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Summary
Samuel and Jacob dive into a breezy, monster-of-the-week romp that doubles as Rory’s first real outing as a companion. They unpack why the “vampires” aren’t really vampires, nerd out over Eleventh Doctor set-pieces and production trivia, and debate the morality of the villain’s survival plan—all while tracking subtle steps in the Amy–Rory–Doctor dynamic and the early drumbeats of the Silence arc.
Highlights
- Outcome: A lively historical adventure that sets the stage for Rory to stick around
- Why the episode title changed to “The Vampires of Venice,” plus working titles and trailer vs. final-cut differences.
- First time the closing titles merge into a scene via the TARDIS keyhole transition.
- Production nuggets: custom fang molds, revoiced lines, a chilly river shoot (featuring a territorial swan), and a “too scary” scene trimmed by censors.
- Library-card Easter egg: a First Doctor photo, “John Smith,” and Totter’s Lane—retroactively deepening the alias gag.
- Character beats: Rory calls out how dangerous the Doctor can be; Arthur Darvill shines with quiet physical comedy; 11’s “rage” flashes still land.
- Smart sci-fi: every “vampire” trait gets a non-supernatural explanation without feeling info-dump-y.
- Set-piece love: the mirror scene (“this is Christmas”) and that delightfully steampunky weather machine.
- Arc touchpoint: a name drop that nudges us toward the Silence.
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Artwork by Baniee
Theme music by ThePantychrist
