Out now on your favourite podcast platform, the latest episode of Very British Futures, covering Bright Eyes, the second Play for Tomorrow from the makers of Play for Today. Broadcast in 1982. Written by Peter Prince and directed by Peter Duffell.
New Year’s Eve 1999. Great Britain is part of the European State. The Euro army is in the midst of a controversial war in the Middle East. Wealthy businessman Sam Howard has come to a French prison to see his daughter Cathy, who has been arrested for being part of a conspiracy to assassinate a pro-war politician, and is now facing execution. The authorities hope he can persuade her to issue an apology regretting her actions, allowing them to commute her sentence to prison time. Waiting outside her cell, Sam’s memory flashes back to earlier New Year’s Eves. 1979 when she was six years old and left with him overnight by his ex-wife. 1989, when she was sixteen and he criticised her 60’s themed party as disrespectful to the genuine struggles of that decade. When she said didn’t care about politics, he told her to start taking an interest and challenge to official line about the coming war. Now a crowd of journalists wait outside the prison, his ex and her legal team are helpless and he must decide whether to ask her to betray her principles to save her life.
One of the good things about making this series is when a guest helps me see a programme in a new, usually better light. This was the case with Bright Eyes and my friend Jon Arnold. An experienced writer and commentator, Jon’s enthusiasm for this play about the generation gap, activism and pragmatic politics was infectious. Hope you find this an interesting episode.
You can find the episode on all major podcast platforms, including Spotify.
To coin a phrase “Good news everybody!” There’s been a hiatus with the Very British Futures podcast for a few months, although I have been recording several conversations. The reason was that I am presenting a mini-series about 1982 BBC anthology Play for Tomorrow and I wanted it to be hitting your ears on a weekly basis. So I couldn’t release the first one until they were all ready to go.
But today is the day and you can hear what Rod Brown (host of Nostalgia Tours podcast) and myself made of the first entry – Crimes by Caryl Churchill.
Play for Tomorrow was a short-lived experiment by television producer Neil Zeiger, who was already in charge of the well-regarded Play for Today strand of one-off plays which ultimately ran for 15 seasons between 1970 and 1984. Amongst its wide variety of original stories were modern classics like Blue Remembered Hills, Abigail’s Party and Edna the Inebriate Woman. Whilst most of its plays were realist, it occasionally ventured into science fiction, most notably in The Flipside of Dominic Hyde. It was the success of that time travel comedy that encouraged Zeiger to propose a mini-season of plays set in the near future UK, based on realistic scientific and social science predictions.
Crimes is not so much as story as a think piece, a collection of linked monologues. building a picture of a more regimented Britain in the shadow of a continued Cold War. A group of prisoners are attending a mandatory therapy session under the chairmanship of Melvyn, a successful criminal psychologist. But is Melvyn himself really in a good place to be deciding on other’s sanity?
I deliberately wanted to have some fresh voices in this mini-season, as well as some old friends. Rod Brown is a fairly recent podcaster on the seen but his Doctor Who podcast Nostalgia Tours is already building a rep for itself. He’s an excellent guest as you’ll find out in this episode. Hope you enjoy this special set of Very British Futures episodes, available on your favourite podcast app.
I’m pleased to share with you that I am the guest on the latest episode of the podcast Doctor Who – Too Hot for TV, hosted by Dylan Rees. Together we are looking back at two unmade stories from the 1960’s – Farewell, Great Macedon and The Queen of Time. Both have been recreated as dramatised audiobooks by Big Finish. I’m particularly happy with the way this one has turned out. In fact I think it’s the best of my three guest spot so far because I sound more confident and fluid and there’s a lot of interesting Doctor Who behind the scenes details to talk about.. You can listen to the episode here https://www.buzzsprout.com/864883/episodes/17368333-s5-e33-just-a-bit-of-tea-with-a-wee-lassie and all the major podcast apps.
Farewell, Great Macedon was submitted by Moris Farhi to the show’s script editor David Whittaker during the first season in 1964. It features the First Doctor as played by William Hartnell. Unusually amongst the so called “lost stories” of Doctor Who, it exists as a fully written script rather than just an outline, which helps make this adaptation feel just a bit more legitimate. Nigel Robinson, a skilled adapter of early Doctor Who stories, wrote the audio version and Big Finish mainstay Lisa Bowerman directed William Russell and Carol Ann Ford, who played two of the Doctor’s first companions. John Dorney guested as Alexander.
The TARDIS lands in the Hanging Gardens of Babylon, where the travellers meet Alexander the Great who welcomes them with hospitality. But history teacher Barbara realises that they have landed a few days before Alexander’s death and with the TARDIS needing to recharge before it can leave, the four friends find themselves caught up in court treachery. It’s a splendid story and for me one of the high points of Big Finish’s Doctor Who range.
The Queen of Time features the Second Doctor, as played by Patrick Troughton and was written by Brian Hayles. Hayles had written several stories for the series and this proposed adventure owed a large debt to one of them, The Celestial Toymaker. This time Catherine Harvey adapted the detailed plot outline and Lisa Bowerman once again directed. Former companion actors Frazer Hines and Wendy Padbury performed it, with Caroline Faber as Hecuba.
The Doctor and his companions are mysteriously invited to meet Hecuba, the Queen of Time and sister of the Toymaker. Trapped in her realm, the Doctor must ward off Hecuba’s romantic overtures, whilst Jamie and Zoe face a series of deadly puzzles. This is something of a misfire for me and I enjoyed getting into why I don’t like it.
As well as recommending Too Hot for TV as a great podcast anytime, I’ll take a moment to remind you that Dylan’s second book Myths and Legends, a deep cut into independent filmmakers Reeltime Pictures, will be out soon. You can find out more here.
Before I go, my friend Rik Hoskin has had a new short story published in the premiere issue of Goblins and Galaxies Magazine called “Tournament in Frow” and you can find out more below:
When I started the Very British Futures podcast I wanted to shine a light on programmes that didn’t have much of a following, that didn’t get talked about much online. Since then I’ve learnt that its good to mix up such programmes with well known titles because listeners like to hear discussions of shows they’ve seen as well as discover old series.
Out of this World is exactly the kind of series I designed this podcast for, and researching it myself I’ve come to be sorry that more it hasn’t survived. It was the first anthology of serious, adult orientated science fiction on UK television. Although both BBC and ITV companies had produced one-off adult dramas SF dramas, such as The Time Machine (1949) and The Ship That Couldn’t Stop (1961), a fully fledged evening series of upfront SF stories was a risky proposition. As it is, Out of this World was a well-received success and would have undoubtedly have had a second season if producer Sydney Newman and story editor Irene Shubik had not left ABC to work for the BBC. But the series was reborn on BBC2 as Out of the Unknown and you can find out more about that marvelous anthology in this podcast episode.
Most of the plots were based on existing stories from the golden age of science fiction, with a couple original scripts in the mix, including an early work about body snatching invaders from Terry Nation – “Botany Bay”. Each episode was introduced by cinema legend Boris Karloff, in the urbane uncle kind of role he often played in his later career. Tragically only one episode has survived – “Little Lost Robot” but that and the other surviving material suggests a very watchable series made with love and care.
See if you agree by listening to the latest episode, in which I am fortunate to be joined by Dylan Rees, host of the Doctor Who – Too Hot for TV podcast and writer Peter Grehen. They had the challenge of listening to me describing missing stories and then reacting to them, and they had some fun insights. You can get the episode on your favourite podcast app or on Youtube.
Whilst I’m here, I glad to tell you that my friend Chatri Art, who wrote the music for Very British Futures has a new album out – The Underdogs. To listen to it, try the player below or visit his Bandcamp page.
SF conventions have been making appearances in comedy films for decades. It’s not hard to understand why, as the exotic fantasy worlds of science fiction meeting the mundanity and compromises of the present day and its fallible inhabitants creates a gap that is ripe for observation and storytelling. Then there’s the glamour of celebrity and the shared contract of delusion that exists between artists and their fans. Fandom is a place that build marvellous communities, but also be tawdry and hurtful.
Amongst films and television that have depicted this are Staggered, G.B.H, Paul, Free Enterprise, Frasier, Community, The Big Bang Theory and most famously Galaxy Quest. Less well known but a marvelous example of this sub-genre is the 2002 TV movie Cruise of the Gods. Made by Baby Cow Productions for the BBC, it stars Rob Brydon and Steve Coogan as actors Andy Van Allen and Nick Lees. Both were the stars of an imaginary 80’s tv show Children of Castor. The show was set on a post-apocalyptic Earth, minus the USA (“America is Pollux!”) and featured a New Wave pop group who survived to become the inheritors of humanity. Now in 2002, Nick is globally famous for the US show Sherlock Holmes in Miami, whilst Andy is a barely working actor, supporting himself as a hotel porter. We learn that Andy has been a self-centred jerk most of his life. His lack of success and his resentful reliance on his cult fame has left him lonely and bitter. Most of the film takes place on a cruise ship taking holidaymakers, including a SF convention, around the Greek islands. Andy is the guest of honour, along with the show’s writer and a former actor who played a mutant in the opening credits. But his minor celebrity is overshadowed when Nick turns up completely by chance, filming the latest episode of his series. Andy is initially furious, but when Nick offers him a chance to appear in his programme, Andy sees an opportunity to finally become a star again.
SF conventions on cruise ships are regular events, but there is an extra nostalgia for me in seeing this manner of grassroots event, with guest panels, discussions and competitions, in an era where many conventions have largely become merchandise markets. The film features several actors who would become famous in the Noughties, including David Walliams and James Corden. As well as amusing guest appearances playing themselves from Jack Jones and Brian Conley. It’s a funny, feelgood drama that gently pokes fun at fans but without cruelty.
Cruise of the Gods is the subject of the latest episode of Very British Futures. You can listen to the podcast on Goodpods or any of the major podcast platforms. My guests, actor Cliff Chapman and podcaster Dani Wray, had originally recorded an entirely different episode about The Comic Strip Presents, but due to my clumsiness I lost the recording. So they very generously offered to record a new episode. I had toyed with the idea of covering Cruise of the Gods for a while. Whilst it is not science fiction, it is definitely about British cult television. Hope you enjoy it as much as we enjoyed recording it.
Ever since computer games were invented, Doctor Who fans like myself have wanted to see our favourite show to be part of that world. From Doctor Who – The First Adventure on the venerable BBC B Micro, through Dalek Attack on the PC and Spectrum, to more recent attempts such as Lego Dimensions. Then in 2019 a fully fledged VR game arrived The Edge of Time, courtesy of Maze Theory, but never seemed to make the impact such major project should had. After all, this game lets the player travel in the TARDIS and confront Daleks and Weeping Angels face to face. It has a complete story that puts the protagonist centre stage. When I bought myself a Meta Quest 3 headset, it was a game I purchased almost immediately to experience myself. After Beat Sabre.
Recently there seems to have a dizzying explosion of Doctor Who titles in many videogame subgenres, from time-killing smartphone game Lost in Time to online card game Worlds Apart to guest appearances in big hitters like Fortnite and Minecraft. Up until now, I would say the titles closest to capturing the spirit of the programme were the Doctor Who Adventures released initially for free by the BBC, featuring the Eleventh Doctor and Amy. Whilst enjoyable to play these felt less polished than the perfect AAA game of my imagination, something combining the mechanics and look of say the Mass Effect Trilogy or Fallout 4.
The appropriately named game The First Adventure (1983)
The opening story in The Adventure Game ‘season’ – City of the Daleks (2010)
The Edge of Time is definitely one of most ambitious and big budget attempts to date. It promises a great deal, to actually join the Thirteenth Doctor in an adventure as her temporary companion, flying the TARDIS, battling the Daleks, the Weeping Angels and some new enemies in virtual reality. Unfortunately the earliest releases of the game came with game crashing bugs, despite extensive play testing by Maze Theory, and I think that did damage the game’s reputation. However the version available to buy now is much more robust and also comes with 2020’s Time Lord Victorious DLC bundled in for free.
The landing screen placed me in a rocky area with the TARDIS standing to my left, humming with energy, whilst ahead was the menu. Choosing New Game took me to what would be called the “cold open” of the episode. a shabby laundrette where I was the only customer. The lights start to flicker and the voice of the Doctor, voiced by Jodie Whittaker herself, comes through the static of the television. She’s asking for help, and warning me that I’m in trouble. The lights flicker again and the washing machines fill with slime, covered with blinking eyes. The voice of the Doctor warns me that these are embryo Hydrocs, vicious predators who grow very quickly. Reality is breaking down and I need to get out of there. Some searching and clue solving puzzles follow, as I eventually get through the locked door at the back and summon the TARDIS, just as a Dalek saucer appears overhead and tries to exterminate me. Cue 360 degree panoramic version of the Thirteenth Doctor’s title sequence.
Inside the Thirteenth Doctor’s console room (a design I became more resigned to than ever really liked) the Doctor appears as a hologram and explains that she is trapped at the other end of Time and needs my help to find three rare zeiton crystals with which she can create a vortex manipulator to escape and fix the reality virus which is threatening the whole universe. This plot accidentally anticipates the Flux that the Doctor will face in 2022. First she needs to guide me through flying the TARDIS, which involves turning knobs and pulling levers in a sequence repeating memory game, a bit like Bop It!
There was definitely a thrill to stepping out of the TARDIS on to an unknown planet. That worked each time arrived in a new location. Most of the game is puzzle solving, moving objects about, slotting them into holes. Or combing objects to create an effect. Zapping items with the somic screwdriver was a reliable move. Most of the puzzles were an easy to medium challenge, apart from one aboard a spaceliner involving reflecting a laser beam with rotating mirrors to activate doors, that eventually I had to look up the solution on YouTube. As with many VR games at the moment there is a distinct escape room vibe to the majority of the game, even if the locales allowed for a lot more walking and exploring.
Occasionally there is an action sequence. Escaping the Weeping Angels in an old house, with an unreliable torch and a lift which needs recharging at each floor with a dynamo, was genuinely scary, especially knowing that death meant going back to beginning of the sequence again. By contrast a first person shooter section, driving a Dalek around a temple shooting at other Daleks, became quite frustrating, since unless you managed to time every shot and make it count, death meant starting the whole long section over again, which became pretty wearying. I’m not a fan of the whole timing blows precisely in a sequence kind of combat which Dark Souls has popularised.
Along the way, the villain is revealed as The First, a godlike mother of all life in universe, wishing to punish intelligent life for making so many mistakes. To be honest this section was a bit ponderous, especially since she is so powerful, all the player can do at this point is really stand and watch the Doctor sort things out, again solely as a voice. Despite a last minute race to retrieve three more magic items by revisiting some previous destinations, the climax is underwhelming.
Yet the journey there is pretty entertaining. The whole Weeping Angels section uses those antagonists particularly well, with some moments that are more than worthy of the television series. Sneaking past full-scale Daleks is fun and again feels very reminiscent of the series. Dialogue writer and co-storyliner Gavin Collinson gets the feel of modern day Doctor Who. You get your own companion of a kind, Emer, winningly voiced by Jennifer Saayeng, who has also appeared in a few Big Finish stories. Wielding the sonic screwdriver to scan and manipulate item is satisfying too.
Graphically the style is fairly cartoonish, an acceptable compromise between accurate detail and the speed and size of the game. The two TARDIS console rooms of the Thirteenth and the Tenth’s (for the Time Lord Victorious add-on) are pleasingly recreated, whilst the new locations are colourful and well lit.
Away from the main story, there’s the Time Lord Victorious collectible game, which tries to extend gameplay by adding hidden collectible items in all the locations of the story. These are related to the stories in the BBC’s 2020 multi-platform campaign. Discover all eight and you can play a quiz game. There’s also an Arcade section where the player can replay the title sequence, flying the TARDIS, escaping the Weeping Angels, or battling the Daleks.
In 2021 Maze Theory released a reimagined version of the game for flat screen consoles. Doctor Who – The Edge of Reality replaced the god-like First with the Cybermen as the principle villain and also featured a cameo from the Tenth Doctor. I have not played it but I believe it too was plagued with bugs and seems to have had even less impact than the VR original.
I’ve enjoyed playing this game and think it deserves to be better known. It’s a sincere attempt to put the player inside a Doctor Who adventure and translates a fair amount of the feel of the Thirteenth Doctor’s era. It’s an accessible game for both experience VR players and first timers. Hopefully it will remain in the Steam, MetaQuest and Playstation libraries for the foreseeable future.
Another of my early experiments with my new Meta Quest 3 headset was to watch the 360 degree Doctor Who short animated film which the BBC released in January 2019, featuring the voice of Jodie Whittaker. The Runaway begins with the viewer being accidentally teleported aboard the TARDIS by the Thirteenth Doctor. Apologising, the Doctor explains she is trying to help a young energy being from another dimension return home. The being is a glowing sphere with eyes and the Timelord explains that if it becomes too agitated it will blow up, taking the TARDIS with it. As a story its typical of the kind of mini-episodes which were usually made for Comic Relief, based entirely on the standing set of the console room. The animation is similar to Edge of Time although this cartoon was made by the BBC VR Hub.
It works excellently in the Quest 3, I can see it would function equally well in any 360 viewer, including Google’s Cardboard VR. It’s a sweet little disposable tale, although I missed having any interactivity. If you have a chance to watch it as its meant to be seen, its worth your time though.
I am delighted to announce a new episode of my podcast Very British Futures. The first hopefully of a revived run of the show, after several months of concentrating my time on Bolton Little Theatre and my job at the university.
A for Andromeda and The Andromeda Breakthrough are fairly obscure today, compared to programmes like Quatermass or Doctor Who, but during 1961-62 they were popular successes for the BBC. It seems appropriate to talk about them now, at a time when Netflix has had a success with 3 Body Problem, another serious SF show about alien contact being conducted through radio communication. Written by noted astronomer Sir Fred Hoyle and TV producer John Elliot, the series begins with radio astronomers detected a message from an alien intelligence. That would be profound enough, but the message turns out to be a blueprint for a new kind of computer, more powerful than anything on Earth. Building the computer in turn creates new life, first an octopus like being, then a beautiful woman they christen Andromeda, based on the body of a murdered female technician. As politics, the military, and a ruthless tech company called Intel (no relation) become involved, maverick scientist John Fleming fights against the alien AI, whilst falling in love with Andromeda. The sequel takes the surviving characters to the Middle East, where a new computer has been built and Intel intend to dominate the world with its technology. But Earth’s weather is running out of control, thanks to Fleming’s interference and only the computer can save us, if it wants to.
Joined by Nigel Anderson and Brian Clark, friends I had worked with on the very first episode covering Pathfinders in Space, this has been a very interesting production to research and produce. After recently covering several high-profile shows, it was good to tackle something a bit more off the beaten track. You can listen to the results on all the major platforms, including YouTube, and find out more about the series, plus the BBC4 remake and the 70’s Italian version by visiting the podcast’s website at: https://westlakefilms.uk/verybritishfutures/
Rik Hoskin has been in touch to tell me about his involvement in a new PC computer game. He is the script editor and consultant on a live-action comedy dating game Forgetting Emily. To quote the blurb on its Steam store page: “When is it time to move on? Before your ex gets married to someone else… right? You play as Alex, a struggling musician invited to his ex-girlfriend Emily’s wedding. It’s in Turkey. It’s in one month. You said you’d bring a plus-one… so the countdown’s on, because you don’t have one. Filmed in live action, you see through Alex’s eyes as he makes decisions that can land him just about anywhere as he tries to find his ideal date for the wedding. The trouble is, Alex doesn’t have much money, and it seems like everyone who offers to help is also conspiring against him … which is to say, YOU!”
Congratulations to Rik as he adds even more strings to his creative bow. If you would like to find out more, check out the game’s website https://www.forgettingemily.com/
When I was growing up, Space: 1999 was one of the big SF shows. Although I never watched it religiously in the way I followed Doctor Who, nevertheless I had a Dinky die-cast Eagle toy, several annuals and I thought the uniforms looked really cool, especially the colourful jackets they wore in the second season. As a show it was always present in the background, in Look-In magazine, old issues of Starburst and Starlog, and in many of the other SF publications which filled the shops in the wake of Star Wars. Then for a while it seemed to lose its lustre with the fan community, at least in Britain. It became regarded as dull, or camp in the wrong way, an example of how television didn’t ‘get’ SF. But quality will out and in the wake of two serious-minded serial shows of the 90’s both set in one location: Babylon 5 and Deep Space Nine, ITC’s space opera was rediscovered and reappraised. Older fans even detected a story arc to Year One, a suggestion that the Moon’s journey was being controlled by some kind of cosmic higher power, that the Alphans were being prepared for a new destiny on another Earth.
I actually felt that Space: 1999 would already be well covered by podcasts so I avoided it at first. However I am glad I changed my mind because this twentieth episode of the podcast is proving to be one of the most popular episodes so far. Having good contributors helps, and I was delighted to have my friends and talented writers Kara Dennison and Ian Taylor along for the ride. Their contributions are fascinating and amusing.
You can listen to the episode now on Spotify and the other major podcast platforms, including Youtube. Hope you enjoy it and I intend to pick up the frequency of episodes for the remainder of the year. Coming next will be The Comic Strip Presents.
Ciara, a teenage girl, discovers she has a remarkable inheritance in her DNA, one that propels her into a globe-trotting adventure which involves biotechnology, an enigmatic Maori legend, and the famous voyages of eighteenth century explorer Captain James Cook. Before this entertaining novel is finished, the future of the human race will be in the hands of her and her small group of friends.
This is the debut novel of Terrance McAdams, and I should say upfront that he’s also my cousin. He has written this exciting Young Adult novel, the first in a series, Biocode: Endeavour and he has done an impressive job of mixing real history, recent scientific developments in human physiology, and his own foreign travel experiences into this science fiction adventure.
True, at first I was a little concerned that the book was following the weary trope of the ‘chosen one’ protagonist, for whom all obstacles are solved by their destined specialness, which make others bend rules and give her advantages. Ciara is boarding at the private Sanjung Academy in South Korea, set up by tech billionaire Dr Sanjung Kim next to the government’s Global Education City. It is a kind of super-science Hogwarts. Naturally this means she is surrounded by the best and brightest, whose talents in martial arts, computer hacking, science, and international contacts will come useful later. She’s being troubled by intense dreams, mostly ones where she is Midshipman William Hartley, aboard First Lieutenant James Cook’s ship HMS Endeavour as it discovers New Zealand. She also learns that the real reason she was invited to the academy is that there is alien DNA in her genes. Her dreams and an invitation to an archaeological dig organised by Dr Kim leads Ciara to learn about a race of beautiful blonde people called the Patupaiarehe who had supernatural powers. The truth turns out to be stranger.
Frustratingly for this review I cannot talk much about my favourite element of this story without spoiling it for other readers. Suffice to say that the initial ‘hero with a destiny’ plotline which takes up the first half of the narrative becomes subverted and a very different and a better story emerges.
The author is a teacher who currently lives in South Korea and that local knowledge certainly comes through in the way he conjures up both that country’s culture and describes the environs of New Zealand. He also has a good ear for teenage dialogue and the scenes and relationships between this set of smart, pro-active young heroes rings true without going into tiresome quip-heavy sub-Buffy material. He has a particular interest in encouraging more girls into science, so its not surprise that most of the group are female and generally are the drivers of the story, but they still feel realistic rather than superheroes.
When the true nature of the antagonists does emerge they are excellently depicted and for a while I was wondering how such a powerful enemy could realistically be defeated. There’s plenty of incidents along the way, including a shark attack, kidnappings, battles with Maoris and a even James Bond style mountain base to be infiltrated.
I think Terrance McAdams’ writing will only become richer in future instalments. He’s created an engaging set of leading young characters and brought something fresh to the YA scene with this combination of cutting edge science and traditional adventuring. Although the start of a series, this is perfectly self-contained novel and I can recommend to readers of all ages.
Just in time for Christmas, I’ve released a brand new episode of the Very British Futures podcast, with a seasonal flavour. There aren’t many British TV science fiction programmes that actually feature Christmas, apart from 21st century Doctor Who, but one welcome exception is the works of Gerry Anderson. Most of his puppet shows feature the Christmas holiday and for this special we took a look at Stingray and “A Christmas to Remember”.
Stingray is an odd fish. Although clearly a children’s show, it nevertheless features a largely adult cast of characters who have foibles, who socialise with alcoholic drinks and cigars, and have mature concerns beyond simply defeating the bad guy of the week. Most famously there is the romantic triangle between Troy Tempest, underwater-breathing glamourpuss Marina, and attractive Atlanta Shore, who works at Marineville most of the time. The stories were straightforward, but there was space for humour, and even a touch of satire. Meanwhile the excellent craftsmanship of the AIP team, created one of the glossiest junior shows on television, with memorable images like Stingray erupting from its undersea silo, or Marineville descending underground.
I was keen to get a younger viewer’s opinion for this episode, so invited John and his thirteen year old daughter Amber to be my guests for this mini-episode. It’s a slightly unusual episode as a result, but I hope listener’s enjoy the seasonal flavour and if it’s a success I’ll do another one next year.
YouTube version of the podcast
You can listen to Very British Futures on your favourite podcast app or at the official website
The Phantom Frame 