In which Martyn and Gerrod discuss ready player one.
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In Torchwood: The Last Beacon. A signal in a Welsh mountain is calling an ancient battlefleet to Earth. Owen Harper and Ianto Jones head up into the Brecons to stop it.
This story is lighter in tone, than most of the Torchwood stories, in the Big Finnish range. It’s also probably the funniest. This is a buddy comedy. The pairing of Owen and Ianto is an inspired idea. The story pits them against each other, they’re in a small Welsh community-Ianto is in his element. These are his people, whilst Owen is a fish out of water, the locals take an instant distrust to him. Having Owen on the ropes, allows for some deeper character exploration for this mis-matched pair.
Torchwood on Big Finish, is Torchwood at its best and The Last Beacon is quintessentially Big Finish Torchwood.
This is a fun story, which further develops the relationship of its leads. It’s difficult to believe this is Gareth David-Lloyd’s first foray into writing an audio play, the story flows like it’s written by a seasoned pro. Let’s hope he writes another. Highly recommended.
Below is the latest trailer for Deadpool 2.
This is the most perfect trailer, it gives us nothing, but makes us want everything.
On Saturday 28th April, Stacey Taylor (host of Stacey’s Pop Culture Parlour) will be leading the fight against heart disease with a 24 hour charity podcast. The third SPCP Live Event will be co-hosted by Barry Nugent (of the Geek Syndicate podcast).
“Back in 2014, I was looking for something to do for charity that wouldn’t involve something as terrifying as throwing myself out of a plane or clambering down the side of a tall building, but would be enough of a challenge that people would part with some cash to support it. A friend suggested that I turn my monthly podcast into a live endurance event: 24 hours of non-stop Stacey chatting, with guests, interviews and competitions! Thus, Stacey’s Pop Culture Parlour Live (#SPCPLive) was born”, explains Stacey.
The duo will be chatting all things telly, comics, books, music, video games and more, as well as being joined by guests from the world of pop culture to keep them company. The event will be broadcast live from Stacey’s home in Great Barr to raise money for the British Heart Foundation (BHF).
“Both my mum and my brother were my heroes, so when Stacey asked me which charity we could support for this event it was a no brainer for me” explains Barry, who suggested the British Heart Foundation as the beneficiary as he sadly lost his mum and eldest brother to heart disease. “It’s especially important when you see some of the scary stats around heart disease.”
Stacey said “I knew that the BHF was the perfect choice, as in addition to Barry’s reasons, I suffer from a rare form of heart condition called Wolff-Parkinson-White-Syndrome which causes palpitations involving episodes of my heart pounding from between a few seconds to several hours. The resources from the BHF following my diagnosis were an invaluable source of information and anxiety-reducing comfort to me.”
“We hope to be entertaining, to highlight the work the charity does and raise money for a great cause.”
The British Heart Foundation funds vital life saving research preventing, diagnosing and treating heart and circulatory disease including connected conditions such a stroke, vascular dementia and risk factors such as Diabetes. Help us to help the BHF by either spreading the word about the event or donating whatever you can to it.
It’s no secret that here at Bad Wilf, we love Jason Statham. So it’s with great joy, that I bring you the trailer for his next movie The Meg.
It looks over the top, absolutely ridiculous and I can’t wait.
Here’s the synopsis:
“In the film, a deep-sea submersible—part of an international undersea observation program—has been attacked by a massive creature, previously thought to be extinct, and now lies disabled at the bottom of the deepest trench in the Pacific…with its crew trapped inside. With time running out, expert deep sea rescue diver Jonas Taylor (Jason Statham) is recruited by a visionary Chinese oceanographer (Winston Chao), against the wishes of his daughter Suyin (Li Bingbing), to save the crew—and the ocean itself—from this unstoppable threat: a pre-historic 75-foot-long shark known as the Megalodon. What no one could have imagined is that, years before, Taylor had encountered this same terrifying creature. Now, teamed with Suyin, he must confront his fears and risk his own life to save everyone trapped below…bringing him face to face once more with the greatest and largest predator of all time.”
HOW DID YOU FEEL WHEN YOU WERE TOLD OF PLANS TO NOVELISE NEW SERIES DOCTOR WHO EPISODES?
RTD: I was very excited! I’d collected Target books as a kid, so it felt like closing a circle. And I wanted to test myself too, I was interested to find out what the process would be like. And to look back on an old piece of work after 13 years was fascinating.
SM: Well, surprised – I knew nothing of the plans, because this all started around the time I was leaving. The biggest surprise, though, was that I actually wanted to novelise The Day Of The Doctor. I had a hell of a time on that script, I had no idea I wanted to revisit it!
WHAT DID THE ORIGINAL TARGET DOCTOR WHO BOOKS MEAN TO YOU, GROWING UP?
RTD: I loved them. I’ve still got them all, on a shelf here in my office! In the days before DVD or streaming, they were the only official records of an adventure. And they were so mysterious, detailing stories we thought we’d never see again. Some we still won’t, because they’re missing from the archive. I can probably tell you where I was, which shop I was in when I bought it, for every single one of my Target originals.
SM: Every time I’d go to a bookshop – and I was a keen reader, so I went a lot – I’d head straight to the Doctor Who book section. Because I’d stared at all the book covers I already owned with such manic intensity, they were carved into my brain like wounds – so I could tell from right across the shop, by the tiniest variation in colour or artwork, if there was a new one on the shelf, and if there was my heart would leap. Then, sometimes, I’d wake up. So you could say I was – y’know – over invested. I think that’s the polite way of putting it.
WHAT ELSE DID YOU READ AS A CHILD? DID THE ORIGINAL TARGETS LEAD YOU INTO OTHER SERIES OR AUTHORS?
RTD: I read anything and everything. Enid Blyton! Tolkien. C.S. Lewis. Agatha Christie. Dune. Jaws. I was a voracious reader, I still am, I was trying D.H. Lawrence by the time I was 11. A lot of young readers will tell you that Targets led them onto many other books, which is brilliant, but frankly, I was there already!
SM: I’m very old, so I was already a voracious reader before the Target series got started – I loved the Narnia books, and The Hobbit, and especially Tom’s Midnight Garden. Reading and Doctor Who were my two favourite things. But the thing I wanted more than anything was to combine my enthusiasms. I longed for there to be Doctor Who books! There were Star Trek books, so it didn’t seem fair there weren’t any Doctor Who ones. And then, suddenly there they were. I was on holiday in Cornwall, in a little town called Mevagissey, and in a shop called Dunns there was a solitary rack of books which I’d always walk round and round, looking for something to read – then one day my Dad grabbed and my arm and pointed to the bottom row of paperbacks: Doctor Who And The Daleks, Doctor Who And The Zarbi and Doctor Who And The Crusaders. I was so happy!
HOW DID YOU APPROACH THE TASK OF NOVELISING YOUR OWN SCRIPT?
RTD: It was tricky, I wanted to capture the essence of the TV episode, but I didn’t want to repeat it. I’d long since lost the scripts! I’m always asked to give away Doctor Who stuff for raffles and prizes, so everything has gone. I found a transcript online, and someone found me a copy of the very first draft. But I didn’t always look at them. I was a bit more freefalling. Or rather, I wanted to add stuff to most of the dialogue because I knew fans would know a lot of it off by heart already, so there had to be new things to discover.
SM: I just sort of started. I had a few ideas about how it might translate, but really, as with any writing, I just dived in. I found the shooting script on my hard drive, and was shocked to see how much I’d altered it during filming. Quite often, I’d have to watch the DVD and transcribe useful bits of dialogue, because I found I had no written record of really quite important scenes. Then, of course, you find the parts that don’t quite work in prose. The shock of seeing David and Matt together, John Hurt as the Doctor, surprise appearances by Tom Baker and Peter Capaldi – you have to find a way to make those moments work in a book, without surprise guest stars, which can be a challenge.
HOW DID THE EXPERIENCE OF WRITING A NOVEL COMPARE TO WRITING A TV SCRIPT?
RTD: It’s all hard work! But it’s a different focus. That became clear with the character of Mickey, Rose’s long-suffering boyfriend. On screen, played brilliantly by Noel Clarke, he flies past, he’s wonderful, he’s fast and fun and furious, but when a novel goes inside someone’s head, I had to give him more focus. Also, bear in mind, on TV, I knew I had 13 episodes to tell Mickey’s story, but in a one-off book, I had to complete him a bit more.
SM: When you write a screenplay, you make the audience a witness to events. When you write a book, you make the reader experience them. You go from the grandeur of spectacle to the intimacy of inside someone’s head. I don’t think either is better than the other, but they are different. Twists and turns, suspense, humour – they all work in different ways. You’re aiming for the same effects, but by other means.
IN A WORLD WHERE THE ORIGINAL SHOW CAN BE ACCESSED IN A DOZEN WAYS ON DEMAND, WHAT PLACE DOES A NOVELISATION HAVE?
RTD: New stuff! Newness. Sheer newness. New action, new dialogue and new insights. A fan might have seen something a dozen times, so I felt honour-bound to add things that could only be found inside the pages of the book. And I know what fandom feels like, there’s nothing we love more than discovering something new about something old.
SM: Well, we’ll find out, won’t we? Back when the Targets started, those books were our only permanent record. The shows were on your telly exactly once, and then disappeared forever, like smoke up the chimney. Back then, Terrance Dicks would give us perfect, prose replicas of the originals, scene for scene, line for line, and very brilliantly done. He’d also do sly little fixes on the plotting when he felt inclined. But a few years later – from about Peter Davison on, I think – we all had VCRs, and we could keep the originals exactly as they were so we didn’t need the prose replicas. So the Target books changed – more of the original writers got involved, and they became more like alternative versions. Perhaps that’s how it will go now? As I say, we’ll find out.
WERE YOU TEMPTED TO ‘GO BIGGER’ WITH THE ACTION, UNFETTERED BY BUDGET?
RTD: Oh, a bit. A lot! Bear in mind, there’s a great big invasion of London by shop-window dummies at the end, so I’d paved the way for some epic action. On screen, the London Eye just sits there in the background. In this version, it’s a lot more involved! I loved writing that stuff.
And writing action is hard – seeing a bullet fly on screen is easy, describing it in prose is much harder, so that was a good test.
SM: Sometimes, yes. I don’t think it’s the big difference. In a way, many of the finest creative decisions in Doctor Who are direct responses to budgetary limitations – there’s a reason the Doctor’s space ship looks like a phone box, and he spends a lot of time in dark tunnels – so its good to go epic, so long as you don’t lose the signature style. I’m not the first person to say it, but the clash of the epic and domestic is a big part of what makes the show what it is.
REVISITING AND RE-PRESENTING PAST WORK – DID YOU FEEL NOSTALGIC?
RTD: I just felt old! But I felt mighty proud. Rose was the first episode in 2005, and for all the changes to the show, it’s fundamentally still the same show.
SM: Too soon for me. Day was only five years ago, and I’ve barely finished as showrunner. I don’t think I’ll ever feel nostalgia for Doctor Who, exactly – I think it will just carry on being my favourite show on TV, and I’ll have fond memories of having worked on it once.
WITH THESE NOVELISATIONS UNDER YOUR BELT WOULD YOU CONSIDER WRITING FURTHER BOOKS – EITHER FOR WHO OR SOMETHING ELSE ENTIRELY?
RTD: I think it’s more exciting to consider something new, now. I really loved writing this, and I think the chance to write brand new stories with brand new characters would be exhilarating. One day!
SM: Hugely enjoyed writing the book. Very much indeed. So yes, I hope I get another go at prose, in whatever form.
Torchwood: The Death of Captain Jack is difficult to review, without spoiling. So, I won’t be discussing the storyline.
This is an ambitious audio, from David Llewellyn who once again proves himself to be one of the greatest writers Torchwood has ever had. He perfectly manages to encapsulate the history of Jack and John and give the Torchwood franchise a fresh new spin, all within an hour-long adventure. It’s an absolute joy.
James Marsters absolutely shines as Captain John Hart and, instantly reminds us why he was so popular amongst Torchwood fans. He’s the perfect foil to John Barrowman’s Captain Jack.
There’s also a slight dig at Torchwood:Miracle Day.
Director Scott Handcock and producer James Goss have their awesomely unique style all over this release. Torchwood on Big Finish, is the best Torchwood has ever been. They just get it, it’s ambitious, it’s loud, it’s sexy and over the top. Which is just how it should be.
Torchwood contains adult material and may not be suitable for younger listeners.
News-wise, It’s been a busy couple of weeks for Christopher Eccleston. Last week he opened up about his experiences on Doctor Who.
This week Showmasters announced he’ll appear at London’s Film and Comic Con in July. This will mark Eccleston’s first ever convention appearance. The actor will be appearing at the convention event on Sunday, July 29.
Full details about all guests, prices and timings can be found on London Film and Comic Con’s website.
The former Doctor Who showrunner has made the first draft of the day of the Doctor script, available for the charity project A Second Target for Tommy. There are a couple of changes.
“While novelising Day of the Doctor, I went back through all the many drafts of the script, and I found this version of the barn scene.
The Moment is clearly not Rose Tyler in this draft, and the barn itself has a different, erm, origin. If barns can be said to have origins.
But the other big difference is the one that people might get a kick out of. Hope you enjoy, but please do keep in mind this is the roughest of early drafts…”
THE NINTH DOCTOR
Don’t sit on that.
He strides over to her, grabs her arm.
THE NINTH DOCTOR
Because it’s not a chair, love – it’s the most dangerous weapon in the universe.
THE NINTH DOCTOR
Listen. A very bad thing is gonna happen here and I’m not sure how it’s gonna work. But I don’t think you want to be here when it does, okay?
…you’ve got a funny face.
THE NINTH DOCTOR
You should see the other fellas.
I like it though.
THE NINTH DOCTOR
Thanks, it’s new. Not sure about the ears yet, they just sort of kept going. Now, you need to get away from here. You need to pick a direction and just run –
You sound clever
THE NINTH DOCTOR
Not clever enough to figure out how this thing works, so could you give us some hush?
It’s no secret that Christopher Eccleston has a turbulent relationship with Doctor Who, he’s previously hinted at reasons as to why he left. But in a recent interview with the radio times, he opened up a bit more about the tensions behind the scenes.
“My relationship with my three immediate superiors – the showrunner, the producer and co-producer – broke down irreparably during the first block of filming and it never recovered. They lost trust in me, and I lost faith and trust and belief in them”
He then spoke about the stress involved with making the series:
“Some of my anger about the situation came from my own insecurity. They employed somebody, who was not a natural light comedian”
Speaking about Billie Piper he said:
“Billie, who we know was and is brilliant, was very, very nervous and very, very inexperienced. So, you had that, and then you had me. Very, very experienced, possibly the most experienced on it, but out of my comfort zone.”
You can read the full interview, in the latest edition of The Radio Times.