of it all, and Jenna's Jenna practically gets it. the engines, can he take it kind of line, to which Blake, Blake replies, quench it, Jenna, full thrust.

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And that is just straight out of the Sweeney or something. don't even know what it means.

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Does he mean, does it mean put your foot down?

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Does it mean shut up?

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What is time?

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What's quench it?

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But it's exciting.

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That's the point.

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It's like someone's written insert exciting space dialogue in the script.

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Yeah, but it's just when they say there's 20 ships.

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You think they haven't got enough models to do this.

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We can't see this. between them all several times. all adds up.

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Yeah, but we do get during this space battle, a countdown courtesy of seafax.

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We do, you know, just as something is about to happen.

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But, you know, they do blow the hell out of the ship.

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They do.

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And if I was watching that for the 1st time as a kid, and I don't think I saw this one when I was a kid.

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But if I had, I might have thought, wow, they actually blowing up the liberator, as if that could ever happen.

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But that was kind of what I thought, they really went there with it, I think.

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I feel like they achieved quite a lot with smoke and lighting and loud noises, and although kind of we've had sort of lots of space battles before, I think this one feels like them getting really quite vulnerable, like they are getting quite closer and closer, and rather than just of all we've taken a bit of a knock and sort of camera shaped a bit. actually impacting like the flight deck.

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It really makes me feel a bit more vulnerable.

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Yeah, I think the actors now know how to do urgent acting for when they're in space battles.

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They know exactly how to pitch this now, and it's like a well-honed machine that they're all running around.

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They're all delivering their lines in the most urgent way, possible.

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They're giving it everything to make it really exciting, which I think carries it when the model work isn't quite up to showing you what's going on outside the ship.

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And then when they've blown up the bridge, they magically bring in the children's kind of place at table and chairs to have a little meeting on, which either were there before and just quite easily sort of nailed down, or they just sort of bring them in, and they have this little meeting, where Villa turns out to be even more of a massive idiot.

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It's like, you know, it's like, oh, it's everything's changed.

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It's fine.

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We're going to be fine.

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I don't know how many sets of tables and chairs they've got on the liberator because every week they seem to have a different one that they just bring into the flight deck and then take away again.

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It's really odd.

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Is it like only fools and horses and they're flogging them every time they need to get rid of something.

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That used to be Gan's job.

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They've got too many of them now.

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Yeah, we never saw the scene where Avon comes in and says, Jenna, there's a room full of tables up here that you must see.

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And enough costumes to last is at least 3 years.

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But not enough trousers for the girls.

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No.

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No, it's Space Laura Ashley on the Liberator.

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I noticed in over in the meanwhile, back in the mutoid ship, as they're pursuing, one of the mutoids presses a button on a control panel, a little bit too vigourously, and like the whole little semi-panel that it's on almost falls in, it wobbles and goes in.

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Oh, no.

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But we cut away very quickly from that.

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Yeah, I mean, I think Via Lorimer is doing a good job at getting an exciting start to the episode, but it does feel kind of tagged on to what is actually going on. doesn't it?

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Yes, and after the battle, we get to the real doings down on X bar, don't we?

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Well, we have summoned there first, don't we, by a mysterious message?

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I do love one of them.

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Like, it's Travis.

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How are you?

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X-ball.

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I'm just calling you up to say, I've got your cousin.

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No, no, it's not your cousin.

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It's your father's brother.

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And she don't... his father's brother every time.

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Why can't they just say uncle?

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Because everyone has to work out.

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It's like, what is that incest?

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Is that?

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Yes, it is.

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Well, not technically.

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Well, it's not, cousins is, I mean, I've got a little Charles Dickens.

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Well, just your own, Pete.

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Off you go.

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Charles Diggins and Albert Einstein, both married 1st cousins.

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The queen married a 3rd cousin, but I don't know whether that's healthy or not.

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That's another matter.

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I just want, I just want to give a particular moment for Inga's reveal up on the scanner.

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She does an amazing ABBA video head turn, and the camera comes around, your cousin, and I'm doing it now, listeners.

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But I don't have the flowing locks too.

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Oh, but Travis clearly has 2 cameras and editing software to cook between.

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He's not just swung the camera around or dragged her into shut.

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He's made an effort at making this video really impactful.

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Do you think they had a couple of takes?

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Come on, come on, love.

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We've gotta really sell this.

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I'm going to trap him.

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Halfway through the broadcast.

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He's like, Blake, sorry, can you just go on mute, please?

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He's been on space TikTok for the Federation has it?

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And it's absolutely not a trick this time, Blake.

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Okay.

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Now, there's this thing in Blake 7 fandom, which I'm still a noob to, about Villa becoming an idiot.

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And it's funny because that's the villa that I like.

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That the film that I remember as a kid.

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And so seeing his path from being more acerbic in series A, towards becoming the guy who's always got the comedy cripple, sometimes the sometimes or more the butt of the joke as well.

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Is an interesting path because he's really good, isn't he?

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Particularly, I mean, jumping around a bit, but when he gets tortured later, these proper sweating, he's really selling it in that scene, I think.

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Yes, absolutely.

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I do love the bit where he's about to teleport down to the planet and Jenna is fussing over him.

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Oh, yeah.

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It's his birthday at school.

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Have you got your bag, have you got, turn it up. you stay warm.

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You got your dinner money.

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Yeah.

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Yeah, she's saying in like little labels into his into his coat and his shoes.

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And you just, I just know Sallina that sat there at that console writing a letter to her agent in very stern words.

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I'm supposed to be a signal. cool to do this episode.

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It's terrible.

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It's like, why does Villa need to go down?

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Send Jenna with a couple of guns?

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Yeah, or Jenna had some kind of telepath who might come in handy on these missions.

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Well, she seems to know what's going on and just sort of going, oh, but they are, what's going on?

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I can't fuck it.

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I think this is the episode kind of point where you just realise they're never going to get involved again.

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Oh, they?

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It's, they've just sort of, it seems, oh, you have really given up on giving them anything to do, which it's, it's gutting.

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It's such a shame.

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Yeah, they're such good characters and they're both, they're both such good at, so good at it.

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And they've proved themselves over and over again in prior episodes.

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And then the scripts just stop...

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Yeah, and the scripts just stop bothering.

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Yeah, Callie hasn't left the ship since Horizon at this point.

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This is dreadful.

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It's practising this through and adding it up and you start working it out and you realise you've gone half the season at some point before they've laid the left things again.

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Yeah, Jenna lost went down in pressure point and it's just awful.

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It's terrible.

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College.

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Every time, you can't stop your sniggering.

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Teleported down.

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There's no innuendo in that phrase at all.

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But it's a terrible waste of those brilliant actresses and a terrible waste of those great characters that they're just sat there tapping their fingers.

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Which is you just dragged Jenna down to just look a bit grumpy about Blake snogging his cousin.

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Yeah, yeah.

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Yeah.

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I mean, yeah, that's written as her like, oh, she's jealous of it, but it comes across more like, ugh.

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As it should.

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Yeah, just reconsidering those allegations, though, originally made against Blake.

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Well, it's like even Blake sort of, I don't know what mansplaining for flying the liberator is, but he does it.

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It's like, um, like Jenna, just back at her console, he's just like bats her when goes, it's okay, Jenna, I've got it.

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You the pilot, but obviously I've got it.

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It's just, it's really, it's it's getting annoying now.

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We've gone from Jenna teaching some of the others how to fly the ship to just Blake instructing her over everything now rather than just, I feel she should just be going, piss off.

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I just step back.

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I'm in charge here.

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You do what you need to do.

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I know what I'm doing here, back off.

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Yeah, it's like they've just refined everything down to Avon is duplicitous and untrustworthy of Blake, whereas Kelly is completely trusting and does whatever he says.

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And it's like, they could, they could be more gray, particularly on her side. then you get gray on Avon side, like in this one, and the whole thing that we're going to come to, about him having basically betrayed them all, quite colossally at the start of the thing, by notifying Servolan.

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But Avon then gets, you know, the whole redemption sort of thing about being able to go in and save Blake's neck, whereas it just doesn't occur to them to give Callia Jenna anything that interesting to wrestle with.

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It's very frustrating.

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We do get a little bit of nice stuff between the 2 of them when they're on the ship together and Cali is being trigger happy again and is blasting things with the main blasters, which is quite good.

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And they do the old teleport the crimeux into space bit again.

211
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So we get to see Voggos exploding.

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Again, in a bit of stock footage, which is I get to write letters to the BBC.

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That's not how asphyxiation happens when you, well, unless you teleported it inside a bomb.

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00:14:30.539 --> 00:14:32.519
But how do we know?

215
00:14:32.580 --> 00:14:36.779
Could it be the energy release from the teleport that turns into an explosion when you're in space?

216
00:14:36.840 --> 00:14:38.700
You see, just go use your imagination, Colin.

217
00:14:38.759 --> 00:14:41.340
It's got to fill in fill in the gaps.

218
00:14:41.399 --> 00:14:43.080
It's 70 it's 70 science fiction.

219
00:14:43.139 --> 00:14:49.080
So what do we think about Avon sort of changing his mind of, yeah, Blake, you go and do that.

220
00:14:49.139 --> 00:14:50.220
Put yourself in danger.

221
00:14:50.279 --> 00:14:51.840
We weren't here for yourself for a while.

222
00:14:51.899 --> 00:14:55.139
And then it's like, oh God, do I have to save everyone again?

223
00:14:55.200 --> 00:14:56.460
Jesus.

224
00:14:56.519 --> 00:14:57.419
And then beams down.

225
00:14:57.480 --> 00:15:02.879
Uh, to very specific coordinates on a planet, which are 0 to 46.

226
00:15:03.120 --> 00:15:05.220
Really.

227
00:15:05.340 --> 00:15:06.360
Did they come up with that?

228
00:15:06.419 --> 00:15:08.279
No, exactly what I love...

229
00:15:08.340 --> 00:15:09.600
I love that when Blake beams down.

230
00:15:09.659 --> 00:15:11.399
I mean, Travis just basically gives him a postcode.

231
00:15:11.460 --> 00:15:13.080
He beams down onto the planet.

232
00:15:13.080 --> 00:15:16.139
First person he sees is his uncle, Ashton's your uncle.

233
00:15:16.200 --> 00:15:24.000
And I mean, I don't have to be the only person actually on the planet other than Inga and the space cremones.

234
00:15:24.059 --> 00:15:28.980
And the Space Crew Rose. at the end where Inger says, there's enough food here for all of our people.

235
00:15:29.100 --> 00:15:30.000
It's like both of you.

236
00:15:32.220 --> 00:15:37.080
Multi-pack of mini-calog cereals would keep you all going for a fair while.

237
00:15:37.139 --> 00:15:44.039
But, um, this, because this episode did have a really tragic production. crisis, didn't it?

238
00:15:44.100 --> 00:15:55.620
Because the original actor Duncan Lamont sadly died after they'd finished all the location footage, anyway, which he features obviously really prominently. and then they had to go back and do it again with a different actor as much as they could.

239
00:15:55.679 --> 00:16:10.320
But there are some bits, I guess, where there are some takes that have still made it through from the original shoot, because you can see, uh, if he's not in them, but that must have been an incredible pressure on the cast and going, going back to work again to reshoot scenes with someone who you got to know and work with, who then tragically dies.

240
00:16:10.320 --> 00:16:13.019
And, but that's, talk about the show must go on.

241
00:16:13.200 --> 00:16:17.340
It's a weird really weird situation for anyone to be in and filming like that, isn't it?

242
00:16:17.399 --> 00:16:26.940
You sort of get an idea of what he would have been like because he was in depth to the Daleks as thingy who betrays them all.

243
00:16:27.000 --> 00:16:31.379
He was a fantastic actor and he would have been very good. at this.

244
00:16:31.440 --> 00:16:37.799
But fair play to John Abeneri, who comes in at the last minute and gives a really good performance, I think.

245
00:16:37.860 --> 00:16:47.460
He's very, very good in what's of quite a confused part with limps and no limps and is he a traitor or not a traitor?

246
00:16:47.519 --> 00:16:50.460
And yeah, he's he's really good.

247
00:16:50.519 --> 00:16:51.899
It's an epic tash.

248
00:17:06.960 --> 00:17:13.920
And another guest character that we see, who we only see very fleetingly, is Kevin Stoney in his amazing scene with Servolan.

249
00:17:13.980 --> 00:17:32.940
Kevin's familiar to Doctor Who fans, of course, has Mavik, Chen, and Masterplan, and Tobias Vaughn in the invasion, where he spends all of his time shouting, packer. which he doesn't get to do with Jacqueline Pierce, who, in her 3 scenes, I think, again, just makes fantastic impact in this episode, doesn't she?

250
00:17:33.000 --> 00:17:40.799
I love the way that she's just casually in her office at the start, swinging a glass of absinthe thought something before her.

251
00:17:40.859 --> 00:17:47.819
And she does not like when he pulls that I got you where you are move on her.

252
00:17:47.880 --> 00:17:55.380
She, her performance changes so uh, so, so, sort of effectively into, into a different mode.

253
00:17:55.380 --> 00:17:59.880
And when you know, when she says, I value our friendship, you know, basically she, he's a dead man now, isn't he?

254
00:17:59.940 --> 00:18:01.680
And it's weird that we don't get more of that.

255
00:18:01.740 --> 00:18:03.779
I think he's a great character.

256
00:18:03.900 --> 00:18:12.720
I really wish we'd seen him, like, pop off again, like, as a recurring one, like, someone like clipping out of the walls a bit.

257
00:18:12.779 --> 00:18:24.900
Absolutely, because he's back in an episode of series D, and it could easily have been the same character, and it would have been really interesting if it would have really worked as well, yeah.

258
00:18:24.960 --> 00:18:30.839
Because then there would have been the Sleer Serverland thing as well and whether he's noticed and yeah, all of that.

259
00:18:30.900 --> 00:18:34.200
But I think he's he's absolutely superb.

260
00:18:34.259 --> 00:18:46.140
He's in full on smooth mode and he drags out the words supreme... in a very, very elongated way, which is absolutely wonderful.

261
00:18:46.200 --> 00:18:47.160
Yeah.

262
00:18:47.160 --> 00:18:53.579
You can tell Silverland's pining for Travis, can't you, at the start of that scene with a new commander, no name, just let it down.

263
00:18:53.640 --> 00:18:54.480
She can't even be bothered.

264
00:18:54.539 --> 00:18:55.799
She just says mutoids.

265
00:18:55.920 --> 00:19:04.380
They just kind of drag him off camera while he's still trying to file his project review document with her.

266
00:19:04.440 --> 00:19:07.380
I would often like to do that on Zoom calls at work.

267
00:19:07.440 --> 00:19:08.460
Mutual Aids.

268
00:19:08.519 --> 00:19:09.960
They just drag the person away.

269
00:19:10.019 --> 00:19:15.359
That's another really good scene with Servaline where she, I think she's saying something about the message arriving.

270
00:19:15.420 --> 00:19:26.640
And the mutoid is in focus all the time, and she's out of focus all the time, because normally, you know, you deliver one line and then you refocus on the character in the background, but it doesn't happen.

271
00:19:26.700 --> 00:19:37.200
The mutoid remains in focus all the time, and server land is still delivering her lines, and you can tell she's doing it in this just like commanding that sort of calm and way.

272
00:19:37.259 --> 00:19:39.720
I think that's really, that was a nice bit of direction.

273
00:19:40.079 --> 00:19:42.839
What's the message addressed to you?

274
00:19:44.279 --> 00:19:47.279
That's how I should reply on everything to Twitter.

275
00:19:47.339 --> 00:19:48.900
See everyone here.

276
00:19:48.960 --> 00:19:51.000
Everyone it comes into my stream.

277
00:19:51.059 --> 00:19:52.259
I should just reply with that.

278
00:19:52.319 --> 00:19:53.400
Yeah.

279
00:19:53.460 --> 00:19:57.839
And it's somewhat hypocritical of Servlan, but then she is utterly evil.

280
00:19:57.900 --> 00:20:02.099
So I guess she's allowed to be, but where she's disdainful of the of the mutoids.

281
00:20:02.160 --> 00:20:03.420
You never criticise anything.

282
00:20:03.480 --> 00:20:06.059
Then the next time somebody criticises her, she'll have them killed.

283
00:20:06.779 --> 00:20:08.700
Can I ask a question?

284
00:20:08.759 --> 00:20:09.900
Yes.

285
00:20:09.960 --> 00:20:11.759
Why are the crimo so shit?

286
00:20:12.539 --> 00:20:14.640
I mean, they're pointless.

287
00:20:14.700 --> 00:20:21.900
It's just like, well, because they, it comes up with like, and Blake sort of clarifies it as crimos. criminal psychopaths.

288
00:20:21.960 --> 00:20:23.819
And I'm like, what is that, an anagram?

289
00:20:23.880 --> 00:20:24.059
No.

290
00:20:24.119 --> 00:20:24.359
What?

291
00:20:24.420 --> 00:20:25.859
Well, it's not even, it's nothing.

292
00:20:25.920 --> 00:20:28.019
You're not even cutting 2 words together.

293
00:20:28.079 --> 00:20:30.119
But it's like, okay, criminal psychopaths.

294
00:20:30.180 --> 00:20:33.180
And then you've got that one guy, Merlock or?

295
00:20:33.180 --> 00:20:34.380
Moloch?

296
00:20:34.440 --> 00:20:35.759
I think you, Moloch.

297
00:20:35.819 --> 00:20:41.339
He does a reasonable job and he's kind of like, because he's kind of psychotically smiling. all the time.

298
00:20:41.400 --> 00:20:42.299
Hannah, what do you think?

299
00:20:42.359 --> 00:20:44.640
I really like the idea of them.

300
00:20:44.700 --> 00:20:51.180
Um, and the idea of having to be very incredibly intelligent, but also very sadistic. scary.

301
00:20:51.240 --> 00:20:54.000
I think we just don't see enough of that.

302
00:20:54.059 --> 00:20:59.819
Like we've already, you know, since like season, Yeah, outside that, Travis is quite sadistic.

303
00:20:59.940 --> 00:21:04.200
And so it's, well, if Travis is hard then why aren't we seeing this?

304
00:21:04.259 --> 00:21:16.259
They sort of shoving her around a bit, but they don't really, I feel that if they are like fulfilling that sort of psychopathic, you'd expect them to be uncontrollable to an extent.

305
00:21:16.319 --> 00:21:19.559
And I'm not quite sure what the deal with is them.

306
00:21:19.619 --> 00:21:30.480
I was trying to sort of ponder it out the 1st time I watched it, whether they are like escaped criminals or whether they are like a sort of little mercenary gang that you can hire.

307
00:21:31.079 --> 00:21:41.099
In which case, if people are hiring them, they must be willing to be controlled to some extent and yet sort of I feel like, yeah, the very nature of the means, they shouldn't.

308
00:21:41.160 --> 00:21:51.119
I feel like it would, it should really have been a very blix of anything, that Inga should have died, basically, because there should have been some moment where, that's it.

309
00:21:51.180 --> 00:21:54.299
We see like what the crimos can really do and they accidentally kill her.

310
00:21:54.359 --> 00:21:56.519
There's not enough follow through on them.

311
00:21:56.579 --> 00:21:59.039
I wish we'd seen them again in episode.

312
00:21:59.099 --> 00:22:01.740
It just felt like there's a lot of potential there and we don't see enough of it.

313
00:22:01.799 --> 00:22:03.480
I think you're right.

314
00:22:03.539 --> 00:22:17.759
And I think the other thing is they've kind of, as you were saying earlier, they've demoted mutoids from being kind of creepy vampire kind of ultra killers into sort of, you know, they've just had their purple rinse and they're just flying a ship.

315
00:22:17.819 --> 00:22:18.119
Yeah.

316
00:22:18.480 --> 00:22:29.099
I feel like the mutoids are very, like, regimented, like all they seem to do is follow instructions, whereas it seems like the crimos should be like a bit more independent from that.

317
00:22:29.160 --> 00:22:31.980
Like the mutuids don't seem very intelligent.

318
00:22:32.039 --> 00:22:32.460
Yeah.

319
00:22:32.460 --> 00:22:34.380
And they wear those masks, don't they?

320
00:22:34.440 --> 00:22:43.799
All of them apart from the one who's got a name, wear those masks, which I think is that maybe a legacy of there's a bit in the script about there being not much oxygen on this planet.

321
00:22:43.859 --> 00:22:49.920
And I wondered if that was a bigger deal in an earlier version of the script that then got taken out.

322
00:22:49.980 --> 00:22:50.460
I don't know.

323
00:22:50.519 --> 00:22:54.420
Because that felt like an unexplored bit that was clearly put in for something.

324
00:22:54.480 --> 00:22:56.880
I mean, it is a bit like Bane, isn't it?

325
00:22:56.940 --> 00:22:57.779
From Batman.

326
00:22:57.839 --> 00:23:02.460
It's like he's hasn't he got like oxygen, extra oxygen coming into that mask.

327
00:23:02.519 --> 00:23:04.200
So they felt a little bit like that.

328
00:23:04.319 --> 00:23:15.960
But as you say, the rest of the, like, everyone from the liberator that sort of teleports down, uh, or any of the other, you know, normal regulars are just like now, we're fine, but the criminos can wear them because it kind of looks scary.

329
00:23:16.019 --> 00:23:26.819
And presumably they're fine when they're in the communications facility as well, because arguably they're, when they're sort of running around going uphill a bit and looking a bit out of breath.

330
00:23:27.180 --> 00:23:34.319
But once everyone's indoors, you've got to start turning oxygen off before people start dropping down a bit.

331
00:23:34.380 --> 00:23:35.160
Yeah.

332
00:23:35.220 --> 00:23:40.559
Yeah, it's just such such a shame. fascinating idea that's just underdeveloped.

333
00:23:40.559 --> 00:23:48.180
And again, this is what makes me think maybe this episode was written in a hurry because nothing is quite there yet.

334
00:23:48.240 --> 00:23:51.240
It feels like it's 2 drafts away from being decent.

335
00:23:51.299 --> 00:23:52.440
Yeah.

336
00:23:52.440 --> 00:23:54.240
I love that Travis gets the line.

337
00:23:54.299 --> 00:23:58.980
You underestimate my cremos, which is an amazing line in any context.

338
00:23:59.039 --> 00:24:09.420
And then 2 minutes later, that one of them trips over a bit of polystyrene and plummets to his death, and the other one just slips on a stick or something when they get crushed by polystyrene rocks.

339
00:24:10.740 --> 00:24:13.559
I love the polystyrian rock.

340
00:24:13.619 --> 00:24:16.680
I think my favourite is the guy, the crimo who goes over the cliff.

341
00:24:16.740 --> 00:24:18.480
I think it actually looks quite good.

342
00:24:18.539 --> 00:24:20.940
It's they've clearly weighted the dummy somehow.

343
00:24:21.000 --> 00:24:23.519
It doesn't just look like sort of a bag of clothes.

344
00:24:23.579 --> 00:24:24.420
It falls really well.

345
00:24:24.480 --> 00:24:26.039
Yeah, I think you're right.

346
00:24:26.099 --> 00:24:32.579
A a few comedy sound effects on that would be a Marvel, would think that, though, do boinks and doinks as he bounces down the hill.

347
00:24:32.640 --> 00:24:40.019
Well, I think you're all being very restrained because I just can't help myself from just shouting, crib eyes every time we mention them.

348
00:24:41.220 --> 00:24:49.200
Travis is stood in the quarry, just shouting crimos, and it's just echoing around the whole dance.

349
00:24:49.259 --> 00:24:50.880
They haven't got radios, obviously.

350
00:24:50.940 --> 00:24:53.220
No kind of communicators.

351
00:24:53.279 --> 00:24:53.940
No.

352
00:25:00.000 --> 00:25:02.400
I really like this quarry.

353
00:25:02.460 --> 00:25:11.880
I've discovered I'm quite fond of a quarry, but I like that the script specifies it to be very cold and it is clearly freezing.

354
00:25:12.240 --> 00:25:17.579
You can see Lake and Ashton's brass in front of their face at some point.

355
00:25:17.640 --> 00:25:28.980
It looks gray, blue almost at times, um, and icky white as well does make a difference from just the sort of the usual beige brown sand as well.

356
00:25:29.039 --> 00:25:32.460
Yeah, and there's some nice filming that they've done at dusk.

357
00:25:32.519 --> 00:25:35.160
So the light is really good and really interesting.

358
00:25:35.160 --> 00:25:40.319
And then you get the night filming just for one scene at the end, which just looks amazing.

359
00:25:40.380 --> 00:25:46.019
I think it makes it really atmospheric, that scene with Travis and Serverland being at night.

360
00:25:46.079 --> 00:25:52.740
And it means we get the point of view shot of Travis looking up at the liberator in the sky, which realised, do we?

361
00:25:52.799 --> 00:25:59.700
I don't think we ever get another shot like that of like a point of view of like the liberator from a planet and suddenly why not?

362
00:25:59.759 --> 00:26:02.160
Orbiting at a height of about 20 feet.

363
00:26:03.839 --> 00:26:19.619
I don't know whether it was timing wise or what, but I just find the the dusk and the night filming a really curious choice because it's just not common at all in like programs of that period and even a few years later.

364
00:26:19.680 --> 00:26:24.660
They seem quite hesitant about doing anything even just at dusk.

365
00:26:24.779 --> 00:26:34.140
Yeah, we were talking about this in series A with the amount of night filming that the show got, which is quite a prestigious thing for the BBC.

366
00:26:34.200 --> 00:26:37.859
They don't do this very often because it's more expensive than filming during the day.

367
00:26:37.920 --> 00:26:42.660
So again, just to get that just for one scene is quite something, really.

368
00:26:42.720 --> 00:26:46.619
Yeah, I wonder if it came out of necessity because of it having to be reshot.

369
00:26:46.619 --> 00:26:49.920
Well, they'd already moved on to other episodes and they had to go back and do it again.

370
00:26:50.220 --> 00:26:57.900
I did wonder this because the lighting seems to vary throughout sort of events that are clearly happening across one day.

371
00:26:57.960 --> 00:26:59.160
Yes.

372
00:26:59.160 --> 00:27:13.140
When they come out of the communications place afterwards, I always felt like there's some sort of filter, it suddenly looks very white or blue and then suddenly we are into dusk and darkness.

373
00:27:13.200 --> 00:27:19.440
Yeah, and there's, oh, there's that lovely scene, one of the 1st things, and again, it does clash a little bit, but I don't, but it's so nice.

374
00:27:19.440 --> 00:27:27.299
Blake 1st beams down, and it's like the reeds with the mist, when he 1st finds his uncle, and it's like, this is on the borderline of the, um, of the quarry.

375
00:27:27.420 --> 00:27:31.380
There's quite a nice shot of Travis on the top of the hill.

376
00:27:31.440 --> 00:27:37.019
And so you've got the chalk white of the quarry, the white outline in his black outfit that works well.

377
00:27:37.079 --> 00:27:42.960
I'm glad we all like this, Corey, because we're going to be seeing a lot more of it over the next couple of seasons, according to the locations, guide.

378
00:27:44.339 --> 00:27:50.640
I have a feeling this was David Maloney's favourite quarry because he used it extensively in Doctor Who.

379
00:27:50.700 --> 00:27:54.480
So it's in the Deadly Assassin and for example.

380
00:27:54.599 --> 00:27:55.859
Ah, it's the same one.

381
00:27:55.920 --> 00:27:58.200
Is it Scaro from Genesis of the Daleks as well?

382
00:27:58.259 --> 00:27:59.519
It is, yes. amazing.

383
00:27:59.579 --> 00:28:02.640
So yeah, I think this is just his goat.

384
00:28:02.700 --> 00:28:06.240
Maybe he lived nearby and thought, oh, well, this will be a useful one to film at.

385
00:28:06.299 --> 00:28:07.619
There's probably a pub nearby.

386
00:28:08.640 --> 00:28:11.160
You got to keep Gareth Thomas happy.

387
00:28:11.220 --> 00:28:14.640
You can get there at lunchtime and back then it's good.

388
00:28:16.740 --> 00:28:27.480
So we get a fairly, um, I think a fairly intense interrogation, tortury whole scene for um, tea time, time slot.

389
00:28:27.539 --> 00:28:28.859
Although a lot of it's very silly.

390
00:28:28.920 --> 00:28:32.220
That scene, the scene with, with Villa being tortured.

391
00:28:32.279 --> 00:28:33.660
Just, I don't know.

392
00:28:33.720 --> 00:28:35.279
I really felt that in a way that...

393
00:28:35.279 --> 00:28:36.059
Is it being tortured?

394
00:28:36.059 --> 00:28:38.940
or is he just being threatened, shouted out a little bit?

395
00:28:39.000 --> 00:28:40.559
Well, he's...

396
00:28:40.559 --> 00:28:42.299
He's sweating...

397
00:28:43.799 --> 00:28:45.779
He looks upset.

398
00:28:45.839 --> 00:28:52.019
What is the word to activate this teleport bracelet is the...

399
00:28:52.019 --> 00:28:52.680
Bracelet.

400
00:28:52.740 --> 00:28:53.700
Bracelet.

401
00:28:53.759 --> 00:29:02.039
It's very, it's very odd because Travis, who has studied extensively, everyone on the Liberator crew, particularly Blake.

402
00:29:02.160 --> 00:29:12.180
Suddenly has now forgotten everything that he's ever learnt about the Liberator crew, and he's just there asking, asking Ashton, well, who do you think's the weakest out of this slot?

403
00:29:12.240 --> 00:29:13.140
I mean, bloody hell, Travis.

404
00:29:13.200 --> 00:29:14.220
You're not paying attention?

405
00:29:14.460 --> 00:29:15.900
Exactly.

406
00:29:16.740 --> 00:29:20.700
Why did they blindfold Blake before bringing him in?

407
00:29:20.819 --> 00:29:21.660
Why?

408
00:29:21.720 --> 00:29:24.240
He was stood outside the building looking at it.

409
00:29:24.299 --> 00:29:35.400
They put a blindfold on him and take it in just so they could go ta-da when they came in for impact. because they want to disorientate him when he comes into that very brightly lit set.

410
00:29:35.460 --> 00:29:37.079
That'll be it.

411
00:29:37.140 --> 00:29:38.039
Yes.

412
00:29:38.039 --> 00:29:53.759
I wonder if there's an alternative where, instead of what happens to Travis in the last few episodes, instead, they do team up and they do sort of team up to fight the Federation, and then you're never quite sure whether or not Travis is on their side or not or something like that.

413
00:29:53.819 --> 00:29:55.500
That would perhaps have been a different way of doing it.

414
00:29:55.559 --> 00:30:03.539
Yeah, it feels very much like it would have been a really good idea to have Travis and Blake in an uneasy alliance.

415
00:30:03.599 --> 00:30:06.240
So who's your bigger enemy?

416
00:30:06.240 --> 00:30:08.579
Is Servoland a bigger enemy than Travis?

417
00:30:08.579 --> 00:30:23.700
So you do a deal with Travis to wipe out Servoland and sort of they could have done really interestingly about sort of the switching sides and can you really trust him like you said, Cole, and that could have taken the series in such an interesting way.

418
00:30:23.819 --> 00:30:35.880
But instead, what we've got is, Um, Serviland's just got rid of Travis the week before last and now, She's just re-engaging him, but just on the sly.

419
00:30:35.940 --> 00:30:40.440
So it doesn't feel like we've actually got very far at all.

420
00:30:40.500 --> 00:30:42.779
Well, that does happen in local government a lot, doesn't it?

421
00:30:42.839 --> 00:30:47.640
People get these golden payoffs and then get brought back as consultants and it's basically exactly the same thing, I think.

422
00:30:47.700 --> 00:30:52.799
Well, I 1st viewed it, I was really quite sad to see that Servlan and Travis rejoin.

423
00:30:52.859 --> 00:30:57.420
Yeah, I liked the idea of deliberate a crew having 2 enemies.

424
00:30:57.420 --> 00:31:08.039
And it kind of feels like it's not really spelt out, but it kind of feels like the only reason Serverland brought back Travis is that to be held accountable for his actions if he's not actually part of the Federation.

425
00:31:08.700 --> 00:31:24.000
Yeah, and that has got, that's got legs of its own, but um, I wonder at the time how much pressure they were under or what they, what decisions they were making in scripting about to what extent should we just do escapade of the week like they do on Star Trek?

426
00:31:24.059 --> 00:31:27.119
Because that's what the show that this was always going to be being compared against, really, wasn't it?

427
00:31:27.180 --> 00:31:30.359
Or are we making a 12 episode long story?

428
00:31:30.420 --> 00:31:32.640
Like most other dramas?

429
00:31:32.700 --> 00:31:37.859
And I guess all the pressure on them was to just do a heist of the week.

430
00:31:37.920 --> 00:31:40.440
But Blake 7 flux.

431
00:31:40.500 --> 00:31:42.480
I said it sucks.

432
00:31:42.599 --> 00:32:07.500
Yeah, I mean, I think they're trying this year to do a longer piece of storytelling, but I believe there was difficulties getting the scripts in that fitted what they needed to do and that made it sort of more difficult when you've got a long running story arc and you've got to get certain beats in and then suddenly Terry Nation can't do the last 2 scripts.

433
00:32:07.500 --> 00:32:08.759
So someone else has got to do this.

434
00:32:08.819 --> 00:32:12.299
So we're looking for Star one, but we don't know.

435
00:32:12.359 --> 00:32:15.480
Actually, we don't know that they're looking for Star one because that doesn't happen till next week.

436
00:32:15.539 --> 00:32:16.440
Spoilers.

437
00:32:16.500 --> 00:32:17.640
Sorry.

438
00:32:17.700 --> 00:32:19.440
Sorry, anyone is listening.

439
00:32:19.500 --> 00:32:24.180
It doesn't sound like we quite kick off the story arc until, like, pressure point or so anyway.

440
00:32:24.240 --> 00:32:25.500
No.

441
00:32:25.500 --> 00:32:29.579
Before that, we're just sort of carrying on with, let's say, escapade of the week.

442
00:32:29.640 --> 00:32:36.240
Maybe could have sort of slotted in stuff like horizon a bit further down.

443
00:32:36.299 --> 00:32:38.400
I think it does work where it is as well.

444
00:32:38.460 --> 00:32:46.140
But just to kind of space it out and a bit and sort of give a bit more time for this arc.

445
00:32:46.200 --> 00:32:47.519
I think that's right.

446
00:32:47.579 --> 00:32:56.460
They should have introduced Inga earlier in a different episode, such that it has meaning, because they all come across as really stupid, right?

447
00:32:56.519 --> 00:33:01.500
Like, you'd have found a different way or you've left it or you've gone.

448
00:33:01.559 --> 00:33:03.539
No, we have bigger priorities.

449
00:33:03.599 --> 00:33:05.160
This is a trap.

450
00:33:05.339 --> 00:33:07.799
And then they all fall for it and they all get captured.

451
00:33:08.160 --> 00:33:13.559
And then, of course, obviously magically, you know, everyone has to get away in the end.

452
00:33:13.619 --> 00:33:22.980
But it just, it does feel like trying to make something grandiose that isn't like, you know, some big plot, but it really isn't.

453
00:33:23.279 --> 00:33:28.019
Well, it's interesting that, like, Blake says he doesn't, he knows it's a trap.

454
00:33:28.079 --> 00:33:29.099
They think it's a trap.

455
00:33:29.160 --> 00:33:52.019
So, Trying to think he'd go on down there a bit more on his guard, but it feels a shame that they all get caught very easily in quite ridiculous traps when we've seen them get past quite an awful lot and just thinking back to pressure point of what they managed to get past a few weeks back and yet it's all just really primitive stuff like nets and bear traps.

456
00:33:52.500 --> 00:33:55.259
If they've been monkey bars, they would have had no trouble.

457
00:33:55.319 --> 00:33:56.279
They're good with them.

458
00:33:56.400 --> 00:34:01.140
I still want to see Surverland going over the monkey bars and she went down because she went down there too.

459
00:34:01.200 --> 00:34:06.539
The fret against a member of Blake's family should be a really big plot beat.

460
00:34:06.660 --> 00:34:14.039
That should be really huge because we haven't seen any of Blake's family, and as far as we know, at this point, all of Blake's family have been slaughtered.

461
00:34:14.099 --> 00:34:16.019
So this should be a really...

462
00:34:16.980 --> 00:34:25.980
Yeah, maybe a more emotional thing, but obviously, Blake 7 isn't always engaged with the emotions of the characters.

463
00:34:30.420 --> 00:34:33.059
It's so terrible for women this week.

464
00:34:33.119 --> 00:34:44.280
It's like, it's, the whole plot is around, you know, female endanger plot, um, and Callie and Jenna get nothing to do, even though they're the ones at the end that actually go, yeah, okay, this is a trap, right?

465
00:34:44.340 --> 00:34:45.599
We're gonna take some action.

466
00:34:45.659 --> 00:34:50.519
And then at the end where they just have this kind of 80s sitcom.

467
00:34:50.579 --> 00:34:52.920
They're flirting, aren't they, thing?

468
00:34:52.980 --> 00:34:54.780
It's a bit terrible.

469
00:34:54.840 --> 00:34:56.159
In that respect.

470
00:34:56.219 --> 00:34:56.699
I don't.

471
00:34:56.760 --> 00:35:00.780
It's odd that we have an episode called hostage, but we don't really care about the actual hostage.

472
00:35:00.840 --> 00:35:09.119
Yeah, she's not given very much agency in the plot at all, although she and she does have the worst signposted elbow punch ever.

473
00:35:09.179 --> 00:35:12.059
Like, she's moving her elbow, ready to do it.

474
00:35:12.119 --> 00:35:12.780
She's going in.

475
00:35:12.840 --> 00:35:14.340
Oh, there she goes.

476
00:35:14.639 --> 00:35:19.739
But I think she gives a nice performance, but she's just not given much to work with.

477
00:35:19.800 --> 00:35:22.199
Maybe Travis is the real hostage.

478
00:35:22.260 --> 00:35:23.940
No, I don't know.

479
00:35:24.000 --> 00:35:25.440
I think they're even wanting us to think that.

480
00:35:25.500 --> 00:35:26.820
Well, you know what?

481
00:35:26.880 --> 00:35:31.260
You could actually have just completely, completely reversed like Ashton and Inga's roles.

482
00:35:31.320 --> 00:35:34.500
It could have been, you've got to come and rescue your elderly uncle.

483
00:35:34.559 --> 00:35:37.800
Quick, write to Chris Boucher in 1978.

484
00:35:38.519 --> 00:35:43.260
So is this familial consanguity?

485
00:35:43.320 --> 00:35:44.039
I Googled it.

486
00:35:44.099 --> 00:35:51.539
Romance between Blake and his cousin, um, in the, it's in the text, isn't it?

487
00:35:51.599 --> 00:35:57.360
It's not just Gareth Thomas throwing in that and her throwing in that kiss at the end to shake things up a bit.

488
00:35:57.420 --> 00:36:00.960
It is implied, isn't it, that they were childhood sweethearts?

489
00:36:01.019 --> 00:36:04.559
Yeah, we were very close once he says something like that, doesn't he?

490
00:36:04.619 --> 00:36:06.300
And they're about the same age.

491
00:36:06.360 --> 00:36:08.519
I think he's about 3 years older than her, something like that.

492
00:36:08.579 --> 00:36:18.599
So, yeah, but yeah, it feels like a, could this have originally been written as a pitch for a completely different series or just a movie that then got turned into a Blake 7 episode?

493
00:36:18.659 --> 00:36:27.420
Sometimes, I think, because it's got this sort of strange other world already built around this guy who's been separated from his cousin and goes back to rescue her.

494
00:36:27.659 --> 00:36:37.079
I wonder if there's something in where, should she have been his cousin or should she have been like the ward of his uncle, something like that?

495
00:36:37.139 --> 00:36:38.340
Would it work, perhaps?

496
00:36:38.400 --> 00:36:43.980
Yeah, being a ward is a thing that's got a lot of scriptwriters out of trouble, isn't it, over the years with various.

497
00:36:44.219 --> 00:36:45.000
It's all right.

498
00:36:45.059 --> 00:36:46.739
She's she's or he is my ward.

499
00:36:46.800 --> 00:36:48.300
Yeah, that's a good point.

500
00:36:52.260 --> 00:37:15.480
This week is also the debut of Elizabeth Parker, who is taking over on special sound, and I think she is feeling her way, very much on this episode, because she gets lots of the sound effects wrong, and it really folks me that the liberator guns make the wrong noise, and she forgets to put the force wall sound on when they activate the force wall.

501
00:37:15.599 --> 00:37:20.519
Well, we need to get her to a Blake 7 convention for you to give...

502
00:37:20.639 --> 00:37:29.940
In episode 4 of series B. She does, she adds really over the top sound effects to Travis's handgun.

503
00:37:30.000 --> 00:37:31.980
It's like...

504
00:37:32.039 --> 00:37:33.659
It's like when he's turning it on.

505
00:37:34.320 --> 00:37:36.480
It's very cartoony.

506
00:37:36.539 --> 00:37:41.579
So this is basically her 1st time being in charge of sound effects, having worked and sound effects wrong.

507
00:37:41.639 --> 00:37:45.539
Well, you're gonna you're gonna press all the buttons, aren't you, when you're allowed when it's your 1st time?

508
00:37:45.599 --> 00:37:47.099
Does she do all the rest?

509
00:37:47.159 --> 00:37:51.659
Yeah, she does the rest of the series now. and she gets better and better as she goes on.

510
00:37:51.780 --> 00:37:52.440
Oh, yeah.

511
00:37:52.500 --> 00:38:07.500
So when you get to orbit, when you've got all these sort of incredible sort of weird, strange computer sounds in that room that the 2 blokes are in, I can't remember, haven't watched it yet, again, you know, there's some really great atmospheric stuff going on.

512
00:38:07.559 --> 00:38:15.300
Yeah, and she she comes goes on to write them basically the score for Gambit because Dudley Simpson isn't available.

513
00:38:15.360 --> 00:38:16.440
There's no time to do that.

514
00:38:16.500 --> 00:38:18.599
So she puts electronic music over that.

515
00:38:18.659 --> 00:38:20.760
And yeah, she develops really nicely.

516
00:38:20.880 --> 00:38:24.360
She did David Attenborough's The Living Planet, I think.

517
00:38:24.420 --> 00:38:24.960
She did.

518
00:38:25.019 --> 00:38:26.639
That's beautiful. very good.

519
00:38:26.699 --> 00:38:26.940
Yeah.

520
00:38:27.000 --> 00:38:31.199
It's like, yes, we've just found the pan pipe sound on the synthesiser.

521
00:38:31.260 --> 00:38:32.159
We're gonna use it a lot.

522
00:38:32.519 --> 00:38:34.380
And time lash.

523
00:38:34.440 --> 00:38:35.280
And time that.

524
00:38:35.579 --> 00:38:37.380
Oh okay.

525
00:38:37.440 --> 00:38:38.400
That funky?

526
00:38:38.460 --> 00:38:41.039
I love that funky robot music from time.

527
00:38:41.219 --> 00:38:43.860
I'm robot dancing as we speak.

528
00:38:53.760 --> 00:38:59.820
So, I think it's fair to say, we've got a little mix of reactions to this episode among the panel today.

529
00:38:59.880 --> 00:39:01.980
It's got its pros and cons.

530
00:39:02.039 --> 00:39:03.420
Would that be a fair summary?

531
00:39:03.480 --> 00:39:05.699
It's got his pros and cremos.

532
00:39:05.760 --> 00:39:10.139
Uh, it's pretty, it, look, it's fine.

533
00:39:10.199 --> 00:39:17.880
It's just, it's just, it just lets itself down with, um, with the, the characters just doing kind of stupid things.

534
00:39:17.940 --> 00:39:24.659
They should be smarter at falling into traps, you know, and I think that lets it down, but it's like seven.

535
00:39:24.719 --> 00:39:25.079
It's great.

536
00:39:25.860 --> 00:39:37.139
I think I like how vulnerable the true are throughout it from the space battle to villa getting interrogated.

537
00:39:37.199 --> 00:39:39.179
They're all being captured.

538
00:39:39.239 --> 00:39:42.960
It's the 1st time Travis has managed to capture them and he doesn't want to kill them.

539
00:39:42.960 --> 00:39:47.699
He just because he wants the liberator to seeing Avon covered in blood at the end.

540
00:39:47.760 --> 00:39:51.539
Um, I really like it probably, sorry, in rocks and all.

541
00:39:52.739 --> 00:39:54.420
I don't know.

542
00:39:54.480 --> 00:39:56.340
It's just all very average, isn't it?

543
00:39:56.400 --> 00:40:07.739
Alan Pryor gets a bit of a kicking generally for his episodes, but I think I said when we did Horizon that actually I think that one is a really, really strong episode.

544
00:40:07.800 --> 00:40:17.400
But I think for the rest of this series, particularly of series B, he's drafted in at the last minute when everything else has fallen through, and I think sometimes that shows.

545
00:40:17.699 --> 00:40:28.320
So there's some great concepts and some really great bits, the opening 10 minutes with the space battle is really exciting, but it's just not quite there.

546
00:40:28.380 --> 00:40:31.920
It's just not quite developed enough to make it something better.

547
00:40:31.980 --> 00:40:34.199
So you're saying, it's all right.

548
00:40:34.260 --> 00:40:40.920
It's not a complete tragedy, which is what the Bee Gees would be singing about at number one this week in February 1979 if it goes out.

549
00:40:40.980 --> 00:40:43.139
I think that's number one for a few weeks.

550
00:40:43.199 --> 00:40:44.820
I'm going to have to do variations on that line.

551
00:40:44.940 --> 00:40:49.199
Did you say tragedy or Travis tree?

552
00:40:49.320 --> 00:40:52.320
is it a travis tree?

553
00:40:52.380 --> 00:40:56.039
that all... don't know.

554
00:40:56.099 --> 00:40:57.960
That joke was a travesty.

555
00:40:59.039 --> 00:41:00.900
I'll quench it.

556
00:41:01.139 --> 00:41:05.460
Thank you, listeners, for being hostage with us through this episode.

557
00:41:05.519 --> 00:41:07.260
Thank you, Simon Colin.

558
00:41:07.320 --> 00:41:09.239
And Hannah, for being here with us.

559
00:41:09.300 --> 00:41:14.340
Next week, a maximum power squad will assemble to take you through a countdown.

560
00:41:14.400 --> 00:41:16.500
Until then, we'll say goodbye.

561
00:41:16.559 --> 00:41:17.280
Goodbye.

562
00:41:17.340 --> 00:41:18.599
Goodbye.

563
00:41:18.659 --> 00:41:19.440
Bye.

564
00:41:20.460 --> 00:41:22.619
Switching to manual.

565
00:41:22.739 --> 00:41:24.840
Maximum power on all drives.

566
00:41:27.900 --> 00:41:29.579
Maximum power.