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I will try to cast as many different actors as I can, which means the schedule becomes completely abstracted with different sequences on different days. We’ve done the second half of a story in the morning, and then the first half in the afternoon. Scheduling is one of my strengths: I’ve learned the distinction between OCD and OCPD. If you’re OCD they will lock you up; if you’re OCPD, it’s okay, you’re just a bit anal. I enjoy scheduling and the challenge of making a very complicated schedule work. I know it’s worked when everybody has enjoyed the day’s recording despite how fractured and frustrating the schedule has been. The evolution of the Blake’s 7 audios at Big Finish has been fascinating. The original set of Liberator Chronicles were very much in the Companion Chronicle mould, with two voices (and if a third character were required, one of the actors would have to step in). Director Ken Bentley and sound designer Alastair Lock seamlessly take us back to the gap between Series B and C. Writer Peter Anghelides picks up all the snippets of information from both the episodes Star One and Aftermath and then adds a whole new layer to them with the introduction of yet another threat for the Liberator crew to deal with. The dialogue falls under the tongues of the actors naturally, so more than ever before, you really feel as if this is an episode the BBC accidentally forgot to broadcast in 1979. Alastair Lock steps into Peter Tuddenham’s shoes for both Zen and Orac and there’s an important, if not huge, role for Jacqueline Pearce as Servalan, giving one final stand-off between her and Blake. The accompanying documentary is also interesting, particularly as it gives some of the history of the Big Finish work on the franchise, and it’s good to hear the actors’ views on the revival of their characters after so long. Let’s hope that we can have some more of these full-cast stories soon. They both might be too young, but best I can think of of the top of my head. I was thinking maybe Michael Shanks as Vila, but while I think he could act the role great, I think he's too big (physical size) to play the character. Another upcoming release from Big Finish Lucifer - Book and Audiobook Written By: Paul Darrow Read by: Paul Darrow Out in May No thank you. I don't know what else he's written between 'A Terrible Aspect' and this but how that ever got published is beyond me. Loved him as the character, felt really sad about him as an author.

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On a related note, I'm rooting for Brienne and Tormund just as much as anyone, but I was also really shipping Missandei and Grey Worm last season, and that storyline has virtually disappeared, so I'm not getting my hopes up for this new power couple, especially if they go their separate ways to drum up northern support. Even if she would have been upset by any means of taking Renly out, in particular she was upset by the duplicity and sinister nature of the murder. That is actually a valid concern when judging potential allies. We have the benefit of A much better acquaintanceship with him, but it is all Brienne knows of him. I like Davos but I can understand why Brienne does not. Bran thought he was choosing danger for himself and did not know he was choosing it for the world. Now he did know that he is important to the world and therefore should have been more careful with his own safety but he likely thought his was the only safety he was risking. Considering how spectacularly pear-shaped it all went I'm sure he will writhe with guilt and anguish forever afterwards, truly though he did not know he could endthe world. He should have known that since he was important to saving the world he shouldn't have done it anyway. However brand Stark is a traumatized, crippled child who has been on the run for years and has landed in a freezing cold cave with an inability to walk, nothing to eat, and the lure of the world where he can visit his dead family. He will pay very dearly for having given into that very understandable human impulse. She assumes the same kind of unquestioning loyalty she gives. I am not expecting joy though - given what has been going on in the show. I do look for fleeting moments of humor which this show provides. Arya firmly standing by her statement that she is No One, and then the look on her face while she was watching the play had me laughing. Maisie is so good, and Arya should never play poker. Otherwise this story will perpetuate itself into infinity. The Wildings became too populous - they try once again to rid their land of humans. It just backfired on them when Bran stayed in the past too long.

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Talia complaining about her impending arranged marriage is still echoing in our heads as we move to King’s Landing. Tommen is now friendly with the High Sparrow, and rather than condemning him for forcing Margaery to do the Walk of Atonement, Tommen is explaining that he doesn’t quite know how to deal with it. The High Sparrow allows Tommen to finally see Margaery, and I wrote in my notes, “Margaery is pretending to be pious. We saw her in Loras’s cell, where she explained that they can’t let the Sparrows see them broken. Loras, on the other hand, said, “Just give them what they want, and make my pain end. At the time I took the look on Margaery’s face to be one that suggested she was giving up on her brother, but now I see it as a light going on in the attic, where she suddenly thought wait, that’s the answer. If I let them think I’ve atoned and have become one of them, they’ll let Loras go. You have to fight hard to rise up, but the thing is: the women ARE rising up. Brienne and Sansa have joined forces; Arya is proving she will not be controlled by the Faceless Men; Daenerys has won over the Dothraki, Yara has stolen all of her uncle’s ships and might be heading for Daenerys right now to see if she could join her; Cersei has another trick up her sleeve; and Melessa maintains her goodness in spite of her husband being a complete and utter boob. Margaery is a manipulator, but clearly she learned at a very early age that it was her only choice in this world. She married Renly, who was gay, and allowed her gay brother into their bedroom so he could fulfill her husband’s needs while she got to wear the crown. Not ideal, but better than many women have fared in Westeros. Then she ended up betrothed to Joffrey, but Olenna took care of things there — Olenna probably did the same things Margaery did to rise up, and she wasn’t about to let a monster destroy her granddaughter. And now she’s with Tommen, and that’s not going so well, but she’s going to figure out a way out of this mess just like she has every other time. She tells him that Loras needs to atone, and comes off as completely legit. She’s learned quickly that Tommen is about as malleable as a ball of play-doh, and she knows this will be an easy one. What she intends to do with him only becomes clearer later in the episode. It made me remember the first time I visited the UK in my late twenties, and I was at dinner with my friend’s family, and I suddenly became aware that someone was staring at me. So I know how Gilly felt in that moment.

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It is common to lay the blame for this changing relationship between humans, progress, and technology on the Industrial Revolution. But, as Franklin points out, these changes were part of social patterns that had existed for centuries in Europe. She writes that, although “the eighteenth century exercised control and domination by regarding human bodies as machines, the nineteenth century began to use machines alone as instruments of control” (p. 62). To factory owners, machines seemed more predictable and controllable than people. They were therefore more than willing to eliminate those workers who could be replaced by machines and equally willing to force the remaining workers to work like machines. THE AMBIVALENCE DEEPENS From the nineteenth century onward, the relationship between progress, technology, and the individual has become increasingly problematic. Despite the speed of technological innovation in the twentieth century, western society is still in love with the idea of now-ness; our vocabulary is fairly littered with terms such as breakthrough, groundbreaking, and cutting edge. We feel both a financial and moral imperative to embrace the new. But we are also haunted by the effects of the technology on the individual and society as a whole. We feel it divorces us from nature, that it prevents us from knowing ourselves, that it controls our lives. In The Spirit of the Web: The Age of Information from Telegraph to Internet, Wade Rowland (1997) writes that the more complex society becomes, the more necessary it is to develop methods of maintaining control. Communication and broadcast technologies are designed to do just that: they control people within a context of compliance. In all technologies of mass communication except the telephone, the Internet, and some forms of radio, the communication is organized in one direction, with only the illusion of contribution and control by the audience. Franklin agrees that technology in general and communication technologies in particular are not neutral, but catalysts for control. She claims that technology is usually introduced to the general public in two stages. In the first stage, the technology is an option for the wealthy, the specialist, or the enthusiast. There is frequently an attempt to make the technology appear “user-friendly” in order to calm fear of the new. User communities such as clubs and specialist magazines are established.

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