#torchwood transcripts

[torchwoodtranscripts]

Exciting News!

Hey guys! I've finally got a website up and running as an alternative home for these transcripts!

I personally find them easier to read there than here but I intend to post each transcript in both places so you can do whatever works best for you!

come check it out

its very bare bones for now but hopefully there'll be more available there soon!

[feech]

approximately half-way through transcribing Fall to Earth with any luck it'll be done and posted some time this week or next

[the-torchwood-archive]

Audio Transcripts

As I start posting my transcripts of the Torchwood audio books, I figure it would be good to keep track of what is available through both myself and other sources. If anyone knows other publicly available sources let me know.

Any links to my own account will consist of the first chapter of a story and then a link to a Google Doc for the rest of the story. These links will create a copy of a Doc and I do not have to ability to view who has created copies. If anyone would like a full text transfer please message me.

Chakoteya (external website)

Seasons 1-4 Lost Souls Asylum Golden Age Dead Line The Devil and Miss Carew Submission The House of The Dead

Hidden (Torchwood Archive tumblr)

Everyone Says Hello (Torchwood Archive tumblr)

In The Shadows (Torchwood Archive tumblr)

The Sin Eaters (Torchwood Archive tumblr)

This list will not link to transcripts of Big Finish audio stories.

[doctor-who-sideblog]

Torchwood canon is a real treasure hunt omg

[itsatorchwoodthing]

90% of the time im just pretending i understand what aliens say in big finish audios, and 50% of the time i just have no clue what’s going on - man it’s hard out there for non-native speakers

[captainlynxx]

Anyone have a transcript of ‘Nerves’ please I’m begging

(Or just any big finish or BBC audios Ty)

[dream-beyond-the-fantasy]

I love that the scripts to Doctor Who, Torchwood (including the radio plays), The Sarah Jane Adventures, Class, Tales of the Tardis, the two Tenth Doctor animated serials, and the Thirteenth Doctor video game The Runaway are available for free on the BBC's website.

But it does suck that there are only two episode scripts from Series 1, one from Series 6, none from Series 7 and 8, missing five episodes from Series 9, missing five episodes from Series 10, no Christmas special scripts from the Capaldi era, and no scripts at all from the Classic Doctor Who era. Also missing is Torchwood: Miracle Day.

[ghost-bison]

i became curious and searched up how the name "dalek" came to be:

at first, i thought it must have something to do with the norwegian word "dårlig", which means "bad", because of the doctor's reaction in 2x13 "doomsday" when rose said they were in bad wolf bay ("dårlig ulv stranden" if i'm not mistaken): he thought she'd said "dalek". but if you look up the pronunciation, it sounds more like /dɔːleh/ (approximate english phonetic transcription) than how she said it, /dɑːlɪg/ so i thought, even though the mix-up between "dårlig" and "dalek" was done on purpose and the definition, "bad", would be pretty damn on-the-nose, it's not it. so i did some more research.

apparently, it was terry nation (the guy who invented the daleks and davros in, i guess, 1962) who came up with it. according to him, the name simply "rolled off his typewriter", so it wasn't supposed to mean anything. but like me, he got curious and found out that the word "dalek" is serbo-croatian for "far, distant".

this really pleased me for two separate reasons: first, and this is the most obvious interpretation, the daleks are aliens from a distant world, far from earth. but i mean, to daleks or chelonians or raxacoricofallapatorians or any other alien species, the same can be said for earthlings: we are far, distant from them, and any and all species are far and distant from us.

but! if you think of the other meaning behind "distant", not geographically speaking but culturally/morally speaking, that's when things get interesting: the reason the daleks are the main foe in doctor who is that they are detached, so different from any and every other enemy the doctor and unit and torchwood and the shadow proclamation and such have ever had to fight. they keep surviving and coming back because they are so distant, so alien (in the "bizarre" sense of the word) to all other species.

if you take, for example, us humans, the doctor loves our species because of our capacity for love, forgiveness, change, compassion. you see it in the people he picks: rose, martha, then donna, etc. they represent everything he loves in a human being. everything he needs, everything he misses since his own species, which used to be capable of those feelings too, has gone.

he doesn't pick soldiers and has an aversion toward them, because as much as he pretends to hate it when his companions "wander off", he keeps choosing people whom he knows will wander off, people who will question his orders, people whom he doesn't have to feel or be superior to. whereas soldiers, they are conditioned not to question, and to follow instructions, to do as they are told.

in 1x06 "dalek", when nine realizes that the dalek's gun isn't working, he says "if you can't kill, then what are you good for, dalek? what's the point of you?". then, the dalek tells the doctor, "i am a soldier, i was bred to receive orders".

soldiers, whatever species they are, are too much like daleks: they wouldn't question him. that's why, when he realized he was the last of his species, the dalek turned to the doctor, his greatest enemy ("then what should i do?"), and then rose ("order me to die"), for orders. that's why twelve refused to keep journey blue as his traveling companion in 8x02 "into the dalek": people who don't question orders are dangerous to his lifestyle.

he needs people who go against what he says. not only that, but the doctor is, himself, a soldier of sorts, and sometimes he needs the right orders (1x06 "dalek": "what the hell are you changing into, doctor?" -rose ; "the runaway bride": "doctor, you can stop now"/"sometimes i think you need someone to stop you" -donna ; 4x02 "the fires of pompeii": "not the whole town, just save someone" -donna). else caecilius' family would have died in pompeii. else the doctor would use guns, he would die, he would try to break fixed points in time, he would lose himself.

in that sense, the daleks are as far from the doctor and his children of time as can be. i wrote about it somewhere in a one-shot someday: "the daleks weren’t robots, per se, but they kind of were, for someone like the doctor, or the humans, who both felt everything so deeply when all those monsters knew was hatred".

the daleks are to the doctor what dependence and servitude are to freedom, and in that sense, they are distant.

[dragons-are-epic]

Thinking about Torchwood and what I find fascinating is just how they set up Ianto before Cyberwoman. The main point of Cyberwoman (other than, well, a woman in a cyber-bikini fighting a pterodactyl) is that Ianto is seriously ignored by his team to the point where, for weeks, even months, they don't notice him hiding his cyber-converted girlfriend in the basement. Nobody sees him as any more than just an assistant - he's out of sight, he's out of mind. And then part of his arc is slowly becoming a full member of the team, from being a 'main character' in Countrycide to getting into an employee-with-benefits relationship with Jack to eventually being a crucial member of the team in Children of Earth and meaning so much to Jack that his death causes Jack to kill his own grandson to avenge him and save the world, then still flee Earth anyways because of the trauma he's experienced there.

And S1 Torchwood has issues, yes. But the way they set him up was genius.

I used Chakoteya's transcripts (they're really good) and ctrl + F for these statistics. And so:

In the first three episodes of Torchwood's first series, Ianto has fourteen (14) lines, the majority being just one or two sentences. In comparison, Owen had a hundred and forty-seven (147) lines, Tosh had ninety-two (92) lines, Gwen had three hundred and sixty-two (362) lines, and Jack had two hundred and forty-four (244). Suzie, despite only appearing in one episode of the three, has twenty-six (26) lines, while Rhys, though he wasn't a part of the main team, had forty-six (46) lines. Even if we exclude Jack and Gwen and just count deutertagonist members of Torchwood, Ianto's lines account for only 5.28% of spoken lines. Include Jack and Gwen and this falls to just a measly 1.6% (rounded to one decimal point) of spoken lines.

Now, Ianto's name is spoken by other characters just four (4) times in the first three episodes, and two of those times were Jack introducing him to Gwen. The other two are Jack getting him to do something - ordering him be on stand by for Owen if he needed backup in Everything Changes, and to indicate to Ianto that he should put the ghost device in storage in Ghost Machine. In contrast, Gwen's name is said twenty-six (26) times, Owen's is said thirty (30) times, Tosh's is said eleven (11) times, Jack's (excluding the 'Captain Harkness' inquiries in Everything Changes) is said twenty (20) times, Suzie's is said four (4) times, and Rhys' is said five (5) times. Given that I've also included referring to someone (i.e. "Rhys, my boyfriend, is a transport manager.") it also shows just how little the team talk about him.

He also simply does not have a lot to do. He's often in the background, but he never has a large impact on the plot. In fact, he never has a single scene outside of the Hub or the Tourist Information Centre for the first three episodes.

Now, normally, this would be a sign that he's quite severely underutilised. But in this case, it's genius. It shows us just how ignored he is among the team. They like him, obviously, but he's almost an outsider to the team. Hell, an in-universe Torchwood IM transcript has Jack, Owen, Suzie, and Tosh going out together for bowling and leaving Ianto behind, and the only reason he's told about it (via an Instant Message with Suzie) is because Suzie tries to switch places with him. She even says, when he mentions he didn't know about the trip, that there's 'No reason why [he] should' know. She does later tell him that he should socialise with the group, since it feels like they hardly know him, but it's revealed a message after that that it's a ploy to get more time in the Hub with the Resurrection Glove.

We can also see a similar issue with Suzie in the first episode. Obviously, if you're a member of Torchwood, you're going to have some amount of trauma from the job, so the occasional struggle with mental health isn't to be unexpected. But for Suzie, the second-in-command of the team, to kill three people and for it to go completely unnoticed among her friends - plus her implementation of the plan to bring herself back to life if she died, and the fact that she'd been seriously struggling to cope with her time in Torchwood for at least two years by the time she started killing people to test the glove - shows that there is a serious problem in Torchwood with ignored members of the team going rogue or doing very dangerous things because nobody pays them enough attention to notice.

[petercapaldi-press]

INTERVIEW

10 January 2024

Adrian Lobb

Peter Capaldi: 'There are a lot of big problems – there's no point burying our head in the sand'

Peter Capaldi reveals how new Apple TV+ police drama Criminal Record is tackling police failings head on – and why he's not missing Doctor Who

[transcript under the cut]

Peter Capaldi is looking as sharp as ever. Great shirt, even better shoes. “It’s all my stylist’s work,” he deadpans. We are in Claridge’s in Central London. A very expensive hotel suite, full of very expensive camera equipment recording our every move. “This is just the team we roll with,” Capaldi adds with a grin. “I’ve usually got some dry ice as well.”

We are here to talk about Criminal Record, which could just be your new TV police drama obsession. Capaldi stars alongside Cush Jumbo in a classy thriller in which two detectives go head-to-head – one in fearless pursuit of justice, the other to try to save their reputation and career. The title may be horribly generic, but this is a special show. And both actors have been involved from an early stage.

“Well, my wife’s the executive producer. First dibs? Well, yeah!” says Capaldi. “Both Cush and I were involved in the development, which was really exciting, because I’ve never been in something where the writers all knew from the start who was playing those parts. So they wrote specifically for us, they were picturing us as they worked on the scripts. It also meant we could respond to their ideas at quite an early stage. So that was lovely.

“Elaine [Collins, Capaldi’s wife] brought Vera and Shetland to the screen. She’s incredibly well read. People walk into our house, see all these books and say to me, ‘Have you read all these?’ I say, No, I haven’t but my wife has. I’ve read the Doctor Who annuals!”

Capaldi outlines how Collins was developing a project about policing in a recognisable, modern London. “I said, that detective part sounds quite interesting. And I haven’t played a detective before. So I became involved then.”

Capaldi and Jumbo had worked together before. “I met her on Torchwood when she seemed like a teenager to me,” he says of his co-star. “She was great. Then I directed her in a comedy called Getting On, with Jo Brand. And Elaine cast her in Vera as well. Cush also wrote a wonderful play about Josephine Baker, a one-woman show she did. So it’s just great to see her really blossoming – and we’d always said it could be nice to do something together. And this was ideal.”

The first meeting between their characters is one the finest scenes in recent television history. A beautiful dance of power as Capaldi’s DCI Hegarty pushes back against Jumbo’s DS Lenker as she attempts to reopen a case he led and ‘solved’ many years ago. A recent anonymous tip-off suggests they got the wrong guy. Suspicion is parried with veiled threat, all taking place beneath a thin veneer of politeness and police procedure. The result is electric. Line of Duty, eat your heart out.

“I know Cush is such a great actress and I didn’t want to anticipate what she would do,” says Capaldi. “I wanted to respond to it as it happened in front of me and vice versa. So we just went at it. We decided not to rehearse that scene so we could just shoot what came to us.

“Hegarty is a seasoned detective, probably at the end of his career and has been around the block. He’s been quite bruised, seen the worst and the best of people, and doesn’t welcome someone digging into his past. He doesn’t take someone casting aspersions on his integrity lightly. He’s not going to have it!

“I wouldn’t want people to get the wrong impression and think that’s all the show is – because there are car chases, action scenes, all that kind of stuff. But there are also these long, heavy scenes where you really get into the zone. So I’m glad you liked that one. It was crucial that we set them up in that way. And there are other ones later that we really go for!”

GOING DEEP

Despite his character appearing to be a little dodgy, maybe even properly bent, Capaldi relates to him. To a point.

“There is a great thing when you’re involved with a character from early on. They put a lot of you into it,” he says. “You know, I’m very proudly Scottish. But I’ve lived most of my life in London. I’ve lived here for over 40 years. I love it and Iknow a lot about it, historically. If you come here and choose to live here and survive here, you become part of the place.

“When the Blitz came and bombs landed in the city, they found these Roman villas that no one had known were there. All these mosaic floors, a whole part of the city that no one remembered. London’s like that. It builds up layer upon layer upon layer. And I think Hegarty is like that. He’s come here, and layer upon layer upon layer, the city’s had an effect on him and he’s experienced things and done things – good and bad – that have made him who he is. Bad things have happened to him as well as him doing bad things. So he’s a great character. Lots to play with!”

The London depicted in Criminal Record is one Londoners will recognise. Filmed on the street, it has a real energy to it. “It’s noisy, buses go past, but that gives it a vigour and a life, which is what we wanted to put on the screen,” says Capaldi. But to look at policing properly in modern-day London is to tackle important issues. And Criminal Record pulls no punches. There are big themes woven into this compelling tale. “It has to be done. Clearly there are a lot of big problems and there’s no point in us burying our head in the sand and not addressing them or not reflecting upon them or trying to draw attention to them,” says Capaldi.

“Responding to some of Cush’s input, we wanted to put in some every-day racism and misogyny. Not big dramatic moments, but the slow daily cuts of unpleasantness that people of colour and women feel and go through.

“It’s an incredibly difficult job, being in the police and trying to deal with all the terrible things they have to deal with. But, also, there’s not enough funding. For all its talk, the government isn’t behind them. They don’t put enough money in, they don’t recruit enough good people, they don’t pay them enough and they don’t look after them enough. But Hegarty is a leader of a team of old-fashioned, dyed-in-the-wool male cops who have a syntaz and a humour of their own, which is not always welcome. That’s the world he lives in. It’s also generational. I was born in the 1950s. That’s another planet. So the world I was brought up in is a world away – and Hegarty is not quite equipped to be on this planet.”

Whereas you’ve evolved.

“We can try. Because we’re lucky enough to be in the arts, which is constantly examining issues and trying to move forward with ideas and move with hope into the future. So I think we’re able to examine ourselves and say, how can we fit in and contribute to this new world?”

Talking of new world, Capaldi continues to revel in his return to the Doctor Who fandom. “I have to say it’s a relief not to be in the middle of that storm,” he says. “The role has a lot of other demands beyond just acting in it. It’s a kind of circus that you have to do for days on end. But it’s lovely to see ruseell T Davies at it again.

“And Ncuti Gatwa is lovely. I met him and his mum at the Scottish Baftas last year. It was lovely, because there’s still very few of us who have played that part, so it’s nice to be able to compare notes about it. He was texting me on the train back to London – and we realised he was in the next carriage, so we got together. He’s going to be wonderful.”

Heading into 2024, Capaldi has just completed season two of The Devil’s Hour for Amazon, with filming on the third season already slated for February. But he’s also got a whole new role closer to home. “I’ve just had a new grandson arrive,” he grins. “So our house is a bit chaotic and full of babies at the moment.”

And his big hopes for the year?

“I want peace for everybody. I want everyone to stop sniping at each other from these polarised positions and to take more time to consider other people and opinions. It’s just out of control, this polarisation everywhere. And politically it’s very useful because it’s just dividing us all. And we all have way more in common. So we have to change things. Because we’re really in a bad way.

“Peace, love and light,” he concludes. “That’s what we should all say. Now, who used to say that? Was it Spike Milligan or Ringo Starr?”

[Interview partly available online at bigissue.com]

[soupdrinkinglincoln]

Another week, and time for another Doctor Who review. I was pretty happy with this episode all around, and it brings me confidence that this season is shaping up to be a really good one. So, with that said.

-I honestly feel that in the older days of the revival, this episode would have existed, but it would not have been Doctor Who. Because back then, Doctor-lites focused on new characters, like Sally Sparrow or James Corden or the Love and Monsters guy who's name I don't care about. The only real exception was Turn Left, which was kind of different to everything. And this was a Ruby Sunday episode; lovely to have her back to course, but it was also a UNIT epsiode. So, I think wholeheartedly that this episode would have been part of a UNIT side series, a la Torchwood or The Sarah Jane Adventures. But since Class; yeah y'all remember Class? I watched Class and I barely remember Class. Since Class, no more spinoffs, so this is an episode of Doctor Who. And as a Doctor-lite, it's fun and it's fresh and so it stays.

-Last episode I mentioned that I'd already been spoilered about the sequel nature of the episode and so it didn't have a chance to knock me unconscious. This episode was kind of the same, because while I wasn't spoiled directly, the Think Tank shirt was brought to my attention and explained by a post. And honestly, I think that was for the best. I think having the additional context of Think Tank and Robot added to the reveal, and I liked knowing about the shirt and how it made me look at Conrad. Because I'm a cis guy, and I'm aware of the privileges of that, privileges like not having to look at a guy who's being kind and saying all the right things and wondering if he's one wrong word away from becoming someone completely alien. And knowing about Think Tank made me view the episode from that perspective.

-The creature design was pretty great, very fond of the Shreek. But of course, Conrad was the real villain of the episode and I think focusing an episode on an Andrew Tate style influencer asshole as an antagonistic force is nice for the modern day. You could say that the episode was sort of like Rosa with it's human primary antagonist, and I think that if Rosa had some sort of creechur, the thing people come to Doctor Who for, it could have been remembered more fondly. I adored Kate in this episode and how far she was willing to go, and in all honesty when I saw the release on the keypad I genuinely thought this would be going full CITW with every creature trapped there being set loose. But the ensuing attack was great, and I'm really glad that we got the best ending of the characters doing the technically good right thing, and the bad person still being mauled a little anyhow.

-The ending with the Doctor on his own sealing up the time loop was really neat, and justified this having it's place as an episode of the main show in full. There's obvious poetry in Belinda being saved from her shitty ex by something said by Ruby's shitty ex, and that irony does make me more accepting of the fact that the premise of half this season so far being 'man isn't dating men shitty?' And speaking of the ending, of course...

-You know I love a good transcript, so let me go grab one.

The fact that the writer of this transcript capitalised the name there makes me think that maybe they had the same thought as me. Because doesn't that just sound like a Time Lord name? The Doctor, the Master, the Corsair, the Rani... and The Governor. Last week, Mrs. Flood's presence felt a little superfluous and forced and too telling for me, and I was kind of sent out of her buildup. But this has suckered me right back in.

Needless to say, I enjoyed the episode. And next week's episode, The Story and the Engine, seems fascinating. There's going to be a spider. I don't think we've seen a spider since, you know, Arachnids in the UK. But with the episode being set in Nigeria, and with Doctor Who's current focus on gods and pantheons, and with the episode's title mentioning stories, I can't help but wonder, very vaguely and very uncertainly, whether this could be an episode about Anansi the Spider. I'll have to see when it releases if that prediction, in the loosest version of the word, holds.

[torchwoodtranscripts]

TW 02: Fall to Earth-Interview

Scott: Hello! My Name is Scott Handcock. I am the director of Torchwood: Fall to Earth and I am joined this afternoon by

James: Uh James Goss, I wrote this.

Gareth: Gareth David-Lloyd, play Ianto.

Lisa: Lisa Zahra, I play Zeynep.

Scott: And what a lovely day, what a lovely script it’s been. James, do you want to talk a little bit about how the idea came to you for this episode?

James: uh cus when we brought back Torchwood, we had one script already written which is by David Llewellyn and the next one obviously had to be Ianto because he’s the one that everyone loves.

Gareth: mhmm. mhmm.

Scott: Yup, quite right.  and Gareth how has it been returning to the role after, six years to the week—we realized today—since you died on screen?

Gareth: It’s, it’s been amazing! I was worried when I- when I first heard I was gonna be doing it, how long it would take me to sort of get back into the skin of the character the- but it, within two lines I w- I was back there. It was like I never left. It was lovely and it’s been a very no- nostalgic experience for me to let him breath once more.

Scott: Um and Lisa as well, what do you make of Zeynep? And the lovely character you've brought to life today which sort of flew right off the page, actually, the moment we got the pair of you into studio!

Lisa: Aw, I've absolutely loved it I think um, as soon as I read it, actually. And the relationship between them both is just brilliant. Just to have two of us in the whole episode has just been really good to, to have that experience. I really enjoyed it. Really enjoyed it.

James: In a lot of the tv episodes Ianto is standing in the background and you, ya know it’s kind of, Captain Jack walks into a room and says something brave and heroic! Eve Myles walks into a room, shoots somebody and it’s full of heart and everything. And then Ianto just gets to walk in and say the really pithy lovely line.

Gareth: And raises his left eyebrow.

everyone laughing

James: Yes! Go on, do that. Do that now on audio please!

Lisa laughing

James: Thank you.

Scott: That has indeed been done. Um but yay! I'm- I mean we were talking a little bit earlier about how visual this uh drama has been.

Gareth: Yeah, uh, uh i was saying ya know I've- I've ha- uh- have-e-each scene has a sort of core emotion and I- I -I- I find myself to get into that emotion uh- a stock facial expression for each, for each scene which has helped me um, its- it- although the people at home can't see it, it’s been a very visual- it’s been a very visual episode for me as far as uh- um my face goes.

Lisa: Yeah, I think definitely. And the expressions with it it- the- I mean you have to do it when you’re sitting there it’s just you’re completely- I saw it all straight away when I first read it. But today, being able to read it out loud, the both of u,s has just been brilliant because I can see it. I’d love to see it actually, I’d love to see it on tv.

Scott: That was always you’re sort of mission, wasn’t it James? To come up with story lines that were the sort of episodes you wish you'd seen on screen in series one and two?

James: Yeah! and it’s just I- isn't great having an episode that’s all about Ianto! And all about what a noble, honest, decent man he is. And then just at the end you realize he’s there going "oh I've just asked somebody really nice to kill herself.   Oh. ssss today's not great actually.”

Gareth: Yeah, but it’s, I mean. What’s lovely is the relationship between Ianto and um, uh Zeynep. um I think what he recognizes in her very early on is the sort of fact she’s got this very sort of rigid job to- to do. She works from a script, and everything has to be just so which he completely connects with cus the-uh that’s the way he sort of deals with himself every day. Wears a rigid suit, he- he makes coffee, ev-ev-everything that- everything is just right. everything’s ordered neatly. I think he mentions that in the script. So, I think he- that- that they’ve got a sort of relationship that he recognizes quite early on and that quite fun sort of playing with that (Lisa: mm, yeah.) y-y-you know he says to her a couple of time "are you off script now?" " oh, you've gone of script!" you know and he- he sort of, he sort of r-recognizes her, her job. So, it’s nice to have s-you know to have two character that are quite similar (Scott: that’s it, you’re both the little people) bon-bon-bonding across, yeah, bonding across the uh, across the airwaves.

Lisa: And it’s a strong bond. At the end you do wonder, and when I first read it thinking do they, do they meet? I wonder what would happen if they did? Ya know and its quite, Its quite romantic, I think, at the end. There’s a- a romantic, a romantic aspect to it that comes at the end- at the end of the piece.

Gareth: Yeah.

Lisa: Which I really like

Scott: There’s a huge affection that really builds throughout the story as well.

Lisa: mm.

James: yeah, but if they ever met up Ianto would set fire to her house.

Lisa: yeah.

James: He would do it for the best of intentions. (Lisa and Gareth laugh) but within half an hour the house would be on fire, the car would be crashed, and one of the children would be in hospital.

Lisa: It’s probably best that he doesn’t get to meet the family, I think.

everyone agreeing

Scott: and, and Gareth how has, obviously it’s almost ten years since you started filming the very first series of Torchwood. It’s never left you, you're back as Ianto all this time on. Did you ever expect, when you started, that it would you know keep coming back yeah?

Gareth: Live on as much as it has? No not at all. I uh it’s- the whole, the whole, the whole thing for me from- from the beginning, has been completely overwhelming. And I didn't expect the character to- to grow into the character that he did. I didn't expect the series to be as popular worldwide as it was. I knew, I always knew, it was a good series but I d- I didn’t expect everything to grow so rapidly and so huge. um I didn’t expect to come back to do radio dramas after Ianto had died in series three. I didn't expect to get as far as season three as far as living goes! (Scott laughs) and- and to come back now this, this long after to- to know that people are still out there, wanting more, wanting to hear more and- and the fact that people are still prepared to- to write for it and make it is- is- is great and it’s you know it’s gonna be a big part of my life um til the day I die I think.

James:(whispered) Hooray!

Scott: Hooray indeed. And uh, what, what have been your favorite moments from today?Whatt have you most enjoyed playing in the script?

Lisa: I think it’s both the comedy between them but also the end because it feels like they really come together and there’s, a r- yeah I enjoy the end where you really, the gentleness in those scenes and those intimate scenes where they come together is really, that was really lovely, I enjoyed that.

Gareth: yeah, um I-I sort of happened with us realizing it, that we were sort of playing, I noticed with Zeynep as well she's got some great ianto-esque lines when sh- you know quite dry and quite uh- uh ironic, sardonic. um and then you know sort of them having the sort of  dry- dry wit duel, in a lot of the scenes and then at the end sort of, sort of realizing they’ve actually forged this sort of underly- th- th- the two sensitive aspects of the characters have sort of bonded and underneath all that sort of um play, through- throughout the first um firs l- it was a nice- it was nice.

Scott: well, on that note, Lisa, Gareth, James, thank you very much for a lovely day (Lisa: thank you) and hopefully we'll be hearing more from Ianto jones very soon!

[feech]

Fall to Earth transcript is posted! this one took me about 10-11 hrs to transcribe. I haven't done the interview yet but its only about 5 min long so hopefully it shouldn't take too long to get out.

gonna take a break first though

[the-torchwood-archive]

The Sin Eaters by Brian Minchin

Originally released in 2009 and read by Gareth David-Lloyd. The story is set in 2009, between Journey's End and Children Of Earth: Day One.

Introduction

He resolved, late one Sunday, to never again hide his dreams from the world. As he walked away from the shiny hospital, feeling helpless and small, his mind burning in frustration. Why was he keeping back the glory he could gift? Why was he ashamed of what he had? They had come upon the midnight tide, gifts swimming straight into his arms, and he would spread their joy throughout the world.

The rest of the story is here:

Google Docs: The Sin Eaters by Brian Minchin

[doctorwhoisadhd]

[ID: 2 images. 1: screencap of jack in the dance hall in torchwood episode 1.12 captain jack harkness, saying "There's no one." 2: transcript from the church on ruby road. text: "RUBY: I have. What about you? DOCTOR: Er, I've got no one. Make sure the oven is off, yeah?" the words "I've got no one" are highlighted. /end ID]

SCREAMS

[professeurm]

i know some of yall enjoyed my first time reaction to btvs

but now that i heard there are comics??

yall i have to read

this would include photos, alt text/transcript, and my comments. similar to how i did it when i read the ninth doctor comic series and torchwood series. which i have to finish lol