ALT English actors Michael Keating, Steven Pacey and Paul Darrow posed together dressed in character as Vila Restal, Del Tarrant and Kerr Avon during the press reception from the science fiction television series Blake's 7 in London on 11th May 1981. They are all hoping that you will give this crap by @blakes7bot a whirl.
(Photo by United News/Popperfoto via Getty Images/Getty Images)
#Blakes7 Series C, Episode 06 - City at the Edge of the World
AVON: A translatable fragment?
TARRANT: Apparently it means "The City at the Edge of the World".
[Vila is walking down a corridor]
ALT GPT 5.5 describes the image as: "A black-and-white production still from the classic BBC television series Blake’s 7, showing actor Steven Pacey in character. He is framed in a close-up, turned slightly to one side with an alert, intent expression, as if reacting to something or someone just off-camera. His curly hair, youthful features, and focused gaze stand out strongly in the high-contrast lighting. He wears a futuristic-looking costume with a broad, pale collar beneath a darker outer garment, fitting the series’ distinctive low-budget but imaginative science-fiction style. The background is softly blurred, suggesting an interior spaceship or base setting, with shadowy structures and small highlights that give the scene a dramatic, studio-lit atmosphere."
The script search url for this tweet is
https://blake.torpidity.net/s/306/116
Series C, Episode 06 - City at the Edge of the World
BAYBAN: You bubble-brained idiot. You stupid son of a slimecrawler.
SHERM: It wasn't my fault, Captain.
ALT GPT 5.4 describes the image as: "A tense close-up from the classic BBC science-fiction series Blake’s 7, set in a stark, futuristic interior with low lighting and dark metallic surfaces. Two men face each other at close quarters, suggesting a confrontation or urgent exchange. On the left is Colin Baker, his expression alert and unsettled, wearing a glossy black, quilted costume with a high collar and a small skull-like ornament at the chest, adding to the dystopian, authoritarian feel of the setting. Opposite him is John J. Carney, seen mostly from behind and in profile, with slicked-back hair and a matching black, reflective outfit that reinforces the militaristic or institutional look. The scene’s costume design and claustrophobic framing evoke the show’s gritty, oppressive vision of the future."
The script search url for this tweet is
https://blake.torpidity.net/s/306/137
Series A, Episode 08 - Duel
BLAKE: Let's hope those things can't climb trees.
JENNA: Or fly. I don't know these star charts well enough to be sure, but I's say we're still on the same planet.
BLAKE: They must have teleported us to a different part of it.
Series D, Episode 12 - Warlord
[Scene of smoke and dust rising above a landscape, changes to a large numeral 3. The view widens to reveal this is being shown on a viewscreen in the Crew room of Scorpio base. Avon moves in front of the screen.]
AVON: Finally,… (1/6)
ALT GPT 5.4 Nano describes the image as: "The image shows an older man in close-up, framed from the shoulders up, his face marked by age and a tense, wary expression. He has pale, weathered skin, thinning light hair, and a short gray beard and mustache. He appears to be seated or leaning forward in an interior room, lit with a subdued, cinematic light that emphasizes the contours of his eyes and wrinkles. In the heavily blurred background, another person in period-styled or uniform-like clothing stands farther back, with props and equipment suggesting a controlled, institutional setting. The actor in the foreground is Charles Augins. The blurred figure in the background is Simon Merrick."
The script search url for this tweet is
https://blake.torpidity.net/s/412/1
…shoots two people, apparently chosen at random. The first guard then shoots a couple, then both guards continue shooting at people while the others continue to walk, apparently not caring. A closeup of one of the dead bodies is followed by shots of two people dragging… (5/6)
…another dead person away, apparently under the direction of a Federation guard. That guard seems to notice the camera, pointing, approaching, then clubbing at it with his gun as the picture goes black. Avon moves back in front of the screen.] (6/6)
Series B, Episode 04 - Horizon
AVON: What's that? [The freighter encounters a magnetic barrier. The crew watch on the main screen]
BLAKE: Well, whatever it is the freighter has sailed right through it.
AVON: It doesn't mean we will. Pull back. Blake!
Yet another fragment from the B7 production archives. #b7bpa
ALT GPT 5.4 Mini describes the image as: "This is a BBC TV Film Continuity Notes sheet from the production of Blake’s 7. It appears to be a working set log used during filming, likely for editorial continuity and camera/roll tracking. The handwritten entries show: - Programme: “Blakes 7” - Episode/subtitle: “1” - Date: appears to be 18/1/78 - Slate no.: 290 - Set-up/location: Power Room - Interior / Night is marked - Roll no.: 31 The lower section lists shot/roll details, with circled take numbers and timing/footage fields. Faint notes at the bottom read something like “CU Pushing Lights Panel” and “smoke coming from window”, suggesting the scene involved a close-up of a control panel and visual effects or atmospheric smoke. Overall, it’s a practical production document from a studio shoot, preserving technical information for post-production and continuity on a classic late-1970s BBC science-fiction series."
#Blakes7 Series B, Episode 13 - Star One
CALLY: From the ship.
BLAKE: The charges, Cally. We cannot blow this place up. Humanity is going to need all the resources it can get.
Series D, Episode 04 - Stardrive
PLAXTON: Don't argue with me, Napier.
NAPIER: [Fiddles with controls for a few seconds] Particle driver satisfactory, Doctor.
ALT GPT 5.4 Nano describes the image as: "The image shows a tense moment aboard a futuristic spacecraft set in a bright, utilitarian interior with black-and-white panels, windows, and control consoles. Several performers in period-like, sci‑fi costumes cluster around electronics and monitors. Leonard Kavanagh appears in the foreground on the right, leaning over a large crate-like device on a wheeled table, gesturing as if preparing or operating equipment. In the background, others watch closely, including one seated behind a console and another in an ornate, clownish android-like costume. The overall scene suggests a technical operation or confrontation requiring precise control and teamwork."
The script search url for this tweet is
https://blake.torpidity.net/s/404/236
Series A, Episode 12 - Deliverance
BLAKE: His name was Maryatt. According to his ID he was a Space Surgeon in the Federation Medical Corps. [Surprised.] He's got a double-A security clearance! He's got a pass for any area in Space Command!
CALLY: He must have been… (1/2)
Series C, Episode 10 - Ultraworld
AVON: We seem to have lost Tarrant.
DAYNA: What?
AVON: You'd better find him.
DAYNA: Right.
[Dayna exits sleep cell.]
ALT GPT 5.4 describes the image as: "A tense confrontation unfolds in a futuristic interior from the BBC series Blake’s 7. At left, Paul Darrow appears as Avon, his guarded expression and rigid posture suggesting calculation and mistrust. Center frame, Jan Chappell stands within a doorway-like structure as Cally, eyes closed and face composed, giving the moment a ceremonial or psychologically charged feel. At right, Josette Simon appears as Dayna, facing Avon with clear intensity, her stance alert and confrontational. The metallic walls, geometric panels, and mounted device emphasize the show’s distinctive late-1970s science-fiction production design. Their costumes—structured tunics, bold trims, and practical belts—place the scene firmly aboard a technologically advanced setting, while the actors’ body language conveys the interpersonal strain and moral complexity that define Blake’s 7."
The script search url for this tweet is
https://blake.torpidity.net/s/310/279
Series C, Episode 12 - Death-Watch
ZEN: Orbit is now established. All systems are functioning normally. Status is firm.
TARRANT: Thank you, Zen.
ALT GPT 5.4 Nano describes the image as: "The image shows a tense scene inside a futuristic set from the BBC science-fiction series Blake’s 7. Two men in dark, tailored uniforms stand amid stepped metal platforms and large, curved wall panels glowing with warm orange light. Steven Pacey appears seated or leaning on a blocky control surface on the left, watching toward the action. Paul Darrow stands on the right, holding a device or weapon-like instrument close to his chest as if preparing to use it. The background is dominated by industrial grey structure, speakers or vented fixtures, and dramatic lighting that suggests a high-tech command or control area."
The script search url for this tweet is
https://blake.torpidity.net/s/312/263
Series B, Episode 02 - Shadow
BLAKE: Let's see it, Zen. [Zondar is shown on the screen]
VILA: It's a pretty colour.
BEK: Oh, considering what it is.
GAN: Let's hope they don't know we're coming.
BLAKE: There's no reason why they should.
#Blakes7 Series A, Episode 05 - The Web
JENNA: Look.
[Main viewscreen shows the web dissolving.]
GAN: He did it. We're free.
JENNA: Not yet.
ALT GPT 5.4 Mini describes the image as: "A scene from the BBC sci-fi series Blake’s 7, set on a futuristic interior with angular metallic walls, glowing panels, and a sleek, theatrical control-room feel. Three characters stand together, tense and alert, as if observing or reacting to events offscreen. The setting suggests an advanced spacecraft or base environment. David Jackson appears at left, holding a small device and looking upward with a slight grin; Sally Knyvette is centered, wearing a maroon outfit and looking on with concern; Jan Chappell is at right, in a shiny green costume, facing forward with a focused, determined expression. The image captures the show’s distinctive blend of adventure, sci-fi, and stylized 1970s production design."
The script search url for this tweet is
https://blake.torpidity.net/s/105/503
Series B, Episode 07 - Killer
TYNUS: That would leave the converter unattended for about ten minutes, long enough to give you the change to get a malfunction organised.
AVON: What will you be doing?
TYNUS: Directing the fire-fighting.