DwarfCast 161 – Re-Disc-overy: Series 2 DwarfCasts Posted by Jonathan Capps on 14th April 2023, 13:36 Subscribe to DwarfCasts: RSS • iTunes "Could you make Patrick Stewart come in the middle of my television programme, please?" The second Red Dwarf DVD was released twenty years ago (as of a month and a half ago). Any bets as to whether we can get the next one done before this November? Back in early 2003 we had barely had chance to watch the first DVD more than two or three thousand times before another release was thrust into our sweaty palms. As is expected, the Series 2 DVD was very closely related to the first so you'd be forgiven for thinking this release might be a little less interesting, but as you will hear Danny, Ian and Cappsy still had plenty to talk about as they continue on their voyage re-disc-overy. Read more →
DwarfCast 106 – Parallel Universe Commentary DwarfCasts Posted by Jonathan Capps on 5th June 2020, 13:33 Subscribe to DwarfCasts: RSS • iTunes As if your podcast queue wasn't full enough! Yes, after squandering a good few months of lockdown (to be fair, one of us has been fairly busy with being a new parent) the G&T commentaries are making a return! Join Ian Symes, Danny Stephenson and Jonathan Capps as we gather remotely to talk over Parallel Universe, a sometimes controversial episode that always seems to hover towards the bottom of episode polls. We discuss the approach to gender politics the episode takes (yey) as well as tackling lighter questions such as: what can't Cheggers be? Read more →
Set to Rights: The Teaching Room Features Posted by John Hoare on 7th January 2020, 12:42 After over a year's gap, welcome back to Set to Rights, the series where I look at Red Dwarf's sets in mind-numbing detail. And having already looked at some thrilling wall sections and the Captain's Office, we turn to what might initially seem an unpromising avenue for spectacular revelations: the Teaching Room in Series 1. I think, however, you may be surprised. Because telling the story of this set leads us into some rather interesting areas which I don't think have been examined before. As ever, we don't have the paperwork handy to be able to check any of this: instead, we have to do some deduction, some guesswork, and leave some questions unanswered. With that health warning, let's take another trip through early Red Dwarf - as ever with these articles, in order of recording date rather than broadcast. Read more →
NGTV 029 Quickies Posted by John Hoare on 2nd January 2020, 17:28 We have something interesting for you today. Cor. Right, go and do what you need to do, and come back when you’re finished. Continue reading →
Scrumping for Sets Quickies Posted by John Hoare on 29th September 2019, 01:31 I sometimes wonder what is wrong with me. Come back in time 30 years with me, to Manchester. (I’ll have to use the Series VII Time Drive rather than the VI version, unless I’m willing to take the bus up there.) Red Dwarf Series 2 finished shooting on the 3rd July 1988, with Queeg. The first audience recording session for Series III was on the 5th September 1989 – although there must have been location shooting before this date. Regardless – in the 13 months between those dates, Red Dwarf underwent a great number of changes. Some of those changes we still don’t really know an awful lot about. For instance, Rob and Doug became producers on the show, but the conversations which lead to that remain largely a mystery. Still, one of the most immediately obvious changes came from the ousting of Paul Montague as production designer… and the instatement of Mel Bibby. And the on-screen effect this had on the show has been endlessly talked about, at least. But my mind keeps wandering. Because those sets for Series 1 and 2 would surely have been put into storage for any potential Series 3. And once Series III was finally commissioned, and Mel Bibby joined the team… there came the decision made to create entirely new sets. And believe me, I’ve stared at those sets long enough to know that they really were entirely new. Which means: those Series 1 and 2 sets would be surplus to requirements… and dumped. Exactly where, and exactly when, I have absolutely no idea. But at some point between July 1988 and September 1989, they were gone. Possibly sitting in a skip outside BBC North West. And just imagine. Imagine if you had loved those first two series at the time. And imagine you found out exactly where and exactly when those sets were dumped. And imagine you could have gone and rescued those sets. And imagine that suddenly, you owned that famous grey bunkroom. Because you’d be the owner of one of the most amazing pieces of Red Dwarf memorabilia in existence. And – give it a few years, maybe – one of the most valuable. If only you’d known exactly what day to go scouting around a certain bit of Manchester. If only you’d known. You could have made thousands of pounds from it in the mid-nineties. Or – if you’re more sentimental – you could pop down to your garage any time you wanted, and lie on Lister’s bunk. All you needed to know is the date, and the place. It was there for the taking. If only you’d known. I sometimes wonder what is wrong with me.
You Stupid Ugly Goit: Leaseholder’s Addendum Quickies Posted by John Hoare on 10th August 2019, 21:33 While we’re all working on bigger things for G&T behind the scenes, it’s left to me to keep the front page updated. And what better way to do that than foist some unpleasant off-cuts from an old article onto you? Here is your plate of raw offal, then. A couple of months back I posted this piece, on the reshoots required for Series 1 to put Holly in-vision. There was one thing I was never quite able to nail down, however, and going after it seemed like an annoying diversion in an already faintly annoying article, so I pretended not to notice and hoped everyone else would happily ignore it as well. Still, perhaps you’re cleverer than me, and can figure out the below mystery. And it concerns a very important scene in the development of Holly. Continue reading →
You Stupid Ugly Goit Features Posted by John Hoare on 12th June 2019, 09:52 ED BYE: Rob and Doug and I made the decision that it'd be better to see Norman rather than just hear him, because he's got a great lugubrious face. NORMAN LOVETT: Initially the money was low because it was a voiceover, so they can get away with paying you peanuts for that. ROB GRANT: Norman had been banging on from the start saying "Get my face on-screen, that's the money... NORMAN LOVETT: So I kept moaning and whinging about this. I said "Why have I got to do a voiceover in a TV show? Why can't you see this face, and why can't this computer called Holly look like this bloke here?" By the time we'd recorded the third episode of the first series, it had been agreed that we would see Holly, and we'd go and reshoot some of the bits for the first and second and third episodes... The Beginning, Series 1 documentary, The Bodysnatcher Collection The above story - in endless slight variations - has gone down in Red Dwarf lore. Norm whinged right at the start of Series 1 that Holly should be in-vision, the powers that be eventually agreed, and they went back and did some reshoots to add his FACE to the early episodes. (The real horror arises when you consider that due to the electrician's strike, where Series 1 was entirely rehearsed but never actually recorded, Norm was probably on his ninth week of moaning about this, rather than the third. Try not to let that shrivel your soul too much.) However, what hasn't been done is going back to examine those early episodes in detail, to see exactly how those reshoots worked. And when you do, you spot a few interesting details which haven't been widely talked about. Let's take a look. Doing this takes a certain amount of extrapolation; without access to the proper production paperwork, we have to do a bit of stretching and join some dots along the way. But I think the below makes sense. Obviously, to get any kind of idea of how this worked, we have to take the episodes in production order rather than broadcast order. Read more →
Take the Fifth Features Posted by John Hoare on 10th February 2019, 12:48 "Despite some last-minute shooting by Rob and Doug after the wrap party, Demons & Angels was felt to be the weakest show of the series by Rob and Doug, and so was placed 5th – the traditional place for what you think is your worst episode. (Despite D&A being great.) Nobody cares if you’ve got a duff ep if you’ve had four great ones before it, and end the series with a blinder." "Episode Orders", Ganymede & Titan, December 2005 Over the years on here, we've often idly mentioned the idea that the worst episode of any given comedy show should be put in the fifth episode slot out of six. In fact, we've mentioned it so much that it's almost become a truism, a cliché... and yet we've never really examined where it came from, or actually looked at whether it applies to Red Dwarf in any concrete way. Hello. I am John Hoare, and I am going to take a look at whether this actually applies to Red Dwarf in any concrete way. Read more →
Set to Rights: The Captain’s Office Features Posted by John Hoare on 12th December 2018, 11:05 Hello everyone. When we last met, I guided you through a history of three wall sections used in Red Dwarf in 1988. This went down disturbingly well. You fucking weirdos. With this in mind, let's continue our in-depth examination of Red Dwarf's sets in its first couple of series with one of their most famous oddities: the disappearing and reappearing Captain's Office. This article was intended to be a more general look at the Drive Room set, but believe it or not I have found enough to say about this single topic to make a full standalone piece. We're not dumbing down our material. It's always been this stupid. As before, we need to take this one in recording order, rather than broadcast order. Read more →
Set to Rights: From Supply Pipe 28 to Floor 592 Features Posted by John Hoare on 5th September 2018, 05:18 When I say to random people "Hey, what do you remember about the sets of the first two series of Red Dwarf?", they back away from me and look for the nearest exit. Before they manage to escape, however, they usually mention the bunkroom. They might stammer out an anecdote about a yellow banana. Really cool people might mention how the Drive Room changes between series, or how the Observation Dome is a perfect combination of live set elements and special effects. Still, all those stories have been told. I want to dig a little deeper, and I don't care how boring things get in order to do so. With that in mind, Ganymede & Titan proudly present: a history of three wall sections, used at BBC Manchester in 1987-88. Enjoy. Read more →
