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Day 37 - 23/11/16 Our incredibly busy week of filming continued on Wednesday, with filming back at my flat. It was lovely to welcome Victoria George-Veale back to the production, filming her first Christmas scene today. Although this is the first scene we've shot with Steph for the Christmas special, it's actually the third one she's in in the episode. Liam comes to her for advice and gets it - although it might not be the advice he was looking for! The scene is a bit of an emotional rollercoaster, going from anger to sadness to laughter and both Victoria and Andrew are superb in the scene. Day 38 - 25/11/16 With the second day of filming at my flat, we filmed Steph's first scene in the episode, where Andrew comes to ask her advice about his gift conundrum. Before shooting, it was decided to change the location of the scene from the living room (where the other scenes were shot) to the kitchen. Well, it wouldn't be a Whovians shoot at my flat without a bit of filming in the kitchen! The scene is quite exposition-heavy, laying out Andrew's dilemma, but there's also a couple of very nice character moments as well where the two old friends are there for one another. There was a bit of debate over one of Andrew's lines (over whether Bacardi Breezers still exist, so the line was changed just in case) but generally the shoot went really smoothly and we got the scene quickly. Day 39 - 27/11/16 Another bittersweet day, as this was the last day of filming for Victoria. We saved a big emotional scene for the last day, as Steph finally gets to face off against her mother and give her a few home truths. It was a pleasure to welcome Alison Lenihan back as Glenys; she and Victoria played so well off each other in Dinner With Monsters that, when we were planning the Christmas episode, I couldn't resist bringing Glenys back and focusing on the mother-daughter relationship in more depth. We got the big emotional scene out of the way first. Both Alison and Victoria really gave their all during the various takes of this scene, with Victoria's fury and vulnerability bringing me to tears on more than one take (and I've been living with this part of the script for months). It's a very dramatic moment within the special and it was amazing to be on set to see it come to life. After a break, we moved on to gentler and less confrontational scenes, two of which took place in the hallway of the flat (which drew a few comments from people in the other flats but nothing too major). Alison is particularly good in the second of these, showing a very different side to Glenys than has previously been seen. After this, we got the final shot we needed and were able to wrap both Alison and Victoria. Our second main Whovian wrapped for the final time. We realised that this feeling would only intensity as we move ever closer to the final day of filming. Day 40 - 04/12/16 Today was a day of small scenes and 2nd Unit shots to make our last shoot on the 5th December a lot easier.We all started at Gloworks, this time doubling as a bar for Liam’s date scenes. We had two dates to film with two guest actresses Faebian Averies and Sophie Moore. Both were fantastic and great to work with - the small scenes really pop and are very funny. We finished off these first few scenes with Andrew Machin filming a one side of a phone call - a few takes and letting traffic pass and he was done. Literally done as Liam. That was it; a wrap for him. We continued the rest of the day getting shots of Rhys Jones and Teddy Smith who cameo in the episode as two security guards. A few hours later and it was thoughts of the final ever shoot on Whovians... a very weird feeling indeed! Day 41 - 05/12/16 So, our final day of shooting. Not only was it a night shoot (OK, we started at 8pm), we were also filming exteriors. You would think certain areas of Cardiff Bay on a Monday evening would be relatively quiet. However, stick a camera crew in there and put a few lights up and it's amazing how quickly you attract attention. We only had three short scenes to get outside and then could luckily move indoors. One involved Matthew Fisher being chased whilst wearing a gas mask- which meant he couldn't see properly, and ended up running into a fence on one take- whilst the other involved Matthew, Ben Wilson and Rob Mealins which we asked them to improvise. It was the very definition of a one-take wonder (as the crew had to bite their tongues to stop them laughing). As for the third... well, watch the episode to find out. After these scenes, and wrapping Matthew Fisher for the last time, we were able to move indoors to complete the rest of the filming. We focused on the major dialogue scene first- which sees Bradley and Andrew hiding under a desk which turns into a heart-to-heart. Lovely performances by both Ben and Rob in this scene and it provides a lovely dramatic moment in amongst their hijinks. Once we were happy with the scene, we got Ben and Rob running up and down the stairs with GoPros attached to themselves and to the bannisters, with Rhys following on camera. Once we got the footage needed, at just after 11pm, Rhys called a wrap for the final time. And so, after 41 days of shooting over six months, principal photography on Whovians Series 2 was completed. A massive thank you to all our cast and crew- every single one of you mad, dedicated, passionate and utterly talented people- for all your hard work in getting Series 2 and the Christmas special made. You're all stars.

Day 33 - 29/10/2016 Today is the nuts and bolts of the drama in the Christmas episode, filming with Andrew Machin (Liam) and Hannah Celyn Griffiths (Jen). We needed somewhere for Jen’s flat and, having used up all of our friends, family, friends of friends’ homes (continuity is brutal and unforgiving), we were running out of options (Jen was going to be living in a cardboard box by the Taff, at this rate). Luckily, Matthew Ford’s partner, Caroline, stepped in and let us take over her flat for the morning. This shoot is the first time Liam and Jen see each other since their break-up in the second series. It’s funny, but there’s a sting in its tail. Just as Jen has got over Liam, he is back, and Jen is hurt, angry. Hannah, dependable as ever, played this perfectly. No re-takes, no several hour shoots. All done and dusted. Richard Burnett was welcomed into the Whovians fold, with his first day on set. It would be ruining things to say who Richard plays, but he does a great job and will produce a good few laughs when you watch his scenes. Both Richard and Hannah worked well together, this being the fallout after Liam turns up to see Jen. It’s awkward to watch, but in a good way. We’ve been lucky on Whovians that our cast and crew have given up their lives, their day jobs, and their loved ones to help get the series made. Sometimes, our luck runs out: Andrew had to be called in to work. The plan was to film the remainder of the scenes in the hallway outside Caroline’s flat, once it got dark. With Andrew needing to be away by 12:00, plus the hallway is basically one massive greenhouse, no bricks or walls anywhere, there was no way we were going to get away with making it look like night time. There’s been the odd miracle on Whovians, but this is a Christmas miracle too far! The remainder of the scenes would be filmed on another evening, when life doesn’t get in the way. Day 34 - 11/11/16 Today's filming was a heart-to-heart between Jen and Ellie, so we welcomed back Lilibeth Langford for the evening. We also have to say a massive thank you to Adrian Smith and Vicki Davies for allowing us to film at their flat (with an extra-special thank you to Vicki for loaning Lilibeth the very fetching penguin onesie.) The scene is beautifully written, with Jen coming to Ellie in quite a state and Ellie giving Jen some good advice. The rapport between Hannah and Lilibeth is lovely (you can really believe that they're long term friends) and the scene plays out really well. Once this scene was completed, we were able to completely wrap Hannah - the first of the main cast to be series wrapped. A very bittersweet moment. Day 35 - 13/11/16 So this was an absolute doozy of a day. But... the first shoot of the day is secret. Like, properly secret. We shot a scene that contains a massive spoiler for the Christmas episode so I'm not going to discuss it. At all. All I can say is thank you to our actors for a truly brilliant scene and a huge thank you to the Black & White Cafe in Grangetown for allowing us to film there. Once it got dark, we travelled up to Rumney to film a short scene at Jen's flat, involving Richard Burnett and Andrew Machin, and then some guerilla-style filming for a very quick scene at Cardiff's Winter Wonderland, which looks lovely on camera. This was a day in which Andrew ended up doing a lot of running around- all in the name of art, of course. Day 36 - 21/11/16 Back to the Heathcock pub in Llandaff, who have been great supporters of our project from the get-go, to film a few short scenes showing Bradley (Rob D. Mealins) on a series of dates- some of which don't go as well as planned. Sarah Burrow, Isabelle Burman and Amber Pullen were all fantastic as the various dates, Rob was on top form as always and the scenes (which play like Family Guy-style cutaway gags) play really well.

So to recap, well to repeat ourselves! We planned way back at the start of the year to do Series 2 and, as we were writing the episodes, the idea for one last story came about. After chatting to the cast, we all decided we had one more in us all. What we didn't expect was for Series 2 to not have completed production and for us to literally cross over onto one more episode. So there we were, decorating my living room with a Christmas tree and other decorations. I won't say what we filmed as we want to keep a lot of the Christmas special under wraps, but what I will say is Lisa Grace is in the episode and that she wrapped on Whovians that day. It was her final scenes with Whovians and it was a sad moment as we said goodbye to Lisa and realised one by one we will say goodbye to everyone else soon. Day 30 – 08/10/16 Whenever you’re in doubt, go to Gloworks. That should be the saying on their marketing. Rhys Jones’ workplace have been more than obliging in helping us get Whovians off the ground, and once again they saved our neck by letting us film several scenes from the Christmas special there. Need to film in some futuristic, sci-fi looking room? Gloworks has it covered, and that’s exactly what we were doing with Ben Wilson. Throw some red gels in there, a smoke machine, and it looks like something straight out of Red Dwarf’s heyday. Speaking of smoke machines, be very careful with them, kids. While writer/exec producer/general skivvy Matthew Ford was off fetching props for us, Rhys and Teddy decided to go full-pelt with the smoke machine. And while it looked great (something straight out of an ‘80s music video), it sent the fire alarms in the building into meltdown. The fire brigade was called. Chaos ensued. The minute the alarms went off, we let the security guard know what had happened. Trouble was, as the guard explained, the alarm is linked straight to the fire station, so they’ll already be on their way. Thankfully, with our director and professional blagger Rhys Jones apologising, the firemen were very understanding. Their words, “Would rather it was fake smoke than the real thing”. They even hung around when we set off the smoke machine again, just in case a choir of smoke alarms started blaring in unison again. Matthew’s face was a picture, getting back just as the fire engine was leaving, wondering what the hell had happened in the twenty-minutes/half- hour he had been gone. Luckily, there was no smoke machine needed for the next scene, which involved Rob Mealins alongside Ben. It’s not surprising, when you think that we’ve spent near enough a year filming Whovians, that art has begun to imitate life with our cast. Before Whovians, Ben and Rob never knew each other. Now, when you get them on set, it is like they are best mates, laughing and messing around. It’s like Rob is a brother from another mother. The pair of them make a great team. If you ever watched The IT Crowd, they’re a lot like Chris O’Dowd and Richard Ayoade, the glances they give each other, much of it off-the- cuff. It makes for some great acting, but is hard to film when all the crew are fighting to stop sniggering. Last scene of the day was opposite the Doctor Who Experience (not on their property; a good couple of hundred yards away, to avoid our wrists being slapped in court). You would think at around three/half-three in the afternoon, it would be reasonably quiet. Not so. This was one of the few scenes where the takes crossed the twenties barrier (twenty-three in total). Screaming kids (not so much screaming, more like a wailing animal possessed by Satan), a never-ending convoy of cars, skateboarders, and bell-ringing cyclists. What should have been a straightforward shoot ended up being more like a Butlins resort in the lowest circle of hell. On the plus side, the performances were brilliant, with Matthew Fisher returning to join Ben and Rob. Between the three of them, this is a fun, cringe-makingly embarrassing scene, which will fit in nicely amongst the heavier, dramatic moments we have in store. Day 31 – 12/10/16 So, as nights go, this was a very weird one! An evening shoot. What to film: a spaceship foot chase between Andrew and a pair of aliens! What did we film? Just that! How did we get away with it? As ever, with bit of luck and hard work. Plus, on this occasion, Ben Wilson’s day job let us film there after hours. So thank you to Go Air Cardiff. We were wrapped within two hours and had so much fun - we were big kids! When you see the episode you will see what I mean. Day 32 – 23/10/16 So, for the last time, we were filming at the Jenkins’ family home (series two co-director, Mr Craig Handley’s residence). We started off with a nice little scene between Andrew Machin (Liam) and Rob Murphy (Liam’s dad, Lloyd). This is the first Christmas without Jackie, Lloyd’s mum, and while Lloyd and Liam are in a better place since Jackie’s passing, they both miss her and the Christmases they used to have. It’s a lovely moment; there are a good number of chuckles in this scene, along with some poignant dialogue. Andrew and Rob are more than used to acting alongside each other now (their performances, you could be forgiven for thinking they are real life father-and- son), and breezed through filming, with little direction needed from Rhys Jones. The next few scenes involved Andrew, Rob, but Hannah Celyn Griffiths (Jen) was also thrown into the mix. Won’t mention what happens here (spoilers!!), but this is going to be a moving, real kick to the gut five-or- so minutes. There’s a clichéd expression with directors, who ask their cast to “dig deep”. This is precisely what Andrew and Hannah did; it was raw, nothing was held back – it was like the two of them were on their own giving their performances, no crew around them. This was the one-and- only moment during filming two series of Whovians that the script got chucked out the window. The script was fine, written by Matthew Ford and Hannah Celyn Griffiths, but it did not go far enough to give the performances Hannah and Andrew wanted to come up with. Instead, Rhys decided to move things around, be a bit more experimental (rest assured, Whovians was not suddenly directed by Luis Buñuel). It was about 80% shifting lines around, and 20% improv. It took time, but it worked; what happens feels convincing, real, and emotional. Hopefully a few tears at Christmas! Today was Rob Murphy’s last shoot. Rob got on board at the very last minute, after Scott Dolan, who played Lloyd in the first series, was asked to go on an all-expenses paid trip to South Africa for work (you made the wrong call there, Scott. Zero budget film making over all expenses paid baking weather and stunning scenery any day!). Despite not having a great deal of time to prepare, Rob made the acting job look easy, putting his own spin on Lloyd. Any actor who needs very few pointers from the director gets a massive thumbs up. Thanks for stepping in, Rob.

02/10/2016 Episode 6 - Day 29 When Rhys Jones first pitched Whovians to me, one thing he repeated over-and-over, was that we have no budget; not a penny. No wide shots with thousands of CGI extras, thanks. So, when myself, Rhys, and Terrance Edwards sat and read through the first drafts for series one, Rhys was a little surprised to find that my episode was set around a comic con, with dozens of extras, all dressed up. Thanks to our cast and crew, plus a load of amazing-looking extras, we did it, everyone putting in ridiculous amounts of time, passion and dedication for what was, back then, an unheard of web series. You would have thought we would of have learnt, when writing this episode for the second series, to reign ourselves in, maybe set the whole thing in one room starring just one cast member? No. The three of us Exec. Producers wanted a TARDIS. So I wrote a TARDIS in a field, miles from anywhere, and I wanted the scene to look like it was straight off a tourist advert, coaxing English holidaymakers to spend their hard earned cash across the border. To give you an idea of how difficult this was to organise, we were thinking of abandoning the scene altogether. One company, whose name will be spared to protect the guilty, offered early on to let us use their TARDIS. Trouble was, this company failed to mention the T’s and C’s, the T’s and C’s being that they are based on the southern English coast (not the end of the world, but a day’s travelling to get there-and-back), the TARDIS is on a building site that looked more-or-less like Albert Steptoe’s scrapyard, and, if we wanted the TARDIS moving, it would cost us something like £300 on top of what we were already paying them. We politely said no. With the proposed shoot getting closer, and still no TARDIS, it was looking more and more likely that the scene would have to be rewritten. This was when things took an unexpected, but very much welcome, turn. In the shape of Old Girl & Friends (@sexybluebox) who answered one of many of our online adverts looking for a Police Box! They are a company that hires out a (mighty splendid-looking) TARDIS replica. Rhys Jones introduced himself, explained a little bit about Whovians and what we plan to do with the TARDIS and after waiting for there overnight decision – we had ourselves a shiny blue box! I wanted the scene to be shot miles away from civilisation, somewhere where, if you fell and broke your leg, you’re in real trouble.Bedlinog was chosen as our location, which has been used a couple of times in Doctor Who: Tooth and Claw, as well as The Day of the Doctor. Whovians and the Welsh weather have rarely been the best of friends; the reason the first series took longer than expected to wrap was thanks to Cardiff’s infamous sideways rain. Today was one of the few times where Mother Nature gave us a break. It was beautiful weather; just a few clouds in the sky and unusually warm. With the hillside in the background, and filming on a Blackmagic camera, this is going to be one lavish way to end the second series. Handy considering the story takes place in the summer and was filmed at the start of October! Sometimes, you forget just what a cultural icon Doctor Who is, what the series means to its fans. You’re soon reminded when you’re filming with a giant blue box, two cameras, a boom, plus cast, crew, and several cars and vans parked by the side of the road. With all of this going on, even filming miles from the nearest Nando’s, we got quite a bit of attention, with families, children, all wanting to see the TARDIS and have a photo taken with it. Everyone was obliging, though, Teddy Smith on security duty, asking folk to move out of shot, so we could get our work done (you’d move out the way, if Teddy told you to. He’s a big fella!). You had to admire one gentleman, who waited around for the entire shoot to get his photo with the TARDIS, getting out the way when we asked and staying quiet when we were filming. The eagle-eyed may have noticed a few comments on Twitter about filming for Doctor Who going on at Bedlinog. Nope, sorry. That was us. Not giving too much away, but this is a massively important scene for the series, involving Rob Murphy and Andrew Machin. They gave it everything. It was like watching a lesson in how to tailor a performance, to do the scene justice without milking it, going over-the-top. A glance between them, a change in their expressions, not saying a word, and you instantly knew what was happening with the characters. It was something really special to watch. A special mention has to go to Craig Handley and Luke Walters, who knew what a big scene this was and really rose to the occasion. The shots the two of them came up with could easily be used for a primetime drama; it is beautiful stuff. Finally, a huge thank you has to go to Samuel Peter Rendell for bringing the Old Girl (TARDIS) all the way from Bristol. You saved our episode, there’s no two ways about it. Thank you so, so much.

Series 2 Day 24 14/09 Episodes 3 & 4 A Wednesday evening. So what do we do? We film, that's what we do! Things are starting to wrap up and, with that, we're organising smaller scenes. This evening was one of those. Myself and Teddy Smith arrived at my girlfriend's- which is doubling as Anna Harper's parents' home. Anna is played by Lisa Grace, who by now has become a regular guest star. We have three scenes to film, all of which are one side of phone calls. We began in the bedroom and ended on the living room sofa, filming various scenes from Episodes 3 and 4. We were done within a few hours and Lisa was, as ever, superb. ------------------------------------------------------------------------------------------------------------------------------------------------------------------ Series 2 Day 25 19/09 Episodes 4 & 5 So we have arrived at a special day. We have matched the same number of shooting days as Series One – which was completed in 25 days. Series 2 is indeed a different beast! So it's a Monday evening. Myself, Teddy Smith and our two actors- Andrew Machin and Hannah Celyn Griffiths- arrived at the Lookout Cafe in Cardiff bay who kindly gave us permission to film. These episodes have various flashbacks within the story, small bits here and there, and that's what we had to film that evening – plus the ending of Episode 5. In honesty, we had a slight issue that we'd overlooked. The fact that it's now the end of September and the nights were drawing in on us– so we had a small window of time to get the list of shots needed (actually, about an hour and a half). To be very honest, the cast smashed it and we got what we needed and then some. The end shots of the episode looks fantastic. ------------------------------------------------------------------------------------------------------------------------------------------------------------------ Series 2 Days 26 & 27 24&25/09 Episodes 4 & 5 We assembled at the location, this time provided by guest cast member Matthew Fisher. His home doubles as Liam’s new pad in Episodes 4, 5 and 6. We had a very busy weekend ahead of us, filming over two days. On Saturday (Shoot Day 26), my crew for the day was Teddy Smith on camera, Kayleigh Barratt and Matthew Ford on Sound and production assistant Charlie Jane-Barber. Our cast for the day were Hannah Celyn Griffiths, Ben Wilson and Rob D Mealins. We had a lot to shoot on the first day as Ben Wilson was only available for that one day so the jigsaw of filming began - we had 20+ pages to film. But we had the luxury of having the location until we got everything we needed. The first thing on the shooting schedule was a brutal fight sequence. For this, we kindly had Kev McCurdy with us for the morning, Kev is a fight choreographer and we were very lucky to have him on set to oversee the sequence. With a number of rehearsals with the actors, we got cameras in place and broke the fight down, but no matter what how many times you rehearse things can go wrong. Hannah landed on her back during one stunt, missing the crash-mats on the floor - she was lucky and didn't hurt herself too badly, but was winded and down for a few minutes. We cheered her up after Kev and I reviewed the take and told her that take will be going into the episode. After a short break and getting Hannah back on her feet, we continued on with the fight which ended with a bang as we were able to get some sugar glass bottles (thanks to our amazing crowdfunders)! Two takes of bottle smashing later and we had a great scene in the can. Thank you to Kev who left us after we wrapped the scene. After a lunch break we got back to it and we hit it hard - as the fight sequence had literally eaten up half of our day! Now, during our time making this series, we have had days with no time and loads to film and all I can say is our cast and crew must be used to it now; no complaining at all and just simply 'what’s next?' and 'let's do this!' Of course, it also helps having your actress Hannah being the writer and producer of these episodes so you're on the same page production-wise and performance-wise. I have to admit, I love working with Hannah and I have loved working on the two parter. We smashed those pages down and wrapped early evening, then went home for some rest before the next day ahead! Plus, we got everything we needed from Ben! On Sunday (Shoot Day 27), we all arrived back at the location, but this time a few changes. Andrew White was back on set with us on boom and Jody Morris was back, making up our number of supporting artists for the morning- a bunch of demons ready for action. You see, the house is surrounded by demons. On Saturday we filmed all interior scenes and Sunday we filmed all exterior elements with our demons. I have said it before and I will say it again: every demon performer we have encountered have been fantastic and giving it their all. We shot some creepy elements that morning and I look forward to editing it all together. We finished the afternoon off with Andrew Machin joining us to film a few tough intense scenes - that sentence will make sense once you see the eps! We finished at around 5pm on Sunday and we were shattered. We wrapped Rob D Mealins on Series 2 that weekend and it was a intense, fun, exciting weekend of filming. It would not have happened as easily if it wasn't for Matthew Fisher and his wife Jessica lending us their home for the weekend. Thank you so much. ------------------------------------------------------------------------------------------------------------------------------------------------------------------ Shoot Day 28 October 1st 2016 Eps 1, 4 & 7 It has been a whirlwind - we have been filming every weekend since June 11th- but we have come to the end of filming Series 2. We had two days left, one weekend to go. On Saturday we started early, I picked up Hannah Celyn Griffiths and a few supporting artists. We headed back to Gabalfa and filmed a couple of short scenes and shots for episode 4 - Jen walking down streets with weird things happening to people. And with that Hannah wrapped on Series 2! After lunch we met back at my house where it became the Harper’s home once more. Ben Wilson and Lisa Grace arrived and we began. We had a number of small scenes to shoot- various phone call scenes- that drop in throughout the series run. Then we changed things slightly - moving away from Series 2 and beginning production on the Christmas special. We planned way back at the start of the year to do Series 2 and, as we were writing the episodes, the idea for one last story came about. After chatting to the cast, we all decided we had one more in us all. What we didn't expect was for Series 2 to not have completed production and for us to literally cross over onto one more episode. So there we were, decorating my living room with a Christmas tree and other decorations. I won't say what we filmed as we want to keep a lot of the Christmas special under wraps, but what I will say is Lisa Grace is in the episode and that she wrapped on Whovians that day. It was her final scenes with Whovians and it was a sad moment as we said goodbye to Lisa and realised one by one we will say goodbye to everyone else soon.

Production Diary Day 24 Sunday September 18th 2016 Somerset House, Merthyr Tydfil So it's back up to Merthyr to complete filming for Episode 2. Again, a massive thanks to Gary and Linda James for allowing us to invade their home to film. We had the list of scenes to shoot and we were able to work through them in order, so the first shot of the day was Steph and Jake arriving for the dinner party. Luckily, we had a nice dry and intermittently sunny day (a real contrast to our first day filming there where it was drizzly, overcast and generally a bit miserable) but this was not without its issues- shadow and glare. At one point, Luke even needed a jacket over his head to be able to see through the camera properly. From this, we then filmed a short scene between Mal (Steph's stepfather) and the couple in the hallway. It was an absolute joy to have Andrew Ford on set with us- he'd been unable to make the previous shoot due to a family illness. I always had the idea of Mal as an easygoing and friendly guy and Andrew fits the bill. After this scene, we moved into the dining room where the rest of the scenes were due to be shot. Due to coverage issues, we had to reshoot the start of a scene we'd done previously but it really works and sells the uncomfortableness of the situation. We were then able to move into the rest of the scene, which also involves the first full reveal of the formidable Glenys. By this point in the day, we'd already been filming for a few hours so it was with no small amount of relish that we then moved on to the dinner party itself, which meant... food. And there was lots of it. Several cast members even polished off a plate of the starter (pate with chutney and bread) before the cameras even started rolling. The first scene really lays out the dynamics of the family and the relationships between them, and it was a joy to see how the six actors played off against each other as the scene progressed. This also gave rise to some lovely bits of business which have made the final edit. All our actors were absolutely on top game, and all absorbed into the scene. There's a particularly wonderful bit in the latter half of the scene where Victoria starts mouthing the word Steph wants Glenys to say which I didn't see on the day but was just superb. Victoria always gives her all and is always reacting to the scene which is always brilliant to watch. After we were happy with the scene with the starters, we were able to move on to the other big scene of the day which was... the main course. I'd spent the day before chopping, preparing and cooking and rolled up with a massive casserole dish full of roasted vegetable pasta. This was the main course and we were definitely in no danger of running out. This scene is a bit later on in the evening when a few drinks have been consumed and things start to come out. Here I have to highlight the amazing performance by Amy Rowlands who stayed to the right side of 'drunk acting' and didn't devolve into a caricature or a comedy turn, which can be a tricky thing to do. I also love her interactions with Victoria: the two of them together make for an eminently watchable combination. The last few scenes of the day were very short and showed the end of a scene we'd previously filmed as well as Steph and Jake leaving the house. We wrapped filming just before 7pm, having been at it since 10am. We also then had to derig and I wanted to make sure we left the kitchen tidy. I am amazingly proud of the hard work of the cast and crew, not just on this day but on our day back in July, to help bring this episode to fruition. It's been a stressful journey with one thing and another but, as Glenys says in the episode, I'm sure you'll agree all the effort was worth it.