All language subtitles for Doctor.Who.Unleashed.S01E02.The.Devils.Chord.1080p.WEB.h264-W4N70Ks_3_text-en

- Action.
-

- In this episode,

we've got a murderous music monster
called Maestro.

- I think one of the most dangerous
things in a person

is unpredictability.

- HYSTERICAL LAUGHTER

We've got The Beatles.
- This is me real hair.
- Yeah.

- It's impressive.
- Yeah.

- We've got a lorra lorra Cilla.
- Surprise, surprise!

- We've got Johannes.
- I have to say, I'm a bit nervous.

- Are you?
- Cos I've never done a TV drama
before.

- That's not bad. We're up to about
six and a half...
- Are we?

- ..possibly a seven.
- Come on, there we are.
- Yes...

- We've got Shirley.

SIREN WAILS

We've got spoilers.

-
- Hey!
- There's always a twist
- Hey!

-
end...

- And we've got the moves.

I'm Steffan Powell and welcome to a
fabtastic episode

of Doctor Who Unleashed. Let's twist!

1963.

Afros, bouffants, mini skirts and
Chelsea boots. Love, peace and...

..disharmony?

We're here to bring you the death of
music and civilisation.

And the birth of another ghastly and
thrilling Doctor Who villain.

- Maestro!

- HYSTERICAL LAUGHTER

- She's the only human left...

..with music in her heart!

- Demonic, powerful, erratic,

Maestro is the offspring

of another legendary Doctor Who
nemesis...

- The Toymaker.

- Keeping going with this fantastical
strand of this pantheon of gods,

some of us call them the Gods of
Chaos, which is a great title,

I don't know if it's official, but I
like it,

it's a chance, I think, introducing
these gods,

it starts to link them together

and Maestro is actually

the child of The Toymaker.

The Toymaker seems to be the supreme
being of this pantheon.

He's not. There's plenty of
discoveries to come with that.

But, actually, Maestro is then their
child

and they share the same laugh.

- WHIMSICAL LAUGHTER

- I think it's going to be known as
probably one of the best villains

on Doctor Who.

It's such a great link to The Toymaker
as well,

because they're so similar but have
such different elements

to their villain arc.

- It's so nice to see the Doctor up
against a massive, great big enemy.

- I can't fight this thing.
- Enough.

- Maestro is played by actor, singer
and comedian Jinkx Monsoon.

- I'm going solo.

- Jinkx gained worldwide fame

winning season five of RuPaul's Drag
Race in 2013,

and went on to be crowned the show's
Queen of All Queens in 2022.

In the same year, Jinkx played

"Mama" Morton in a sell-out Broadway
run of Chicago.

- I kind of know Jinkx. I've done
podcasts with Jinkx.

I always go see Jinkx's shows when
Jinkx is in Britain,

and when I wrote this script, I just
kind of thought, well,

that would be the most ideal casting.
- Music, Maestro, please!

- Even then, even though I love Jinkx,
I loved her performance,

I loved her attitude to work, I love
what she represents,

even then I had no idea how good this
was going to be.

- I heard music.

- HYSTERICAL LAUGHTER

- And music is MINE!

- MILLIE:
- I think every single day was,

it was like watching a theatre
performance with her.

She really, really brought a certain
sort of magic

that I've never witnessed with anyone
before.

- Oh, working with Jinkx was amazing.

Someone who's, like, mastered all...
all the crafts -

singing, acting, playing instruments.

Brought a real, like, elevation to the
show

and elevated both mine and Millie's
game. So that was good.

Fight me! Maestro, leave her alone.

- RUSSELL:
- I have never seen an actor work
harder and more diligently

with much imagination, and it's
massive,

it's got so much nerve, it's got so
much boldness.

I can see some people shivering in the
face of this performance.

Go and shiver. This is epic.

- Marker.
- The real eye-popping thing about
this performance

is that it's Jinkx's first major TV
acting role.

How much fun has it been to get to be
all evil and nasty?

- It's really, really great, you know?

I mean, I like to think of myself

as a fairly kind, happy, spirited
person.

- Yeah.
- that's why I think I like playing
villains the most

is because it's a bigger stretch for
me as a char...

I like when I don't play myself.

- HYSTERICAL LAUGHTER

- The me in the character is really,
like, the flamboyancy

and the pageantry.

Like, I think I'm playing a fairly,
you know, fabulous Maestro.

And now his song is sung.

The taking joy in seeing other people
hurt,

that's the exact opposite of me. I'm a
highly anxious Virgo

who assumes everything's my fault.
- Yeah.
- And I hate it.

- HYSTERICAL LAUGHTER

I've noticed, watching your takes,

that you sometimes will do the same
take in three or four,

even more different ways, and is that
sort of because

the character is so unpredictable? Is
that a deliberate choice for you?

- There's that. But it's also the way
Ben and I

have been working together - Ben, the
director - is that

we talk, really, we talk a lot about,
like,

what's going on in Maestro's head
here,

what's motivating this line or that
line?

And then once we feel like we've got
it, then, yeah, we go,

"OK, what's another angle?"
- Yeah.

- The One Who Waits is almost here.

The One Who Waits is almost here.

- HYSTERICAL LAUGHTER

- The One Who Waits is almost here.

Villains often just get a free rein to
do whatever the hell they want,

because you have to build this sense
of danger.

And I think one of the most dangerous
things in a person

is unpredictability.

Boo. But it's so sad!

- HICCUPPING

- There's no logic between this action
and that action and that action.

That's scary in a person, right?
- Yeah.

- Ahem.

And that's the most fun thing to play
in Maestro is, like,

I can literally go from being happy
and toying with the Doctor

to being snarling at him and to being
demonic,

to being Bugs Bunny.

Can't trick me twice, honey.

The whole canvas is open for me and
I've got a full set of paints.

-

- In December 2023,

The Goblin Song from the Christmas
special

peaked at number one on the iTunes top
songs chart.

- Amazing.
- No, it's not! What do we do?

- It was written by composer Murray
Gold,

renowned for scoring dramas like It's
To Sin,

Last Tango In Halifax and Gentleman
Jack.

Murray first worked on Doctor Who

back in 2005 and scored fan favourites

such as This Is Gallifrey, I Am The
Doctor, and Doomsday.

Murray has also written the music for
this episode.

Although, let's be honest, some of it
is absolute pants.

-

- When someone says to you,

"I want you to write music like The
Beatles..."
- Yeah.

- You know, it's a fairly high bar
that they've set there, isn't it?

What does that feel like when you get
that call?
- I mean,

the good thing about the brief that I
got was they asked me

to write some really bad Beatles
songs.

So writing some Beatles songs which
they're

struggling to lift off the ground is
much easier than

writing a Beatles song that could just
be mistaken for something

Lennon and McCartney wrote.

- OK, roll to record.

- It was really difficult, I didn't
know how to go about it,

and the key was an email from Russell.

He just said, "Oh, just make it
funny."

- Yeah, I had a good laugh writing bad
songs,

which is very easy for me to do - I
found that bit easy.

The fact that music talent has been
drained out of the world,

so that spark of genius has gone, so
it's just doggerel, that's why

there's a song about a dog cos I just
thought it's doggerel,

so they literally sang about dogs.

And that's what The Beatles are now in
this music-less world.

- How long does it take to write a
fake Beatles song?
- Um...

A bad one or a good one?
- The bad ones.

- The bad ones, like, honestly,
probably 15 seconds.

- Is it?

- I mean, it's just about getting it
bad correctly.

That was it, really. I did do two
attempts at it, I think,

and then the third, Russell basically
said,

"Yeah, that's it."
- Yeah.
- "Go with that one."

- SOMBRE MUSIC

But it wasn't just the one bad song.

Murray also had to write a stinker for
another '60s star - Cilla Black.

-

- Oh, Cilla.

- Unless you've been living under a
rock, you'll know The Beatles.

But what about Cilla Black?

Through the '90s and noughties,

Cilla was famous for presenting TV
hits Surprise, Surprise,

and the grandmother of all dating
shows, Blind Date.

But back in the '60s, she was the Dua
Lipa of pop.

-
me?

- When your agent calls you up and
says,

"How do you fancy being Cilla Black?"
What do you say to that?

- I was literally, like, "Oh, my God,
my mum says

"I look like Cilla Black all the
time."

- Does she?
- Yeah. Literally. That was my, like,
reaction to it.

- Yeah.
- Like, absolutely, I've got red hair,
yes.

- So it's not a wig?
- No, this is a wig but I do have,
like, real...

Like, real life under here it is red
as well.
- Yeah. You're loving it.

- Well, no, at first I was like, well,
if you say I look like Cilla Black

and it's the young... as you're
saying,

it's the young Cilla Black...
- Not Cilla Black from the '90s.

- But if it's, like, Cilla Black,
"Surprise, surprise!"

I'm going to be slightly offend... Not
offended - she was lovely!

But, like, I don't mind looking like
the younger version of her.

- Yeah.
- Yeah.

- Marker.

- Did you go back and watch her,

you know, in her... back in the old
days...
- Yes.

- ..in her pomp and sort of...
- Yes. Gave me so much anxiety

cos she is so good at singing! And I
was just like,

"Oh, my God, I've got to recreate
that."
- Yeah.
- She was brilliant.

-
see...

- I only know her as an old woman.
- Yeah.
- Do you know what I mean?

From, like, being Blind Date, yeah?

So, like, to me, oh, my God, to feel
that bad

that people say I look like her. Do
you know what I mean?

- Has anybody ever said to you,
"McCartney?"

- I mean, not really, to be honest,

but I've got a little brother who's
played Ringo before, so...

- This is in the family!
- It's in the family.

So between us, we're going to try and
cover all of The Beatles

over our career.
- Yeah. Amazing.
- Yeah.

- Are you trying to do an imitation of
John Lennon and or are you trying

to play a character?
- It's a difficult thing.

I mean, I'm a huge Lennon fan,

so this is kind of a dream come true,
but the...

..the reality is, you know, if you
were to turn up

and do an impression, everyone's going
to go, "That's an impression,"

and it's not grounded in your kind
of...in your performance, you know,

and you learn that lesson at some
point as an actor

when you make that mistake.

- Cos obviously when you think of The
Beatles,

you think of the brilliant songs that
they sing. But in this episode,

there's some pretty lame stuff coming
out of you.

What was that like to, you know, to
read into?

- It's a relief not to be singing a
Beatles song, put it that way,

because the comparisons then would be
too close

and you're never going to sound like
The Beatles, you know,

as much as you might try.

So it's kind of good to sing an
original, in a way,

and put the affectation of a Beatles
track on it.

- Yeah.
- But the songs are, you know, bad for
a reason, so...

- Singing about dogs, though.
- Dogs, yeah.
- What's not to love?

Singing about dogs, great.
- Yeah.

- Are you musicians as well as actors
then,

or are you just in for the...?

- I'd say, like, an actor who can sing
a bit.

A bit.
- Yeah.
- A little bit.

- Everybody's downplaying themselves
here.

What we need is a few drinks and go to
karaoke,

and I bet it'll be amazing.
- Yeah.
- Don't know about that.

- LAUGHTER

Still to come on Doctor Who Unleashed
-

I fess up to Strictly's Johannes.

One day you'll have to try and teach
me to dance cos these hips don't lie

and they don't dance. I'll be honest
with you.

Can I "beehive" on work experience?

- You are in control of the hair.
- I'm in control of the hair.

- The hair is not in control of you.

- And - spoiler alert -

we've got a world exclusive clip from
the next episode of Doctor Who.

But first...

The thing about telly on the screen is
it all looks so easy.

But in real life,

even the simplest of scenes can be a
logistical nightmare.

Take this episode's rooftop sequence.

- Old London town!

- Firstly, this isn't London. It's
Newport city centre,

and that London skyline has been
painted in during the edit.

Secondly, Millie's not really playing
the piano.

It's a professional stand-in.

And thirdly, that's not Ncuti

precariously peering out across the
rooftops. It's a stunt double.

Finally, the seemingly straightforward
moment of Ruby

on the old Joanna has been a whole
world of pain

for a small army of people.

- It's been a challenge, this one.

Every bit of shooting kit has been
craned up.

Every large prop,

every lens, every Magliner has been
craned up. I think the water

is about the only thing we've carried
up, to be honest.

Which has been a challenge cos, you
know, we're four floors up.

What should have been quite
straightforward,

I mean, say straightforward, I know
very little about cranes.

- So in a clear case of life imitating
art...

- That's it. Nice and safe.

I want that installed on the rooftop
like it is precious China.

- ..the piano was hoisted up the
building in both the episode

and in real life.

And after a long day's shoot,

what goes up must come down.

- The crane is coming back to get all
of our kit back

at the end of the day, back down to
the ground.

- We've got a crane.

And we needed another crane

to get the crane on the roof.

And then over there, there's another
crane

which needs to take down that crane.
So what we thought we'd do

is try and get as many cranes as
possible to Newport and, um,

yeah, so here we are, craning away.

Many, many cranes.

A story of cranes.

- How much more is there to come down?

- Three grip trolleys... Another
Magliner, more grip equipment.

And, oh, mate, you've got at least
another four trips, at tops.

- Right.

It's all going well. It's working.

We're getting the kit down.

It got up. So, yeah, we'll see how the
rest of the night goes.

If I'm still here when it gets dark
then it's not gone well.

- You can't have watched this week's
episode of Doctor Who

and not thought, "Wow, those
hairstyles are amazing."

So for this episode's work experience,

I'm going to join Doctor Who's hair
and make-up guru

Claire Williams.

Hello, Claire. How's it going?

- Hello, darling. How are you?

- So this is where the magic happens.

I'm mildly afraid about this because
I've never done this before.

And I'm also a little bit excited
because Ally

has got me doing silly things on this
show.

- Yes.
- And I'm getting a little bit of
payback.

- OK.
- But obviously I'm going to make you
look really good.

What are you doing? Obviously you're
curling.

- So I'm going to try and show you how
we worked the look for Millie.

Loosely, we're doing a beehive shape,
so you're going to help me

with this section. This is the most
important section.

- The bit everybody sees.
- The one we see the most.
- Yeah.

- So you slide your comb in about an
inch...

- Yeah.
- ..from the parting.
- Right.

- And pick up your section of hair.
- OK.

So that... About like that?

- So is it a nice clean section? Yes.
Right, so you've got your section.

Comb it straight up in the air.
- So this is the combing.

- But be firmer.
- OK.
- You're being a bit... That's it,
firmer.
- OK.

- You are in control of the hair.
- I'm in control of the hair.

- The hair is not in control of you.
- I am in control of the hair.

- You're in control of the hair.
- The hair is not in control of me.
- OK.

You need to pick up your spray

and a little gentle spray just all the
way up the length of the hair.

So not too much. And then comb that
through to the end.

- OK.
- So now what you want to do

is hold the hair in your left hand

and in your right hand...
- Yeah.
- ..pick up your roller.

You're sliding that right up to the
end of the hair

without letting any drop down.

- CLAIRE LAUGHS

Shall we try again?
- Yeah.

- OK, this is a bit fiddlier than it
looks. Time for take two.

- Tuck your ends in now.

- CLAIRE GASPS

- I'm astonished.

- Astonished? Did you get that on
camera?
- That's brilliant.

Roll it down now, nice and tight, keep
the tension on.

Just for body...
- Just for body.
- Just for body.

Now get your pin.
- Thank you. I feel like I'm getting

a lot of forehead there. Am I getting
a lot of forehead? Sorry.

- That's brilliant.

That's brilliant.
- Voila.
- I'm not taking that out.

That's fantastic.
- I'm sweating, I'm so stressed.

While the curlers do their curling,

Claire sorts out the make-up.

- Let's get these rollers out.

- Then it's out with the curlers.

- Right, so we're going to get rid of
all this hair now.

And we're going to do that with pins.

And we're going to sweep it into a
nice chignon.

And then you're going to do the twist.

- So like that.
- Yeah. Twist up.

- Twisting it like that.

- Yeah, that's pretty good.

I'm going to get one pin in there.

- That should hold it?
- That should hold it now.

- So can I let go?
- You can let go.

- Now for the finishing zhuzh.

First, Claire back combs the remaining
hair

at the back of Ally's head

and starts teasing it into that
distinct beehive shape.

A squirt of hairspray and a couple of
pins later

and the job's a good 'un,

leaving me to finish the front.

So we want this to flow.

- Flow.
- Have lift.

- Lift. And then a swoop.

- A swoop...around.

- Great. That's plenty. Plenty.

You've finished.
- Yay! Look at that.

- It looks amazing.

Well done.
- Et voila!

Eh? Not bad.

I mean, I didn't do any of the work
but...

It is the 1st of June 2023,

and behind me in Wolf Studios

there is a lot of excitement

because today is the day

we start filming the song and dance
extravaganza that is

There's Always A Twist At The End.

- Hello! So we're about to

rehearse on camera...

- MUSIC BEGINS

- It's a crazy day today.

We've got singing, we've got dancing,

we've got Murray Gold over there.

And it's not often

you get to meet one of your top
Spotify artists.

- The whole fandango is being shot on
five sets

in three different locations.

- I just had to be here today because
it's the musical.

It's the big number.

I wanted this all my life, and I'm
here and they're going again,

and I might just go and join in.

- The person in charge of making it
flow seamlessly -

choreographer Jack Murphy.

So this one, when you got it and
Russell said,

"I want you to choreograph this dance
for me..."
- Yeah.

- What's the first thing in your head?
How are you able to make it sing

as it does?
- So the thing is, they actually said,

"Would you come on?" Because I'm the
Bridgerton choreographer.
- Yeah.

- Just a little drop there.
- Yeah.

Don't mind me. Jack also did a small
TV show you might have heard of

called Bridgerton. I think it's about
the old days or something.

- The olden days, yeah.

And so when they offered and said,
"Would you come and do that?"

I had read the twist and I said,

"So long as you let me do the twist,"

because I never get out of the 19th
century,

they never let me out of the 19th
century.

I'm the man that does Lord and Lady,
you know, Fauntleroy,

you know. And I was like, I've been
gagging,

so I'm, like, you know, I'm like a bat
out of hell.

- Yeah.
- Because I needed a challenge.

I needed to get out of the warm bath
and kind of go,

"Right, come on, feel the fear and do
it anyway."

- Watching it made me really feel sort
of like Hairspray vibes.

Were you after that as, like, really
energetic?

It felt like a teen movie, it felt
really exciting.

Is that what you wanted?
- Absolutely everywhere. Absolute...

I mean, Blues Brothers.
- Yeah.
- The lot.
- Yeah.

- Chubby Checker, the lot.

And, you know, John Travolta.
- Yeah.
- The lot.

- Marker.

- But where did Jack unearth this
talented troupe?

- So, many of these dancers, we did a
call-out.

Essentially dance schools

in the local Cardiff, Newport and
Bristol and Swansea area

to find local talent.

And we did an audition in Cardiff,

which was 90 people.

Whittled it down to about 20 that we
have here today.

- Did you sign up for this, all this
singing and dancing

that you're doing?
- I did not. I did not.
- Thank you, Russell.

- Thank you, Russell. Yeah. But, no,
very, very fun.

- When you're working with actors, you
assume that there's a degree

of movement there, that they can take
to a dance,

but it's not always the case.

What was it like working with Ncuti
and Millie?

- Well, that is exactly the case, cos
Millie hasn't trained.

She hasn't been to a vocational drama
training like Ncuti has,

because he went to Royal Scottish, so
you have to go in first of all,

just try a few gentle moves, kind of
get an idea

of what their facilities, you know, so
you're looking at

space and rhythm with them to see what
they can do.

And, thankfully - thankfully - in this
case,

cos it isn't always the case, um, both
Ncuti and Millie

have fantastic natural movement
abilities.

- These dances that you've had to
learn,

are you going to be whipping them out
on the dance floor next time?

- Might do. Might see me cutting a rug
in Lewisham.

Busting out a twist.

- Yeah, I mean, why not?
- Why not?
- Never know.

- Mark it.

- And it's not just Ncuti and Millie
bringing the moves.

We also have Strictly's Shirley and
Johannes.

Johannes, I have to start by saying
how amazing is your hair?

- Oh, my goodness, I can't tell you.
I'm absolutely buzzing.

- Are you enjoying it?
- Absolutely I am. Today has been
just...

It has been exciting.
- Yeah.
- More than anything.

But I have to say I'm a bit nervous.
- Are you?

- Cos I've never done a TV drama
before.
- Yeah, but you've performed

in front of hundreds of... millions of
people on Strictly.

- Oh, no, honey - this is a different
ballgame. This is Doctor Who!

- When you get the call and they say,
you know,

"Doctor Who wants you to come in..."
- Yeah.
- What's that like?

- You reschedule your life and you
make time

because you couldn't miss it for the
world.
- Yeah.

- That's what I have to say to anybody
that gets an opportunity.

You can imagine when I've got the
phone call, I was like, yay!

- And...playback!

- When I received that video from
Jack, I was just like,

"OK, this is right up my street." It's
'60s.

You're just having a boogie. Do you
understand what I'm saying?
- Yeah.

- And that is what's going to be fun
about it,

is that it's not too serious. It's
fun.
- Yeah.

- And I think he's captured that with
his moves.

- Johannes said before we started
filming that he can teach anybody

to dance.
- Absolutely.
- I have to hold you to that.

One day you'll have to try and teach
me to dance

cos these hips don't lie and they
don't dance.

- I will oil them for you. I'll show
you, I will hold your hand.

- Absolutely.
- Don't worry.

- And it's not just Johannes I'm
taking tips from today.

Are you able just to, like, you know,
as a dancer,

the language of dance, are you able to
just turn it on?

"You're doing this. This is the move
you're doing. Off you go."

Can you just do that?
- Well, Jack Murphy, our
choreographer,

I actually got to do a little bit of
Viennese Waltz with him, so...

- Oh, did you?
- He is an avid Strictly fan.

- Yeah.
- He can do ballroom and Latin,

as well as all the other phenomenal
styles of dance that he does.

So, yes, I understood when he was
talking,

"I want this twist, I want that, I
want this, on five and seven..."

- Yeah.
- So it was really easy to follow a
great director.

He was fabulous.

- Is it difficult when you've been
used to judging people, you know,

for the last few years, when you're
performing yourself,

do you ever think, "Oh, what would
I...?

"How would I judge my own performance
here?"

- I've always been the type of person

that if somebody thinks I can do it
better, I want to do it better.

So I love that we do it, like, 25
times. I get to practise it.

And I love criticism when it comes to
making something better

for the whole company.
- Now you mention that, Shirley,

cos I was going to say, I thought in
the second pass through...

I'm only joking.
- I think I missed the five and seven,
though.

- Well, I thought you were off beat,
frankly.
- Not off.

- No, no, never, never, never, never.
- Never off beat.

- Shirley, sorry, I didn't mean...

Hope you didn't mind. I couldn't
resist.

You gave it.... I had to, you know, it
was there.

Now, Shirley, I don't... I appreciate
you're not prepared

for this, so feel free to tell me to
go

but I have terrible hip movement. What
can I do? You show me...

What was the move you were doing?
- You could straddle your legs

about 20 inches apart...
- Uh-huh.

- ..and you could do a little roll
around with a little pop...

- Roll and pop.
- ..with a pop,

but a slow roll...
- Roll and pop.

- And a pop and roll. Push it forward.

But you've got to keep the rest of
your body super still.
- Super still.

Just in the bottom.
- You learn to isolate your body.

Ole! Hello.
- I think...

Well, we're not a million miles away.
- That's not bad.

We're up to about six and a half...
- Are we?
- ..possibly a seven.

- Come on. There we are.
- Yes, darling.
- I'm just keeping this

for the next half an hour.

Come and see me in an hour and I'll be
fine.

Shirley, thank you so much.
- Thank you.
- Thank you.

-
- Ah-ah-ah

-
- Ah-ah-ah

-

- BOTH:
-
twist

- INSTRUMENTAL

-

- OVERLAPPING SINGING COVERED BY
INSTRUMENTAL

-

- CHEERING

SIREN WAILS

- Combat detected.
- Next time...
- Combat detected.

Combat detected. Combat detected.

Combat detected.

Patient acquired.

Sharp scratch.