Teleporting in... welcome to Federation Strike: A Journey Through Blake's 7!

Pressure Point really cranks up the tension as Blake hatches a daring plan to strike at the heart of the Federation. The infighting between Servalan and Travis adds a delicious layer of backstabbing and power struggles that is performed so beautifully.

We chat about the performances, especially Gareth Thomas, bringing some real depth to Blake this time around. It’s a well-crafted story that balances action with emotional weight, showcasing the series’ knack for character-driven storytelling.

So grab your headphones, kick back, and join us as we dissect all the twists and turns in this gripping episode of Blake's 7.

We're teleporting out for now! Thanks for listening, and don't forget to follow and subscribe on your preferred podcast app so you never miss an episode.

You can also join the conversation and stay updated by following us on Twitter/X and Bluesky. We'd love to hear your thoughts and theories!

Join us next time as we continue our journey through the universe of Blake’s 7.

Hello there and welcome to Federation Strike: A Journey Through Blake's 7. My name's Garry.

My name's Adam.

And welcome back to another episode in our review of series B, the episode Pressure Point. Singing along as always. Thank you, Dudley. Right, we're back for another episode.

Thank you very much for joining us as we journey through series B of Blake's 7. And we're on episode was this. Five.

Five.

Five. Yeah. Pressure Points. Thank you very much for checking out last week, if you did. So when we put out our review of Horizon and, yeah, we.

Well, we liked it better than Weapon, put it that way. Slightly better than Weapon. We'll see where we go with this week with Pressure Point. We're back to Blake forging big plans against the Federation.

And it all gets a little bit messy as we've got some infighting with Servalin and Travis and some. Some underhandedness going on and some power struggles, etc. It all kicks off in this episode, so we'll see where we get to with that one.

How have you been this week, bud? You've been looking forward to more Blake?

Yeah, I've kind of been looking forward to this episode, seeing what you think of it. Obviously, things happen.

I said to you last week, careful of reading any spoilers for this one, because, well, as you know by now, and if you don't know, Lister, switch off immediately.

As you will have known by now, we do lose poor old Olagan this week, crushed by a piece of polystyrene door, which is, you know, a really bad way to go. So, yeah, I've been looking forward to this one, mate.

It feels like we're not quite halfway through series B yet, but it kind of feels like a halfway point. I think, like you said, Blake's had enough. He's been, you know, gathering information, ready to, you know, make a strike and get to control.

So I think so it's. It's a good episode in that sense that, you know, it takes us back to Blake wanting to get back at the Federation and old Terry's back in the chair.

Terry Nation has come back for this one. Come on, Terry, come back from Spain and write an episode, you know, is your show all right, then?

So he comes back and he's back behind the writing pen on this one, which is good to see. So be interesting. I'm just going to be very interested to hear your thoughts on this week's episode. Mate, I have only watched it the once.

Sadly, I was a little bit pressed for time. Anyone who's been listening to the pod will know.

We like to watch it once with the original effects and then maybe a second time with the new effects. Just to get a feel for what's going on there. I just didn't get a chance this week, so it's just the original effects for me.

You'll have to let me know how you watched it this week, mate.

Yes, I watched it the once through, as I normally would do. Apart from last week though. Was it last week? The week before gave a little insight into my.

Into my preference for that particular episode where I just went straight in with the new effects through Caution to the Wind and did that. But this week, no, I watched it through with. In purist mode, original effects and everything. And then I do what I sometimes do. If.

So once I've watched it through on purist mode and I think actually there's not very many effects in this episode really. I'll go back and flick over the special effects in the menu and then I'll just skip.

I'll just skip to the bits where, you know, there's like teleportation stuff going on or anything with the Liberator or. Yeah, any space stuff, that sort of thing. So on this particular episode there wasn't that many effects, to be honest with you.

It's all kind of boots on the ground, if that makes sense. You know, it's a lot of location work, a lot of physical stuff going on. Yeah, there just wasn't. There wasn't anything.

So I went back and watched some of the newer effects and yeah, it's very light. We didn't have to do much really. There's a couple of sort of establishing shots where you see. They do this quite frequently.

We just see the Liberator in orbit in this episode. It's in orbit around Earth. The teleportation effects obviously are slightly more snazzy and. Yeah, and that's. That's pretty much it. There's.

I can't think of much else to be honest with you. There's a couple of. Yeah, I mean the teleportation effects are quite snazzy in this one.

They did this thing where when Villa and Avon teleport down, they've got like a sort of Star Trek y sort of light stream, glittery effect going on and. And that sort of thing. And that's it really. Bud. There's a. Not much going on with visual effects on this one.

No, I'll be honest with you. As I was watching it, I did think that.

I thought, well, even if I have had Rewatch it with the new effects, I can't imagine as much they needed to replace. It's not very heavy on special effects.

I did wonder though, if they had replaced early on in the episode, you know, those two guys get blown to pieces and they're very clearly replaced with two shop dummies. I did wonder if they'd sort of put an effect over that to maybe cover it a little bit more to make it less obvious.

But that's the only thing really, I could think even needed a bit of a touch. There is not much at all in this one.

Yeah, no, there wasn't really those. In that scene at the beginning with those two guys, there's like, as a shot that makes the complex look a lot bigger.

Oh, is there? Oh, interesting.

Okay, it's only a very quick, like half a second shot. So in the original one, it's. It's zoomed out quite a bit and it just looks like, you know, a little.

A little concrete pillbox off in the field somewhere. Whereas this very quick shot, it's like quite a big, big concrete tower and stuff like that. So.

Well, it's an episode I've watched quite a lot, you see as well. So, I mean, sometimes if it's an episode, I haven't reached for that often.

Sometimes it's quite nice for me to give it a second watch just to sort of get it, get into it a bit more to see maybe.

Why, it's one that perhaps I don't enjoy much or don't reach for, but I think with this one, I have watched this quite a few times over the years, so I kind of know it quite well and. Yeah, so. But it was more of a time thing, mate. I mean, I. I can watch even a bad. I say bad there. Are there any really bad episodes? I don't know.

I can watch a lesser good episode of Blake's 7, you know, again and again, mate. I don't think there's any episode that I would really skip over. There might be. We'll see.

But by the time we get to series D, maybe there is one or two, but not many. I mean, that's not to say they're all classics, but as I said, even a bad or.

Or below par episode I'm quite happy to re watch, but just didn't get time this week. The old clock was against me, unfortunately.

No, I read you. But there was just very quickly, before we.

Before we crack on, there was one scene that they inserted completely new that wasn't in the purest version. Oh, and that is later on in the episode when they've, they've, you know, when they escape.

So Jenna turns up hold Serverland at gunpoint and they, you know, serverland's like, you know, release them sort of thing and they escape. Before that you don't know who has come to save them. There's a scene where Servalin.

Oh yeah.

Sees the door open and you just hear her say, who are you? And then it cuts to.

Very odd, isn't it, that scene.

Yeah. What they've done is they've added a scene before that which shows Jenna teleporting down into the complex.

Oh, okay. That's interesting.

Yeah. And you can tell it's a digital shot the way they've done it and so on. So again, it's only like, you know, two second thing.

But yeah, it just, I think they just try to add to the continuity a little bit and. Yeah. But otherwise not much else going on. Visual effects wise.

Yeah. I will give it another watch at some point. If you can hear a buzzing, it's not Aurak joining me in the in the studio listener, it's my cat.

Has decided to come up by the microphone as close as he can get and start purring. Really Lo.

So I don't know if it's picking that up, but he's, he's obviously very happy and wants to be part of the Blake's 7 podcast and who can blame him? But yeah, he's, he's causing a bit of difficulty my ends. If the mic suddenly bangs and drops over, you know what's happened.

The more the merrier. Yeah. The Federation strike Cat is here is welcome.

Yeah.

Okay, let's get on with our review then. So buddy, this week on Federation strike, what are we doing?

So yeah, episode five, pressure point.

If we succeed, if we destroy Control, the Federation will be at its weakest. It will be more vulnerable than it has been for centuries. The revolt in the outer worlds will grow.

The resistance movements on Earth will launch an all out attack to destroy the Federation. They will need unifying. They will need leader. You will be the natural choice.

Possibly.

Don't be modest, Blake. You are the only one that they would all follow. You would have no choice. You would have to stay on Earth and organize the revolt.

If there's no other way.

There wouldn't be.

That still doesn't explain why you're backing me.

With you running the campaign on Earth. Somebody has to take charge of all this.

You want the Liberator.

Exactly. If we succeed, the destruction of Control gives us both what we Want.

Could be you're planning just a little far ahead.

Perhaps, but sooner or later, I will have my chance.

Yes. Pressure Point. We're episode five, the almost the halfway point through series B.

It was written by, as you mentioned earlier, Terry Nation, who is back to pen the script for this one, directed by George Spent and Foster and overseen by script editor Chris Brown Boucher.

The synopsis for this one off the old VHS is it's the ultimate challenge to go back to Earth and destroy control the Federation's computer nerve center. Blake is determined. The rewards are high. But with Sav Bl. But with Serverland and Travis lying in wait, the risks are appalling.

Appalling.

Appalling.

Yeah. Right.

That's the back in the VHS days.

Yeah, Good days.

Good days, yeah. So, pressure point, dude, what were your thoughts on? So you said you've watched this one quite a few times now.

Has it got better or worse this time that you've watched it for this review?

Yeah, this is an episode I like.

I think this is one of the ones that perhaps when I was sort of early days of getting into Blake's 7, that kind of stuck with me because I loved this idea of. Of Blake finally, you know, going in for a strike and like, yes, let's go and get them.

And then the idea of this empty room, you know, being sort of made in. Made out to be something amazing, all by word of mouth. And yes, of course, we've put it out there to drag people here. I just love the concept of it.

And scenes have stayed with me.

You know, there are scenes, if I think of this episode, I think of server land in a white hat, you know, torturing poor old Casabi and all that sort of stuff. I don't know. I just think there's a lot of good moments in this episode, and it's one that I really like and it feels pivotal.

You know, it's Blake thinking he's finally gonna get one over on the Federation, and of course he doesn't. So, yeah, it's. I think it's a good episode. I'm hoping that you enjoyed it. It's one that I've sort of been looking forward to getting to.

And obviously it does stick in my mind as well because I was genuinely surprised that we lost Gan. I mean, I can't remember the first time watching this, but I do sort of remember being, oh, is he actually dead?

You know, are they actually killing off a main character? You know, because I would have been quite young when I first saw this. So there's a sort of hazy memory of being surprised that Gan was actually dead.

I thought maybe he'd wake up on the Liberator in. In the Liberator hospital room, you know, in one of those funny beds and be fine. But no, he's actually killed off, you know, so, yeah, it's.

For me, it's a quite a memorable episode for a couple of reasons. I don't think it's like the bestest, bestest ever episode of Blake's 7, but I think it's a strong one. I like it. What about you, mate?

What did you think? I just would imagine the start of it. You were like, here we go. Blake's. Blake's fired up. Let's, let's. Let's do this.

That's what I was imagining while watching it, because I know that you love it when Blake goes after the Federation. So I was imagining you getting a little pumped at the start of this episode. I was hoping the rest of it drew you in. What did you think of it?

I thought this was a really good episode. Yeah, really like this one. It was. And you're right at the beginning when Blake is. I will say we'll come on to this in a little bit around Blake's.

The way he went about some things in this episode. But he was. He was up for it. You know, he's. He's. And Gareth Thomas gave a really good performance in this one. You saw a bit more range from.

From him in this because, not to say that his performances were flat or. Or mediocre before, but you kind of had two modes really, with. With Gareth Thomas, for the most part. Don't you have a. You know, you have sort of.

I wouldn't say chilled and relaxed, but you have just sort of, you know, your normal mode where he's. There's not much emotion going on, or you have shouty, shouty Blake. Whereas in this one we had despair.

We had despaired Blake, we had upset Blake, we had tired Blake, we had shouty Blake, we had underhanded, scheming Blake. We had funny Blake as well. Yeah, in a couple of moments. So, yeah, it was a. It was a good episode for Gareth Thomas. And.

And just the overall storyline, it was really cool to see the. The progression. And that mirrored infighting between the both sides. So you've got this heightened tension between Servalin and Travis.

Travis is still on this stubborn sort of personal mission to take out Blake, which sort of rubs up against what Serverland's trying to do. Whereas, you know, he's focused on Blake, whereas she's looking at the bigger picture for the Federation.

So sort of their motives, while similar, you know, she. They're sort of coming at things from a different angle. So there's a bit of tension there, which is great to see on screen.

And then that's mirrored by Blake and Avon on that side where you've still got that, you know, Avon accusing Blake of taking unnecessary risks, which in this case actually comes, you know, his, you know, Avon's worry about everything and his apprehensiveness to get involved in this particular mission does actually, you know, turns out to be true, unfortunately, in a way, you know, Blake has taken a massive risk and it's hasn't paid off in this case. So you've got that friction on there as well. So, yeah, it was really, really cool to see. To see both sides, you know, Blake and the.

And the freedom fighters up again, you know, trying to. And this episode sort of really personifies the title of this podcast really nicely as well. You know, it was.

It was Blake once again taking an opportunity to strike at the Federation at, you know, in this case, the. The sort of mother master control system and their computer complex and everything. And it's just the.

The temptation was just too much for Blake to resist. Yeah, I just love the fact that he would never have got away with it if he just went to the, to the crew and said, look, this is what I want to do.

They would have shot him down in flames. So the fact that he's on the.

On the down low, contacted this contact, this resistance group, you know, and Casabi and those guys, the fact that he's contacted her already without them knowing and has sort of set this all up because he knows he wouldn't have got away with it if it said to him, you know, so some really good stuff and it makes some really, really good plot points and some great performances and some really good scenes. And ultimately, as you said, losing. Losing Gan at the end, there it was. I did not see it coming and I, I heeded your warning as well. Last week.

I stayed away from reading up on. On the app and all that. So, yeah, it was a. It was a shock, I'll be honest with you.

Yeah, I didn't want you to see that, you know, that we lost Gan this week. I was hoping you'd get through the episode and, and it would be a surprise and that probably a bit like me when I first saw it.

You were thinking, no, Is he really dead that. Oh, no, he is. Because Blake actually very bluntly says as they're going up the stairs, doesn't he? Where's Gan? Gan's dead. He's very deadpan about it.

It's like, oh, right, okay. So it's kind of telling the crew as much as the audience as well. No, he's. He's dead. That's. He's not coming back.

So, yeah, I was hoping that'd be a surprise. I'll tell you one thing. You.

You asked if this episode had got better or worse as I watched over the years, and I, I think it's a consistently good episode. I've always enjoyed it.

I, I did appreciate the layers of it watching it again last night because there's a lovely scene between Blake and Avon where they almost start to become really friendly. They're laughing and then it.

It turns very quickly when Blake realizes that Avon's hoping that, you know, Blake will succeed, but not because of, you know, Blake's mission, but because he wants rid of him. And that. The tone shift in that. That discussion between the two of them is superb. It's such a lovely scene.

And yeah, it just made me appreciate the layers of the script, mate that Avon is forever calculating, forever plotting for the moment when he just gets to. Gets his prize, if you like, he gets the Liberator. He gets rid of Blake. You know, it's not that he hates Blake.

He just wants Blake to do his thing and go. And I just thought it's a, you know, a really good moment in the script when they were just sat down talking to each other and. Yeah, and.

And I think the fact that Avon wanted Blake to win this particular mission, and I think that's the reason that Blake, That Avon keeps supporting him in his plan is because.

No, he really wants this to work for Blake so that he will go off and be a, you know, a freedom fighter and Avon can finally get the Liberator and go off and do his thing. So nice little bit in the script there, you know, to show that Avon still thinking of himself, but he'll.

He'll help out, but is really just because he wants to do it for his own benefits, really, not because he wants Blake to succeed or he particularly cares that much about the crew. He just, as I said, he's just looking forward. What if Blake does that? I can do this. Blah, blah, blah. It's all about him.

Yeah, exactly. That was a really cool scene as well. And I agree with you as well. It's.

It starts Off a little bit ropey as, as in, it's like, okay, these two are going to start bickering again. And then like you said, it's, it turns into them having a little laugh and a giggle.

It's got that kind of falseness to it, but just enough to, to keep it civil. You know, it's Blake's. It's funny because those two are, they've, they've both got a good handle on what the other one is thinking.

Yeah.

You know, and what the other one's motives are for things. So it was very cool to see Avon. Very cool as usual. And collectively just, he's already got the, like, the plan. Like, he's, he's in his head.

He's able to fast forward time and consider all the variables and everything and then come back and formulate a plan in his head before the conversations even finish with Blake. So he's very cool and collected.

So he's like, okay, you go off and do your thing, you stay on Earth, because that'll be a good base way once you take out control. You can then stay on Earth, can't you? Because you'll be great at that. Because they'll.

Look, they're going to need somebody to lead the rest of the resistance fight against the Federation, and they'll probably turn to you to do that. You're the natural leader. And he's like, yeah, possibly. He's like, no, no, you'll be great. So you, you stay down there on Earth. And then.

Oh, God, I guess that leaves just me to, to take the Liberator. I guess. I mean, yeah, I love the fact.

He doesn't think any of the other crew are gonna, like, you know, he'd probably shoot them, wouldn't he be like, if anyone even tries to take this away from me. But, yeah, but I feel like that's, that's the reason he supports Blake in this as well. Even when everything's going wrong, you know, he.

Because there's that lovely scene as well where Blake won't answer his question and Villa's getting all nervous. He's like, he didn't answer you. He didn't answer you. And you think, well, normally Avon would be like, well, I'm not doing it.

But he carries on with Blake's plan. And I think, yes, because he's thinking, look, we've, we've got this far.

I really want this to work so that Blake will go, you know, otherwise I don't think he would have carried on in, in, in with the plan. So but that again, that's a great scene, isn't it? Villa getting all nervy and why isn't he answering your question? Avon knows, why doesn't.

He's thinking, oh, it's all fell to pieces as usual. I'm gonna have to go in and save the day.

Yeah. Do you know what, dude? In the. After I'd watched the episode and I researched it a bit, Terry Nation's original idea was to kill off Villa.

Yeah.

Not Gan.

Yes, I've, I've heard this over the years that. Yeah, I mean, I always think that's shocking that, you know, when Terry was.

Whoever decided whether it's Terry Nation himself or the producers, whatever was saying, you know, too many crew then, you know, we're finding it difficult to write things for them to do every week and one of them's got to go that he thought Villa was the first sort of choice. So I'm so glad he didn't know, mate. I mean, bless old Gan.

I have to say, ever since the series be started, I've been noticing more and more he's just had nothing to do. I mean, he does seem like the natural person out of all of them to get rid of, sadly.

And it's not that I don't like the character, I do, but you know, they gave him the limiter and did pretty much nothing with it apart from that one episode. And yeah, a lot of this series so far he's just been in the background.

He gets a couple of nice scenes with Blake in this where he's kind of fighting his corner and trying to reason with Blake and all that sort of stuff and he gets to bash down the door and set them free. So he gets a couple of nice moments in this story.

But yeah, it would have been, it would have been a very different show had they gone and got rid of Villa. I tell you, because I keep saying this, you've been loving moments with Villa, but they have been very short and far between.

We've got some lovely one liners from him so far, but I'm telling you, he really comes into his own as the series goes on and we get some great episodes of Villa and so yeah, I just to think that we may have been denied those and had Gan episodes. Not that I wouldn't have enjoyed them, they. They would not have worked as well. There's some great episodes with Avon and Villa coming up as well.

Maybe in the later series, I can't remember, but you know. Yeah, it just would have been the wrong choice, I feel if they'd have got rid of Villa, mate. Honestly.

Yeah, yeah, no, I agree. It was. Yeah. So Terry Nation. It was his. It was his plan, if you like, to. To. To say, why don't we get rid of Villa?

But it was Chris Boucher and David Maloney, one of the producers, was like, no, no, the Villa's too popular to get rid of. So they then moved down the list, and Terry Nation was like, okay, well, what about Cali? You know, let's.

Let's look at Callie and Gan as alternatives to Villa. And then Gan was ultimately chosen, I think, because where was it? Yeah, so they didn't want to leave Jenna as the only female regular. Okay.

So Callie was. Was left, and Gan drew the short straw.

I did wonder if someone had told Michael Keating he was going, though, and that he was going to be starring in the new Thunderbirds. Because that outfit they've given him is very Tracy island, isn't it? It's very Thunderbirds, that. It looks so uncomfortable as well.

That funny wraparound sleeve, whatever that thing is. It doesn't look comfortable in that outfit, I've got to say. Paul Darrow might have been able to carry it off. I don't know.

Yeah, I mean, talking of outfits, mate. Yeah, so we have Paul Darrow, once again, you know, wearing that very fetching burgundy, maroon, whatever you want to call it. Maroon. Is that a color?

No. Yeah, leather outfit. And it's hilarious to see him run in that outfit. You know the scene towards the end where they have to run across the.

The electrified laser mesh thing, which is essentially like a glorified, like, minefield, wasn't it? Yeah, there's a bit where they sort of shoot a path through it and I have to leg it.

Like, they've got eight seconds to get across this patch of field. And the way that Paul Darrow runs in that. In that leather suit is funny because there's not much movement in the shoulders and stuff like that. So.

Yeah, but talking of outfits, mate, serverland. In this one, she. There was a. There was two scenes that cracked me up, and I would have.

If I was watching this with you, we would have been cracking up laughing together. Near the beginning, when Casabi is making them, they're making their way through the woods.

Kasabi and the other resistance fighters, how did they not see Serval? And up on the hill, just about 30ft away in this dark wood, and she's wearing a bright white. All white dress with a massive white hat on.

She's just standing there watching them walk up, you Would have seen her from a mile away.

Yeah.

But they. Walking through the woods and. Yeah. And then towards the end, she loses the hat. She's just. Yeah, it's.

I can imagine back in the, back in the late 70s, early 80s, there would have been quite a few gentlemen, or women perhaps, well, both, that looked at that scene at the end and thought, jacqueline Pierce, eh? Alright, yeah. Glad I've started watching Blake's 7.

That dress at the end with the big. With the big bug. What is it? Is it like a lizard or.

It's a lizard, I think. Yeah.

Lizard hanging the dress together. I mean, the thing that cracks me up about that.

Do you know, this is so sad, but I was actually, because I watched this quite late last night before I went to bed and I was laid there thinking about what I was going to say about it on the podcast and I genuinely was laid in bed last night at midnight thinking, but when did she have time to change into the outfit? Because obviously the door opens, we don't see who it is, but we know it's Jenna and Callie.

Now have they walked in and she said, well, okay, I'll come with you as your prisoner, but I must just get changed into this dress first. I can't possibly go looking like this. You know, it just makes absolutely no sense.

And I know, as I said, it's sad to admit, but I was genuinely thinking about this last night when I went to bed. I thought, well, when. Why did she change? Because it's so random, isn't it?

She just walks in looking like, you know, glamorous in this crazy dress, which again, a bit like Paul Darrow. She manages to pull off outfits that a lot of people wouldn't be able to pull off, let's face it.

I mean, she looks fantastic in it, but it's got a giant silver bug in the middle of it. It's.

It's a lizard.

A lizard, yeah. It's crazy. But I mean, that's. But I love it for being so crazy.

I love it for just being so ridiculous, you know, and she's got a face like thunder, isn't she?

I mean, she's not happy, mate.

You know, there's no way that outfits overshadowing her performances. She is brilliant. Well, she's brilliant in every scene in this. I. I genuinely think she's superb in this episode.

But yeah, when she comes in in that dress looking like thunder at Travis, you think, oh, I wouldn't want to. I wouldn't want to be in that room at that moment.

Yeah, she did not look happy, mate.

No, I wouldn't have wanted to be Travis at that moment, mate, I tell you.

Not at all. No, she was. She's been kind of up and down with Travis, hasn't she, in the last couple of episodes that we've seen those two. And, yeah, it's.

She's really miffed that. Well, first of all, that he's not delivered anything.

You know, he's always banging on about, you know, I'm gonna take out Blake and we're gonna do this, and my plan's bulletproof, and don't worry, we've got it under control. And he hasn't delivered. So she's miffed at that. And then she's also miffed that she's having to deal with him. I think, just in the first place,.

I think she's losing patience with Travis. I like. I think he's gonna. He's becoming like the cat with nine lives, and he's got one life, one or two lives left. I think she's really. Yeah.

Running thin on patience. But I'll tell you what, mate, we were talking about, obviously, this is only the second episode you've seen with Brian Cow. Brian Croucher as Travis.

He's. I wonder. I wanted to ask you if he's growing on you.

I think he's okay. I certainly don't have any big complaints, put it that way. I think he's okay. I think Stephen just had more.

He had more intensity in his performances without having to say anything.

Yeah, he's definitely more measured in his performance, isn't he, Stephen? I'll tell you what, though.

The more I watch Brian as Travis, I think I find him more scary, if I'm being honest now, I. I don't really have a preference between the two. Travis's. I genuinely like both, but they are different. But I. I was thinking last night, he.

He comes across as a little bit more unhinged Brian Croucher. And I find his unpredictability more scary, if you know what I mean. Like, he is like a rabid dog at times. Like, I just. He is scary, I think. So. I.

He's. I wouldn't say he's grown on me because I like him, but, yeah, I think him and Jacqueline Pierce bounce off each other really, really nicely.

Yeah, there is. I agree with you. There is definitely an element of sort of craziness behind his eye, but he was good in this, though.

Brian Croucher, both him and Jacqueline Pierce were a good double act. This. This kind of two in and throwing. Flip flopping. You Know, on. On things, you know, is it. What do we do?

Because there's also this power struggle for the best way to handle things as well, which is really, really well written, which is like, okay, because, you know the bit where Serverland's like, well, that's it. Yeah, we're good to go. Just, you know, set that thing off. Blake comes down, you know, happy ever after, and it's Travis. It's like, no, no, no.

Because there'll be, like, an inc. You know, it's encoded. We need to do it the right way, you know, blah, blah, blah.

And then later on, when they find out that Blake's been captured, Travis is like, you know, I've got this sort of thing, and obviously, you know, messes up big time. But initially, he's like, yeah, I've got it. And that's. And then before that, there's another bit where Travis is like, okay, cool. You know, we'll.

We'll go and get them sorted out. We know with resistance fighters are in this point, because we got them on camera. We'll go. And Travis is like, yeah, I'll go and get them.

And Saveland's like, nope, Casabi's mine.

I love her reaction when she finds out it's Casabi. She's like, instantly, like, revenge is in her eyes. And there's a nice little backstory. I mean, it's only a couple of lines, isn't it?

But this little backstory between the two of them, there's a bit of history there. And she. You know, I like the line where she. Casabi, says, oh, I should have tried to help you.

It makes you think that maybe Serval and could have gone down a different road in life, although I very much doubt it. So that. That's a nice little backstory that's told very quickly. Just, you know, just in a couple of lines between the two characters.

And then, you know, Serval and is very sadistic in this. You know, when she. When she has Casab's daughter, the look on her face, like, what's she gonna do? You know, I mean, she's. She's actually. She.

She treads a fine line between being very nasty, but not. Not enough to make you dislike the character, if you know what I mean. Like, you. She is a villain that you love, isn't she?

You know, like, all great villains are. You know, you. You just. You just love the character. And she. She plays it so brilliantly, but she's. In some ways, she's nastier than Travis in this.

Like, when she gives Kasabi that extra dose to finish her off. And even Travis is, like, trying to stop her. You know, he's like, come on.

So, yeah, the dynamic between Serval and Travis, I think, is brilliant in this. You called him a double act. I think they almost are, because the way she sort of taps his hand away, you know, it's almost comedic.

But what's actually playing out on screen is very dark. So, you know, it works really, really well. I. I feel like I don't know how well the two actors knew each other before this.

Jacqueline Pearson and Brian Croucher. I don't know if they worked together before, but they seem to have seamlessly blended into working well together.

Like, I do think they're great when they're together on screen. Even when perhaps Brian sort of being a bit shouty, the two of them, she really brings him down a peg. She's still the one in control.

I mean, the bit at the end where he says, don't worry, they'll bury it. They'll dig us out eventually. And she says, yeah, and then I'm going to bury you. You think, oh, man, he's. He's going to get it.

They're just great together, I think. And, you know, considering it's still early days for him as Travis, I think they're working very well together.

Serval and Travis, the two actors, I mean.

Yeah, no, agreed. Yeah. They are good. They are good to watch. And you can see that her.

One of the cool things about Jacqueline Pierce's performance in this one was a bit like Gareth Thomas, who shows a bit of range in this one. Or more range than we normally see, should I say. We see that from her as well. We see a couple of moments from her when she's quite vulnerable.

It looks like definitely the. When she's talking to Casabi. And Casabi's, you know, like you said, she's.

She's thinking back to when they were both in the academy, it sounds like, yeah, and she was serval and instructor, and it was Serval and that reported Kasabi to the powers that be.

And then Casabi turns that around and she's like, well, you know, the only reason that you're here and you progress like you did is because of who you knew and your connections, not because of your abilities and. And all that stuff. And her face changes and it's like, oh, she's hit a nerve. And you think, what's gonna go on? So she's got that.

She has those couple of moments where Casabi is Just not in any way intimidated by her.

She knows her very well, even after all these years and, you know, she knows exactly what she's about and all that stuff and that, that doesn't sit well with, with serval energy. She doesn't like that. And then later on in the episode, Travis is.

Travis says to her, look, they're trapped in the bunker, but I need to get across the, you know, the, the electric. The minefield. Yeah, the booby, you know, it isn't. And she's like, no, I can't do it, I don't have the authority.

He's like, well, get on and get it sorted. Basically. I need to, I need to get this done. So she's like, oh, for God's sake, fine.

So when she comes back, she's like, right, I've got this all sorted out in 15 seconds exactly, it's going to be de electrified, you're good to go. But then she sort of finishes it off with. Just so you know, I've had to, you know, pull rank to sort of get this done.

But if you mess this up, it's both of our heads on the chopping block.

Yeah, yeah.

And she's. Yeah. And she doesn't say it with that, with any kind of ferocity. She's just very quietly, like, you hear what I'm saying?

Like, if you mess this up, then you know, it's game over. So, yeah, there was. Her performance was great in this.

There was the usual sort of scheming, you know, even though she's doing a bad thing, she's grinning about it and you know, that typical serverland thing.

But yeah, you also saw these moments where you thought, ah, she really is feeling it and up against it and especially at the end as we, you know, we just spoke about where she's having a right old pop at Travis. She gave him a good back. She's got good right hander as well.

Really. I was thinking, did she really slap him there? Because it, it certainly looks and sounds like a proper slap that she gives him.

I reckon so, yeah, I wasn't able to find any notes on that. There probably is some sort of rehearsal notes or some onset notes about this. Maybe one of those really lovely books from.

Who's the guys that do those? Really nice.

Oh yeah, the Making of Blake's Own Books. Cult Edge.

Yes. There might be some notes about this in, in there. But I certainly look looked at that scene and thought, yeah, that was a proper slap.

Yeah, yeah, I'm pretty sure. And knowing like Brian Croucher I wouldn't be surprised if you said to her, no, go for it, you know.

You know, he's a bit of a tough cookie is Brian Croucher, so I wouldn't be surprised if he said, yeah, go on, give it a proper. Give it all. You've got the ending, mate, though, when they. When they get in the white room that.

You know, when I think of this episode, I always think of a certain bit and it's Blake coming in and going, we've done it, we've done it. I've done done it. And then he just stands there and everyone's like, blake, it's an empty room. It's just.

That is such a great moment because Blake's so carried away with the fact that he's got in there that he's just not taking in the fact that there's nothing there. And Avon can't wait to tell him. It's just like, there's nothing here, Blake, you know, but isn't that. That moment, Isn't it great, mate?

Like, Blake thinks he's really made a breakthrough and within seconds it's taken away from him.

Yeah, it's a fantastic moment. And you know what it. All these little things just add up to such a genius script or Terry Nation on this one, I think.

Yeah, I think the break from writing did him good.

So, you know, have just get someone else to do a few episodes and take a bit of a break and then just, you know, come back fresh with a such a strong script. Because that part really, you.

That script has got all the words in it, but unless you have all those elements in the right place, that scene just fails otherwise. So it needs the. It needs the right direction because you need to be able to see.

Pull back and see as much of that empty set as you can, the empty room, to really sell it. It also requires Gareth Thomas to really get into that, you know, and shout.

Yeah.

And then it also requires Paul Darrow to then begrudgingly, I guess, or I'm not sure, but prop Blake up, literally, because Blake's. It hits him like a smack in the face. He's like, as you said, he's like euphoric is. You know, he's. I've done it.

And then the reality then sinks in and then he just falls to his knees, doesn't he. He doesn't know what to do. He's just crushed. And then it's up to.

To Avon to literally prop him up and be like a support for him because he's like, look, you know, he's kind of saying by putting his arm around him, he's basically saying, look, Yep, I knew you effed up. I knew you were going to F this up. I could see it coming from the get go. However, right now is not the time.

You know, you need to sort of pull yourself together. We need to. To get out of it. But, mate. Yeah, that whole scene, absolutely fantastic. It was. Yeah, and it was. It was such a.

It was such a moment to get there as well, because you have these kind of two threads of pressure that's building up on them as you go through this particular story where you've got Serval and Travis sort of, you know, slowly edging forward to capturing them, you know, via Casabi and the little setup that they did with her daughter Veron and stuff like that.

And then you've also got like the Krypton factor stuff going on where it's like, we're gonna run through the minefield and then we're gonna, you know, do the monkey bars, you know, to get across. And then we've got all the doors to hack and the locks and everything. So it really builds, builds and builds nicely.

And as the viewer, you're sort of like, yes, like, yeah, we're gonna get in, we're gonna. Gonna get through the door and we're gonna smash the crap out of this computer system and then back to the Liberator for a cup of tea.

And then when you get through the door, it's like, oh, no. Like, what's going on? Because as the viewer, you can see instantly that there's nothing in there. You immediately, you're like, oh, no. Like, oh.

Oh, God. But it takes Blake just a moment, doesn't it? Because he's so wrapped up in the. In the thought of victory.

He's so consumed and wrapped up in it that it's. Yeah, so good.

What did you think was going to be in there? Because obviously I knew what was coming. But you didn't know what was coming. What. What did you think was going to be in that room?

I honestly thought there was going to be something like or rack in there. I thought there because in. Well, I tell a lie. My initial thought was it's going to be like. Like a million supercomputers on these loads of racks.

And, you know, it's going to be this big high tech facility thing. And then I thought, hold on a minute. That doesn't make sense because, you know, this is my. My mind is sort of.

It is now planted in the world of Blake's 7. If that makes sense. So my mind then immediately thought, well, actually, no, it's probably going to be a fairly small room, and it's.

There's going to be some kind of supercomputer that's, you know, along the same lines as Orac. Because the way that Blake had described everything at the beginning of the episode. And you know what, mate? Actually just want to say that.

I just want to say again just how great Terry Nation script on this was, because you mentioned earlier on about when Kasabi was being interrogated by Servalin. Like you said, there's just a few lines, isn't there? But it's enough to give you enough exposition and a little bit of backstory about those two.

And then that's just prompted me to think at the beginning of this episode, Blake does the same thing where he tells the crew about what control actually is, you know, and he's kind of telling you through the screen by proxy. It's like, look, viewer, just bear with me a minute. This is what this is all about.

And this is the reason why if we hit this and we take this out, that's such a massive thing to take away from the Federation, it makes all the further battles easier. And again, that's just enough exposition that you think, right, okay, get that.

I understand you think this is a big deal.

You know, like, you said a few lines, but you know that this control center is like the control center of all control centers, and it needs to be taken out. So to have the rug pulled out from under his feet at the end, I think is. Is genius. I think, like I said, it is a good script.

And I find it interesting as well that Blake says, twice, we did it, we did it. And then he says, I did it. Because Blake is. Is he modest? I don't know. It's.

For him to say I did it as if, like, he's putting himself at the front because Avon keeps telling him, oh, you want to be the leader and that, and he's like, no, no, no, We're a group, you know. So for him to actually say I did it, you know, I think is quite telling. It's actually Blake not letting his guard down, but you know what I mean?

It's actually him showing he has got a little bit of ego. As much as he likes to deny it, you know, he wants to be seen as the person that brought down the Federation.

And there's nothing wrong with that, but it's interesting, I think. I like that line. You know, it just makes. Don't know that you could read into it, let's put it that way.

Again, it's a credit to the script because it could mean nothing, could just be Blake saying it, but to me it's him just letting out a little bit of excitement of like I did it, you know, after all this time. So it is a great script, mate. It's great to have Terry back in the chair, I gotta say.

I think you said when we reviewed Shadow that it felt like a very different tone of writing and compared to series one, which Terry Nation wrote, you know, the whole series. Yes, with a bit of uncredited help, but he wrote all the episodes in series A.

So you said it felt a little bit different this series because of the different writers. And to me, I was watching this thinking this is a very Terry Nation script, but in a good way, you know, it's, it's.

For me, Terror is firing on all cylinders in this. It's got a good, easy con, a good concept which is easy to follow.

It's got all the great one liners, it's got great little moments between the characters, good dialogue, you know, great performances. It's, you know, it's nice to have Terry back. I don't think he writes many this series, does he?

But it's nice to have him back in the chair for this one, I think.

Yes, agreed. Yeah, it does feel like a very typical Terry Nation script, this one. But as you say, in a good way though.

Yeah, and you're right, I don't think he's back for too many writing duties on from this point onwards. But no, it's a good one. No, it's a good one.

And just to go back quickly to your point about Blake and that line at the, when they go into the room, like I done it, it's a really good sort of counter view that happens earlier on in the episode where, you know, we mentioned it, where Blake and Avon are sat on the Liberator and they're almost having a little laugh and a crack about things. And Avon says to, to Blake, you know, you're. You'll be looked at as like the natural leader sort of thing. And Blake says, well, possibly.

And Avon says, come on, don't be modest. Yeah, you know, yeah, don't be modest. You know, you're, you're the one that absolutely. People will look to for leadership sort of thing.

And he's not really having it. And then you fast forward to this bit that we're talking about in the room and that's all gone.

You know, he's Just so wrapped up in the excitement of it and, and everything. Yeah, so it's a great line. It's a really cool. And also it then feeds into potentially now I've.

I've obviously not looked at any further episodes from this point onwards. I haven't researched anything. I've certainly not watched anything.

I would imagine, even if it's not on screen, that there's going to be a bit of guilt that Blake is going to feel at some point. And that just adds to that, you know, because Blake's so takes it as a personal achievement initially, like, I've done it.

He's like, yep, you certainly have done it. You've put everyone in danger and you've got Gan killed. So you, you definitely have done. You have done it. So yeah, it's.

It's one of those little things where it's kind of related to other little moments in the episode and they all have a relationship to each other and it just shows the genius of, of writing in that way. Because I, I probably wouldn't have. I probably wouldn't have expected something like that from a Terry Nation Doctor who story as such.

Whereas this is a lot more in depth and a lot more character based and character driven. And so it's really is a time for him to shine as well as the other writers as well, but it's a time for him to, you know, to really.

And like we, we've said with Dudley Simpson and the music of which there wasn't that much in this. I can't, I can't. No.

But generally speaking with the theme, and especially through about half a dozen episodes in series A, it's one of those things where, where Dudley Simpson has done stuff for Doctor who here and there, it's a bit up and down and whereas with this, he really owns it. It's his thing. And you can see that with, with Terry Nation really owning his scripts for this as well.

And it's his baby and it's his thing and that really comes out in stories like this. So. Yeah, yeah, great script.

It's a good script, I gotta say. I mean, I'm intrigued to know because obviously the next episode is Trial.

I mean, treat to know and I'm not gonna tell you the answer obviously, but do you think we will see repercussions on screen or do you think we'll have a bit of a Adric situation from Doctor who where they'll just move on very quickly and won't mention the character? Which do you think we're going to get next week, both. And obviously, I won't tell you, but.

I think it's the. I think it's going to be the latter.

Well, you think you're just going to move on?

I think it's. I think there's going to be.

I'm expecting to see Avon laying it on thick because as we know from previous episodes in this series, including this one, Avon has been incredibly critical of Blake, wanting to just, you know, go ahead and continue his personal vendetta against the Federation to take it down, which you can see is obviously the thing. It's the. You know, it's the basis for the show in a way, so you can see exactly why that needs to happen. But then you've.

You've always got Avon sort of with these counter arguments, like, yep, yep, I can see that you're thinking behind it. However, this is suicide. Like, the chances of us doing this is like next to zero. And also by doing it, you're putting everyone in danger and so on.

So I think I'm expecting Avon to really lay it on in the next episode, at least. And I'm also expecting a little bit of a hard. A cold shoulder. Sorry. From some of the other crew.

Yeah, I mean, I'll be honest, I haven't watched Tron in a while. I can remember bits of it and stuff. I can't remember exactly the answer to my own question, but, yes, I am.

I mean, I must admit, if it hadn't been late last night, and obviously I like to watch these close to when we review them. I really did feel like I wanted to watch the next episode straight away. I had to kind of resist putting it on, to be honest with you.

So I'm looking forward to seeing it myself. Even though I've seen it before, I kind of know what happens.

But, yeah, I'm looking forward to next week just to see how it does actually follow on from this, because I've only got vague memories myself, to be honest with you. I think this is a. It definitely does follow on, but I think this is the thing. This is kind of a. More.

I've watched this episode more because I think it's more of a contained episode, if you like. So, yeah, be interested to watch trial just very quickly, mate, before we wrap up.

I. I just want to say, when we were talking about Brian Croucher earlier, and you were saying about. When he tones it down a bit, I talked earlier about how I loved the concept of this script, you know, this empty room.

And I do love Brian's performance when he does actually bring the. Bring it. Bring it down. And he says about, you know, if you give a room substance and credibility, people will want to believe or something like that.

That's a lovely moment. And I think he delivers those sort of lines really, really well. You know, I think Brian's doing a fairly good job of.

Of taking over as Travis, I have to say.

Yeah, that. That scene where he delivers that. He's quite a few lines for him in that as well, where he's. He's basically relishing in the fact, isn't he? That.

And that's actually one thing I will say was great about.

About Brian's performance in this was that there was no need for shouty Brian in that bit because Blake and the others were essentially captured at that point. The weapons have been taken. There's nowhere for them to go at that point. He's talking quite calmly with a sort of sinister grin on his face, and he.

He takes great, you know, pleasure in. It's almost like a James Bond villain moment, you know, where he's. He's basically telling them, you know, the reason why the room's empty.

He's like, he hasn't been here for years. Like 30 years. We moved it all.

But he's relishing in it.

Isn't he lovely? Yeah. He's like, yeah, but we've moved it.

He's like, you fell for it.

Line sinker. Yeah. And you can see Blake's face. He's like, oh, for God's sake.

Did it bother you that. Because I remember. I don't remember the first I watched this, but I remember sort of feelings about this episode from when I first watch it and I.

Did it bother you that they do that sort of classic thing of using the same set but just change the lighting? For me, it's very much of the time. It's like that's sort of a Doctor who thing where. Yeah, okay, we can tell it's the same room.

They've just changed the lighting to make it look like it's getting deeper and deeper. It doesn't bother me at all. But it's. I think, in all. In some ways, it's one of those nice budget things about shows like this back in the day.

Yeah, we used that. They're thinking, oh, dear, that's a bit tacky.

No, I mean, you can tell, can't you, that that's the technique for doing that. But I love it. I love that stuff. It's. It's one of those things, isn't it, as The.

As the producer charm, as you like to say, isn't it? It's the charm of, yeah, TV back then.

Yeah. The producers and who are trying to get it all done on budget and. And George Spent and Foster, the director, they're like, you know, we've got a bit.

We need to get a bit creative with how we achieve these things, you know, so we haven't got endless money to build all these sets and stuff. So, yeah, you can. You can sell. It's of its time with that stuff and of its budget.

But as you said, that it's just such a charm to that old, you know, that kind of Doctor who wobbly set mentality, you know, and it carries over into Blake's 7 quite a few times, the sets and stuff. So, yeah, it's. I love it. I love that stuff.

And my final question, mate, is what did you think of the direction? Because this is an episode directed by George Spent and Foster, who we now know wasn't particularly popular with the cast as a director.

He just didn't click with the cast, especially Brian Croucher. They didn't get on at all. What did you think of the direction?

Because I was surprised when I saw this one was directed, because I know it's an episode I enjoy. So I was sort of looking at the direction, watching it last night and I was thinking, it's not. It's not stilted.

I think one of the things we said with weapon was, you know, it's very much point the camera and shoot in this one. I think he is trying a few things like shooting up high. There's a couple of low shots and stuff that it.

For me, it doesn't feel too bad in terms of the direction. There are, on the other hand, a couple of bits where I feel like he could alive it up a bit.

And one of them is that strange bit with the door where you just see the door opening and Serverland's like, who are you? It feels so out of place. And that could have been a time thing.

It could have been that the actors weren't there on set so they couldn't do anything else. I don't know, but I might be blaming him for things that were out of his control.

But I think the main bit for me where it did felt a little bit lackluster was when they are going through all the different rooms and the lighting's just changing. It just feels a bit labored, you know, like when they're going across the monkey bars and. And. And the way that shot. And again, it.

It Might have been stuff out of his control, I don't know. But for me, that could have been tightened up a little bit and made a little bit more exciting. But. Yeah, but it's. It's a small point.

I just wonder what you thought direction this week because, as I said, we know he wasn't particularly popular as a director.

Yeah, I think. Yeah. Oh, George. I think he just rubbed people up the wrong way, apparently, with the way that.

Like the way that he directed and, you know, his work ethic and stuff like that. Especially Brian Croucher. Apparently, Brian did not like working with him one bit. And.

And some of the actors, you know, it wasn't a great sort of atmosphere on set. One thing I will say, to answer your question, first of all, is that I don't personally feel like the direction is as good as it.

As we've seen, you know, from other directors on Blake's 7. I find that it's always quite static.

And I get it that back in the day you got these really big, you know, TV film cameras and they weren't easy to wrangle.

You know, you can't just, you know, especially like today, you just whack one on your shoulder and follow the actors around and you've got a lot more flexibility for that stuff. It still doesn't take away from the fact that a lot of scenes are just, you know, static camera placements with not even much panning going on and.

And that sort of stuff. Other one. Other than when it's necessary, when you've got actors walking from, like, point A to B, you know, then obviously.

But, yeah, I do find it quite a bit of a static watch with these George Spencer and Foster episodes.

I think it's better than Weapon. I think it's got a little bit more direction than weapon for me. But, yeah, I know what you mean.

Yeah. I was gonna say I didn't get the vibe on this one because I think when we reviewed Weapon, we picked up on the.

On the fact that, yeah, some of the performances were a little bit flatter than what we're used to. And I think that was because of the, you know, this tension on set and the way that George was working with them and so on.

So while I didn't quite get the same vibe as that on this one, just the. The quality of the direction wasn't. Wasn't anything to shout about.

Not terrible, you know, by any means, but just not especially in some of the action scenes as well. You know, when you've got, you know, sort of actors running through Minefields and shootouts and, and all the rest of it.

You just wanted to be in that. You wanted to feel like you were in that action a little bit more than just, you know, 100 meters away observing it through a camera sort of thing.

I hope that makes sense.

But no, it does. And I'm thinking actually like Gan's death as well, mate. You know, if you think about Gan's death, that's not really done that well.

If you think about. Seems very botched together, doesn't it?

He's holding the door, I think they insert an explosion and then he's just sort of lying there and I don't know, it doesn't. Like you said, it doesn't feel. There's not much panaz in that death, is there?

Yeah, it's quite muted.

I mean. Yeah, yeah, muted. I mean kudos to Derek. Sorry, Kudos to David Jackson for managing to keep his eyes open for that entire scene.

I mean he didn't blink. I was watching his eyes thinking how is he doing this?

You know when Blake's cradling him and he sort of does this wide eyed stare as if that's the last moments of the life and then he dies. But he keeps his eyes open the whole time. So hats off, Derek Jackson. He probably thought, you know, he's gonna give it his all for his last scene.

Yeah.

Will you miss Gan, mate? And do you think he'll be replaced is my final question.

I will, Ms. Gan. Yep. I will miss him. Will he be replaced? I'm gonna say yes.

Otherwise we might have to rename it Blake 6.

6. Yeah, exactly.

Blake 5. Which is every time.

Yeah. I think he will be replaced.

I think he will.

Yeah.

Okay.

Yeah. Have you got anything? I've got a couple of bits of my notes but before we finish up, have you got anything else, bud?

No, I think I've covered it all.

Yeah.

Just want to say I thought the performance from Jane Sherwin as Kasabi was pretty cool in this one, you know, when she's, when she's tied up and been interrogated, she. The way that she intensely sort of looks into Serverland's eyes and she's got that.

She sort of flipped between initially like, you know, bugger off and then into like almost feeling sorry for her in a way.

You know, you mentioned earlier when she's like, you know, I'm sorry that, you know, I could have, I could have done more, I could have helped you or I should have helped you than, you know, so she was pretty cool. And also her daughter Veron, she was, she was, she had a couple of nice moments.

I felt it was a little bit paint by numbers, a little bit for Yolande Palfrey, who played Veron up until the end when she stands up to Travis. Yeah, you know, I thought she sort of came in throwing a little bit there and sadly both of those actresses are no longer with us, mate. It's.

Oh, really?

Wow. I didn't realize that. That's no age, is it? 54.

Yeah.

So, mate, when I think about this stuff, it really sort of leaves a little dent in my heart a little bit, you know, because I think if I'd have just listened to you many, many years ago, over a decade ago now and got into Blake's 7 and potentially we got into this, I could have met so many people who started this.

Yeah, well, I mean, you can take heart that you did meet Blake, mate. And it was not long before poor old Gareth passed away. But we met him together, didn't we? So at least you met Blake. I.

If there's one person I wish you had met is Paul Darrow. He was just brilliant, mate. Honestly, I met him a few times over the years and I'm telling you, he was funny. He had such a dry sense of humor.

He really was just brilliant every time I met him. And yeah, I just, he's the one that I wish was still around for you to meet because, yeah, bless him. But there you go.

But anyway, at least you're watching it now and it's when the Blu Rays came out so it kind of the stars aligned, didn't they?

But indeed, yeah. And so yeah, I thought those performances were good. Sad to see Gan go and I'm just itching, itching to get on to next week for the episode of Trial.

The episode Trial. I can't wait to, to carry on, mate.

It's one of those things where if we had, you know, more time in the world, if we didn't have, you know, travel and jobs, all the rest of it. I'd love to just knock all these episodes out in one shot but alas, it's. I have to take a few days off before watching them.

But yeah, it's a double edged sword, Nick, because I kind of, I'm enjoying the ride. But yeah, I always want to get. I always want to go straight on to the Next one, when we've. We've finished.

And I forgot to mention, we see the mutoids back in this one. We haven't seen them for a while, have we? The old mutoids, of course. And a couple of them. That's good to see.

Yeah. They were a little bit. What's the word? Not as interesting in this one, were they?

No, very much in the background.

In the background, yeah. Because what was the episode from series A where they make their first appearance? Was. It wasn't Secret Locate Destroyer, was it?

Oh, you're testing me now. Not sure.

Might have been Duel. Was it? Duel? Can't remember. But yeah, it's in that episode. We know when we first see them back in series A, they were.

They had a bit more impact because they were quite intriguing. It's like, what are these characters about? You know, what's going on there? So, yeah, they're back for this one, but they're just sort of. Yeah.

Just, you know, lackeys, really. For Travis.

Yeah. Milling about in the background.

Yeah. Cool to see him, though. Cool to see him. And interesting to be back on Earth as well in this story. It's. It's.

It's the first time that Blake has been back on Earth since, you know, since he has. Since he escaped and legged it.

Yeah. I thought that was nice as well, the reaction to it as well. They were like, we're back here, you know, so.

As if they never thought they'd see it again.

Mm. Yeah. And just very, very quickly, finally. I thought Callie was really quiet, but that's no fault of her own.

That was just one of those casualties of script writing with lots of people. You can't have everybody having loads of screen time and doing all the things. But she was quite cool, though.

There was a really nice little moment where at the very beginning, where Blake's saying we should do this and go down to Earth and do that. Everyone's. Especially Villa, he's like, yeah, no, let's not do that. And Avon's like, no. And Callie's got this slight little grin on her face.

She's like, yeah, I think we should do this. I think we should do it. It'd be cool, but not a great deal to do.

And just to finish on a very tiny bit of trivia, I thought this had already happened, but apparently this was the first time that Jenna and Servaland have met face to face.

Is it?

Yeah. They've never met on screen.

Wow. Oh, I've never really picked up on that. That's interesting. Yeah, yeah. First meeting, eh? There you go. All right. That's why she put on that nice dress.

It's like to make an impression.

Yeah. I mean, she was outdone on the dress department ultimately.

She's not going to be upstaged by Jenna, that's for sure.

Okay, let's finish up on a score, as always. But it's your turn to go first. What would you give? Pressure Points.

I think this is a good episode, mate. I'm gonna give it. I'm on an 8.5, I think. Yeah, 8.5 out of 10. I like this one.

8.5. Nice. I'm gonna give this an 8 out of 10. Yeah, a good, solid 8, I thought. Yeah, just a. Just a great watch.

I thought it was one of those great scripts from. From Terry Nation. Really, really good and sharp and. And I love the build up through the episode as well.

This kind of cat and mouse thing that's still going on with Travis and Blake. The deception, you know, with Veron under the impression that her mum's still alive but sadly gone. And.

Yeah, and those closing bits where it all sort of kicks off, where the room's empty, Blake's devastated, I think, and Gan's gone. So there's a lot going on. But it's a. It was a good. A good, solid watch, this one. Yeah. So an 8.

It's. I think it's. That's. That's the reason I go back to this episode for Rewatches Maze. I think it's got good moments, isn't it?

It's one of those episodes that's got good moments that. That stay with you. I think that's the thing. I can sort of picture certain moments from it and they make me want to watch it.

So, yeah, it's a good one indeed. And on that Note, with an 8 and an 8.5, let's finish up there, bud. For our episode A review of Pressurepoint.

Alrighty.

Thank you so much, dear listener, for listening to another episode of Federation Striker Journey, Blake's 7. That was our review of episode five of series B, Pressure Point.

And we will be back next week for our review of the episode trial, which is the sixth episode in series B. And thank you very much for following or subscribing to the podcast in your fave podcast app of choice.

If you don't do that already, then make sure you hit that button in the app. That way you won't miss a notification when new episodes drop and you can get your headphones on or get it queued up.

In your car for your commute or when you're doing your. Your chores or you're going for a walk, whatever. We'd love to have you along as we go through every episode through the journey of Blake's 7.

And yeah, big thanks to those of you that follow along. It's very, very cool. And also thank you to those of you that have chatted to us over on the socials. You can do the same too.

Just do a search for @blake7 podcast on either X or Blue Sky. Lots of chat going on over there with other Blake's 7 content creators, Blake's 7 fans, all that stuff.

It's really good, really good community of Blake's 7 fans there. So we'd love to chat to you about all those things as well.

And lastly, don't forget to check out my co host channel over on YouTube for all the geekery stuff. It's the Geeks Handbag.

Yeah, the geeks handbag on YouTube. I'm under the same name on all the socials, so do check out the Geeks Handbag.

Alrighty. And on that note, we look forward to seeing you next week for our next episode. Until then, take care of yourselves.

And thank you so much again for listening to this episode of Federation Strike A Journey through Blake's 7.