The Metebelis Two - a Doctor Who podcast: Recent Episodes
Ben and David
In this podcast we talk about Ian Marter's first two stories after his character, Harry Sullivan, joins the TARDIS crew: The Ark in Space and The Sontaran Experiment. We discuss the ease at which Marter portrays Sullivan as a decent, square-jawed Englishman. We also lament what could have been if the Doctor Who production team better utilised the character since he was an effective foil and compatriot of Tom Baker's Doctor. At the end of the podcast are two brief convention panel answers from Marter (on Harry being "naff" and "clumsy") in 1983 in Chicago celebrating 20 years of the programme. Opening music is from The Ark in Space soundtrack and closing music is from The Sontaran Experiment soundtrack, both composed by Dudley Simpson. We recorded this episode on 16 September 2024.
We continue with our Ian Marter discussion with a brief conversation about the debut of Harry Sullivan in "Robot"! But, before we get underway, we pick up where we left off with new details about Marter's time at St. Edmund Hall at Oxford University with the discovery that there is a recording on vinyl of Marter singing in You Can't Do Much Without a Screwdriver, an original musical staged by the Oxford University Experimental Theatre Club at the Oxford Playhouse in May 1965. Marter played the lead character, Guy Ffolkes, an Amnesian nationalist, and sings "Bang On" with Jack and Harry, described as two villains in the playbill. There's a photograph of Ian with Adèle Geras née Weston on stage during the production. We also uncovered a photograph of young Ian with fellow Oxford students, Tamara Ustinov, John Dodgson, Anne Bibby, and Nick Elliott rehearsing for another play. Plus a photograph of Marter with actor Richard Burton in a local pub. Opening and closing music is "Mysterious Robots," composed by Dudley Simpson. We recorded this episode on 26 August 2024.
We kick off our Ian Marter retrospective with a look at his time at Oxford University. Thanks to back issues of St. Edmund Hall Magazine, we uncover new information that places Marter at Oxford three years earlier than is widely and incorrectly reported in other published sources. From our research, we found that Marter was at St. Edmund Hall, aka Teddy Hall, from 1963-1966 and was heavily involved with drama in the college's John Oldham Society and the Oxford's drama cuppers.Before Oxford, Marter went to school at the Beckenham and Penge Grammar School in Greater London and went to Oxford on a scholarship to study English language and literature. Among other highlights, Marter directed a well received production of John Osbourne's Luther in 1964 during the Trinity Term of his freshman year at the Oxford Playhouse. He also acted in productions of Fire in Heaven, The Sport of My Mad Mother, and Anton Checkov's The Cherry Orchard. In his final year at St. Edmund Hall, Marter co-starred in Samuel Beckett's play, Waiting for Gadot and was in Richard Burton's production of Doctor Faustus, by Christopher Marlowe which was also released as a film in 1967, giving Marter his first screen credit. Marter was awarded a Class III degree from St. Edmund Hall, which may help explain why he never corrected the record about his time at Oxford.
After leaving Oxford in 1966, he landed an assistant stage manager job at the Bristol Old Vic and by the following year, he was acting once again. We briefly talk about his small role in the Vincent Price horror film, The Abominable Dr. Phibes, and his reoccurring role in ITV's Crown Court where he played a police constable and then barrister, Quentin Ingrams, QC. Finally, we discuss being cast as Lt. John Andrews in "Carnival of Monsters" and how Doctor Who may have been different if he landed the role of Capt. Mike Yates a few years earlier. The opening and closing music is "Sinfonietta: IV. Allegrteto," composed by Leoš Janáček and performed by the Pro Arte Orchestra, which was the opening theme for ITV's Crown Court. We recorded this episode on 12-13 August 2024.
We discuss the recent animation of the William Hartnell story, The Celestial Toymaker. Overall, we think it successfully presented a boring, at times, story that is hard to follow with moving images for episodes 1–3 missing. Ben would like to see the animators push it even further away from the original broadcast visuals. David would have preferred the guest cast's likeness to be better expressed in the animation designs for the clowns, cards, and toys. The opening music is from The Celestial Toymaker, incidental music composed by Dudley Simpson. The closing music is "Push It" by Salt-n-Pepa. We recorded this episode on 22 July 2024.
We pay our respects to William Russell, the actor who played Ian Chesterton, Doctor Who's original leading man. With Russell, Ian proved to be a solid and dependable man of action and reason. Along with Jacqueline Hill, who played Barbara Wright, the two provided the moral centre for the early show, which relied on their decency, normality, and dependability to guide the viewers in the early mid-1960s along this amazing adventure in space and time. The programme will likely never see another character like Ian again. The opening music is from "The Chase" soundtrack composed by Dudley Simpson and the closing music is from "The Aztecs" composed by Richard Rodney Bennett and performed by the BBC Concert Orchestra in 2021. We recorded this episode on 15 July 2024.
An entertaining enough finale, but with big enough plot holes that you could drive a pyramid through. Something went wrong with this season in more ways than one and with Empire of Death, Davies seemed oblivious and tone death to some of the underlying messages his drama was sending. Basically, nothing in it really makes sense, and many of the story's emotional beats were insensitive or unearned. The opening music is from the soundtrack composed by Murray Gold. The closing music is Johnny "Guitar" Wilson's 1977 song "A Real Mother For Ya". We recorded this episode on 25 June 2024.
Skidding into your UNIT-approved podcatcher is the pod on "The Legend of Ruby Sunday," and, oh boy, do we have questions. Has Unit become the earth-based research office for Doctor Who? Why would Unit drop everything to find the Doctor's new friend's mother? How would the Tennant Doctor react if he saw Susan Triad's big reveal on television? And what is Sutekh without the Egyptian / Osirian backstory to lean on? All this and more as two grumpy old fans come to terms with the penultimate episode in Ncuti Gatwa's first season. The opening music is "Hazy Shade of Winter," covered by The Bangles, and the closing music is "Walk Like an Egyptian," by The Bangles. We recorded this episode on 19 June 2024.
In this podcast we talk about Rogue, the Doctor's new sexy friend, who we met along with some dubious bipedal bird cosplayers or LARPers. Ben gives a brief background on Oliver Frey, aka Zack's Rogue in Him magazine and connects the dots between the comic and RTD. David muses on watching a show for young people and wonders if adventure plots are a thing of the past. The opening music is Vitamin String Quartet's version of Billie Ellis's "Bad Guy," and the closing music is VSQ's version of Lady Gaga's "Poker Face." We recorded this episode on 12 June 2024.
We meet the first real monster in this season of Doctor Who and no, we don't mean the slugs of doom, aka Mantraps. RTD catches us a little flat-footed with the surprising ending, but the subtle hints were there all along. With a wave of the hand, we excuse any plot holes and applaud what may be the best episode of Ncuti Gatwa's first series of Doctor Who. The opening music is the episode's soundtrack by Murray Gold and the closing music is "Slugs of Love" by Little Dragon. We recorded this episode on 3 June 2024.
Russell T Davies has written a new Doctor Who story that he describes as Welsh folk horror in which he packs in a lot to 45 minutes, including the obligatory Susan Twist, creepy pub denizens, and an homage to other ghostly stories. We were a little surprised to have a Doctor-lite episode in a season that is a mere eight episodes long. What caused the Doctor to vanish? Is the fairy circle in the shape of the TARDIS console? Did that mysterious space and time machine somehow create the circle and the time loop? The opening is from a Wales tourism advertisement, and the closing is from "Witchy Woman" by the Eagles. We recorded this episode on 28 May 2024.
With Moffat back writing for who and RTD as showrunner does it feel like 2005 all over again? Well, maybe? We discuss the latest Doctor Who episode, Boom, complete with the requisite fatherly love, casting surprises, LED scenery, returning vicars, twist speculation, and a dose of handwavium to resolve this tight, immersive bottle episode. Opening Music is "Skye Boat Song" performed by Martine Mussies. Closing music is from "Let's Go Crazy" by Prince and the Revolution. We recorded this episode on 20 May 2024.
Doctor Who, aka Ncuti Gatwa, is off in space and time with Ruby, his new traveling companion. So what does Russell T Davies have in store for a new generation of Who fans, and what do two old Who fan podcasters make of all of it? Opening Music is "My Dog Fred" by Murray Gold. Closing music is "Scream & Shout" by will.i.am and featuring Britney Spears. We recorded this episode on 13 May 2024.
Kicking off this pod, Ben recounts his visit to Gunnerysbury Museum to see "Set to Stun: Designing and Filming Sci-Fi in West London". Then we watch and discuss the two teaser trailers put out by the BBC in anticipation of Ncuti Gatwa's first season of Doctor Who with our usual spoiler-free rampant speculation, wild theories, spotting of the pre-title sequence clip, and more. Opening music is from "Bowie" by Flight of the Conchords and closing music is from David Bowie's demo of "Changes". We recorded this episode on 21 April 2024.
Ben is in England where he had the opportunity to visit the "Adventures in Time and Space - 60 Years of Doctor Who Art" exhibition at the Weston Museum in Weston-super-Mare, Somerset. This impressive collection spans the show's history and features original art from novelisations, VHS covers, annuals, and other visual treasures, including works from Chris Achilléos, Andrew Skilleter, Roy Knipe, and Colin Howard. Ben has shared some pictures he took of the overall exhibit and artwork on his Instagram, including Knipe's "Death to the Daleks" Target cover and Achilléos' "Loch Ness Monster", "Kklak", and "Seeds of Doom" covers. Plus the portait of Ace from 'Silver Nemesis' done in the style of Thomas Gainsborough. In addition to being agog as a fan, Ben also shares his curatorial view of the exhibit's strengths and weaknesses. Opening and closing music is by Dudley Simpson from his score to The Android Invasion. We recorded this episode on 1 April 2024.
Ben checks in before heading back to the UK to give our listener and David the scoop on what happened this year at the GallifreyOne Convention. Opening music is "Dancing Across Space and Time" and closing music is "Nothing Is Forever", both composed by Segun Akinola. We recorded this episode on 10 March 2024.
Ben chats with Lena Barkin and Jess Jurkovic about the upcoming GallifreyOne convention this week in Los Angeles. Lena recently contributed to Adventures Across Space and Time: A Doctor Who Reader a chapter about fandom and Tumblr and will be presenting and signing autographs, plus celebrating Blake's 7. Jess wrapped up the second season of his Dudley Simpson is Doctor Who Project this past year and will be interviewing composers, including Segun Akinola and Dominic Glynn, on the main stage in Program A. Opening music is "You Shall Not Disrupt Our Mission" and closing music is "We Have Everything We Need", both composed by Segun Akinola. We recorded this episode on 6 February 2024.
We wrap our mini-series looking at production design in Doctor Who with our own top-five design picks from stories broadcast from 2011 through to 2020. Listen in to hear which stories design work overseen by Michael Pickwoad, Arwel Wyn Jones, or Dafydd Shurmer will make our cut and why we picked them. Opening music is "Up the Shard" and closing music is "A Fly on a Painting", both composed by Murray Gold. We recorded this episode on 14 January 2024.
We discuss The Church on Ruby Road, Ncuti Gatwa's first solo-starring story as the Doctor. It was great watching Doctor Who once again on Christmas Day and think it was a fun story with a strong cast. We also like the science-fantasy direction that RTD appears to be taking with this first series and think Disney's input has been so far positive. Ben likes the Goblins and wonders if one might become a companion of the Doctor. David's is enjoying the delight and joy Davis appears to be having writing for the show once again. Opening music is the fifteenth Doctor's theme and closing music is the Goblin Song, both composed by Murray Gold. We recorded this episode on 29 December 2023.
We discuss The Giggle, the closing chapter of Doctor Who's 60th anniversary specials. High marks for Neil Patrick Harris as the Toymaker who nearly stole every scene he was in until the arrival of Ncuti Gatwa as the bi-generated Doctor. But, thumbs down on the Vlinx, and thought Mr. Smith, Mel Bush, or even BOSS would have been a better narrative choice. We're cautiously optimistic about the future, but we wonder if Disney is stealthily aiming for a total reboot of Doctor Who in a similar way that they created an alternate continuity for Star Wars to give the current creative team a clean slate (and to make it easier to market), and thus Gatwa's Who is to be series/season 1. Opening music is composed by Murray Gold from The Giggle soundtrack, and the closing music is an excerpt from "Two of Us" by The Beatles. We recorded this episode on 11 December 2023.
We discuss Wild Blue Yonder, the middle story of the 60th anniversary specials of Doctor Who and share our thoughts on Russell T Davies latest adventure for the Doctor and Donna Noble. Ben relays Paul Scoones' suggestion that the ship's captain may have been a nod to the Equinans, from "The Wreckers!", a 1975 Who story in The TV Comic. David notes that with the inclusion of Flux and other pieces of the Chibnall canon, RTD is removing the Bobby Ewing retcon, as Ben puts it, that the last 13 years were all a dream. This podcast concludes with a lively discussion of The U.S. Air Force Song, which was featured not only in this story's title, but also referenced musically. Opening music is "Silver Caravan" composed by Tim Clark and closing music is "The U.S. Air Force Song" also known as "Off We Go". We recorded this episode on 5 December 2023.
We discuss The Star Beast, the 60th anniversary special of Doctor Who and share our thoughts on Russell T Davies' retelling and updating of this classic weekly comic serial from 1980. Opening and closing music is from this episode's incidental music composed by Murray Gold. We recorded this episode on 27 November 2023.
Our discussion of set design continues with a conversation about the designs overseen by Edward Thomas, who was Production Designer for most of Series 1 through Series 5 of Doctor Who. How television was made changed in significant ways since the McCoy Doctor and Ace left our screens. With the debut of 'new Who', an executive level position, the art department head, oversaw the appearance of all physical elements in the programme. When things accidently clicked in the classic era was when television magic was made. Now the overall vision of how the episode would look would be centrally controlled by one man, Edward Thomas, so design in 21st century Who should always click, right? We talk about this change and what each of us see as his five best designed stories. Opening music is "Sycorax Encounter" and closing music is "Pandorica", both composed by Murray Gold. We recorded this episode on 5 November 2023.
We engage in a counterfactual discussion, speculating about what would have happened to Doctor Who if Russell T Davies had not been charged with bringing back the series to BBC1 in late 2003. We discuss what was happening with Who in 2003 — "The Scream of the Shalka" — and wonder what would have happened next. Would Who have returned to BBC1 later in the decade? Who would have been showrunner if not RTD? Or, would the programme have died a slow death as its fandom aged and slowly faded from memory? Opening music is "O'Carolan's Farewell" performed by Derek Bell and used in the opening of Death Comes to Time. Closing music is the Shoestring theme, composed by George Fenton. We recorded this episode on 8 October 2023.
We first chat about the 60th anniversary trailer and then continue on with our discussion of top sets and their designers with a look at 1980s Doctor Who. What share which stories make our respective top five lists and why, and then explore why we overlap in selections in this decade than in any prior era of the show. Opening music is from "The Warriors of the Deep" soundtrack, composed by Jonathan Gibbs. Closing music is "Hungry Like the Wolf," the 1982 hit single from Duran Duran. We recorded this episode on 25 September 2023.
We wrap up our conversation about the Doctor Who Magazine readership story rankings with our assessment of how the Tennant, Smith, Capaldi, and Whittaker stories lined up. We comment on how fandom seems to be coalescing upon a consensus of what is the best (and worse) of the modern Doctors Who's stories. There are a few stories that we feel should be higher (and lower), but generally the order seems pretty spot on. Opening music is "I am the Doctor," composed by Murray Gold and closing music is "Thirteen," composed by Segun Akinola. We recorded this episode on 3 September 2023.
We talk about "Ncuti Gatwa on Doctor Who", the August/September 2023 RollingStone UK article. We try to tease out what sort of Doctor will Gatwa be and chat about what we hope his time in the TARDIS will be like. Opening and closing music is excerpts from the 1966 song of The Kinks, "Dedicated Follower of Fashion", written by Ray Davies. We recorded this episode on 17 July 2023.
The Metebelis Two's lazy summer look at Doctor Who sets and their designers continues into the 1970s with a top five discussion. What five sets will David choose, and will that throw Ben off his carefully balanced selections spread between designers and Doctors Who? Why are multi-level sets so great? Why is, like monsters, the color of sets green more often than not? What about other colors? And, what years actually make up the 1970s? All this and more, as Ben and David pick their top 5 sets and designers of the 1970s. Opening music is from The Sun Makers soundtrack and closing music is from the Genesis of the Daleks soundtrack, both scores composed by Dudley Simpson. We recorded this episode on 9 July 2023.
Ben and David continue their look at the Doctor Who monthly rankings by discussing the results of the 1980s Doctors, plus the Chris Eccleston stories. We theorize to why there is so little movement in the rankings over the years and lament the voting preferences of the DWM readership. The music for this episode is from The Mark of the Rani, composed by Jonathan Gibbs of the BBC Radiophonic Workshop. We recorded this episode on 2 July 2023.
The designers of 1960s Doctor Who contended with small budgets and even smaller studios to create the places and alien worlds that Doctor Who and his travelling companions visited. What are our top set designs of the b&w era? Why do we think they're great? And, who designed them? Opening music is "Dalek City Corridor" created by Brian Hodgson of the BBC Radiophonic Workshop and closing music is "Space Adventure, Part 2" composed by Martin Slavin. We recorded this episode on 25 June 2023.
In this podcast, Ben shares his experience in Bristol at the Lawless Comic Con from earlier in the month, and then answers David's question about what his idea would be for a new Doctor Who exhibition. Ben gives a brief summation of his Who exhibition experiences and pitches a Magical Who Story Tour from London, across the south England, to Cardiff visiting the filming locations of Doctor Who. The opening track is "Magical Mystery Tour" composed by Lennon and McCartney and performed by Ryohei Kanayama. The closing track is Dudley Simpson's Bessie traveling tune from "The Three Doctors" and "The Time Monster" with a dash of dialog from "The Dæmons" to knit the two together. We recorded this episode on 6 June 2023.
Ben and David continue their look at the Doctor Who Monthly readership rankings with a chat about where the Troughton, Pertwee, and Tom Baker stories stacked up. We share our theories, such as the Web Planet Effect, to why the stories ranked in the order that they did and discuss on which stories do we think are underrated, overrated, and correctly placed? We notice too that animations do not seem to make a difference with a missing story's popularity. The opening track is "Gentlemen, Good Luck" and closing track is "Mahogany", both from The Sun Maker soundtrack composed by Dudley Simpson. We recorded this episode on 22 May 2023.
RTD has revived the Doctor Who hype machine and Ben and David have been lapping it up. They enthuse over the many costume reveals for Ncuti Gatwa's Doctor and other members of the cast. Ben, who has been in England this past month, liked the Doctor Who trailer that dropped before EuroVision this year on BBC and is picking up a palpable buzz about the coming 60th anniversary series. Plus speculation if there will be a musical episode with Ncuti? Then, in the second part of the podcast, at about the 20:30 mark, we chat about the 2023 William Hartnell story rankings in Doctor Who Monthly. The intro and outro music is "Love Don't Roam" featuring Neil Hannon and composed by Murray Gold. We recorded this episode on 19 May 2023.
Ben presents to David a crash course in UK comics and all things related to The Star Beast, the 1980s comic serial that started Doctor Who Weekly #19, which was written by Pat Mills and John Wagner, and drawn by Dave Gibbons — all legends of UK comics. Toss in a dash of speculation of how RTD will bring Beep the Meep and the Wrarth Warriors to our television screens, and a sprinkling of speculation about other Marvel universe cross-overs with Doctor Who and there's your podcast! Opening music is "Cartoon Heroes", the 2000 (A.D.) song by Aqua and closing music is "That Beep", the 2008 song by Architecture in Helsinki. We recorded this episode on 16 April 2023.
Discussion of a possible UNIT spin off and then broaden our discussion to what can make a Doctor Who spin off successful and brainstorm spin-off ideas to pitch to RTD — from live action Paul McGann Doctor Who to steam punk Who to animated further adventures starring the Hartnell, Troughton, or Pertwee Doctors Who. What made the Sarah Jane Adventures successful and why was there a fourth series of Torchwood? We try to answer these questions and more in this episode. Opening music is "UNIT Rocks" composed by Murray Gold and closing music is "The UNIT Theme" composed by Dudley Simpson. We recorded this episode on 19 March 2023.
Ben is joined by writer Lena Barkin and pianist Jess Jurkovic to chat about their experiences at the 2023 Gallifrey One convention. Opening music is "Summons to Gallifrey" composed by Paddy Kingsland and closing music is "Jelly Babies" composed by Dudley Simpson. We recorded this episode on 27 February 2023.
A bonus episode! Ben's report from the first day of Gallifrey One 33 in Los Angeles and how impressive Tim Dane Reid's presentation of his behind-the-scenes account of portraying many of the monsters in Doctor Who. Opening music is from The Claws of Axos and closing music is from Fuldans by Fulkultur. We recorded this episode on 17 Feb 2023.
A double feature in this podcast. First up, Ben gives his report from the Worlds of Wonder Doctor Who exhibit currently running at the National Museum of Scotland in Edinburgh. Next David is joined by John (elvwood) and Peter (forpetessake), two quiz masters on the Games of Rassilon subforum on Gallifrey Base Doctor Who forum, where they discuss forum games and culture and the challenges and rewards of hosting forum games. Opening music is "The Axons Approach" by Brian Hodgson and closing music is "Scorched Earth" composed by Trevor Duncan and performed by the Group-Forty Orchestra. We recorded this episode on 28 January and 10 February 2023.
We are joined in this podcast by writer Lena Barkin and pianist Jess Jurkovic to chat about the upcoming Gallifrey One 33 convention to be held in February in Los Angeles. Ben, Lena, and Jess will all be panelists. Lena will present "Want You or Want to Be You: Companion Relationships in New and Classic Who" as part of the Tardis Talks Academic Symposium. She'll also be a panelist on "Coats of Many Colors", "Why Not a Singing Doctor?", and hosting the Blake's 7 Meet-up. Jess Jurkovic will be a panelist on "Sixty Years of Doctor Who Music" and giving a talk and performing "Dudley Simpson's Doctor Who Theme". Last, but not least, Ben is on two panels: "Stop Me Before I Collect Again" and "Bring the Cheese! Our Love Affair with Bad Movies". All-in-all, it sounds like a fun con! The music for this podcast is arrangements from Jess' Dudley Simpson IS Doctor Who project: opening music is "In An Atlantean Market" and closing music is "Liz's Tune". We recorded this episode on 21 January 2023.
The Abominable Snowmen Doctor Who animation is the centerpiece of this episode's discussion that ranges from the recent animation choices made by Gary Russell and Digitoonz to the original story by Mervyn Haisman and Henry Lincoln. Together they make a complex juxtaposition of early 2020s progressive sensibilities and late 1960s reactionism. What works and what, for lack of better words, is more Scooby-Doo than Doctor Who? The opening music is "Dakto Karpo" and closing music is "Rinchen Chabum" both from the 1975 recording Tibetan Folk Songs from Lhasa and Amdo. We recorded this episode on 8 January 2023.
We are trapped in a time loop in an "elf" storage in Manchester this podcast and are back on New Years Day 2022 to discuss the holiday special, Eve of the Daleks. David likes how Chris Chibnall writes his Dalek specials, but wonders why Nick was written to be so creepy. The name "Nick" certainly must have been a production team joke. Ben wonders what it is like to be killed by a Dalek, repeatedly. And we ask what about the mysterious Jeff? All-in-all, the two find this to be a quite serviceable hour of Doctor Who and wish more of this era could have been more like this. Opening and closing music by Segun Akinola from the Eve of the Daleks soundtrack. We recorded this episode on 7 December 2022.
'Tis the time of giving gifts and Sutekh Claus has a sleighful of presents for Doctor Who fans! Ben and David exchange twelve things they're thankful for in the world of Doctor Who and its fandom. Opening music is a mash-up of Bernard Archer's Marcus Scarman and Bing Crosby's White Christmas. Closing music is from Slade's "Merry Xmas Everybody". We recorded this episode on 27 November 2022.
Can the show Doctor Who work without Doctor Who? In this episode, David suggests that Doctor Who is not required and that the real only constant needed for the series is the TARDIS and a crew. Ben entertains this thesis and we discuss what such a show would be like and how it could work and its limitations. We ask if the show has evolved to such a place where the Doctor may be superfluous… or maybe not. Opening music is "My Beautiful Ghost Monument", composed by Segun Akinola. Closing music is the intro theme to Blake's 7, composed by Dudley Simpson. We recorded this episode on 13 November 2022.
Jodie Whittaker's final episode tears the lid off the Doctor's companion's life after leaving the TARDIS. Ben and David discuss the former companions banding together to support one another and pitch ideas for an expanded Whoniverse series. We share our reactions to seeing former Doctors Who again and what we think of the return of David Tennant to the lead role. Opening music is the "The Thirteenth Doctor's Theme" composed by Segun Akinola. Closing music is "Rasputin" the 1978 Eurodisco hit by Boney M. We recorded this episode on 4 and 15 November 2022.
We talk about The Flux in one marathon podcast. What worked for us, what didn't capture our imagination, and what we would have done differently; including conversation about Sontarans, Weeping Angels, the teeth of Dan Lewis, understanding Scouse, Ben's dislike of dogs, Thasmin, and not letting Jo Martin have more screen time. Opening and closing music is from the soundtrack of Flux by Segun Akinola. We recorded this episode on 9 and 14 October 2022.
After a month's hiatus due to travels and Ben's bout with COVID, we're back talking about Jodie Whittaker headlining the GaliffreyOne convention next year and a look at her finale trailer. What are Tegan and Ace up to? Is the Master using his CTE on the Doctor's friends? Is that the UNIT logo or an upside down Death Star? Much speculation about what it all could mean and possibly even spoilers if we're right. (We're not… probably.) Opening and closing music is from the soundtrack of Flux by Segun Akinola. We recorded this episode on 9 and 14 October 2022.
In a wide-ranging discussion, Ben and David talk about the use of colo(u)r in Doctor Who and elsewhere in television and film. We also reflect on our own experiences watching black and white Doctor Who episodes on television and VHS. We also debate whether or not 1960s stories should be officially colourised. Opening music is "Technicolour Dreams" by Status Quo. Closing music is a song by Mihâly Vig, from Bela Tarr's film "A Torinoi Lo" (The Turin Horse). We recorded this episode on 21 August 2022.
To mark the sad passing of Bernard Cribbins, we journey back to 1966 to look at his first role associated with Doctor Who, which was PC Tom Campbell in Daleks' Invasion of Earth 2150 A.D. Ben reflects how Cribbins and Ray Brooks, who played David, were the voices of his childhood. Cribbins voiced all of the Wombles and Brooks narrated the Mr Benn animated shorts. When watching the movie as a child, Ben was annoyed by these crossover performances, but now he finds it quite cool. David, for his part, cannot remember when he first saw this movie and concludes this may be his first time viewing it all in one go. Opening music is the theme from Daleks' Invasion of Earth 2150 A.D. composed by Bill McGuffie. Closing music features Bernard Cribbins singing back in 1963, "The Bird on the Second Floor" with accompaniment directed by Johnnie Spence. We recorded this episode on 9 August 2022.
The Metebelis Two are excited to welcome Brian Jacob and Jess Jurkovic back to the podcast for a discussion about the return of Russell T Davis as showrunner and Ncuti Gatwa as Doctor Who. We share our thoughts and concerns about RTD's second chance and wonder what 2023 will bring for our favorite Time Lord. (Also, to help support season two of the Dudley Simpson IS Doctor Who Project, please visit Jess's Patreon page.) Opening and closing music is from The Voyage of the Damned score, composed by Murray Gold. We recorded this episode on 10 July 2022.
It's the summer lull! So what better time to persuade their respective better halfs to sit down with them to watch the 1965 movie adaptation of the first Dalek adventure known by all as Dr. Who and the Daleks, starring Peter Cushing as the inventor, Dr. Who. Along with his granddaughters Susie Who, played by Roberta Tovey, and Barbara Who, played by Jennie Linden. They are joined by Barbara's boyfriend, Ian Chesterton played by Roy Castle. Ben remembers how his 8-year-old self was unsettled by seeing the host of Record Breakers on the BBC playing Ian. He also watching this not-Who movie made his boyhood self seethe with rage. Meanwhile, David wonders what the movie would have been like if Bill Hartnell and the other original members of time team reprised their roles and how he would have reworked the script for the big screen. Opening music is the theme to Dr. Who and the Daleks, composed by Malcolm Lockyer. Closing music is the 1961 45" single, "A Lonesome Cup of Coffee", sung by Roy Castle and featuring Wally Stott and his Orchestra. We recorded this episode on 3 July 2022.
Father's Day! To mark our sixth anniversary of podcasting, we discuss fathers in Doctor Who. We talk about the fathers in the show who made the most memorable appearances for us. We ask what is the role of dads in Who throughout the show's history? Can Davros be considered as a father and was he a good dad? We briefly note that some fathers on screen acted alongside their children from time-to-time in Who. And, weigh in whether or not the plans for the McGann Doctor to search the universe for his father, Ulysses, was a lost opportunity, or not. So all things dad in this episode of the Metebelis Two. Opening music is from the Father's Day score, composed by Murray Gold. Closing music is from the 1968 single from The Zombies, "Time of the Season". We recorded this episode on 19 June 2022.
Eighteen months have passed since Revolution of the Daleks was first broadcast. Has Ben's opinion of it changed over time? Having just watch the story for the first time, David could relate with the Doctor when she felt "mostly angry" about the Timeless Children. We say hello again to Jack Robertson and say our goodbyes to Ryan and Graham. Mostly we just ask each other, why does Chris Chibnall keeps telling us how great things are instead of actually showing us? Opening music is "367 Minutes" and closing music is "Something Revolutionary" both composed by Segun Akinola. We recorded this episode on 5 June 2022.
The floodgates of Doctor Who recording news were opened with the casting announcement of Jasmin Finney as Rose mk 2 and the return of David Tennant as the Doctor and Katherine Tate as Donna. We speculate about what changes RTD has in store for the viewers and lament the end of the Whittaker era and the overall lack of buzz during the Chibnall era. Opening music is "Hanging on the Tablaphone" and closing music is "All The Strange, Strange Creatures" both composed by Murray Gold. We recorded this episode on 17 May 2022.
Fresh off Beltane, we discuss stories with the occult in Doctor Who. After a brief background of the folk horror in British cinema, we dive into The Dæmons and other stories looking for common themes and tropes that are used in Who. Opening and closing music is of the Morris dancers from The Dæmons soundtrack. We recorded this episode on 8 May 2022.
Our reaction to Ncuti Gatwa being cast by Russell T Davies as the next Doctor Who. Opening music is "I Can Change" by Ezra Furman. Closing music is Segun Akinola's arrangement of the Doctor Who Theme. We recorded this episode on 8 May 2022.
Returning monsters are a hallmark of Doctor Who from Sea Devils to Daleks, we look at the second act of popular monsters of the classic era. We talk about which monster return worked and how to villains and monsters intersect. And, speculate on some missed opportunies of monsters that had one-and-done outtings. Opening music is "We're Doing a Sequel" from the 2014 film Muppets Most Wanted. Closing music is "The Master's Plan" composed by Malcolm Clarke from soundtrack of The Sea Devils. We recorded this episode on 24 April 2022.
Ben, having recently installed an art exhibit at Balmoral Castle, has been pondering the great impact that Scotland and the Scots have made on Doctor Who. David was surprised to learn that the Brigadier wasn't always Scottish and it was director Douglas Camfield that gave Col. Lethbridge his hyphenated surname Stewart. Jamie McCrimmon, Amy Pond, and three Doctors Who from Scotland, plus one showrunner, Scotland is ever-present in the TARDIS. Opening and closing music is from Terror of the Zygons, composed by Geoffrey Burgon. We recorded this episode on 2 April 2022.
Yeti menacing the London underground — one of the most iconic images of Doctor Who in the 1960s; and we discuss The Web of Fear in this podcast. Ben recalls how the Target cover by Chris Achilleos for The Abominable Snowmen with its yeti with a hint of fang helped confuse him when he first saw the mark 2 version. David fell in love with this story after hearing the narrated soundtrack and dreams about being a yeti cosplayer at Doctor Who conventions. We touch upon the missing episode 3 and how the fan animation made by Adam Bullock helped bridge the gap in 2013 and what to make of the new 3d motion-capture animation. Opening music is "Palpitations", composed by J. Scott and, closing music is "Music For Strings, Percussion, and Celesta, SZ 106 - 3. Adagio", composed by Béla Bartók and performed by RIAS Symphony Orchestra, directed by Ferenc Fricsay. We recorded this episode on 13 March 2022.
After recording 199 podcasts together, do Ben and David know each other well enough to correctly pick which stories are on one another's top ten list of Doctor Who stories? Let's hope so! Opening music is is "Strangers When We Meet" by The Smithereens and closing music is from "Space Time Music, part 1" composed by Wilfred Josephs. We recorded this episode on 27 February 2022.
Ben is joined this episode by two very special guests, Lena Barkin and Jess Jurkovic, in the middle of the hustle and bustle of LobbyCon during the waning hours of 32nd Gallifrey One! Everyone is in a jovial mood and celebrating with friends the conclusion of another great Doctor Who convention. The video of Lena's pitch for the 60th anniversary special can be viewed on Vimeo. Opening music is from The Claws of Axos and closing music is from "The Carnival of Monsters" composed by Dudley Simpson. We recorded this episode on 20 February 2022.
Ben reports in live from Day 2 of the 32nd Gallifrey One convention in the City of Weeping Angels. Ben talks about the Kaffeeklatsch with Matthew Sweet, the British broadcaster and journalist, Big Finish news, what and when to expect with The Abominable Snowmen animation, seeing Jo Martin, Mandeep Gill, and Sacha Dhawan in a crowded Hall A, and how "fried" is the flavour of the food trunks this year at the convention. Opening music is from The Claws of Axos and closing music is from The Two Doctors incidental music composed by Peter Howell. We recorded this episode on 19 February 2022.
Ben reports in live from Day 1 of the 32nd Gallifrey One convention in sunny Los Angeles, California. Ben talks about meeting Michael Jayston, hearing Sacha Dhawan, the Blu-Ray panel, cosplay, and more! Opening music is from The Claws of Axos and closing music is by Blink-182. We recorded this episode on 18 February 2022.
We are joined this podcast by Lena Barkin and Jess Jurkovic for our Gallifrey One pre-panel! We chat about the whole con experience from meeting people, being on panels, cosplay, the dealers' room, our hopes and expectations, and more! Opening music is from "Jet Airliner" by the Steve Miller Band and closing music is an alternative take of "Day Tripper" by The Beatles. We recorded this episode on 6 February 2022.
We turn our focus to The Power of the Daleks - special edition and marvel upon its many improvements, some obvious and others more subtle. Then we discuss the news that BBC America is ending funding for future animations and the Conservative government under Boris Johnson is freezing, and then ending funding for the BBC. The podcast's music was composed by Tristram Cary for The Daleks, and used also for Power's soundtrack. We recorded this episode on 16 January 2022.
The recent animation watch continues with a discussion of Galaxy 4, the first Hartnell story animated since the end of the DVD range. David is impressed by the planet set design and the near-perfect likeness of Vicki in her animated form, and enjoys the Hartnell line mishaps with the script. Ben questions the switch from lace-up boots to go-go boots, which opens the door to other interesting decisions made producing this animation. This episode's music is "Marche" from Les Structures Sonorés used as incidental music in Galaxy 4. We recorded this episode on 9 January 2022.
We discuss The Evil of the Daleks recently released as an animated recreation or reinterpretation of the 1967 story starring Patrick Troughton. Ben is intrigued by the decisions the production team made that diverge from the original presentation and likens the animation project to the restoration of damaged art. David wonders if Whitaker's script could be tighter with fewer characters. Along the way we, discover Rutans disguised as Christmas puddings, ponder why Maxtible has a dungeon and traps and a Turkish wrestler on staff, and the lost story of the great Dalek-Chumbley war. Opening music is Jack Trombley's "Mexican Beat" and closing music is the Dalek's entrance music composed by Dudley Simpson, both pieces are from The Evil of the Daleks soundtrack. We recorded this episode on 30 December 2021.
For a brief five or so years, the BBC broadcast an omnibus version of Doctor Who in the middle of the Christmas week holiday, usually on 27 December. We talk about how Barry Letts got this viewing tradition underway and ruminate on why by the time Graham Williams became producer that the omnibus specials had ceased to be. We then discuss the relevance of omnibus repeats for audiences in the 21st century in a television landscape dominated by streaming and in-home video. Opening music is from The Sea Devils, composed by Malcolm Clarke. Closing music is from Genesis of the Daleks, composed by Dudley Simpson and recreated by Benji Clifford. We recorded this episode on 23 December 2021.
We talk about the use of big monsters across the history of Doctor Who. Does enlarging the monster up its threat level, make it more scary, or just make it seem ridiculous? Does one size of monster work better than others? Does one size fit all? Opening music is Dudley Simpson's (Giant) Robot theme. Closing music is Murray Gold's "Monster Bossa". We recorded this episode on 20 June 2021.
We hold an informal meeting of the Doctor Who's writer room to pitch new story ideas with underrated monsters for the Whittaker Doctor to face in series 13. Which monsters get green lit and which ones are put back on the shelf? Opening music is "The Bell Plants" composed by Peter Howell from Meglos. Closing music begins with "The Axons Approach" composed by Dudley Simpson with the BBC Radiophonic Workshop and ends with Jodie Whittaker singing Coldplay's "Yellow" from the BBC Children in Need album, Got It Covered. We recorded this episode on 13 June 2021.
We read Doctor Who Monthly #48 from January 1981 and talk about the magazine, its comics and editorial content, and look back on how official fandom was 40 years ago. Ben also gets a little nostalgic about ads for BMX bikes and Star Wars digital wristwatches. Opening music is an excerpt from "We, Pangol" aka "Pangol's March" and closing music is "Back to Work", both pieces are from the Leisure Hive score composed by Peter Howell of the BBC Radiophic Workshop. We recorded this episode on 6 June 2021.
Friend of the podcast, Brian aka @project_37 joins us this week to discuss the exciting conclusion of the new Christopher Eccleston audio story from Big Finish, Ravagers: Food Fight! Does the Doctor save the universe? Is there a satisfying outcome for Nova and Audrey? Did Nick Briggs successfully resolve all the plot threads? And, what does the future hold for Eccleston and Big Finish? Opening music is from the Ravagers score composed by Howard Carter. The podcast closes with the trailer for Eccleston 1.2: Respond to All Calls. We recorded this episode on 30 May 2021.
The pace quickens for the Doctor and Nova in the middle episode of Big Finish's Ravagers which we listened to this week. Ben found the timey-wimey plot lines a bit confusing, but is intrigued by what might be going on with Audrey. David thought author Nick Briggs was doing well weaving together RTD and Moffat styles and really hopes Nova (and Audrey) will still be alive by the story's conclusion. Join us this week as we talk about Cataclysm! Opening and closing music is from the Ravagers score composed by Howard Carter. We recorded this episode on 25 May 2021.
Christopher Eccleston makes his Big Finish debut in the three-part anthology: Ravagers. We talk about his return as Doctor Who and review Sphere of Freedom, his first new story in more than fifteen years. There likely are spoilers, so listen to the story before this podcast! Opening music is from the audio drama composed by Howard Carter. Closing music is the Big Finish trailer for the Ninth Doctor adventures with music also by Howard Carter. We recorded this episode on 16 May 2021.
Ben and David try to stump one another playing the Twin Dilemma game where one host gives the name of a 20th or 21st century story and the other host has to find its perfect pair in the other century and explain why. For example, if David says An Unearthly Child, Ben could respond with Rose since they both kicked off their respective eras on the show. Some stories are easy to find a match, others not so much and thus comedic tension is created! Opening music is "The Panel Beaters" by Padding Kingsland. Closing music is from The Twin Dilemma score by Malcolm Clarke. Both compositions are the work of the BBC Radiophonic Workshop. We recorded this episode on 2 May 2021.
We discus what we wanted from Doctor Who and how it changed over time. We pay close attention to 1989 after Survival, 1996 after the TV Movie, and 2005 with the return of show to BBC One. Then, we ask what we'd like from Doctor Who in 2021 and beyond. Opening and closing music is "Open the Eye" from the 1996 TV Movie and composed by John Debney. We recorded this episode on 25 April 2021.
We ask why wasn't there a UNIT spinoff series on the BBC in the 1970s? Ben theorizes that Season 7 was pretty much a UNIT spinoff already, but David persists in asking if a UNIT series was actually made in the 1970s, then what would it be like? Opening and closing music is Dudley Simpson's "UNIT Theme," performed by Mark Ayers. We recorded this episode on 18 April 2021.
In this wide-ranging Dalek-focused episode, we begin our discussion with a look at the 5-part Daleks! serial written by James Goss that is part of the Time Lord Victorious Doctor Who adventure, which is made clearer by referencing Blogtor Who's guide. We then chat about the multi-platform concept itself and what it may hold for the future of Who. A future, it would seem, that has a Doctor Who Magazine without a monthly comic serial and, perhaps, a bit searching for a new identity in these pandemic times. Ben reflects upon the TV Century 21 Daleks comic, which Goss's new story reminded him of and mentions the fan-created Second Empire Dalek comic. David brings up Pink For Your Actual Pterodactyl website's exhausivly detailed look at the History of the Pebble Mill Foyer and Ben expresses his appreciation of the site's examination of chairs in Doctor Who. Opening music is excerpted from Daleks! sound design by Steve Foxon. Closing music is "I Am A Dalek", the 1977 7" single by The Art Attacks. We recorded this episode on 9 March 2021.
We discuss Fury from the Deep, the latest story in the Doctor Who animation range. Ben observes the changes the producers made would not have been his choices and David explains why he switched to the black and white version after the first scenes in colour. We discuss helicopters, Diamonds Are Forever, regulation badger haircuts for mineral extraction, hairy seaweed, static foam, Scooby-Doo, and rubber arms. Opening music is from James Brown's "Static" and closing music is "Mr. Oak and Mr. Quill" composed by Dudley Simpson. We recorded this episode on 28 February 2021.
We are back after a three month hiatus to discuss Shada, the story that would have been the finale for season 17, specifically the 2017 animated version. Ben reflects on Professor Chronotis shares a few anecdotes of the dons he met while at Oxford, some of whom would not have surprised Ben to learn they were, indeed, 300 years old. David shares Douglas Adams' thoughts on Shada via quotes pulled from DWM. Opening and closing music Al Stewart's song from 1967, "Beleeka Doodle Day". We recorded this episode on 15 February 2021.
We discuss season 18, Tom Baker's last season as the Doctor. Ben reflects on going away to boarding school and the changes from childhood to being a teenager coinciding with the end of the Fourth Doctor era. For David, the end of Tom looped back to the beginning with Robot and his full-blown fandom. Opening music is "Chronic Hysteresis" from Meglos and closing music is "The Moment Has Been Prepared For" from Logopolis, both composed by Paddy Kingsland. We recorded this episode on 15 November 2020.
Lena Barkin, writer and Jamie scholar, joins us this week on the podcast for a discussion about our favorite Highlander, curative and transformative fandom, and classic and modern Doctor Who, and the casting of Jodie Whittaker as the Doctor. Plus we remember actor Geoffrey Palmer who passed earlier this month. Opening music is "Battle of Waternish" performed on bagpipes by Robert Nicol and Robert Brown and used in The Highlander. Closing music is the finale reprise of "That's Entertainment" from the 1953 MGM musical "The Band Wagon" composed by Arthur Schwartz with lyrics by Howard Dietz. We recorded this episode on 7 November 2020.
Jason Shron of Rapido Trains Inc. joins us this week to talk about Doctor Who, spending weekends travelling to filming locations, collecting, Canadian conventions, the best Who monster ever, and more. All aboard! Opening and closing music is from Space Adventure part 2, by Martin Slavin. We recorded this episode on 1 November 2020.
Jazz man Jess from the Dudley Simpson Is Doctor Who Project joins us in this episode and we catch-up on how the project is coming along and then do a deep dive into Tom Baker's seven seasons and learn Jess's thoughts on them both in terms of music and of the stories themselves. The opening, bridge, and closing music is from the Dudley Simpson Is Doctor Who Project, transcribed and arranged by Jess Jurkovic and composed by Dudley Simpson. The pieces are "Bessie", "The Doctor's Theme I. All's Well That Ends", and "The Time Lords". We recorded this episode on 23 October 2020.
The masterly Greg joins us this podcast to reminiscence about watching Doctor Who as late night television for a kid and playing Doctor Who with a refrigerator box TARDIS and a plush-toy K9, from corridors to quaries, and the Dalek of Shakopee. We also dive into the early Doctor Who Weekly backup feature comics of Alan Moore to 1980s directors who never were involved with Doctor Who, but should have been all the while battling furnace sounds and dog barks. Opening music is from The Sun Makers score composed by Dudley Simpson and closing music is from the Logopolis score composed by Paddy Kingsland. We recorded this episode on 20 October 2020.
The fabulous Holly joins us this podcast. Holly spent her time during the COVID-19 lockdown to marathon watch classic Who for the very first time! We talk about growing up with Who, RTD, Tennant, Troughton, and Tom, and then review each season for the Tom Baker era for highlights. And find out if she would recommend watching all of classic Who to fans of the Doctor Who revival. Opening music is from the Logopolis score composed by Paddy Kingsland. Closing music is "Only Martha Knows" from the Human Nature score by Murray Gold. We recorded this episode on 10 October 2020.
This episode we are joined by the phenomenal Peter, a master game setter on Gallifrey Base's Games of Rassilon subforum. We talk about growing up with Doctor Who, collecting, season 18, and how us old fans may view the show's 21st century version differently than the programme we grew up watching. Opening music is "Burnout on Walkway 9" by Paddy Kingsland and closing music is "Meglos" by Peter Howell, both pieces are from the Meglos soundtrack. Tom Baker played Captain Redbeard Rum in the episode "Potato" of Blackadder II. We recorded this episode on 1 October 2020.
This episode we are joined by the Amazing Brian aka The Analog Kid, Four to Zoomsday team captain, and podcaster of the Ultimate Spin podcast. We talk about Spider-Man, getting into Doctor Who via Target novels, and watching the change of guard from Tom Baker's Doctor to the Peter Davison era. Opening music is from Dudley Simpson's score for The Robots of Death. Closing is Gary William Friedman's Spider-Man Theme Song for The Electric Company. We recorded this episode on 27 September 2020.
This episode we are joined by the wonderful Steven B of the fantastic New to Who podcast and talk about Tom Baker's time on Doctor Who and Steven's memories growing up watching him on Australian Broadcasting Corporation television to the Curator cameo in the 50th anniversary special. Opening music is from Dudley Simpson's score for The Android Invasion. Closing is from Paddy Kingsland's score for Logooplis. We recorded this episode on 19 September 2020.
City of Death is a masterpiece, but what of the other stories of Season 17. Find out what works for us and what didn't from Disco Thalls to more Who monsters being incorporated into David's Dungeons & Dragons games to Ben's lack of love for Cambridge University and Shada; all this and more. Opening music is Soldeed's flurry from the Horns of Nimon and closing music is from the 2013 BBC Prom's orchestral version of City of Death theme, both composed by Dudley Simpson. This episode was recorded 16 September 2020.
We discuss season 16, the Key to Time, where for David, Doctor Who mingles freely with Dungeons & Dragons. Ben explains how writing a season arc always seems easier than it is and that it's important to know how the arc will conclude before running out of money. David explains why he believes Philip Madoc was not miscast in The Power of Kroll and Ben wishes that the production team of Graham Williams and Tony Read had done a better job of crafting stories for Mary Tamm so she would have stayed for season 17. Opening music is Dick Mill's sound scape for the "White Guardian's Windbells". Closing music is from "The Stones of Blood" soundtrack composed by the Dudley Simpson. This episode was recorded 15 August 2020.
We discuss the big news from Big Finish of Christopher Eccleston reprising his role as the Doctor with the first stories to be released in May of 2021. We speculate on companions, writers, and more. Opening music is "Westminster Bridge" and closing music is "I'm Coming to Get You" both from Series 1 and composed by the Murray Gold. This episode was recorded 9 August 2020.
A discussion about the Leela years in Doctor Who focusing in on Tom Baker and the behind-the-scenes change in the production office and how Leela's character's arc imploded in season 15, where ambition hit the hard wall of lack of money. Ben theorizes that K9 is the talking cabbage that Tom always wanted as a companion and may explain why he stayed on for season 16. While David wonders why Boucher and Holmes dropped Leela's "Pygmalion" storyline in their season 15 scripts. Opening and closing music is from "The Invasion of Time" soundtrack composed by the incredible Dudley Simpson. This episode was recorded 5 August 2020.
Through the millennia, the Podcasters of Metebelis Two led a life of peace and ordered calm, protected from all threats from other podcasts by their great obscurity. But this was to change. Suddenly and terribly, the Podcasters faced the most dangerous crisis in their long history... Opening music is Alice Cooper's "Welcome to My Nightmare" from the same-titled 1975 album. Closing music is from "The Deadly Assassin" soundtrack composed by Dudley Simpson. This episode was recorded 27 July 2020.
We say hello to season 14 and goodbye to Sarah Jane as we talk about The Masque of Mandragora and The Hand of Fear. Ben wishes there was a monster in Masque and David recalls being inspired to research the Cult of Demnos at the library. Despite our appreciation of Stephen Thorne, Ben wishes Eldrad remained portrayed by the otherworldly Judith Paris, or possible by Lis Sladen. David questions whether the Bristol Boys' story was strong enough to support the darker themes of the story. Opening music is "Basse danse La brosse, Tripla / Tourdion" performed by the Ulsamer Collegium. Closing music is "Daddy Wouldn't Buy Me a Bow Wow", composed by Joseph Tabrar, and sung by Helen Mirren and Peter Sellers from the ill-conceived movie: "The Fiendish Plot of Dr. Fu Manchu". This episode was recorded 19 July 2020.
Tomfest 2020 continues with our discussion of last two stories of season 13: The Brain of Morbius and The Seeds of Doom. David tries to explain why Brain never clicked for him to a disbelieving Ben, who simply adores the story! A brain in a jar, what's there not to love? Then off to Antarctica and Dorchester, which are geographically speaking in Doctor Who's earth, to be about as close as the Thal and Kaled cities are from one another. Ben is startled to learn that Boyce had his own spin-off series and wonders what a Morbius and Solon spin-off from Big Finish would be like. In conclusion the two pick their top story from the season. Opening, "Molotov Cocktail", and closing music, "Amelia Ducat's Theme", is from The Seeds of Doom; both composed by Geoffery Burgon. This episode was recorded 12 July 2020.
Continuing on with our look at Tom Baker's Season 13 with a discussion of Pyramids of Mars and The Android Invasion. Ben dismisses fan-suggested back story that Sarah learned to fire a rifle on her aunt's farm and rather champions Sarah as just being a totally competent and kick ass woman who rises to the occasion. David gushes over Dudley's Simpson's score for Pyramids and praises Paddy Russell's direction and ability to bring out great performances from her leading man. Ben defends ginger beer (pop) and thinks Sarah's one weakness, aside from her ankles, is her dislike of stuff and David finds Devesham, a.k.a, East Hagbourne as a lovely Oxforshire village with beautiful hollyhock flowers. Opening music is from "Clement and the Mummies" composed by Dudley Simpson and arranged and performed by Heathcliff Blair. Closing music is also composed by Simpson and taken from the score to The Android Invasion. This episode was recorded 28 June 2020
We begin a look at season 13 with a discussion about Terror of the Zygons and Planet of Evil. Ben loves the Zygon's spaceship and fondly remembers building his own model as a kid from Lego bricks. David explains why he thinks the Zygons in their original soft and blobby form is creepier than their later toothy and muscular design. Ben touches upon the shift of received mysticism of Pertwee's Doctor to where Tom Baker's Doctor is mysticism itself. David appreciates Prentis Hancock's portrayal as Salamar and Ben remembers how he also built an oculoid tracker from his Lego bricks. We bemoan what we see as the only flaw in this season; the poor exit for Harry, the Brigadier, and UNIT. Opening music is "The Destruction of Charlie Rig" composed by Geoffery Burgon and closing music is "Nightfall on Zeta Minor" composed by Dudley Simpson and arranged and performed by Heathcliff Blair. This episode was recorded 20 June 2020.
This episode was recorded 14 June 2020 and the actual Doctor Who discussion begins 11:54 into the podcast where we talk about Tom Baker the Doctor who caught alight in the United States and opening up to his tenure in the programme. But first, leading off the podcast, Ben celebrates his team's, the Four-to-Zoomsday's, triumph in the Quiz of Rassilon. David then asks a simple question about a sporting metaphor and the two get mired the two get mired in cricket talk for a good five minutes. After that, the two discuss Churchill in light of statues coming down across the UK and the US; this part of the podcast was shunted off to the end of the podcast and begins after a musical interlude from Heathcliff Blair and begins at 34:34. (Think of it as studio floor Blu-ray extra footage.) Once that discussion runs it course, we talk about Tom Baker's tenure as the Doctor beginning 11:54 running through to the aforementioned musical interlude. All rather confusing isn't it. Oh, and we briefly mention the December 1981 interview of Tom with Mavis Nicholson which is definitely worth a watch. Anywho... we're back to season 13 next episode. Opening "Davros' Megalomania" and closing "The Doctor's Theme" music was composed by Dudley Simpson for season 12 stories and arranged and performed by Heathcliff Blair on the "Pyramids of Mars" disc.
Ben and David reminisce about growing up watching Season 12 of Doctor Who. David talks about how Who met his sci-fi fix and seemed like a natural progression from the 1977 movie: Star Wars. Ben recalls playing in motorway construction sites and school hallways battling Daleks and explains how Sontarans were a lot like teachers. Opening music is "Sarah Pursued" composed by Dudley Simpson and the later realized by Heathcliff Blair. Closing music is from Carey Blyton's score for The Revenge of the Cybermen. We recorded this episode on 6 June 2020.
After a brief discussion on the Quiz of Rassilon and the new action figures to be released featuring Sarah Jane Smith, Ben and David begin their discussion on Tom Baker about 12 minutes in to the podcast. We talk about his early roles in film and life as a jobbing actor. Ben recalls his and his friends' reaction to the regeneration of the Pertwee Doctor into a dark-haired chap with a long scarf. Opening music is "Mysterious Robot" and closing music is The Violation", both composed by Dudley Simpson and the later realized by Heathcliff Blair. We recorded this episode on 25 May 2020.
We further our discussion of sideways stories and posit that all of Who, or at the very least, all of Who set on Earth are sideways stories that diverge from our earth's timeline. The time of closest intersection with our own timeline is when new companions enters the TARDIS, but as they adventure with the Doctor their timelines grow further apart from reality. Opening music is from Castrovalva and closing music is from Meglos, both composed by Paddy Kingsland. We recorded this episode on 13 May 2020.
In this episode, we discuss sideways Who and how this story type was not too common in the classic Who era, but has come into its own with the show's revival and is, perhaps, in its golden age under Chibnall's tenure as showrunner. Opening music is "Univers Sideral" composed by Paul Bonneau and closing music is the main title theme for the "Attack of the 50 Foot Woman" composed by Ronald Stein. We recorded this episode on 3 May 2020.
We land on the Galápagos Islands with the Doctor and Evelyn to review Bloodtide from Big Finish. And since this is a Silurian story, we try to cobble together a timeline of their history and are flummoxed by the inconsistencies. A story overflowing with historical characters and ideas, we wonder if Silurian Tulok's real crime was genetically engineering lady bumps on Silurian women. Opening music is "Tried" and closing music "The Cave"; both pieces composed by Alistair Lock for Bloodtide. We recorded this episode on 19 April 2020.
After a quick recap of our afternoon playing the Quiz of Rassilon with fellow teammates Greg and Jess, we discuss space opera. We explore which stories fit the genre and what does it take to make a space opera story in Doctor Who? The conventional wisdom is Doctor Who is a genre machine, so how frequently does it dip into space opera like other popular sci-fi franchises like Star Trek and Star Wars? Opening and closing music is from "The Frontier in Space," composed by the incomprable Dudley Simpson. We recorded this episode on 13 April 2020.
Since Big Finish made The Maltese Penguin a free download last week, we decided what better time to give it the ol' Metebelis Two listen. We discuss how the view of the writer, Rob Shearman, may have changed on his story over the past nearly two decades since its release. Discussion on acting, sound design, and why recommend BF create more Frobisher adventures in this week's episode. Opening and closing music is from David Darlington's score and sound design for the story. We recorded this episode on 5 April 2020.
The Metebelis Two is joined by Eliot, David's son, to talk about the new DVD and Blu-ray release of The Faceless Ones in animated form. Opening music is "Pacific Dawn" by Tom Dissevelt from his 1963 LP Fantasy In Orbit, which used as the Faceless Ones soundtrack. Closing music is Slade's 1984 hit, "Run Runaway". We recorded this episode on 29 March 2020.
Ben and David brainstorm on which one-off monsters from Doctor Who should return for series 13 and find that they are more than a little stir-crazy after just one week of quarantine, aka "sheltering at home." Opening and closing music is the 1972 "Delaware version" of the theme realized by Delia Derbyshire and Brian Hodgson with Paddy Kingsland. We recorded this episode on 22 March 2020.
A bonus episode discussion on the fourth episode of the original Hitch-Hiker's Guide to the Galaxy radio drama on BBC Radio 4, which is 42 years old this month! We find ourselves on prehistoric Earth, admiring Slartibartfast's signature on a glacier and trying to teach cave men how to play Scrabble. Opening music is an excerpt from "Journey of the Sorcerer" by The Eagles. Closing music is a 1968 live recording of Louis Armstrong singing "What a Wonderful World". We recorded this episode on 21 March 2020.
A bonus episode discussion on the fourth episode of the original Hitch-Hiker's Guide to the Galaxy radio drama on BBC Radio 4, which is 42 years old this month! In which we dine at the Restaurant at the end of the Universe. Opening and closing music is excerpts from "Journey of the Sorcerer" by The Eagles. We recorded this episode on 20 March 2020.
A bonus episode discussion on the fourth episode of the original Hitch-Hiker's Guide to the Galaxy radio drama on BBC Radio 4, which is 42 years old this month! A short discussion about Deep Thought, mice, Vroomfondel and Majikthise. Sound quality for Ben picks up 5 minutes in. Opening and closing music is excerpts from "Journey of the Sorcerer" by The Eagles. We recorded this episode on 19 March 2020.
A bonus episode discussion on the third episode of the original Hitch-Hiker's Guide to the Galaxy radio drama on BBC Radio 4, which is 42 years old this month! We land the Heart of Gold on the mythical planet Magrathea and discuss Fit the Third of the original HHGTTG, prog rock, and Jim Rockford. Opening and closing music is excerpts from "Journey of the Sorcerer" by The Eagles. We recorded this episode on 18 March 2020.
A bonus episode discussion on the second episode of the original Hitch-Hiker's Guide to the Galaxy radio drama on BBC Radio 4, which is 42 years old this month! We chat about tea, tv casting, Marvin the Paranoid Android, and Eddie the Computer! Opening and closing music is excerpts from "Journey of the Sorcerer" by The Eagles. We recorded this episode on 17 March 2020.
A bonus episode discussion on the first episode of the original Hitch-Hiker's Guide to the Galaxy radio drama on BBC Radio 4, which is 42 years old this month! Opening and closing music is excerpts from "Journey of the Sorcerer" by The Eagles. We recorded this episode on 16 March 2020.
With the left coast of the United States going into quarantine from the novel coronavirus, Ben and David maintain their social distance of about 300 miles to discuss germs, bacteria, and viruses in Doctor Who and, of course, Terry Nation's mid-1970s series, The Survivors. Opening and closing music is the respective themes from The Survivors composed by Anthony Issac. We recorded this episode on 14 March 2020.
Series 12 concludes with a continuity expanding/contracting finale. With Ben on a busman's holiday in Maui, David calls him up to share their inital thoughts of The Timeless Children. (Apologies in advance for the poor sound quality this episode.) Opening music is an isolated excerpt of Segun Akinola's Doctor Who theme. Closing music is a 2008 recording by Cyndi Lauper of "Time After Time". We recorded this episode on 1 March 2020.
With the penultimate episode of series 12 upon us, we try to piece together all the clues to the mystery Chibnall has left. Who is Brendan? Is Gallifrey in Ireland? Is Ashad really a Cyberman, or is he just a poser? Why can't Chibnall create names that we can easily remember? So many questions. Opening and closing music taking from this episode's soundtrack composed by Segun Akinola. We recorded this episode on 23 February 2020.
Ben recounts watching The Haunting of Villa Diodati in Hall A at Gallifrey One with several hundred of his closest Who friends. From Graham looking for the loo, to Yaz's conversation with Clair, to Ryan's tortured chopsticks, to the Doctor fending off a lecherous Lord Byron, the Time Team had much, much to do this scary and beautifully written episode. After brief speculation what the 2-part series finale will and won't contain, Ben talks about his great lobbycon on the last night of #Gally1. Opening and closing music taking from this episode's soundtrack composed by Segun Akinola. We recorded this episode on 20 February 2020.
Ben is in Los Angeles attending the 31st Gallifrey One Convention. Calling in live from the pool deck, he chats with David about what happened on Day 3 of the convention, from a wonderful hour with Christopher Eccleston to comic book artists to upcoming Blu-ray and DVD releases. Plus speculation about the privatization of the BBC. Music is the "Doctor's Theme" from Series 1 by Murray Gold. We recorded this episode on 16 February 2020.
Ben is in Los Angeles attending the 31st Gallifrey One Convention. Calling in live from the convention floor, he chats wth David about his experienced on the second day of the convention and plans for tomorrow. Opening and closing music composed by Roger Limb and is "Nyssa Is Hypnotised" and "Nyssa's Theme" respectively. We recorded this episode on 15 February 2020.
Ben is in Los Angeles attending the 31st Gallifrey One Convention. Calling in live from the convention food court, he chats wth David about his experienced on the first day of the convention and plans for tomorrow. Music is "Bill's Theme" by Murray Gold. We recorded this episode on 14 February 2020.
A bit of a split decision this week on the Metebelis Two. Discussion covering the plot, believability of the time team's nightmares, animation, the sonic screwdriver, and the high stakes.Was Zellin's freaky fingers the stuff of nightmares and is the Doctor emotionally available to Graham and the rest of the fam? Opening music is "Sonic Screwdriver" by Segun Akinola and closing music is an excerpt from Mike and the Mechanics' 1985 hit "Silent Running". We recorded this episode on 9 February 2020.
Back down to Earth after last week's continuity busting episode, we catch a deadly Praxeus pathogen and talk about birds behaving badly. David has many questions, but thankfully Ben has ready answers. Does the ending really prove the Doctor didn't like Adric? Who fan Pip Madeley has the true ending of Earthshock. Opening music is Radiohead's 1995 single "Fake Plastic Trees" and closing music is the end of the Minute Waltz composted by Frédéric Chopin and performed by Arthur Rubinstein. We recorded this episode on 2 February 2020.
Wow! More big reveals in Doctor Who than perhaps a single podcast episode can contain! We certainly will be talking about the Fugitive of the Judoon for years to come. Ben is way enthused about the new Doctor and David loves the retro TARDIS console room. Both offer their theories on how the season will unfold to try to make everything fit. This episode was recorded on Sunday evening in the United States, and by the time it was about to be posted Tuesday morning, Ben discovered that the Doctor may have been hiding in plain sight in the pages of the Doctor Who Magazine comic strip for more than a year, so Ben explains all in a late breaking addendum at then end of the podcast. Opening music is from this week's soundtrack composed by Segun Akinola. We recorded this episode on 26 and 27 January 2020.
In this episode, Messrs Tesla and Edison, a.k.a AC/DC, snipe at each other and help the Doctor outwit some rather nasty space scavenger scorpions. The two agree that it was great seeing the fam in period costume and David was excited about seeing a steam train finally in Doctor Who. Ben wonders why a new monster of the week when there is such a rich back catalog to use. Overall good writing, directing, and performances combine for an enjoyable mid-series romp in 1903 New York despite some sloppy CGI work. Opening music is from this week's soundtrack and closing music is "You Really Need to Get Out of Those Clothes" from series 11, both composed by Segun Akinola. We recorded this episode on 20 January 2020.
So Orphan 55 was that green haired kid, right? Despite the tantalizing deep space squid, we're instead trapped this week on a mysterious planet in a resort under siege by the dregs of humanity, but that's nothing a few well-placed bombs can't solve. We discuss the efficacy of the Doctor's speech and what it should mean for next week, but won't. Opening music is "Tsuranga" by Segun Akinola from series 11 and closing music is "Have a Drink on Me" from AC/DC's 1980 album "Back in Black". We recorded this episode on 12 January 2020.
In which Ben deals with the cold, harsh reality that the Kasaavin really weren't the Vardans in disguise and David dwells on founding fathers of Gallifrey and how it could relate to the United States. Yes, this week the conclusion of Spyfall is discussed this week complete with historical cameos from Charles Babbage and almost replacement fam: Ada Lovelace, and Noor Inayat Khan. Plus Ben reads Sacha Dhawan's lovely Instagram post where he wrote about being cast as the Master. Opening music is by Segun Akinola from the Spyfall, part 2 soundtrack. Closing music is the timeless "Master's Theme" composed by Dudley Simpson. We recorded this episode on 5 January 2020.
With 2020 upon us all, it is great to see the return of Doctor Who to BBC One with a new adventure, Spyfall, part one! Ben explains his reasoning why he thinks those shimmery aliens are Vardans, while a skeptical David suggests perhaps they're Gallifreyans from an alternative universe; and is time and space big enough for both Lenny Henry and Sacha Dhawan? Opening and closing music is from the Spyfall soundtrack by Segun Akinola. We recorded this episode on 2 January 2020.
It's series 12 trailer day on Metebelis Two. Ben and David almost go frame-by-frame over the two trailers and speculate on what awaits us in series 12. Should the Doctor be working for MI-6? Are those really Vardans? Is Lenny Henry the Doctor's friend or nemesis? Has the Meddling Monk regenerated into the Meddling Nun? All this and more as we nibble at breadcrumbs that have fallen from Chibnall's high table. Opening Music is "It's a Good Day to Save the World" from the Danger Twins. Closing Music is "This New Nose Is So Unreliable" by Segun Akinola. We recorded this episode on 16 December 2019.
It wouldn't be Christmas without Mrs Baddeley's plum pudding and so Ben and David travel along with the Doctor and Charley to an old Edwardian mansion in 1906 to hear The Chimes of Midnight. What makes this story tick? Is this merely a ghost story, or does writer Rob Shearman have more to say about class, horror, the line between fantasy and reality? Plus Ben, keeper of the tome, cracks open the Big Book of Big Finish and relays behind the scene details of the story's production. This episode's opening and closing excerpts is from the Chimes soundtrack with music by Russell Stone, sound design by Andy Hardwick, and humming featuring Louise Rolfe. Tick-Tock, Bing-Bong. We recorded this episode on 13 December 2019.
In a twisted mash-up of Osirian gift giving and the twelve days of Christmas, the Metebelis Two bring you Sutekh's twelve gifts of Christmas to all Whomanity. Yes kiddos, Sutekh Claus is coming to town. What gifts is he going to bestow? Opening and closing music are also a bit of a mash-up of the Pyramids of Mars and Christmas music from first Elvis and then Jimmy McGriff. Ho Ho Ho. We recorded this episode on 8 December 2019.
The Brigadier reunites with the Doctor in this week's journey into Big Finish's back catalogue with The Spectre of Lanyon Moor. This is a story mines a rich vein of classic 1970s Who to tell a new, but familiar story perfect for tea time. Does this story hold the secret to the sixth Doctor's character's rehabilitation? Are round-trip holidays to Athens that short? And, why is British electricity better? Answers to these questions in more in this weeks' podcast. Music this episode is from Alistair Lock's score from The Spectre of Lanyon Moor. We recorded this episode on 24 November 2019.
The series 12 trailer dropped this past weekend, so what better time for the Metebelis Two to give their quick take on what they thought. Maddeningly though, no broadcast date was given so we speculate about possible rumoured air dates; which, in turn, leads to discussing some of the other trolling rumours swirling around series 12, and ultimately, the fate and future of Doctor Who at the BBC. Opening music is from Segun Akinola's series 11 soundtrack. Closing music is from Alistair Lock's score from the Spectre of Lanyon Moor.
This week we chat about the magical meeting that took place during this year's Children in Need special, when Anastasia, a young Who fan, met her amazing Doctor, Jodie Whittaker. Then we discuss the announcement of series 12 writers and directors and speculate on what Chibnall has planned for our favourite show in 2020? Opening and closing music is from Segun Akinola's series 11 soundtrack; including excerpts from "Sonic Screwdriver" and "Me and My Mates".
We review Invaders from Mars, the Big Finish Main Line release from 2002 featuring Paul McGann as Doctor Who. Ben and David laugh along with this fun story written and directed by Mark Gatiss and set at Halloween 1938. Gatiss creates a joyful pastiche from 1930s radio drama, gangster films, and a hearty dose of 1950s popular sci-fi done with the sketch-comedy stylings of The League of Gentlemen. Ben enjoyed listening to this with fresh ears nearly 18 years after its release and David wondered if the time fallout from Charley would have confused listeners as much as it did for him. Opening and closing music is by Alistair Lock's sound design for the story.
The Metebelis Two talk briefly about the two "missing" Troughton stories that will be released as animations next year. David wonders if Deborah Watling's likeness be successfully realized? Was that Emil Keller or Rev. Magister in the Faceless teaser trailer? Then in our main feature, Ben serves as our guide to 13 spooky and horrible Doctor Who stories to watch. What does Ben choose and what did he pass over? Discussion about when is the proper time to watch spooky stories? Halloween like in the America or Christmas like in Britain? And is the encroachment of Halloween in the UK lessening Guy Fawkes night? This episodes music is from Carey Blyton's score for "Death to the Daleks".
We continue on with our discussion of spooky Doctor Who and try to answer whether horror truly works in the confines of the show. Does more realistic effects detract or enhance the storytelling of spooky stories? Is Ben a horror snob and what makes David a fan of theatre? Opening music is "Mysteries" composed by Don Harper from "The Invasion" and closing music is "Keeler's Transformation Begins" composed by Geoffrey Burgon from "The Seeds of Doom".
The Metebelis Two remember Stephen Moore and his role of Marvin the Paranoid Android from the Hitchhikers Guide to the Galaxy. Followed by speculation on what the next 1960s Who animation will be, which then leads to a conversation of the University of Central Lancashire's recent restaging of Mission to the Unknown. Should more missing Who be restaged? Who would the two cast as the Doctor? Opening music is "Marvin" sung by Stephen Moore and interstitial stings and closing music is by Trevor Duncan and was from the soundtrack of Mission to the Unknown. (Note: Our sincere apologies that throughout the podcast we mistakenly referred to the wrong university and not University of Central Lancashire.)
Christopher Eccleston is embracing Doctor Who fandom in a big way with appearances at Rose City and New York Comic Cons. Ben is excited that Eccleston is the headliner at next year's Gallifrey One. Ben references two stores in The Guardian. 20 questions with Eccleston and Sylvester McCoy modeling scarves. The two anticipate the screening of the Univesity of Central Lancashire's recreation of Mission to the Unknown and David pitches an idea for "Who in the Park" loosely based off of "Trek in the Park". Ben suggests "Who in the Quarry" may be more of a fit. Then the two close with thoughts on spooky versus scary Doctor Who stories and suggest it will be the theme of the podcast this month. Opening music is "The Doctor's Theme" and closing music is "Clockwork TARDIS", both composed by Murray Gold for Series 1.
This week we pay our respects to Terrance Dicks, the script editor and writer, who made such an enormous impact on Doctor Who and, in turn, our lives. From Target novelisations, to script editing, to original stories, Terrance Dicks was the quintessential professional who lent credibility to every Who-related project he was associated with. Also please donate to Save the Children, in memory of Terrance. Opening this episode is Dicks describing the Doctor's character from the 1993 documentary "Thirty Years in the TARDIS". Closing music is "Eye of Orion" composed by Peter Howell for "The Five Doctors" and followed by former producer Barry Letts asking Dicks how he'd would like to be remembered from "Terrance Dicks: Fact & Fiction" and a brief riff from Dudley Simpson from "Carnival of Monsters".
The Metebelis Two discuss the Pertwee stories that fell in the lower half of the last Doctor Who Magazine (#474) reader's poll and why these stories may deserve reappraisal. With nine stories in all to cover, Ben and David question whether fan wisdom is right on these "lesser" Pertwee outings. Along the way, Ben admires the great man's wardrobe and David pitches the Master's Companions Chronicles for Dr. Ruth Ingram and Stuart Hyde! Plus why Bill Filer should return to Doctor Who. All this and more, much more! Opening music is the "Dalek March" from Cary Blyton's score for Death to the Daleks. Closing music is "II" from Tristram Cary's score for The Mutants.
The concluding episode of the Metebelis Two's three-part celebration of the Jon Pertwee centenary focusing on seasons 9 through 11. Ben explains how first reading Target novilisations made the actual viewing of the stories a bit anticlimatic. BBC productions values of the early 1970s could not compete with the vivid memories of an 8-year-old's imagination, Ingrid Pitt's costume in The Time Monster aside. Then the two do a deep dive into how Omega's guards are pronounced. Is it with a /g/ sound like with gar or a /j/ sound like with jar; on-the-fly research was done and sources were cited. A brief sidebar about the new action figures for Big Finish / Character Option, including Harry Sullivan. Were Ogrons the classic series Judoon? Why was the Master having a bit of laugh in Roger Delgado's final story? Did Mac Hulke not like Pertwee's usual outfits? These questions and more! Opening music is from Dudley Simpson's score for the Frontier in Space and closing music is from his score for Planet of the Spiders.
This is the second episode of our three-part Jon Pertwee centenary celebration. We begin by discussing Pertwee's career post-Who and wonder about Worzel Gummidge. What was the appeal for Jon and the audience? We briefly touch upon his recording career and his tenure as a quiz show host. (Ben, fiercely loyal to Pertwee as Doctor Who, boycotted it all!) Then we begin a retrospective of seasons 7 and 8 and talk about how having a regular company or family of actors on the who probably helped out actors like Pertwee and Nick Courtney. We wrap up singing Roger Delgado's praises and how much his untimely death altered the course of Who forever. Opening music is "Dover Castle" composed by Dudley Simpson. Closing music is "I am the Doctor" with Jon Pertwee.
In this, the first of our three-part Jon Pertwee centenary celebration, we talk about the man who played the Third Doctor and his legacy. Ben notes that Pertwee's Doctor is the first Time Lord and contrasts Pertwee's aristocratic portrayal of the Doctor to the more working-class character of the Doctor that Patrick Troughton gave. David comments on how there is a Pertwee revival now happening in fandom over the past few years. Opening music is "The Axons Approach" composed by Dudley Simpson and performed by Brian Hodgson. Closing music is "Silurians" composed by Carey Blyton. The clip at the end is of Pertwee being interviewed on Pebble Mill by Gloria Hunniford.
The Metebelis Two Ace retrospective continues this week with a discussion about The Genocide Machine, which was the second Big Finish release to feature Ace. The story is very reminiscent of a Terry Nation story with all that entails. So, a jungle planet with Daleks and rather one-dimensional supporting characters. With the Daleks return for the first time since Remembrance was this story able to deliver? The opening sound is a gentle rain fall. Closing music is the Eurythmics' song "Here Comes the Rain Again" from 1983.
We continue our journey with Ace and Doctor Who after the programme ended on BBC One with The Fearmonger. Written by Jonathan Blum and released by Big Finish in 2000, this story is quite relevant to the political climate of today with its anti-immigrant politics and increasingly mainstream fascism. Upon its release, Ben recalls that it seemed a bit farfetched, but giving it a fresh listen to now 19 years later it really stands out as a significant story. David likes how this is a finely crafted mystery and Blum's love for and knowledge of this era is well on display. Both praise how well Ace and the Doctor work together as a team throughout this story. Beautify written, this is a must-listen-to story. Opening music is "First Shooting" from Alistair Lock's score for The Fearmonger. Closing music is the 1978 song "Power in the Darkness" by the English punk band Tom Robinson Band, which stylized fist on its cover was the inspiration for Clayton Hickman's CD cover design.
With Doctor Who in seemingly perpetual hiatus at the BBC, how were fans supposed to get their next fix? Well, the Virgin New Adventures, of course! Ben and David leap back in time to the fag end of Thatcher's Britain and talk about Love and War, Paul Cornell's 1992 novel featuring Ace and introducing Bernice Summerfield. What captured Ben's fancy so long ago that he bought the book? And, why did David never read a NA novel until this past week? Travellers, fungus, hair, and more in this podcast episode. Opening music is from the end of Surivial, "...and Somewhere Else, The Tea's Getting Cold," composted by Dominic Glynn. Closing music is "One Man Rock And Roll Band," written and sung by Roy Harper, recorded at the BBC in the late 1970s and which he played at the last Stonehenge Free Festival in 1984.
This week The Metebelis Two remember the Doctor Who contributions of Paul Darrow and Stephen Thorne, both men, who recently have passed into the Matrix. Then discussion about the auction of colour set and behind-the-scenes photographs of The Power of the Daleks taken by its designer, Derek Dodd; the just announced animation of The Faceless Ones; the Jon Pertwee centenary; and Judoon returning to the show for series 12. Then a feature interview with Jess Jurkovic of the fabulous The Dudley Simpson is Doctor Who Project. Jess has transcribed the Who compositions of Simpson for solo piano and he talks with David about Simpson's music and the art of arrangement. Opening and closing music this week was composed by Simpson and arranged by Jurkovic.
There's nothing wrong with Perivale. Ben theorizes that Rona Munro is channeling the myth of Herne the Hunter as inspiration for the Cheetah people revealing the magic that is hidden in suburban London. Not so much the Cockney urchin that Ace likes to pretend she is, the trip back to Perivale reveals that she perhaps is a spoiled middle class kid whose making a big deal about not much of anything. David notes this story feels much more London than anything London in the modern Who era. Proving that setting is more than just a few set dressings of buses and phone boxes. All-in-all, Survival is a praiseworthy Doctor Who story and sadly the last of the classic era. Opening music is from the score of Survival by Dominic Glynn. Glynn also composed the closing music, "...and Somewhere Else, The Tea's Getting Cold." At the very end, to help celebrate the old western feel to Glynn's score, we ultimately close with the Cellar Set's 2007 interpretation of the theme in "Spaghetti Who."
We podcast again time lord! We've reached the penultimate story in the classic series as we continue on with our Ace retrospective. The Two discover how the Ultima machine could be carried aboard a Russian rubber boat, but get confused about Fenric's bottle and find the Ancient One a tad too cuddly while Ace's awkward attempts of seduction is a bit more scary. Green goo, vikings, vampires, and English weather! What more could you want in a Doctor Who story? Opening and closing music was composed by Mark Ayres for The Curse of Fenric.
What do the Metebelis Two make of the last classic Who story ever to be recorded? Is Ghost Light the complex, bewildering puzzle that received fan wisdom would have it, or is it just a rewrite and an episode short of brilliance? The Two speculate on why Nimrod, the Neanderthal butler, could have been a great companion for the Doctor and how dramatising some flashbacks for Ace could strengthen the story's narrative. While David questions how scientifically accurate Marc Platt's explanation of evolution is, Ben suggests the story is more about the misinterpretation of evolutionary theory, or as he calls it the 'fun' type of evolution, than real science. Plus he is quick and ready with plenty of interesting infotext factoids. Toward the end, the Two suggest a visit to Hans Geiger around 1908 would make for a nifty historical episode. Music this episode was composed by Mark Ayres for Ghost Light.
There will be no podcast today! Heh, hardly! This week the Metebelis Two review Battlefield, the season opener in the last season of classic Who. Once again Ben Aaronovitch does as pastiche of the Pertwee era inspired by Camelot 3000. He introduces as mysterious scabbard that, unlike Chekhov's gun, never returns after the first part. This is the story where the Brig was supposed to die. Instead, director Michael Kerrigan nearly kills Sophie Aldred (and the production crew) instead! Somehow everyone manages to survive, including the Brig, who by doing so undoes much of the point of having Nick Courtney return to the role. Unless, of course, that was to flit about in a helicopter. So instead we discuss speaking Czechoslovakian to how scenes with padded out with extended sequences of maniacal laughter and quoting Tennyson. Excalibur! Opening and closing music is by Keff McCulloch from his score to Battlefield with a little help from Dead or Alive.
The Metebelis Two find themselves on the planet Segonax to visit the Psychic Circus. A wide ranging discussion this week on interstellar junk mail, clowns in hearsts, lucking out with a big tent, Lovejoy, werefoxes, fandom, the Doctor's character, and more! Opening and closing music is by Mark Ayers from his score for The Greatest Show in the Galaxy.
It's a Metebelis Twofer this week! First up, Ben and David review the new animation of The Macra Terror and discuss what it means now that Macra exist. The Two the release suitable for ming-mongs of all tastes. The second half is a podcast that was going to be the ol' Metebelis look at The Greatest Show in the Galaxy, which would have been part of our Ace retrospective, but David derailed Ben from the get-go and instead they spent their time talking about Brexit and the future of Doctor Who. So, instead of putting out the podcast with not much Doctor Who talk on it, we're adding it as a bonus. Listen to it or give it a skip -- totally up to you! Opening and closing/intermission music is by Brian Hodgson from the Macra soundtrack. Brexit music is from the 1986 single from Genesis, "Land of Confusion."
In this episode, Ben and David try to sort out the mess that is Silver Nemesis. In what seemingly has become a Metebelis Two tradition, the two try to pitch story alternatives to improve upon this 25th anniversary story. This is story is a grab bag of a bit of everything from straight-blowing Jazz to black magic to the boys of Brazil to mysterious chess games to Cybermen to aging starlets, but what it is not is coherent. Ace is great though! Opening music is the tail end of "No Greater Love" and closing music is the beginning of "Just You, Just Me" from Courtney Pine's excellent 1989 LP "The Vision's Tale."
Ben and David talk about Scratchman! It has been over forty years since Tom Baker and Ian Marter had lunch in the pub and came up with the idea for a Doctor Who movie in which our hero would battle the Devil. Does the novel based on these boozy mid-1970s ideas that Tom wrote with James Goss hold up? How does it compare to what has been previously published about the script? Listen in as David discusses listening to Tom read his story and compare notes with Ben who read it himself off the printed page. Opening music is from Simon Power's sound design for the Scratchman audio book. Closing music is from the Grateful Dead's "Friend of the Devil."
Ben and David are glad to visit Terra Alpha to see the Candyman. Will happiness prevail? Ben is reminded of the many student plays he saw during the 1980s with minimalist sets, elaborate costumes, and hints of Kafka mixed with a rather subtly riff on Thatcher in this 1988 story. David, for his part, can barely remember watching this in 1990 and finds in this rewatch the story is better than the little he could recall and could potentially is due for a remake. Opening and closing music is from Dominic Glynn's score for The Happiness Patrol.
In this flashback podcast, the Metebelis Two discuss Ace's second story, Remembrance of the Daleks. From a strong B-movie opening to crane lowering Dalek shuttle crafts into the courtyard of Coal Hill School to the wobbly Dalek battle in the streets of London, Ben and David share their thoughts on this classic McCoy story from 1988 set in London, 1963. Spoiler though, Ben is firmly in the Renegade Dalek camp and shares is disgust with the trashy white and gold Imperial Daleks. David shares his thought about the Cartmel Master Plan and how this story works within the history of the show in this 25th anniversary season. Opening and closing music is from Keff McCulloch's score to this story.
A tired Ben and David recount and reflect on their first GallifreyOne experience. Recorded Sunday night in a room at the convention hotel a few hours after the closing ceremony. Opening music is "Kerblam" and closing music is "Made a New Friend", both composed by Segun Akinola for Series 11 of Doctor Who.
This week the Metebelis Two are a bit distracted by our upcoming trip to Los Angeles for Gallifrey One 30, so Ben and David discuss the convention, the panels they're on, and what they hope to see. Plus, they talk about their exclusive, collectable blue "Metebelis Two" ribbons. Opening music from "Escape and Recapture" by Geoffrey Burgon from the "Seeds of Doom" soundtrack. Closing music is "This Time Tomorrow" a song released in 1970 by the Kinks.
So Dragonfire: Ace's debut story with more Glitz action then you thought possible. Ben and David share their thoughts about Ian Brigg's first Doctor Who story and explain what worked for them and what didn't. Poor Mel. We hardly knew you. Is Doctor Who: The Unfolding Text the best book to give a new writer for the show? And why would an ice vampire open a frozen food store on a moon he was exiled upon? Why are the crystals in the ice world set better than those in the series 11 console room? And does Syl's ice acting work if everyone else in the cast has traction boots on? All-in-all a rather inauspicious start to one of the programme's most popular companions... Ace! Opening music from T'Pau's 1987 single, "China In Your Hand". Closing music is from Dominic Glynn's score for Dragonfire.
If you can remember the 1980s, you weren’t really there... and this week Ben and David try to prove they really were part of the 1980s. Ben and David try to recall memories of Doctor Who through the JN-T era when they were busy with their young adult lives and not so interested in their favourite show. Is there a connection between tele-fantasy and sci-fi? Is playing Dungeons & Dragons a prerequisite for being in 1980s Doctor Who fandom? Was BBC Controller Michael Grade's decision to cancel, then put the show on hiatus a good thing? Did he fire the right man? And, do the Two even remember the hiatus happening or the casting of McCoy and Aldred as the last Doctor-companion duo of the programme's original run? Opening is from The Trial of the Time Lord: The Mysterious Planet score and closing music is from Dragonfire score, both composed by Dominic Glynn.
A bit introspective this week as Ben and David talk about watching Doctor Who during times when the show is not much to their liking. Prompted by Ben finally purchasing the DVD for Time and the Rani and a listener asking why do we still watch if Series 11 wasn't much to our liking? Ben takes a paternalistic view of Who and David reflects on what first got him hooked on Who during Tom Baker's run on PBS, such as cliffhangers and the location filming. What looked exotic and otherworldly for David growing up in the Midwest United States was the comforting and familiar for Ben growing up in Britain. We talk about the new Scratchman book and how it might be a bit of a car crash, if articles in DWM are any indication, but then we are the target demographic for such a book and its nice that something other than senior housing is being prepared for men of a certain age. Plus discussion on what's to come in upcoming weeks on M2P. Opening and closing music is by Keff McCulloch from his score for Time and the Rani.
Ben and David conclude that Resolution was the true finale to series 11. Great to watch on News Year Day, but the wheels begin to fall off the bus upon subsequent viewings. Great one-off design on a Dalek. Dalek-controlled Lin also gets high marks from the lads. Discussion on moving from a crowded TARDIS to the overflowing TARDIS. Is Chibnall writing the Doctor as a 'scold'? More horror about the console room set and the moving crystals, but praise for the funny looking Victorian sewers. David explains that he's been "trainspotting" Sheffield architecture. And why have random troops at the expense of Brexiting UNIT? What are the magical powers of Chekhov's microwave? Plus the Metebelis Two's usual what-ifs and could'ves story notes on how to expand the story and fill the plot holes. Opening is from Resolution soundtrack. Closing music is "Sonic Screwdriver" by Segun Akinola from series 11.
A special Christmas episode from the Metebelis Two: a Christmas Smackdown! Yes, that's right, Ben and David have to defend and explain some questionable choices in past Doctor Who Christmas specials. Much fun and merriment. Closing music is from Kylie Minogue, "Christmas Isn't Christmas Till You Get Here".
Well it's the 100th episode for the Metebelis Two and Ben and David are not in a celebratory mood. The lads are pretty disappointed by the series 11 finale and wonder what happens next? Opening music is "Barnacle Bill" composed by Ashworth Hope, which was the original theme to Blue Peter. Closing music is "Thirteen" by Segun Akinola.
This week, Ben and David discuss "It Takes You Away" and try to reconcile Hanne's abusive home with story of the Solitract universe. What was the point of the antizone? Could this have been better told without Norway? Is the show afraid of having a sexual woman Doctor? And is it a good idea to take 2019 off from producing new stories? The lads seem to struggle with the episode and the state of show nearing the end of 2018. All this plus Ben shares news that he finally has completed his classic Who DVD collection and throws the podcast open to doing requests, much to David's surprise. Opening music is from Hanne's favorite band, Arctic Monkeys' hit "Why'd You Only Call Me When You're High" and closing music is a deep cut from the Blue Öyster Cult, "Take Me Away" for hopefully obvious reasons.
Alan Cumming was brilliant as King James and the Metebelis Two want, nay demand his return in in a Gunpowder plot drama to open series 12 and then a 3-part epic finale about the commissioning of the King James' English translation of the Bible. Beyond that, it was great seeing the Doctor have to address now being a woman, Ben kvetches about historical inaccurtaces, and David wonders if they could not afford to hire horses, should they have used coconuts instead? Opening music is from Segun Akinola's score from The Witchfinders as arranged by Paul Crispino, Jr. Closing music is Alan Cumming singing a Sondheim parody song, "No One Is Alive When I'm Around."
So what did the Metebelis Two think about a story about the biggest retailer in the galaxy? David asks does everyone pop bubble wrap? Ben wonders if the Doctor really believes that systems don't kill, people do. Discussion about if Chibnall's 'no new monsters promise' is hurting the storytelling and did McTighe's message get lost somewhere between script and production? Opening is excepts from The Big Bang and Kerblam! Closing music is from HyunA's 2011 hit, "Bubble Pop!"
Conversation about witnessing history and how setting stories in a recent historical period shapes the narrative.Ben and David discuss witnessing history and the thematic elements of Vinay Patel's story. This was billed as Yaz story, but the Metebelis two think this was Graham's best showing of the season to date. David especially liked Bradley Walsh's reading of "all we can strive to be is: good men". Ben explains that what we're asked as an audience to think about has changed quite a bit from the Moffat years. Opening and closing music this week is from Segun Akinola's score for "The Demons of Punjab".
Ben and Tsuranga, er David, meet the Pting. David thought the "Conundrum" episode was an improvement over last week, but Ben found it a bit dull. Was the Pting really Beep the Meep from DWM comics, Nibbler from Futurama, Stich without Lilo, or maybe just Gremlin? Maybe it should have been called the Chb'nall? Maybe this was Star Trek or some other generic sci-fi show. Character moments seemed to be bit of a miss this week too. The two wonder if Chibnall really did have much of a plan for series 11? Opening music is from the 1957 hit by the Edsels, "Rama Lama Ding Dong". Closing comedy is from the "Silly Vicar" Monty Python sketch and closing music is "Polepole" by Segun Akinola from "Expedition Volcano".
From the get-go, the Metebelis two veer off on tangents in their discussion of Series 11, episode 4: The Spiders of Sheffield. Ben and David think that the great character moments needed a bit more of plot to support them. And, were the spiders good or evil in this story? They speculate on the story's loose ends: such as Kevin and Frankie, the wee beastie in Anna's flat, and Robertson? Is Chibnall pulling his punches? The lads do their very best grumpy old men impressions throughout this podcast, so don't say you weren't warned. Opening music is from Segun Akinola's score and the closing is the last bit of the episode.
The Metebelis Two discuss the first trip back in time for the Doctor Who in series 11. How would Chibnall and Blackman introduce Rosa Parks to the Doctor and her friends? Ben and David discuss 1955 Montgomery, Alabama and how the time team keeps history on track and delight in Ryan's fanboy reaction to civil rights heroes. Also speculation of suitcases, racists of the future, the return of Artron energy, and next week's return to Sheffield. Opening and closing music is from Segun Akinola's score.
So the time team is on a death planet called Desolation populated with flesh-eating microbes, sniper-bots, and prophetic death scarves, but not much death… at least compared to last week. With Series 11 now underway, what do Ben and David make of the latest Dungeons & Dragons module from Chibnall? Also the lads weigh in on the new credits, the appearance of mysterious blue ghost monument, and wonder what is in store for the Doctor next week. Opening music is an isolated excerpt of Segun Akinola's Doctor Who theme and the closing music is from "The Ghost Monument" soundtrack score.
Ben and David share their thoughts on Jodie Whittaker's debut story as Doctor Who and comment on her take as our favourite Time Lord and Lady. Then the Two discuss the Doctor's new friends, Sheffield landmarks, the new Chibnall era and wonder why kababs have salad. Opening music is from Segun Akinola's score for The Woman Who Fell to Earth (the bit where the Doctor first appears) and closing music is Akinola's take on the Who theme.
Sneaking in right before the Series 11 debut, Ben and David have their preview for the new series featuring Jodie Whittaker and Sheffield. The lads talk about the new writers based on the little they know about their past works and then examine the two series 11 trailers... frame-by-frame. Lots of wild speculation and idle predictions about what the new series will have in store for Doctor Who fandom. Opening music is a 1960s Radio Sheffield theme by David Cain of the BCC Radiophonic Workshop. Closing music is an excerpt from Matt Berry's just released Acid Jazz rendition of our favourite theme.
In the countdown to Series 11, Ben and David discuss the Doctor's companions and how seeing them as friends, as new showrunner Chris Chibnall calls them works with earlier companions. This is a bonus double podcast this week. First half is a nice discussion on friendship. The second half is a reverse chronological look at the past companions and categorizing them as friend, companion, assistant, pupil, or ward. In our own timey-wimey way, the second half was recorded before the first half. Opening music "K9 on a Mission" and closing music "Lost in the TARDIS" is by Paddy Kingsland. Intermission music is an excerpt from "Friends" by Flight of the Conchords and along the way we have an except from an Action Room parody skit, "Dr. What". Jam packed this week with Metebelis Two goodness. Enjoy.
The Metebelis Two are on location at Ben's Minnesota home where they are joined by Amanda for an exclusive look at a real Doctor Who pinball machine. Also visiting the lads this week is Eliot, who's there to chat about recentish Doctor Who related news and play some pinball. During the news, the lads pay tribute to the great Jacqueline Pearce. Plus a brief interview snippet with her talking about Steven Pacey, the actor who played Tarrant in Blake's 7. Opening music is excerpted from the 12 inch remix of "Pinball Cha Cha" by Yello and closing music is the 1954 hit "Pin Ball Boogie" sung by Red Foley.
After a brief weather report, Ben and David concluded their survey of Silurians and Sea Devils from the original series featuring Sea Devil fashion, Silurian beaks, and praise for Ingrid Pitt. Ben shares with a skeptical David his unified Atlantis theory and how it could "improve" Warriors of the Deep. Not to be outdone, David wonders if the Silurians are doomed to always the same story? Opening and closing music is from "The Sea Devils" soundtrack by Malcolm Clarke, plus a bit from Deep Purple in Oslo 1987.
Podcasting this week from the smoky skies of the US Pacific Northwest, in this episode Ben and David chat about modern Silurians and their impact on them as original series fans. They love Jordu Schell's original Silurian redesign, but sadly for them it wasn't used. Then Ben tells David about RTD's "A Very British Scandal". They share a chuckle at Jovanka Airlines, and look forward to series 19 coming out on Blu Ray this November. Opening and closing music is "The Silurians" by Murray Gold.
The lads take a break from their summer holiday and busy work schedules to briefly chat about the lost opportunity of a Doctor Who / The Good Life cross-over some time in the mid 1970s and then David learns about the latest acquisition in Ben's Who collection. Opening music is the theme to "The Good Life" by Burt Rhodes. Closing music is from the soundtrack to "Robots of Death" composed by Dudley Simpson.
It has been terribly hot in the northern hemisphere, so Ben and David have their quick picks of Who stories to beat the heat. But, first how could they not comment on the new teaser for series 11 that dropped after the football final? Join the lads as they discuss recent Who news and then find out which stories to watch to leave you "cold". Opening music is "The Galactic Weed" by Geoffrey Burgon. Closing music is the opening of "The Ice Warriors" by Dudley Simpson.
Ben and David are excited to hear the music of Segun Akinola, the new composer for Doctor Who! Akinola will be scoring the incidental music for Series 11 and putting his mark on the show's theme song. So, this week the Metebelis Two listen to song excerpts from Akinola's SoundClound page and speculate what type of music he will bring. Opening with "Mount Nyiragongo" from the BBC documentary series "Expedition Volcano", the lads also listen to excerpts entitled "Dakika", and "Ororo". They also listen to music from "The Human Body", including "DNA", "Microglia", "Amorph", and "Codon". Then sample a couple of tracks from the BBC's "Black and British" including "David's Theme" and "Dalu". Finally they delve deeper into Akinola's back catalog with excerpts from "Following the Trail", "Abandoned", "Evil Knight", and "Nothing Left". This week's pod is a musical feast! Closing music is "Keshokutwa" also from Akinola's score for "Expedition Volcano".
Ben and David meet in person for the first time in Metebelis 2 podcast recording history to celebrate their second anniversary of podcasting. Join the unlikely lads as they have a Who chat with random emergency questions supplied by their listener. Opening sting is from the score for Planet of the Spider, composed by Dudley Simpson. Closing music is Mysteries by Don Harper.
The Metebelis two review Genesis of the Daleks on the big silver screen. How did the cut down omnibus version not seen since 1975 fare on when projected to make Tom Baker appear 10 feet tall? What did the lads miss and what, if anything, was improved? And why did seeing Tom's interview make them a bit said. Also, in the battle of for the old man crown, who has the more antiquated television set-up. Opening music is from Dudley Simpson's score for Genesis of the Daleks and closing music is Heathcliff Blair's later rendition of the score.
In this episode, the Metebelis 2 continue their examination of Big Finish's Paul McGann stories with a listen to Paul Magr's "The Stones of Venice". What will the lads think of their time in 23rd century Venice in the Magrsverse? How has this story held up since its release in 2001? Opening music is from the Rolling Stone's 1974 song, "Time Waits For No One". Closing music is from Russell Stone's score of "The Stones of Venice".
The Metebelis 2 wrap-up their exploration of Doctor Who cliffhangers through the various years with a look at those from the Moffat-era. What "Moffhangers" did each of the lads pick as their top five? Do Moffat cliffhangers herald back to earlier eras? Would the two rather talk about Monty Python than the Moffat years? Give a listen to find out. Opening is an excerpt of an interview with Graham Chapman, followed by Murray Gold's music from "Dinosaurs on a Spaceship". Closing Music is from Gold's amazing score for "Heaven Sent".
This week, the Metebelis 2 pay homage to Graham Strong, the man behind the "crystal clear" recordings of mid-1960s Doctor Who. As fans we owe a great debt to him and his hobby of recording and archiving our favourite television show. Despite neither of us ever meeting him, we wanted to pay our respects and talk about the legacy of his and others' off-the-air recordings from the sixties. We included a few excerpts of interviews with Strong from the BBC and Fantom Films, so we could hear his perspective directly. Opening music is "Mr. Oak and Mr. Quill" composed by Dudley Simpson for Fury from the Deep and closing music is the "Propaganda Sleep Machine" by Brian Hodgson from The Macra Terror. Both stories were recorded by Strong on broadcast.
We look back at the cliffhangers of the Russell Tiberius Davies era. With our favourite show returning to BBC1 in 2005, what would become of our beloved cliffhangers? Would RTD be able to keep cliffhangers intact with the change to a 45 minute, complete story format? Of course he did! Ben and David discuss the genius of RTD and how cliffhangers evolved to work in the revived era. What picks did the lads make as their top 'hangers'? Please give a listen! Opening music is an excerpt "I'm Coming to Get You" and closing music is from "The Doctor Forever", both by the incomparable Murray Gold.
Ahh the 1980s... Ben and David pick five cliffhangers each that are the best, or at least representative of the John Nathan-Turner era of Doctor Who. From continuity errors from being away at school to the pitiful telephone calls of a fanboy wondering when the Romana and K9 in E-Space series was going to start, the Metebelis 2 lads explore j'tangers. Opening music is an excerpt from the "Earthshock" score by Malcom Clarke and closing music is an excerpt from the "Frontios" score by Paddy Kingsland.
The second Paul McGann Big Finish story, "Sword of Orion", is the focus of this week's podcast. Ben and David examine this early Nick Briggs story in both its presentations: the aforementioned 2001 Big Finish production and the earlier Audio Visuals production featuring Briggs, himself as the Doctor. What happens when "Aliens" is mixed with "The Long Good Friday" and seasoned with a liberal dose of Cyber history and callbacks? How does the introduction of a companion, Charley Pollard, impact the original script? Thoughts on these questions and more in this week's episode. Opening and closing music from the "Sword of Orion" Big Finish soundtrack, composed by Nick Briggs.
Ben and David return to look at Tom Baker cliffhangers during the time of producers Hinchcilffe and Williams. What makes a stonkin' good cliffhanger of this era and do Ben and David's picks tell us more about them than the show itself? The lads also touch upon the idea of the Doctor Who multiverse, the purpose and difference between cliffhangers and wrapping up a story, and what would Moffat do differently. Opening music is an excerpt from "Escape and Recapture" by Geoffrey Burgon from "The Seeds of Doom" score and closing music is the 1970s Doctor Who theme realized by Delia Derbyshire and composed by Ron Grainer.
Once again Ben and David discuss cliffhangers and this time they delve into the wonderful Jon Pertwee era. How is it that Mac Hulke can reuse the same cliffhanger four times in a row? What is it about lava that is so scary? Are Silurians or Sea Devils more suspensful? Does David have a fear of Autons? Despite getting confused one or two times on where they were in their count, the lads had an thoughly enjoyable talk about the show in the early 1970s. Opening music is by Cary Blyton from "Doctor Who and the Silurians" soundtrack and closing music is by Malcom Clarke from "The Sea Devils" soundtrack.
Ben and David chat about their top cliffhangers from the Patrick Troughton era. Ben kept his choices to extant or animated episodes, but David ventured briefly into missing classics. What trout-hangers do the lads think are the best of Second Doctor's time in the TARDIS? Only one way to find out! Opening music is "Muzak" from "Time in Advance" by John Baker from "The Invasion". Closing music is the famous "Space Adventure, Part 2" by Martin Slavin and used in many 1960s stories.
Ben and David talk about their top five cliffhangers from the William Hartnell era and why the cliffhanger is such an important part of Doctor Who. But, before they delve back in time the lads discuss the new Target book covers illustrated by Anthony Dry and the new programme logo and the design of its promo video that was released in the past week or so. Opening music is "The Missing TARDIS" by Tristram Cary. Closing music is "Machinery in Tardis Goes Wild" by Brian Hodgson.
This week we travel back in time 17 years to discuss the first Paul McGann story from Big Finish: "Storm Warning". With the TV movie being a one-off, McGann's audio work is the majority of his Doctor's adventures. Ben and David discuss Big Finish and the early days of Doctor Who audio adventures. What works in the story set aboard Great Britain's doomed airship and what misses the mark? Only one way to find out... Opening music is "Aboard the R101" and closing music is "Charley Joins the Doctor". Both pieces are from Alistair Lock's score for "Storm Warning".
Ben and David indulge in a hour-long conversation about collecting Doctor Who merchandise from the Target novelisations and Weetabix cards to VHS tapes and DVDs, and beyond. Does being a fan also make a person a collector? Are people still collecting as we move toward an on-demand, streaming fandom? What would Ben collect if money was no object? Are collections still a key part of Doctor Who fandom or is it only something tired old fanboys find interesting? Opening and closing music is from Dudley Simpson's score to "The Sun Makers".
They're booted and blue-suited! Davies and Moffat each had their own unique take on the potato-headed clone warriors in 21st century Who. Ben and David try to remember back to their return in 2008 in both Doctor Who and Sarah Jane Adventures, and then discuss Strax, the "comedy" Sontaran of the Paternoster Gang, of whose apperances tended to run together for the lads. Opening music is from Murray Gold's score of "The Sontaran Strategem". Closing music is "Thomas, Thomas" from "The Crimson Horror", which is also by Gold.
From the first appearance of the original spud warrior in Norman England through to the "freakishly tall" Sontaran duo in Seville, Spain, Ben and David talk about Sontarans in classic Doctor Who. What make them good monsters for children? When do they work and when do they fall, ahem, short? All this in more in this week's episode. Opening music is from "The Invasion of Time" score by Dudley Simpson. Closing music is from "The Two Doctors" score by Peter Howell.
Back in 1981, then-Doctor Who producer John Nathan-Turner had a season of repeats called "The Five Faces of Doctor Who" that launched Peter Davison as fifth Doctor. So in this podcast, Ben and David suggest incoming showrunner Chris Chibnall have a summer season of the thirteen faces of Doctor Who to help launch Jodie Whittaker as the new Doctor, and being ever so helpful, they each have compiled a list of which thirteen stories to rebroadcast. Opening music is "The Axons Approach" by Brian Hodgson. Closing music is "The Mad Man in a Box" by Murray Gold.
With the broadcast of the 2017 Doctor Who Christmas special, the Capaldi era sadly has come to an end. Ben and David discuss the Moffat swan song and look forward to what may be coming as Jodie Whittaker takes over as the Doctor! Opening music is by OK Go, "Here It Goes Again". Closing music is by Murray Gold, "I am the Doctor". At the bitter end is a brief excerpt from "Toast of London". Don't say you were not warned!
Ben and David (me and not me) are making some contingency plans in case new showrunner Chris Chibnall is abducted by the time scoop. What dream team, or A-Team, would each Metebeli assemble together from the history of the programme to launch Jodi Whittaker as the new Doctor Who? Only one way to find out! Opening music is "Monster on the Moor" composed by Geoffrey Burgon from "The Terror of the Zygon" score and closing music is from Cary Blyton's score for "Death to the Daleks". (Does anyone know why Exxilons chant in Latin?)
This is Costume Smackdown! The premise is simple both Ben and David each pick five costumes, one from the Moffat-era, RTD-era, JNT-era, 1970s, and 1960s and then challenge the other to defend the costume as it fits within Doctor Who. What fashion faux pas will each Metebeli foist off on the other? Only one way to find out... Listen! Closing music is an excerpt from Dudley Simpson's score from "The Frontier in Space".
After nearly four months of mostly ignoring Doctor Who related news while the podcast spent time in the late 1970s, Ben and David are wrenched back to the here and now as they talk about the upcoming Christmas special, Whittaker's costume, the new Shada, BBC studios, shakedown at DWM, nostalgia, and more. Opening and closing music is from Paddy Kingsland's score for "Logopolis" with pieces featuring scenes with the Watcher.
February 1978, and the season of Doctor Who is coming to a close. A media-savvy 12 year-old, Ben knows enough about his favourite show to have finally cracked the code. A season of Doctor Who always concludes with a six-part tale... but that six parter is always made up of 2 parts and then another 4 parts. Or is it the other way around? When would the other shoe drop? This is a flashback Metebelis 2 podcast on The Invasion of Time. The opening song is Althea & Donna 1978 UK hit from "Uptown Top Ranking" and closing music is excerpts from Dudley Simpson's score for The Invasion of Time.
It's May 1982 and David has just informed his mom that they're out of tinfoil since he used up an entire roll of it to clad his life-sized K9 model that he built from cardboard boxes. Would she understand why they needed to do a grocery store right now so he could complete his own tin dog to be just like Doctor Who? This is a flashback Metebelis 2 podcast on Underworld. The opening song is George Clinton's solo hit from 1982 "Atomic Dog" and closing music is excerpts from Dudley Simpson's score for Underworld.
When Saturday comes, it's a new Doctor Who. But the trailers are worryingly monster-free. Even though the story seems to be set on Pluto (at that time young Ben's favourite planet), how could a story succeed with no monsters? And with that annoying robot dog too. It was with trepidation that, as the football scores faded away, that Ben turned to watch Doctor Who. This is a flashback Metebelis 2 podcast on The Sun Makers. The opening song is Status Quo’s 1977 hit "Rockin' All Over The World" and closing music is from Dudley Simpson's score for The Sun Makers.
It's nearly 5 o'clock on Friday, April 23, 1982 and David has a decision to make. With the weekend fast approaching, homework for sixth grade could wait, but could he put off going over to his friend's house to play the new Pac-Man game on his neighbor's Atari 2600 before dinner? Or, should he stay home and watch the new adventure of Doctor Who starting in 10 minutes. Pac-Man or Doctor Who? Decisions, decisions, decisions... This is a flashback Metebelis 2 podcast on Image of the Fendahl. Opening music is The Cars 1982 single "Think it Over". Closing music is an excerpt from the Image of the Fendahl score composed by Dudley Simpson.
From the clips shown on Tomorrow's World, 12-year-old Ben was already a firm fan of the soon-to-released movie Star Wars. So he was deeply apprehensive of the outer space scenes in first part of the new story. Doctor Who in space? Whatever next; how could his favourite TV show compete with his new favourite movie? This is a flashback Metebelis 2 podcast on The Invisible Enemy. Opening music is The Stranglers' 1977 hit "No More Heroes". Closing music is an excerpt from the score from Part 2 of The Invisible Enemy composed by Dudley Simpson.
It’s the new series of Doctor Who! Is there any more joyous time for a young lad? 11 year-old Ben was already a firm fan of lighthouses, thanks to Blue Peter and The Goodies, so was excited to see what the Doctor and now new favourite companion Leela would find. This is a flashback Metebelis 2 podcast on Horror of Fang Rock. Opening music is "As You Please" by Raymond LeFevre, which was the theme for Pebble Mill at One. Closing music is excerpts from the Fang Rock score composed by Dudley Simpson.
The Robots of Death had been the greatest Doctor Who story ever. However, young Ben, age 11, was deeply suspicious about the educative appearance of Doctor Who set in Victorian times. Was this going to be Doctor Who goes "The Classic Serial"? If so, where would the monsters be? The best bit in Doctor Who. This is a flashback Metebelis 2 podcast on The Talons of Weng-Chiang. Opening music is Julie Covington's 1976 concept album, Evita. Closing music is taken from the Talons soundtrack composed by Dudley Simpson.
It's Wednesday, March 24th, 1982 and 12-year-old David has just tried to explain to his skeptical mother, who the scantily clad "savage" was on his favorite after school tv show. This is a flashback Metebelis 2 podcast on The Robots of Death. Intro music is from the J. Giels Band's 1982 number 1 single on the US charts, "Centerfold". Closing music is a brief except from Dudley Simpson's score from The Robots of Death.
It's New Year's Day 1977 and 11-year-old Ben is still missing Sarah Jane Smith. The Deadly Assassin disappointed by bringing back an unrecognizable Master. Perhaps Sarah would return in this new story. This is a flashback Metebelis 2 Podcast on "The Face of Evil!" Intro music is from David Soul's 1977 number 1 single on the UK charts, "Don't Give Up on Us". Closing music is "The Interior of Xoanon" by Dick Mills of the BBC Radiophonic Workshop.
This week, Ben gives the lowdown on three San Diego ComicCon BritBox, Titan, and BBC Doctor Who panels. Plus other discussion of recent news in the Whoniverse including the recent death of Deborah Watling, who played Victoria, Peter Capaldi's salary, and a message on behalf of the BBC complaints department. Plus we may have speculated on the casting of the next James Bond. Opening music is from "Space Time Music" part 1, composed by Wilfred Josephs and used in The Tomb of the Cybermen when Victoria and the Doctor discuss remembering family. The closing music is "Victoria" by the Kinks from the 1969 album, "Arthur".
Surprise! Jodie Whittaker is the next Doctor! Ben and David chat about the casting of the first woman to play our hero and speculate on what it will bring in Series 11 next year. Spoiler alert: the Metebelis 2 is quite pleased with the casting. Opening music is a mash up of all the actors who have played Doctor Who on television and the 1970s series opening theme. Closing music is taken from the BBC trailer teaser the announcement from earlier this week.
This week is the wrap-up for Series 10. Did the Doctor, Bill, Nardole, and Missy's character arcs for the season resolve live up to their promise? What were the strengths and weakness of our favourite series starring Peter Capaldi? Plus the Metebelis 2 rate all of the stories. Listen to find out which ones they liked the best. Opening is "Bill's Theme" by Murray Gold and closing music is from the Series 10 trailer released by the BBC.
With Series 10 coming to a conclusion, Ben and David discuss the finale and the fate of Cyber-Bill, Nardole, and the two Masters. What is going on in that final scene with the Doctor on Antarctica? Did Moffat's penultimate script as show runner press the right buttons for the Metebelis Two? Listen to find out! Opening is the Cloister Bell created by Dick Mills and closing music is from the soundtrack of "The Doctor Falls" by Murray Gold.
In this week's episode Ben and David react to the revelations in emotionally impacting "The World and Time" and then speculate on how Steven Moffat is going to get Dr. Who out of the predicament posed by the penultimate episode of Series 10. Opening music was composed by Murray Gold and taken from this week's episode. The closing music is some classic incidental music very much associated with the Cybermen: "Space Adventure, Part 2" compose by Martin Slavin.
A week late, but hopefully still not short of laughs. Ben and David discuss episode 10 from Series 10 of Doctor Who. Ben found "The Eaters of Light" a bit damp on first watch and talks about the Welsh landscape standing in for Scotland. While David appreciates Nardole's traveling with popcorn to TARDIS life and chuckles about Bill's deep cut to "The Goon Show". Opening music is excerpted from "Scotus" by Corvus Corax from their 2006 album "Venus Vina Musica". Closing music is an excerpt from "The Terror of the Zygons" soundtrack composed by Geoffrey Burgon.
Doctor Who may have reached "peak Gatiss" with the continuity-laden "Empress of Mars". Ben and David sift through the story to find the callbacks to older stories and wonder how this episode fits within the larger context of Series 10 of Doctor Who. Ben especially delights in the return of a certain hermaphrodite hexapod from the Pertwee era. Opening music is the theme to the 1958 movie, "The Vikings" composed by Mario Nascimbene as described by Bill in story "as amazing". Closing music is an excerpt from "Skaldak" by Murray Gold composed for Mark Gatiss' earlier Ice Warrior story, "Cold War".
Join Ben and David this week as they discuss "The Lie of the Land", the conclusion of the mid-Series 10 Monk Trilogy. What worked for the duo and what led to Monday morning script editor second guesses? Intro music is from Murray Gold's score for the story with Pearl Mackie's "counter-programming" voice-over. Closing Music look forwards to next week's episode with the opening theme composed by Dudley Simpson from the 1967 Troughton story, "The Ice Warriors".
In this week's episode, Ben and David discuss the middle story in Series 10's Monk Trilogy, "The Pyramid at the End of the World." Sifting through the heavy-handed plot to find the diamonds hidden in the rough. Is this biotech worst lab in Britain or a sign of things to come post-Brexit? Intro music is from Murray Gold's series 8 composition, "Hello, Hello", a variation of which was the intro for last week. The closing song is "I Can See Clearly Now" from 1972 written and sung by Johnny Nash.
In this episode, David explains why he thinks the monks are actually undead Exxilons out for revenge. Ben notes the similarities between the complexity of the Monk's plans and the Kraals and the Cybermen. The conversation continues on to discuss the nature of Missy and the Doctor’s relationship. And then the two delve into the nature of reality. Finally, in a postscript after the closing music, David asks is suicide an appropriate topic for family teatime telly. Intro Music is from Murray Gold's soundtrack for "Extremis". Closing music is from Dudley Simpson's score for "The Android Invasion".
Ben and David heap praise upon the fifth episode of Series 10, "Oxygen" by Jamie Mathieson. A classic base-under-siege story with an anti-capitalist message at its core. Intro Music is a montage of "Where No Man Has Gone Before", also know as the them from Star Trek: the Original Series, composed by Alexander Courage and Murray Gold's opening incidental music for "Oxygen" combined with Peter Capaldi's reading of Mathieson's script. Closing Music is an excerpt from "Breathe" from Pink Floyd's 1973 album, "The Dark Side of the Moon".
"Knock, Knock"? Who's there? It's the Metebelis 2 with our conversation about the fourth story in Series 10 of Doctor Who, David Suchet guest appearance, and the relationship between space wood lice and Krynoids. Is there a connection between Bill and the Doctor's granddaughter, Susan? Who is playing Beethoven on the other side of the vault door? Intro music from "Summer in the City" from Quincy Jones' 1973 album "You've Got It Bad Girl". Closing music: Adagio from J.S. Bach's Sonata No. 1 in G minor performed by Itzhak Perlman.
The TARDIS lands back in 1814 for the final Frost Fair on the frozen Thames. Join Ben and David as they chat about "Thin Ice", Sarah Dollard's second script for Doctor Who, as they discuss mile-long fish, street urchins, and fish poo. Intro and outro music by Murray Gold from the "Thin Ice" soundtrack.
Bill and the Doctor head off in the TARDIS to Wheat World... er Valencia, Spain... er Gliese 581D and meet up with homocidal smiling emoji robot interfaces, while Nardole stays behind on Earth to put the tea kettle on and keep an eye on the mysterious vault. From "Billie's Choice" to post structuralist philopshers to rushed endings, Ben and David chat about what all "Smile" means. Intro music from "Smile" by Murray Gold. Closing music from "Ashes to Ashes" by David Bowie.
Yay! Series 10 has arrived and Ben and David chat about their first impressions of "The Pilot" and the debut of Bill as the Doctor's newest assistant. Did she pass the test? Did Nardole live up to expectations? What's behind the basement vault doors? Is Heather too powerful? Just like Bill, the Metebelis 2 have many questions. Opening and closing music by Murray Gold from "The Pilot".
With only one week away from the start of Doctor Who Series 10, Ben and David dissect the four Series 10 trailers and speculate what they all could mean. To limit the risk of spoilers, the conversation is limited to the four trailers, announced episode titles, and Pearl Mackie's introduction to Bill. Opening music is "A Good Man, An Incredible Liar" from "Death in Heaven" and closing music is signature theme from "The Caretaker". Both pieces are by Murray Gold and are from Doctor Who, Series 8.
Our copies of Vworp Vworp #3 arrived! So this week on M2P we "unbox" the fanzine. Then after a week of reading through the issue cover-to-cover, we give our reactions and talk about the differences in how Doctor Who was experienced in the UK and the US. Ben concludes the episode with a tribute to Who fandom. Opening music is "Wall of Flame" by Tristram Cary from "The Daleks' Master Plan", interlude music is an excerpt from "Day Tripper" by The Beatles, and we close with "Dalek Spaceship Takes Off" by Brian Hodgson of the BBC Radiophonic Workshop.
This week on the M2P, David and Ben look at the women companions of the Doctor from Susan to Sarah. Do companions start out well, but lose definition as their time in the TARDIS goes on? What are the rare qualities that make a good assistant? Which companion is the rarest of all? Who's slightly eccentric, but everything you want in an assistant? And, is Sarah Jane the yardstick by which all companions are measured? These questions and more in our look at the first ladies of Doctor Who. Intro music is "Frantic Fracas" by Johnny Hawksworth and used as music in the Inferno nightclub in "The War Machines". Closing music is "Jo Frees the Doctor" by Malcolm Clarke from "The Sea Devils".
In anticipation of Nardole joining the time team, the Metebelis 2 take a quick look at his predecessors in the TARDIS and ask which male companions worked for them and which didn't quite make the cut. The two also express their admiration of Ian Marter's time on the show. Intro music is from Murray Gold's score for "The Husbands of River Song". Exit music is "Futile Escape" composed by Dudley Simpson for "Genesis of the Daleks" and performed by Heathcliff Blair. Plus a bonus soundbite from Matt Lucas talking about Nardole, recorded December 2016 on the One Show on BBC.
Ben and David look at the Doctor Who stories by Chris Chibnall and talk about what he may bring to the show as the next showrunner. What are Chibnall's strengths? Where might the pitfalls be for him moving to the BBC? And is he really responsible for reptile women with breasts? Intro music is "Cubes" from "The Power of Three" and closing music is the theme for "Dinosaurs from a Spaceship", both pieces composed by the one and only Murray Gold.
Monster Smackdown! Ben and David challenge each other with picks of Doctor Who monsters that fall a bit short. Each armed with five so-called duds spanning from the 1960s to the 2010s, can they successfully rebut one another's selections? Intro music is an excerpt from "The Magma Beast" by Roger Limb from "The Caves of Androzani". Outro music is "I See You Silence" by Murray Gold from "Day of the Moon".
Ben and David chat about the recent animation of The Power of the Daleks and share their thoughts on its successes and shortcomings. Then speculate on their dream animations for the missing visuals of 1960s Doctor Who and wonder why BBC Worldwide doesn't hire them as animation commissioning editors. The intro is "Fluid Link" and outro is "Inside the City", music composed by Tristram Cary from "The Daleks" original score and reused as incidental music in Troughton's debut story.
The Cybermen stories from the 1980s are revisited by the Metebelis 2 on this week's show. Find the answers to questions such as: Which cyber stories work and which fall short? Has Earthshock held up over time for David? Why do the cybermen fare so poorly in Gallifrey's Death Zone? What could go wrong with the most continuity heavy story ever? And, does Ben like jazz? Plus, the two chat about how eager they are anticipating the 'excellent' fanzine, Vworp Vworp volume 3. Intro and outro music are excerpts from the incidental music score by Malcolm Clarke from "Earthshock".
Ben, recovered from the Space Plague, joins David to reflect on the passing of John Hurt, the War Doctor. Discussion then moves on to Peter Capaldi's looming departure and then speculate on which actor could be and should be cast to replace him. Lastly, the two chat about "Revenge of the Cybermen", Tom Baker's only encounter with the men of cyber. Intro music: "No More" from Murray Gold's score from "The Day of the Doctor". Intermission and closing music is from Carey Blyton's score from "Revenge of the Cybermen".
Ben is out sick with the Lurgi this week, so David is joined by his son, Eliot, for a brief chat about Peter Capaldi's announcement that Series 10 is his last. Plus a bit of discussion about why Eliot likes multi-Doctor stories and why David would prefer Paul McGann specials. Intro music: a clip from Murray Gold's amazing score for "Heaven Sent". Outro music is "Two Doctors" by Murray Gold from "The Day of the Doctor".
Having recovered (barely) from the sexy-sexy 'Cyberlady' of last week, the Metebelis 2 journey back to the early days of the Cybermen to discuss the 1960s cyber-stories. Along the way, they praise the incidental stock music, congratulate Who monsters and their graphic designing minions, and speculate if dentistry is compatible with cyber technology. Intro-music is from "Power Drill" by Douglas Gamley, which was heard in "The Tenth Planet". Outro-music is the classic 1960 Cyberman theme, "Space Adventures part 2" by Martin Slavin. Also heard along the way is "Muzak" from "Time in Advance" by John Baker from "The Invasion".
Going in reverse broadcast order, Ben and David chat about Cybermen in 21st century Doctor Who and how the Moffatt and RTD eras differ when depicting the Doctor's silver foes. Do Cybermen still work in 'new' Who? Are Daleks better? Finally Ben cannot escape before David brings up Torchwood's Cyberwoman episode written by future showrunner Chris Chibnall. Music is from "Cybermen" by Murray Gold from Rise of the Cybermen/Age of Steel.
Using Peter Cushing's digital mask used in "Star Wars: Rogue One" as a starting point, Ben and David share their thoughts on the technology and using it to bring actors back to our screens. The two chat about impact could the digital masks have on "Doctor Who" and how Big Finish is re-casting the first three Doctors. Intro and outro music is a piece from the 1965 movie, "Dr. Who and the Daleks" titled "The Eccentric Dr. Who" by Malcolm Lockyer. Enjoy!
Ben and David share their thoughts on the 2016 Christmas special and their mutual appreciation of Nardole's visit to the Byzantium Empire. Plus the two geek out over the Series 10 trailer and the hinted return of the Movellans and then speculate over which old monsters may next be returning to "Doctor Who". Intro: clip from "The Return of Doctor Mysterio". Outro music: "Istanbul (Not Constantinople)" composed by Nat Simon and Jimmy Kennedy and covered by "They Might Be Giants" on their 1990 album Flood.
The wide Atlantic Ocean divides the Metebelis 2 this week. Ben is back home in England, where he is joined by his niece Lauren (age 10) and nephew Finn (age 12) to discover their reaction to the Return of Doctor Mysterio. Back in the New World, David is wintering in the Columbia Department of the Hudson's Bay Company, where he is joined by his wife Rita and his two teenaged kids, Eliot and Annika, for a post-viewing discussion about the special as well. This week's music is from Murray Gold's incidental score for 2016 Doctor Who Christmas Special.
The Metebelis 2 look at the Matt Smith-era Christmas specials penned by Steven Moffat. Listen in as Ben and David discuss grunting sharks, the appropriate use of the Oxford comma, WW2 Lancaster bombers, the Not-So-Great Intelligence, and 'Handles'. Is the Grand Moff trying to "win" Doctor Who? Plus a little meta-podcast discussion at the end about a possible Christmas hiatus. Intro music is "Back to Christmas" from "The Time of the Doctor" and outro music is "Abigail's Song (Silence Is All You Know)" from "A Christmas Carol" performed by Katherine Jenkins, both composed by Murray Gold.
Snow flurries put Ben and David in a wintery mood as they discuss Christmas specials and Doctor Who. Despite being broadcast for 26 years prior to the return of the show in 2005, the "Feast of Steven" with William Hartnell was the only Christmas episode. Why is Christmas television special in the UK and how great was Russell T Davies for establishing this brilliant Doctor Who tradition? What are the Christmas picks of the Metebelis 2 from the RTD era and what classic Who could be viewed as Christmas television? Pick up a mug of warm cocoa and give a listen. Intro music: "Merry Xmas Everybody" by Slade. Outro music: "Song for Ten" by Murray Gold featuring Tim Phillips.
Ben and David wrap up their discussion on horror during the Hinchcliffe and Holmes era with a look at Season 14. Was this era horrific enough, or were there missed opportunities? What's the significance of owls and Sarah Jane? Would Eldrad have gotten along with K9? Are all assassins deadly? Answers to these questions and more in this episode of the Metebelis 2 Experience. Plus Ben's defense of the tarnished Talons of Weng-Chiang and the duo's picks for the best horror of the era. Intro music is an excerpt from "The Mandragora Helix" by Dick Mills. Outro music is the theme from "Target" composed by Dudley Simpson. "Target" was the show Hinchcliffe would go on to produce after his stint on "Doctor Who."
The Metebelis 2 are joined by @GregSchaal to chat about watching Doctor Who on KTCA Channel 2 and some mid-1980s Doctor Who memories in the Twin Cities, Minnesota including convention meeting three Doctor Who actors. Then they three talk about the "The Return of Doctor Mysterio" trailer and superhero comics, spin-offs, and a plan to bring back Paul McGann. Intro: KTCA Channel 2 continuity announcement with a promo for the Whovian Festival Tour of 1986. Outro: "The Creature Attacks" by Geoffrey Burgon from the incidental music score from "The Seeds of Doom".
The full onslaught of Hinchcliffe and Holmes mash-ups is unleashed on Ben and David as they talk about horror in Season 13. Will the Metebelis 2 escape horrible baby octopus monsters? Or, will their moms try to feed them raw meat trying to transform them into Krynoid monsters? There's only one way to find out... Intro music is "Sutekh Desends" composed by Dudley Simpson for "Pyramids of Mars" and arranged and performed by Heathcliff Blair. Outro music is "Trapped" by Geoffrey Burgon from "The Seeds of Doom".
Ben and David do an overview of the Hinchcliffe/Holmes era as they continue their look at horror in Who by looking at this era's influences and impact on the show. Do these stories hold up for today's fandom? How 'horrible' are they? Are they mostly Hammer and other horror movie pastiches? What were the influences of Mary Whitehouse and her British conservatism in the 1970s, and why did David Sullivan name a magazine after her? From "teatime terror for tots" to Bristol Boy catchphrases, join the Metebelis 2 as they geek out about Season 12 and chat about horror, sadism, and cliffhangers. Intro music by Dudley Simpson's incidental music score from the opening of "The Ark in Space" Part One. Outro music "Sarah Pursued/The Prototype" from music composed by Dudley Simpson for "Genesis of the Daleks" and arranged and performed by Heathcliff Blair.
Ben and David continue their examination of Who Horror with a look of the Jon Pertwee era. What did the white, middle-aged, male writers of Who in the early 1970s find so horrific? From the Autons to Giant Spiders, the Pertwee era was a mishmash of many things. Ben waxes fondly on the Green Death and, as the resident "pervy" European, delves into the possible sadomasochism in the Pertwee-era. Intro music is "Keller Machine Theme" by Brian Hodgson and outro music is incidental music from "The Planet of Spiders" by Dudley Simpson.
Were there any true horror serials in classic 1960s Doctor Who? Ben and David ask what exactly is horror and what role did it play in the glorious black & white era? In this podcast, they look at horror in Who from the end of "An Unearthly Child" where viewers back in 1963 saw that the following week's episode was "The Cave of Skulls" all the way to 1969 where the use of mind control in "The War Games" was prevalent. Intro music: excerpt from "Music For Strings, Percussion & Celesta, SZ 106 - 3. Adagio" by Béla Bartók, conducted by Ferenc Fricsay, RIAS Symphony Orchestra. Outro music: "Space Time Music, part 2" by Wilfred Josephs. Both pieces were incidental music from "The Web of Fear".
A short catch-all episode to tie up loose ends. Ben gives an update on the possible connection between earthworks artist Robert Smithson and "The Evil of the Daleks". Then the two give their reactions to the new trailer for the Christmas special featuring Doctor Mistero and then David speculates on who the classic series writer with a story in Series 10 could be. Intro/Outro music is incidental music by Peter Howell from "Warriors' Gate".
Having conveniently skipped the three-Rs Dalek stories of the 1980s, Ben and David find themselves on Shad Thames discussing the Daleks stories of Davison, C.Baker, and McCoy. Intro music: "Revelation of the Daleks Suite" by Roger Limb. Outro music: "Resurrection of the Daleks Suite" by Malcolm Clarke.
More Daleks! This time Ben and David slip into the 21st century and talk more about the Daleks which were reinvigorated by their appearance on "new" Who. Intro music: "Victory of the Daleks" and outro music: "The Daleks" both by Murray Gold.
DALEKS! Ben and David discuss the oldest of the Doctor's foes — the Daleks. In this episode they chat about the Daleks in the 1960s and 1970s. Ben loves the Daleks, but David is a bit skeptical of their greatness. Intro music: "Genesis of the Daleks" incidental music by Dudley Simpson. Outro music: "Dalek March" by Carey Blyton from "Death to the Daleks".
The Master in the 21st century. Ben and David continue their conversation about the Master and how he (and she) is portrayed in "new" Who. Ben talks about Mary Poppins as an insult to the English. Intro/outro music: "Missy and Her Boys" by Murray Gold. Plus a bonus cut of "A Spoonful of Sugar" with Julie Andrews.
Ben and David chat about The Master in the classic era with much sinister laughing… Muahahaha. Intro music: "The Master's Theme" by Brian Hodgson from "The Mind of Evil". Outro music: "The Master's Plan" by Paddy Kingsland from "Logopolis".
Ben and David continue their examination of the TARDIS console room into the 21st century. Intro music: "My TARDIS" and outro music: "Run Sexy" both by Murray Gold from "The Doctor's Wife".
A look at the TARDIS console room through the classic years 1963 through 1989. Intro music: "Doctorin' The Tardis" by The Time Lord. Outro music: "Blue Veils & Golden Sands" by Delia Derbyshire from "Inferno".
Ben and David discuss the 2004 return of Doctor Who to BBC 1 as have a Series 1 retrospective about Christopher Eccleston, Billie Piper, and RTD. Intro music: "Westminster Bridge" by Murray Gold from "Rose". Outro music: "Boom Town Suite" by Murray Gold from "Boom Town".
Responding to listener feedback, Ben and David explain the name of their podcast, "The Metebelis 2" and go into the different ways to pronounce "metebelis". Then they two get a bit frivolous about what Cybermen eat. Intro music: "Deep Space" by Carey Blyton from "The Revenge of the Cybermen". Outro music: "Space Adventure 2" by Martin Slavin from many 1960s Doctor Who stories including ones about Cybermen (10th Planet and Tomb).
Our first run as a podcast with a title! Ben and David reminisce about how they got into Doctor Who and what they consider their golden years of their favourite show. Intro music: "Metebelis III Atmosphere" by Dick Mills. Outro music: "A Landing In Scotland" by Geoffrey Burgon.
A continuation of our discussion on politics in Doctor Who. Intro/outro music: "The Two Doctors" incidental music by Peter Howell.
Brexit driven discussion about politics in Doctor Who. Intro/outro music: "The Curse of Peledon" incidental music by Dudley Simpson.
Some background on Ben and David and our time with Doctor Who. Intro/outro music: "The Company" by Don Harper from "The Invasion"