Doctor Who: Unleashed 1x5

1. In this episode, we reflect on that challenging

2. and emotional finale.

3. You, sir, are not one of us.

4. You will die out there!

5. And I can save your lives.

6. That was an incredibly intense scene

7. to start Doctor Who on.

8. We reveal how the Dot And Bubble went from low-tech to high-spec.

9. Tell me you're on Doctor Who without telling me you're on Doctor Who.

10. We unravel the making of those homicidal slugs.

11. And spoiler alert - we've got an Unleashed exclusive clip

12. from the next Doctor Who episode.

13. Welcome to Doctor Unleashed.

14. It's 11 o'clock at night, - 2 degrees.

15. Ncuti Gatwa is about to shoot his very first scene of the series.

16. I suppose I should say thank you.

17. It's OK.

18. Do you know, we handed that script to Ncuti, and I was wary.

19. I was thinking, "My God," especially cos this is the first thing he shot.

20. I have a ship.

21. It's called the TARDIS. OK? That blue box.

22. It is astonishing, cos he comes in...

23. He did the regeneration way back, with David,

24. but, actually, the scene at the end of episode five

25. is his first day with us, his first proper day.

26. That reveal at the end of the ep,

27. it was heart-breaking.

28. You probably do realise it in the ep, but it's the moment

29. when we look around and everyone is white

30. and you're just like, "Ah!"

31. We can't travel with you.

32. What? Why not?

33. Because you, sir, are not one of us.

34. We were all kind of holding our breaths, thinking,

35. "That's no way you'd start any lead actor off." We talked about it.

36. Should we reschedule, should we let him settle in?

37. Should we hold the scene off?

38. And in the end, we decide to go for it, and bang.

39. That's a great actor. He just hits it

40. and it's one of the most remarkable performances I've ever seen.

41. I don't care...

42. .. what you think.

43. You can say whatever you want.

44. You can think absolutely anything.

45. I will do... anything...

46. .. if you just allow me...

47. ..to save your lives.

48. You will die out there!

49. And I can save your lives.

50. Now let me.

51. It'll be interesting to see the response to this episode.

52. I think the main response to this episode

53. is going to be about the ending.

54. What we can't tell is how many people will have worked that out

55. before the ending, because they've seen white person

56. after white person after white person.

57. And television these days is very diverse.

58. I wonder, will you be 10 minutes into it? Will you be 15?

59. Will you be 20? Before you start to think,

60. "Everyone in this community is white."

61. And if you don't think that, why didn't you?

62. So that's going to be interesting.

63. I hope it's one of those pieces of television

64. you'll see and always remember.

65. My first day on Doctor Who was that episode.

66. Episode five, the Barrage scene.

67. And that was an incredibly intense scene

68. to start Doctor Who on.

69. But very exciting to get my teeth into it.

70. Shot in December 2022 and January 2023,

71. Dot And Bubble was filmed side by side with 73 Yards.

72. The Doctor and Ruby take a bit of a back seat in this episode,

73. and apart from the final scene,

74. Ncuti and Millie do all of their performing down an Autocue lens.

75. First things first. I'm here to save you.

76. Leaving centre stage to Lindy Pepper-Bean,

77. a character who ultimately reveals herself to be entitled and racist.

78. She's played by upcoming stage and screen actor Callie Cooke.

79. Can I run into it? Yeah.

80. It was quite difficult to find the right person to play Lindy,

81. because she is, in the end, an absolutely abhorrent character.

82. But you've got to be with her on her way there,

83. and she's got to be sort of really flaky and breezy

84. and a bit annoying from the top.

85. Do I need to pee?

86. Urine content is zero for the third day in a row.

87. Well done, Lindy.

88. So she had to sort of encompass all these things in one hit.

89. Sorry.

90. I'm sorry. Just...

91. That's the first time I've ever done that. Oh, well.

92. It's not every day we walk past monsters. No, I mean the hug.

93. That was your first hug? Yeah.

94. And then once she turns, you have to be really surprised.

95. His surname is Coombes!

96. He was born Richard Coombes, cos I know everything about him.

97. He changed his name to Ricky September

98. when he reached 50,000 followers.

99. But check your files - he was born Coombes.

100. C comes before P!

101. We found this amazing actress...

102. Lindy!

103. .. called Callie Cooke. She was unanimously our favourite choice

104. in the auditions and she was the only one

105. who really got that transition so brilliantly

106. and sort of played all the characters all at once.

107. Oh! My poor friends.

108. It was... It was hard. I've never done it before.

109. I have a complex of having to be liked all the time.

110. But I guess I just had to, you know, see her as she is,

111. and I had to see her without judgment

112. in order to play her truthfully.

113. I'm playing a character, I hope, that...

114. that's, you know, that's not real.

115. But, I mean, yeah, I can be the first to say she's a psychopath.

116. As Callie quite rightly points out, Lindy Pepper-Bean is a character.

117. She's acting. In real life, the two couldn't be more different.

118. And action!

119. Do I need to pee?

120. That's your first scene?

121. Day one. Day one. Day one, scene one.

122. This is the first scene.

123. Yeah. Yeah.

124. I hope you know, cos... I don't know. I don't ever know.

125. So I'm reading everyone else's lines off camera,

126. and then these all leave tomorrow and then I'm on my own

127. for the next six weeks. Six weeks, it's just you on your own? Yeah.

128. That's going to be quite strange, actually, isn't it? Yeah. Yeah.

129. But before Callie gets to go solo,

130. there's the small matter of killing off Ricky September.

131. Check your files. He was born Coombes. C comes before P!

132. It was great to see Callie Cooke go through

133. this incredible character transformation on this day,

134. cos she's kind of this lovable if slightly narcissistic person,

135. but who you really basically like

136. until she does this awful thing in this scene,

137. where essentially she kills her love interest to save herself.

138. Lindy! It's kind of the first reveal

139. of, like, what a monster she actually is.

140. She's rich, she's... vile, actually,

141. and sends that boy to his death.

142. Brilliant Callie, as Lindy Pepper-Bean, is literally

143. in every single moment of the entire episode.

144. So it's unusual to hand over

145. not just a guest lead role, but the lead of the show.

146. Action.

147. I'm going to get eaten.

148. I'd never seen a Doctor Who episode

149. that didn't really feature the Doctor in the way that this doesn't.

150. It felt, like, almost like a little feature film.

151. It's not the first time an episode has been led by someone other

152. than the Doctor or the companion.

153. I think someone told me that no-one has led a Doctor Who episode

154. since Carey Mulligan.

155. So, I mean, if that works out, that would be nice.

156. Who are you?

157. I'm a time traveller.

158. In 2007, Carey Mulligan starred

159. as Sally Sparrow in Blink,

160. a Doctor-lite episode that also saw the first appearance

161. of the terrifying Weeping Angels.

162. You keep looking at this one. Don't blink.

163. Remember what he said. Don't even blink.

164. The role of Sally helped propel Carey Mulligan

165. to Hollywood superstardom.

166. So no pressure, Callie.

167. And what better place for Lindy to hide in plain sight

168. than party city Finetime?

169. Finetime is kind of like...

170. it's Love Island for the rich of the home world.

171. They go there, they do a couple of hours' work in data processing,

172. then they party all day long.

173. Who are you?

174. My name's Ruby Sunday. Hi.

175. You're not on my friends list.

176. It really reminded me of Black Mirror, Finetime.

177. It's so weird, innit, cos that is probably

178. what the future's going to turn out to be.

179. And I think Russell has a knack for that.

180. He does predict the future quite a lot.

181. Dot.

182. And Bubble.

183. The Dot is their form of social media.

184. It's a little hovering dot that projects

185. all the friends and all the family

186. and all the faces of people in a literal bubble around you.

187. So they are living in a bubble.

188. It's like a metaphor.

189. Art imitates life, doesn't it?

190. You know, the perils of social media and what it can do

191. to people in the real world is very much...

192. Yeah, you see that on screen.

193. That whole episode shows the base of the human condition

194. and how easy it is to get there.

195. Oh, it's so unfair. Now we have to work.

196. Finetime never told us how boring it would be.

197. It's a visual way of sort of showing, I think,

198. where we're heading in society.

199. It's not just having a close friends list,

200. it's living in your close friends list

201. and allowing no different points of view into your circle.

202. Oh, you're no fun.

203. It's exploring that. It's exploring how that blinds you to the world.

204. In Doctor Who fashion, that metaphor literally becomes a monster

205. that you can't see, right next to you, eating you up.

206. But beyond that, it's about the society

207. that's formed on Finetime.

208. The end of the episode shows you

209. exactly what kind of world you're in.

210. So if the Dot and Bubble is our future, would you want one?

211. Absolutely not. It's terrifying. It's going to kill me.

212. For a day, or a week.

213. Yeah. Just for the fun of it.

214. Give it a go, for sure.

215. But I don't think I'd want that all day every day.

216. I think I'd get too consumed. You'd get tunnel vision.

217. I get quite claustrophobic.

218. So I feel really stressed out with all this.

219. It does take a lot of the decisions for you. It does make life easier.

220. No, I can just about get away with, like, a sat nav. Yeah.

221. You're not selling the Dots for anyone here. No, no.

222. I don't think anyone should get a Dot.

223. I do love my phone, don't get me wrong, I'm not one of them.

224. But I wouldn't want a Dot that would kill me.

225. Absolutely not.

226. I can barely handle Instagram.

227. Don't even get me started on TikTok.

228. Still to come on Doctor Unleashed,

229. I try not to be sluggish on my work experience...

230. Ooh, hello. Ooh! It's quite slippery there, isn't it?

231. .. the cast and crew bust out their best moves.

232. .. and spoilers - we've got an exclusive clip

233. from the next episode of Doctor Who.

234. But first...

235. From the Krynoids to the Reapers to the Vashta Nerada,

236. there have always been Doctor Who creatures

237. who like to make a meal of things.

238. But never has there been a more gloopy, slurpy or gnarly eater

239. than the man-traps.

240. Help!

241. Dreamt up and sketched

242. by Russell T Davies,

243. Millennium Effects were tasked with

244. bringing these psycho slugs to life.

245. I think the man-traps are probably

246. the most classic Doctor Who monster there is in the new series.

247. There's been a lot of those kind of things in Doctor Who

248. over the years, so there's already a kind of language to them

249. that you're going with.

250. It's very exciting to get a new design for a Doctor Who Monster.

251. I love handing these things over to Neill Gorton and the team

252. and they add the tentacles and the claws,

253. and the fun about this has been saying, "More gunge!

254. "Wet them, wet them, wet them."

255. So they're dripping and vile. Disgusting.

256. Marvellous.

257. That's what a Doctor Who monster should be.

258. But before the gunge,

259. Neill and his team had to make the man-traps.

260. All of this was hand-sculpted by the team.

261. I think it took about a week, a week and a half. So all of this

262. was like clay-sculpted, you know, carved-in texture, detail.

263. I know it's weird,

264. but can I... can I touch it?

265. Yeah, yeah. Feel free. I don't want to...

266. There may be some sticky parts.

267. So just avoid where... That's fine. .. where Darren's working.

268. Oh. Ooh...

269. It feels how I think it would feel.

270. Oh, yeah? How's that? It feels alien and fleshy.

271. You know?

272. The man-traps have been built using foam latex panels

273. that are glued together to create the seven-foot creature.

274. It's a painstaking process.

275. And why do it when lots of the detail

276. will be replaced with computer-generated VFX?

277. A lot of our work is, you know, collaborating with VFX.

278. Even if you're going to do something CGI,

279. very often we'll build a physical thing that people can interact with.

280. It just makes it easier for actors to deliver a performance

281. if there's something in front of them

282. that looks like the character they're meant to be playing against.

283. Six weeks later, a prototype man-trap

284. with three puppeteers inside it is ready for its first taste test.

285. Three, two, one, coming in.

286. And... close.

287. Go on, push. Push.

288. Keep it going. Keep it going.

289. So today we have a camera test for the man-trap.

290. Go on, more. Squeeze.

291. So we're just testing everything out.

292. I think there's a lot of discussions being had.

293. We are looking at how it works, how it moves.

294. We're basically thinking about how it eats people at the moment.

295. I've basically got everyone else to be eaten and not me.

296. It looked really good that we just get that life

297. in the... let's say fingertips.

298. I'm here for the movement and to co-ordinate the puppeteers.

299. I have a crew radio and they've got an open radio inside,

300. so they can just hear me talking.

301. But who are the men inside this mollusc?

302. How are you all? We're good.

303. We're good. You just caught us. We just got out of the man-trap.

304. Yeah. How was the...? How's your lower back?

305. Is it your lower back?

306. What part of your body hurts in there?

307. You're all really strong.

308. It is lower back, actually. Yeah. Is it? Yeah.

309. Recognise any of these guys?

310. Hiya!

311. They featured in the Christmas episode

312. of Unleashed, operating the Goblin King.

313. Roar!

314. But this is actually the first time I've met them,

315. as we filmed this episode a month before the Christmas special.

316. You with me? It's that timey-wimey stuff again.

317. Which bit are you doing?

318. I'm stood in front. Yeah.

319. And I've got, I'm controlling the upper fingers.

320. Yeah. I'm doing the head movement

321. and I've also got the throat in my teeth,

322. and I'm puppeteering the throat with my head. Wow!

323. Kind of doing that.

324. I'm in between the two of them.

325. Yeah. So I'm using my legs

326. to help close the big... the big flaps that open and close.

327. So it's your legs that's doing that work?

328. It's my legs and then I'm using my hands

329. to control the lower tentacles.

330. I'm in the back here.

331. I'm actually in the tail, so I get to lie down on this job.

332. Oh, so he's got the easy bit, then!

333. Whoa!

334. But the very technical one. Yeah, yeah. Ah, right.

335. So I've got a couple of hand controls in there

336. which I've got these touchy-feely tentacles at the front.

337. Yeah. It's a cable mechanism

338. that runs all the way through the man-trap. Yeah.

339. What's the hardest bit of it, of it all, would you say?

340. Coordinating all three of us. So it feels like it's one creature.

341. Yeah, exactly. Yeah. Yes.

342. So we have a movement coordinator outside who's giving us the feedback

343. of what's happening and what the director wants

344. in order to fine-tune the performance. Yeah.

345. And we have monitors, so we can see what the camera sees

346. so we can fine-tune our performance that way as well.

347. How often do you have three of you crammed up together like this?

348. Quite often. We get quite cosy.

349. I was going to say, you must know each other pretty well by now!

350. Very well. Yeah, intimately, one might say. Yeah.

351. The puppeteered man-trap was used on set throughout

352. and the digital magic was added in post-production

353. by VFX specialists Automatik.

354. So ultimately we, we had one that would do the work to be there,

355. to stand there. But some of the kind of eating of the humans

356. was really, really hard, because we would have had to make

357. about three different man-traps to eat a human.

358. So we ended up making a kind of...

359. a digi-double, I suppose, a digital one.

360. As we were doing it, we were like,

361. "Well, let's try and bring those tentacles to life.

362. "Let's try and bring these kind of snaky, kind of awful things

363. "inside this the belly of the slug, the belly of the man-trap."

364. You know, we did quite a lot of kind of overlaying

365. to just bring other elements of them to life.

366. I'm still... I watch it and I'm utterly amazed that we made...

367. I think it's amazing and I'm so excited by it.

368. And I think it was one of those really complicated...

369. In itself, when you watch it,

370. you probably may not think how complicated it was,

371. but it was a very complicated episode to make.

372. Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini by Bombalurina

373. None of the people we see popping up inside Lindy's bubble

374. are AI creations.

375. Every single face and voice belongs to an actor or supporting artist,

376. and they were all filmed in a 48-hour flurry at Wolf Studios.

377. Hi there, Lindy! Such a super day!

378. We had two very fun days filming the screens.

379. Half of them were the cast and half of them were SAs who came in

380. and didn't know what they were putting themselves in for.

381. It turns out that woman was her sister! Ah!

382. One thing Russell was really keen on, which I think is very wise,

383. is that in Lindy's Bubble, in the kind of sea of faces,

384. we never see duplicates.

385. The idea that there is like sort of hundreds or thousands of people

386. in this kind of bubble world.

387. And so we ended up filming with about 30 different SAs

388. who we put into two different costume looks and hair looks

389. to kind of make them look a little different, and to film them

390. we essentially had them all sit sort of side by side

391. against these coloured backdrops, and we had four or five, I think,

392. different cameras on them rolling simultaneously.

393. And we just had them kind of play out the lines

394. and bounce off each other.

395. What's it been like, being on the set of Doctor Who?

396. Unreal, to be honest with you. I mean, it's...

397. I'm just so excited, because Doctor Who

398. is genuinely my favourite show ever.

399. I mean, it's just awesome to be a part

400. of Doctor Who. It's like a dream come true.

401. It's just been such a laugh. Like, it's great, isn't it?

402. It's completely iconic.

403. Such an incredible crew. We're having such a good time.

404. For me, this is, like, really full circle,

405. because I was the biggest Doctor Who fan. Were you?

406. Actually, my dad sent me this photo of when...

407. Oh, my God, that is... I've got my sonic screwdriver. Oh, my God.

408. Wow. Look at that.

409. This is biggest fan.

410. That's amazing. That is brilliant. You look so cute. So...

411. OK. Brilliant work, guys. And now you've started to realise

412. that some of your friends are missing

413. and not on the Dot and Bubble system,

414. and you're starting to ask each other about it on action.

415. And action. Lindy? Hello?

416. We did lots of things with them. We gave them props.

417. We gave them emotions to play.

418. We danced around behind the cameras to get them to dance

419. and not feel awkward, cos it's incredibly awkward

420. dancing to Itsy Bitsy Teeny Weeny in front of a whole crew.

421. yellow polka dot bikini

422. she wanted to stay

423. And... cut there. Cut there! Cut!

424. Even with filming multiple characters at the same time

425. and having to deal with alphabetically selective slugs...

426. .. not everything was as simple as ABC.

427. What's been the biggest challenge, Dylan,

428. of bringing this episode in particular to life?

429. Working with the Bubble. Yeah, the Bubble.

430. Is it the Bubble? Yeah. It's got to be the Bubble.

431. Dot. And Bubble.

432. The concept of this episode is that Callie's character, Lindy,

433. lives in this kind of weird bubble at all times. Yeah.

434. That's completely done in CGI.

435. So we have to imagine the Bubble over her head with every single shot

436. and try and shoot frames that will kind of work for that,

437. the effects element that we're going to bring in later. Yeah.

438. So we're kind of guessing all the time,

439. and who knows if it's going to work?

440. That's always a good place to be, isn't it? "I think this works."

441. It's the longest stage directions I've ever had to write,

442. just describing how that bubble works and what the screens do.

443. Forward. Forward. Forward.

444. I actually sent that script in with some drawings

445. saying, "This is what I mean,

446. "just in case it's not clear on the page,"

447. and showing the screen is just turning around someone's head.

448. Amazing. We're just going to bring in the Bubble.

449. Bubble coming in.

450. Why have you got a bowl?

451. So we call this the Bubble.

452. We put this around the actor. Yeah.

453. When you need a Bubble reference

454. to see the positioning of the actual Bubble within the edit.

455. So all these, like, little squares?

456. These are basically... They're the screens. Different screens, right?

457. So when, for example, we need a Bubble reference,

458. we position it accurately... Just on the head.

459. Yeah, just on the head.

460. And then, you know, kind of like that

461. depending on where we need the actual Bubble reference.

462. So is this really important for you to get right?

463. Because that must be a nightmare to try and make that work in VFX.

464. 100%. It's a...

465. I mean, as accurate as you can get it...

466. Yeah. .. would be great. Thank you.

467. And it's not just the camera ops and VFX

468. that have to consider the Bubble. Spare a thought for Callie,

469. who spends most of the episode inside it.

470. The hardest thing was the eyelines,

471. cos constantly my eyes will be flickering, like,

472. from left to right, up and down, in between, talking to everyone,

473. when I'm actually just talking to

474. someone reading the lines on the side.

475. Hi there, Lindy! It's such a super day.

476. You look so good, baby.

477. Oh, Cooper, you're so kind.

478. Today, we have been filming Lindy's morning routine in her apartment,

479. so we've been waking up,

480. and then the Bubble has been leading us into the bathroom.

481. They wanted the effect of having the camera drag,

482. but without any movement, so I was harnessed into the dolly

483. and then I just had to move my legs.

484. I mean, if you've got any footage of it, I look ridiculous.

485. But it was very fun. I got harnessed in.

486. I felt like I was like Christina Aguilera in a music video.

487. But what about the brains of the operation?

488. I'm expecting something ground-breaking

489. to bring the Dot to life.

490. This is the Dot.

491. I was expecting something like sophisticated, sci-fi...

492. Hey, hey. Who says this is not sophisticated?

493. A little bit of tape on that... It's just sellotape

494. and a smiley yellow face.

495. It's cute! It is cute, I'll give you that.

496. Three, two, one, attack.

497. So there's a really exciting scene where Lindy and Ricky

498. are attacked by Lindy's Dot,

499. which is this small device which kind of projects her Bubble.

500. And attack!

501. As with lots of the VFX in the episode,

502. we couldn't obviously do anything physically in camera.

503. It was all kind of make-believe and imaginary.

504. We've been rehearsing with a stick.

505. The stunts, they just run around with a stick,

506. and then we take out the stick

507. and then we literally have to stare into space for the Dot.

508. It's quite hard, isn't it?

509. It looks a bit weird, it's a bit mad

510. if you kind of don't know what's going on.

511. Just, like, running after

512. or running away from nothing and whacking nothing. Yeah.

513. Doctor Who has always prided itself on keeping its creatures

514. and monsters as real as possible.

515. Characters like the Meep, the Wrarth Warriors,

516. the Goblin King, the goblins,

517. the Bogeyman and the man-traps

518. are physical entities you can touch and feel.

519. What the hell?

520. They're enhanced by the effects, not built entirely on computers.

521. On the set of Doctor Who,

522. there's a VFX team that helps smooth the transition

523. from what gets shot on camera to what ends up on the screen.

524. So for this week's work experience, I'm going to find out

525. exactly what it takes to be a VFX assistant.

526. You might have spotted Sarah throughout this series

527. with what looks like a giant lollipop and a paint samples chart.

528. Sarah is part of a wider VFX team

529. who are integral to bringing Doctor Who's weird worlds

530. and crazy creatures to life.

531. Can I ask you why you go around holding silver balls? Well...

532. OK. So basically, obviously,

533. you'll notice there's a silver side and there's a matte-grey side. Yeah.

534. Right. There's the silver side.

535. There's the matte-grey side. There you go.

536. I'm a fast learner, aren't I? Yeah, you are, you are, you're great.

537. An essential part of a VFX assistant's toolkit,

538. these shiny balls allow them to create a map of the light sources.

539. Keep rolling. Get the silver balls in.

540. Then during post-production, the VFX artists can use that information

541. to convincingly light CGI effects

542. to look like they're a natural part of the scene.

543. So you will see, from the silver side,

544. you will see where all the light sources are coming from. Right.

545. And then obviously on the grey side,

546. that shows you the intensity of that.

547. So when it comes to the post-production of it,

548. it's... You can align it to match the elements.

549. This. Why do you have...? OK.

550. Are you thinking of painting your room or...?

551. Yeah, yeah, just pick and choose your colour.

552. No, this is just a general colour chart

553. so when it does come to the edit

554. you can align it to the creature as well.

555. So people will be watching this, thinking,

556. "I'd love to get into visual effects work." Right.

557. How did you end up on the set of Doctor Who?

558. So I actually started off as a cast PA

559. for Bernard Cribbins, who plays Wilf. Yeah.

560. And then they asked me to be a runner

561. for the VFX team for a day. Yeah.

562. From that, I became a VFX assistant.

563. Yeah. So your story kind of

564. is an example of someone of someone that just...

565. Get your foot in the door... Yeah. .. start working on set,

566. getting to know people, figuring out what you like,

567. and then here you are. I think that's the thing.

568. I think you just have to get on to set somehow, some way.

569. Then you get... you have the chance to talk to different people

570. and talk to the right people as well. And you never know.

571. There's always an opportunity. Right. Yeah.

572. Balls and charts, Sarah, please.

573. As with all the jobs on set, Sarah needs to be alert

574. to the instant her skills are required. Me?

575. Sorry. Soz.

576. I just get in the way.

577. Thank you. Thank you very much. Next shot.

578. Oh, there you are.

579. You were like an action hero then, sprung out.

580. So when you get the call to go and stand in front of the camera,

581. what are you doing with the ball?

582. Well, so you'd hold up the chart,

583. and then, with the ball, you'd spin it,

584. like, you have to have some sort of, like, rotational movement

585. so you can see both sides. Yeah. Like that? That's it.

586. Easy. Fun. But I like to, like...

587. Oh, you give it a spin. Yeah.

588. Oh, tekkers. You know what I mean?

589. What happens if you drop it? That'd be embarrassing, wouldn't it?

590. Um... very embarrassing.

591. OK, time for me to be Mini Sarah.

592. OK, balls and charts, please.

593. Lovely gunk.

594. And one from another angle.

595. Not awkward at all.

596. Thank you very much.

597. Thank you. Ooh, hello. Ooh! It's quite slippery, isn't it? Ooh.

598. Good job.

599. My heart's actually going really fast,

600. cos it's quite a lot of cache, like,

601. you know, those cameras are big and there's a big monster there.

602. Anyway. That's funny. Coming for your job, Sarah.

603. No. Please no.

604. Next time on Doctor Who...