The Chaser Report - Captain Sizzle | Tony Martin

Episode Date: November 22, 2021

Comedy royalty Tony Martin joins The Chaser Report in this Afternoon Edition to give Dom and Lachlan the edge on their podcast competition. Tony gives an inside perspective on the Australian Podcast Awards, and insight on how his award winning podcast "Sizzletown" is produced, as well as some classic tales from a career in radio and the media. Plus Tony asks the question, can there ever be enough Sizzle? Listen to find out! Hosted on Acast. See acast.com/privacy for more information.

Striving for mediocrity in a world of excellence, this is The Chaser Report. Hello and welcome to another afternoon edition of The Chaser Report. This afternoon, it's Tony Martin. Lachlan Hodson and I, Dom Knight, are going to sit down with him. A little over half an hour, we're going to talk about his incredible podcast, Sizzletown. If you haven't heard it, it is the world's only late night call-in podcast. And if that sounds like an absurd contradiction in terms, well, it's because it is. It's an incredibly labor-intensive, multi-track masterpiece.

Tony does all of the voices. And the remarkable Matt Dauer somehow pulls it all together. We'll find out how that process works. And look back on some of the good and bad old days in commercial radio. That's in a moment on the Chaser Report. Thank you for your patience. Your call is important. Can't take being on hold anymore?

Fizz is 100% online so you can make the switch in minutes. Mobile plans start at $15 a month. Certain conditions apply. Details at fizz.ca. The Chaser Report, now with extra whispers. Tony Martin, thank you for joining us. No worries, what's happening? Well, look, you were a previous winner of the best comedy

at the Australian podcasting awards. Yes. We're up this year. We just want to know, can the judges be bought, I guess is our first question. I don't know. We never tried that. When we

The first time we won It was a very small scale of fare Just in like a tent In Collingwood And everyone was incredibly drunk I remember that And then the next year we won It was up in Sydney

In like a proper theatre And suddenly it was all Wasn't as much fun I have to admit Oh Whoa So you wanted on merit That's not going to work for us Tony

Yeah yeah We need to know the insights Who are the judges Who are the panel I'm not sure if they reveal who the judges are in advance. Who are they? Are they other podcasters? Is it someone from Mamma Mia?

Someone like that? Actually, the university I go to advertised for positions to be on the panel, and I completely missed it, so I could have been on the inside. Wow. Yeah, yeah. Well, so just anyone can sign on, can they? Quite possibly. And what do you get?

Is there sort of an exclusive winners lounge? Do you get, you know, SNL-type special bathrobes? Are you seriously asking? Well, you get an award, and I'm looking at them now, and then what I've noticed is the the 2018 one that we got for childproof is made out of, like, glass or onyx or something very heavy. You could actually murder someone with it. And then the following year's one, it still looks beautiful, but it's sort of made out

of a cheaper kind of perspex. So I'm wondering what they're down to now. It's like making a logie out of pewter. Exactly. Well, when we won our loggies, they were accepted by Mr. Copperass, Pete Smith. And I do remember he, unlikely as it sounds, went out to a disco afterwards and I think broke them and lost them. I remember that moment, though, as a late-show fan watching, dude looks like a loggie. I mean, that's, you can't be. They were absolutely furious. I remember we got a call saying, you will never be nominated for anything ever again.

And then I think the frontline people actually did win the next year. And for disrespecting the Logies, is that even possible? Well, we didn't think we were going to win because I think we're up against Hay Hey, Hey, Saturday and fast forward. And I always remember Hay Hey Saturday's clip. You know how you choose a clip of, you know, your best bits for the Logi. Hey, hey, hey, Saturday, couldn't find a bit. And they just showed a sped-up bit of a whole lot of their show. It was like, nah, na, na, na, na, na, na.

And there was a very confused look from the bloke who was Frank Spencer in some mothers do have him who was presenting the award. Presumably three blackface clips in the course of the spent-up bit. You can get a lot more in in fast motion. What we're planning at the moment is how do we win this award? You were up for it in, was it 2019 or 2018? We were, we won in 2018, we won for childproof, what we did before. And in 2019, it was for Sizzletown. Back-to-back different podcasts.

Take that awards. Exactly. And then the next year, like last year, rather, we, I think we came second. So we didn't even bother to enter this year because we saw the direction we were heading in. Well, and presumably that's how there was a spot open for us to get nominated. So thank you for not entering that.

So who are your competitors this year? So we're up against none other than Danilich, who is a friend of our podcast, and we're hoping to have him on. in the future to actually ask if he'll just sort of relinquish it and give it to us anyway. And he's coming on later in the week. We're going to petition him to hand it over. Two gentlemen by the name.

He was the one who beat us last year. I know. So is there anything you want us to, is there a revenge plot here? How can we get back at him for stealing your title? Okay. Here's what you could do. I remember the first award I ever won was at the Queensland Radio Awards in 1985. Wow.

at the Gold Coast Jupiter's Casino and I remember the entertainment was Wickedy Wack who I think may have actually done a blackface bit in their show but anyway, that's irrelevant and we were winning quite a few awards

for our stupid radio ads and the bloke who normally won them got up and claimed that all of our material was plagiarized Oh, even the blackface I wasn't doing the blackface Yeah, he needs to clarify that Lucky

And it's quite hard to do on radio. But, yeah, so, I don't know, you could always just, you know, give that a crack. Just, like, say something outrageous about Dan that he's stolen it all from, you know, the onion or something. Yeah, I'll say that he's in the pocket of big coal, I think, as a climate activist, that might do the job. And look, there's other people, and there are some podcasts. I've got to admit I'm not actually across. So there's Bodgy Creek community podcast, which sounds fun. The Candyman, Housewarming, and two gentlemen by the name of Hamish and Anne.

Andy, who I think it, you know, a chance of winning it. Did I read, now, this might be not true, but did I read they get paid a million dollars a year to do that podcast? Oh, I don't know. Would that be possible? Yeah, we did podcasting at SCA, the company that publishes that. And I, we certainly didn't get a tiny fraction of them, but maybe they were using all the budget for Hamish and Andy. I mean, that's insultingly low, isn't it? How many million are we on at the moment on?

Yeah, right. It's probably a retainer, isn't it? So they don't go and do drive with Nova, isn't it? Right, because what I heard was that they got a million dollars a year and they had 30 million downloads a year. Oh. And then a friend of mine, I won't say who, but has a podcast on FCA

and they worked out that they were getting three million downloads a year, but they were only getting $4,000 a year. So they went to the person in charge it said, shouldn't I be getting, by that math, shouldn't I be getting $100,000 a year? And they were told, no, mate, that's not how it works. You and I've talked before about the joy of working with large commercial radio organizations.

But to get on to Sizzletown, Tony, I've done quite a lot of talk back in my time. And I've got to, whenever I listen to Sizzletown, I just have flashbacks. You must devour that medium to get all of those, to accurately reproduce all of those weirdos and nutters who call your late-night call-in podcast. Well, I do just invent most of it, but then when I'm short of ideas, I'll tune into

down in Melbourne 3AW and you almost don't have to wait more than five minutes to hear something. Recently I was listening and they were doing it, it was a weekend show and the topic was, call us up with something that used to be

cheaper in the old days. And that was the topic. He's just anything at all that was cheaper in the past. And someone calls it and goes, can I just say, you should be able to get two potato cakes for 20 cents. I remember, do you remember that when you could, and then someone else was off mic correcting them? And they went, oh, sorry, hang on, three potato cakes.

You're just going, now you cannot write that sort of stuff. No, and yet you do, because for any of our listeners who haven't heard, Sizzletown, it's a phenomenal, just a brilliant podcast, and it is deserving of the awards that it gets. It's very funny stuff. Well, we invent, my favorite thing is to invent a conspiracy theory and have a catch on. So I had a character way back in 2018 claim, and I just thought of this, just as a, I read an article about nanobots, and I went, so I had this character call in and say the government are putting nanobots in vaccines to control the population.

There was recently a rally in Melbourne for that exact theory. Wow. And I also had that same character call in about three months ago and claimed that Dan Andrews had been replaced by a robot. That's why we hadn't seen him for so long. There was a guy seriously floating that theory on Twitter. recently. So now I'm just like more and more extreme theories and hoping we're going to catch on. I had a character call in and go, why is there only a 29th of February every four years?

Because the government is obviously hoarding 29th of February. They've got a stockpile of rogue Thursdays that they can deploy at any moment. We're going to wake up one morning. It's going to be 29th of February and we're not going to know why and what's going to happen. And like that sounds insane, but I swear to you, there'll be a protest about it. that at some point. You're the puppet master, clearly. Let's listen to a little bit of Sizzletown's 50th episode because there's a conspiracy theory moment in here where the nanobots gets referenced back. Yes.

Another call of waiting. Go ahead. You're on Sizzletown. Hey, good-day. It's Rich Tankwater calling from Eaglebots. Can you hear me? Yes, we can. Oh, good.

Yeah, okay. Sorry. Yeah, listen, nanobots. Oh, here we go. That's all we've got to be worried about. Yeah. Little bloody robots scuttling around with. The lefty agenda inside you.

Can I... What? Was it a nanobot? Oh, no, it's a hundred and a thousand, sorry. Oh, I'm falling out of a sandwich. It's all right. Okay. Okay, Scott.

Listening to that, Tony, I cannot, for the life of me, imagine how you and Matt Dow put it together, because the thing that I get as someone who occasionally presents talkback is, in your voice, I can hear simultaneously the just bemusement at having to endure this conversation, but then also going, well, I've got to take calls. There's probably no one else on the line. I've just got to let this guy run. Well, yeah, it's very complicated because, of course, I'm playing everyone in the show.

So it's a very tortuous thing to assemble. I have, because the callers are all improvised, so I just sit there for hours waffling on into the Zoom recorder. And, you know, you might record for half an hour, and then you'll play it back, and it'll be like three and a half minutes that are really good. and then you've got and all of the bits that are usable

are all on different files so it's hours is sitting there just doing like what's called a paper edit of all the good bits and then I have to write a script for me as the host

that links all of those bits and that script has to be very accurate but it also has to sound very spontaneous so the script will literally this is what that script will sound like yes right yeah but no no you go

know that And it's literally hours of that, and then Matt Dow has to join it all up. Oh, my God, because they interrupt you. That was the thing that I was trying to make sense of, is that you're constantly just, as talkback, desperate late-night talk-back hosts, such as myself occasionally do, you are going, no, no, okay, yeah. That's right, because you don't want it to sound just like use one, you know, question answer, question answer.

You've got to have the acting be really messy. So when I'm playing the callers, I have to imagine that I'm being interrupted by the host and having to repeat things. and then we've started doing a thing this year where I have two callers on at once. Yeah, that was intense. That does me head it. And then for the final episode of the year,

we've got five of them on the phone. Oh, my God. I was going to ask. And the section of the show goes through about 20 minutes with five of them on at one, so they all sing a song at the end. And that took us two weeks to assemble. It's just mental.

I was going to ask, you recently hit 50 episodes, and 51 came out a couple of weeks ago. You've got the big finale, episode 52 coming out. Is there any sort of insider knowledge? But a song finale and five extra callers, you did every single caller from the show come on for the finale for the season two episode. Can we look forward to anything like that happening as well?

Well, I want it, because at the end of the second year, we had every caller we'd had call in. So I think it was like 52 callers or something. And then we went, well, we can't top that. So, yeah, we're just going with this. this idea of having them on at once, because even there, we had them come on one at the time. So it's tricky because you're improvising the callers, but then you've got to think of a way of, so Matt will send me a list of notes.

He'll go, I need the caller, the third caller needs to say, yeah, hang on a second. I'll just have to record that one line and email it to him and he'll cut it in. It's like building a sort of ship in a bottle, really. But most people don't realize that it's me anyway, so I just have people going, why is it only half an hour and why does it only come out once a month? No, it's an extraordinary feat. I mean, the one with you and Jason Statham

and the cat at the same time. I've got to say, Tony, Lachlan here has listened to them all. He's a Bible. Actually, I won't lie, I'm wearing some Sizzletown merch at the moment. Oh, dear. You'd be able to hear all the things

I've repeated without realizing. One of the big things that you do or did in a previous season was those unplugged episodes. So a lot less production and it was just you under the covers talking into the mic a lot more personal and Yarnie.

I was wondering should we perhaps consider dialing back? We're doing daily episodes. It's way too hard to produce. Is there any way that we could dial back on our production? Well, it's funny because that was, I think that was because Matt had to go and get a proper job

because he has children. So we were only able to do 18 episodes that year but I had promised we would do 22 so I felt really bad so I went how can I do four episodes with no production and I found these diaries that I'd kept

I have kept a list of every single movie I've seen since 1980 and nerdishly given it a one out of five star rating so I just for each those four episodes I just started with 1980 and just went I didn't look at those lists before I turned the mic on and I just went through that list and tried to remember what I was doing when those... And I thought, this is way too boring.

This will be of no interest to anyone. And those episodes have almost become more popular than the normal episode. Yeah, I heard some of those, and they're enormously fun because you're just... You're kind of embarrassed by your past self to such a degree that it's enormously entertaining. Like, it's as though previous Tony is embarrassing present Tony across the waves of time. or something. It's shocking because, yeah, and then people take it really seriously. Like, I had so many people on Twitter going, I can't believe you only gave Blade Runner three stars.

They were like furious, and I'm going, well, I haven't watched Blade Runner for years, but you've got to understand this is like the 18-year-old me. I mean, imagine being asked to confront all of your opinions about everything that you had when you were 18. it's really quite embarrassing. For some of the interns, that's only two years ago. We've got some very young people in this office, Tony. It's very disconcerting.

But it was funny because I hadn't even looked at what the first film was. I went, okay, it starts in January 1980. What was the first film I saw? Was it, you know, Star Wars? Was it the Godfather? No, it was Corvette Summer with Mark Hamill. There's a reason why Mark Hamill is only remembered as Luke Skywalker. Is that what you're telling me?

Yeah, I will say Mark Hamill did something brilliant a couple of years ago. He played a vampire in what we do in the shadows. Did you ever see that episode? I haven't seen the original movie, but I haven't seen the American version, which is what I presented as well. It's really good. I put it off for ages because I went, part of what makes the movie so funny is that it's all said in Wellington.

Yeah, yeah. And then I, so I didn't watch the American one. And then I just one day looked at the poster. I went, hang on a second. Matt Berry's one of them and they've got Matt Berry to play one of the vampires and the direction they've obviously given him is just play it exactly the same way you play toast of London

I'll definitely check it out have you seen more of Wellington paranormal I've only been to Wellington once but the notion of paranormal and Wellington being in the same sentence I suspect is quite a funny concept it really is and if you're from New Zealand that is a joke that never, I think they've done, what, three or four series,

and it's still yet to wear out as welcome that joke. That's good stuff. Thank you for your patience. Your call is important. Can't take being on hold anymore? FIS is 100% online, so you can make the switch in minutes. Mobile plans start at $15 a month. Certain conditions apply.

Details at FIS.ca. Less news, less often. I've given you very little advice on how to win this award. Well, no, but it's advice, it's just not very actionable. So you've got to find an incredibly talented audio producer that you can somehow convince to spend an absolutely massive amount of time on a very labour-intensive podcast, which I really admire because most podcasts, including our own,

are incredibly lazy. So for you to find a way to make podcasting this production-intensive as per your radio work is pretty impressive, don't he? Well, it's just because I've got Matt Dow, and there's just so much he can do. It's like working with Phil Spector. You're going, there's so many things he can do,

so many ideas he can do. You know, we've got, and the one we're working on at the moment, we've got David Lynch, a popular character on the show, comes back. And then I went, oh, what if we had David Lynch on the,

like in Lost Highway, if we had him on the phone and in the studio at the same. time and Matt has just made that sound amazing so yeah just keep working out new ways to challenge you around it's that's the fun isn't it the theater of the mine is actually being able to come up with preposterous impossible to film things yeah I mean we did a thing in the second year where I was strapped to a rotating platform having knives hurled at me and the platform comes off its axis and rolls out into traffic and Matt spent like about a week

that. And I remember we had long discussions on the phone about when I'm rolling on the platform is the perspective of the listener on the platform with me or in the street hearing me go past. And we decided, okay, it should be a mixture of two so that I go round and round. So if you're listening in headphones, I go round and round in your head. I mean, that's the kind of nerdish discussions we have been so long having. One of the things, because we do sketches, we don't have that much audio production that we're actually doing on the Chaser report.

And it sounds a lot like the way to get this award, unfortunately, is by quality of product. So are we able to steal Matt Dower? We've got, what we can do is we can trade you. We've got five and a half hardworking interns, one who doesn't do much. We can give you that and they can do, five hours of work.

Of shoddy work. Of shoddy work one month. And we can have Matt Dower every day. The irony for me is that Matt was post by my former comedy husband, Mick Molloy. I know. So he sort of divides his time between myself and Mick. And Mick and I are having a show business feud

that's been going on for about 16 years. So it's pretty funny that Matt is sort of, it's like he's cheating on me. Yeah, I saw that. I saw in his Twitter bio, you know, Sizzletown and Kennedy Malloy, as it then was. And that's an interesting dynamic. Actually, I'm working for Mick Malloy, too, now. They've just sent me a job interview, and I've signed up.

So I'm leaving soon, too. Well, you've got about a week till the show's axe. Well, yeah, the boy is winding up. So I'm going, okay, Matt, now we can get back to rotating nine platforms. You can make it in three dimensions. Well, there's spatial audio now. you can muck around with. No, look, we had, I should mention in our own radio days at SCA,

we had the amazing Brendan Tacey who did incredible things. I mean, he's known as BT, you'd send him a shoddy script involving some absolutely ridiculous thing, and 20 minutes later you'd get this absolutely lovingly compiled, you know, trip into space or something and explosions. And I have no idea how he did it so quickly, but a good audio producer is worth their weight in gold. Look, if you interns, you know, keep going for 20 years or so, you might get to that level.

Well, I remember when we finished doing Martin Malloy, I remember thinking, oh, everyone's going to do this kind of radio. And there was very little of it because, of course, it takes so long. It does. You know, especially in those days when it was analog equipment, you would spend three days building something that went a minute 50 and which got played twice. But I'd seem to remember that among the very few people who did that kind of, we call them sketches, but I mean, you know, a sketch can be anything, was the Chaser did these fantastic parodies of commercial radio. Do you remember what were they called, something FM?

Oh, that was actually Chris and Craig when they were doing today, today on Triple J. It was Comer FM. Yeah, they were brilliant sketches. Yeah, that was a really great production. Chris Taylor is an absolute. master of sketchwriting, the best in the group. I don't think it's controversial to say. Although there are the good sketchwriters too.

But no, and they had audio producers there on that drive program who put a lot of, I think they're only allowed to do one or two a week. But no, they had, their producer was very, very skilled in those days. But it's hard to get that at the ABC to get anyone to produce a sketch. So for what it's worth, commercial radio still does have that budget and that capacity. But the great thing about podcasting, just not sort of go back full circle, Tony, There's no gatekeepers, right? I mean, that's...

Oh, it's so enjoyable. I remember the first year we would be doing stuff for Sizzletown and Matt or I would go, oh, are we going to get in trouble? And then we would stop and go, hang on, who are we going to get in trouble with? There's no boss.

We just were so not used to the idea of having someone upstairs telling us to make it shorter or don't refer to that. Or, you know, I was... I mean, one of the reasons it's called Sizzletown is because when we started doing get this, the very first thing we recorded, Matt and I,

were these quite elaborate promos for the show that were trying to tell you that this was going to be a show that had a lot of bells and whistles audio-wise. And remember we got, do you remember Dobbo? Oh, we worked a lot with Dobbo. Dobo gave us our first paying job ever in his defence. But yes, Dobo, when I heard the name, Sizzletown, I did immediately think Dobbo.

What did he say? Dobbo got back to us about those promos and he goes, yeah, guys, I'm not hearing enough, Sizzle. That was his note. And I had never heard that phrase before. So just to amuse ourselves, we added the sound of bacon frying under all the promos and just ran those.

Oh, wow. That was our idea of Sizzle. So, yeah, so that's kind of where that's part of the reason. And then I played Gary Sizzle for a few years. That was a sort of. who was often just spouting word-for-word things I'd heard Dobbo and members of the Dobbo gang say. The great thing is they actually enjoy any reference in and on a universe.

But we ended up having quite a similar fate, Tony, and then our Triple M daytime radio show, which rated really, really well, also got acts because it didn't make them any money. It is a very strange space, but look, podcasting, it's greener pastures in terms of creative freedom. Quite so green pastures in terms of money, but, you know, it's a good compromise to work, isn't it? And look, I do love the relationship you have with the sponsors on Sizzletown,

in that there's a genuine gratitude that doesn't come out in commercial radio, often, I suspect. No, well, we go for, I know a lot of podcasts have, you know, the ads are just inserted and then they change, but we have what's called baked in ads, so they're actually part of the show and will be in the show forever. so we try and make it because we have we're trying to

maintain a weird atmosphere of a late night talk show so we just don't want it to be interrupted by you know hey brain snapping plug and JP you've done it again

we don't want that to come bursting in so we try and make the sponsor part of the show but the great thing about it is is you've got such a loyal fan base and they're clearly I mean that includes advertisers and it's funny

because you talk about you know the fans and the sort of army of sizzletown buffs out there but that that's a genuine thing and it was it was with the late show and included everyone in the chaser by the way um martin maloy get this to get this army is you know ride for life kind of people and that's that's the great thing about about you know good comedy is that you get these amazingly loyal fans it's wonderful well yeah we we now do a thing where we if people donate money to the show Matt Dowell will serenade them with a barrage of bizarre sounds. Which is an amazing way to do it, by the way.

It's amazing how many people are into that. But for the whole first year, what I always remember is the first year, we didn't have any sponsor and we were just doing it for free. And I got asked to do, do you remember that TV show Pointless? Oh, yes. Mark Humphreys is a very, very frequent guest on our show. You can see, Charles Firth gave him his first start in comedy way back in the day. Well, Mark is great.

And if he had been doing the show then, I might have done it. But he wasn't going to be the host. It was actually a Sydney newsreader was going to be the host. Pointless when they asked me to do it. And I got on it and they said, oh, you know, we come up to Sydney. We'll fly you up to do it. And I said, well, how many episodes are you doing? They're going, we're going to do 250 episodes.

I'm going, how do you do that? And they're going, we're going to film five a day, three days a week. And I'm going, hang on, so you're going to film 15 episodes in three days every week for a year. And I just went, look, I don't have time to do that because I'm doing a podcast. And I just heard laughter from the other end. They thought it was a joke. I went, no, no, no, seriously, I have this podcast that's really elaborate. It takes about four days to do an episode.

I wouldn't be able to do it. And I got off the phone, and I remember thinking, I, 250 episodes, even if they're only paying $1,000 an episode, and it would probably have been more than that, that's a quarter of a million dollars. And I've said to my girlfriend, I've got, I think I've just turned down a quarter of a million dollars so I can keep making my podcast for free.

So I think that makes Sizzletown literally the most expensive podcast of all time. And it's, you know what, it sounds like it, Tony? It really does. No. But it's amazing how much work I do turn down because I'm going, oh, but we're trying to have two David Lynchers on it once. It's quite complicated. I mean, frankly, thank God you do.

Because it wouldn't be so, I mean, special and hilariously labor intensive. Because to me, having, you know, worked a little bit in this area, I'm just hearing so much effort. And it's such a beautiful thing. Well, it's just very, it's very satisfying and enjoyable to do. you must have found this you've done things that in your career where you go oh no one else has done this you know what i mean they haven't done it quite this way that's always very satisfying to go well even if it's shit out no one else is not saying that you've done anything

shit out i've talked about my show but yeah no it's not quite working or people don't like it you're going well but no one else is doing doing it quite this way and that's quite enjoyable. It's nice when you're creating something that is a unique special product, and I think that's where the fans come from, because if they're looking for that thing that is unique and niche to them, and you're putting in passion and effort, they love that. And evidently, with the success that Sizzleton had with the awards,

it's creating a wonderful, wonderful product. And well north of a million downloads, too. How many millions is it now? We're heading for two. I think we're at 1.8. We're almost a $2 million. It's not Hamish and Andy level, but... Ah, that's still worth $200,000 of us.

Exactly. We're forging on. Hey, Tony, it's been absolutely lovely catching up. Well, thanks for having me on, and amazingly, very little of it with bitter old radio stories from me. Which, you know, I enjoy. We've done it offline previously, so... Yes, but no, anytime you want to vent,

by all men, get in touch. But no, Sizzletown is a beautiful thing And may you be a purist Who makes incredibly expensive And opportunity denying projects like that For many years to come, Tony Thanks guys, and all the best at the awards And I think you do stand a chance

Because Dan did win last year So surely he's not going to win again No matter how good his show is Well, having just praised your incredibly laborious You know, work of art podcast We now put out 10 episodes a week of this thing So if they're looking at quantity, we're in with a shot. Yeah, but it's still good quality.

Like, that's almost more impressive to do that many and still have it be good. Oh, we do like a blather here. Thank you very much. Tony, really appreciate it. Any, anything, any last thoughts, Lachlan? Yeah, Tony, I'm just wondering, we've got a few spare tickets because we booked too many for the podcast awards. I'm looking for a plus one.

Yeah, I'd love to come along and just be extremely drunk and embarrassing, sort of Oliver Reed style. Just yelling, abusive, and cancel-worthy heckles from the back row. You've got to get on stage and get a bit punchy. Oh, by the way, that's something else I remember. The distance, if you do get up to accept an award, the playoff music is not long enough to get you off the stage. So there's this horrible kind of Alan Partridge-style clumping of footsteps

for the last 20 seconds of your exit. That's what I remember. Watch out for that. Well, there's something to aspire. So on podcasting's night of nights. Thank you, Tony. Thanks, guys. Thanks, John.

Have a good one. Thank you for your patience. Your call is important. Can't take being on hold anymore? Fizz is 100% online, so you can make the switch in minutes. Mobile plans start at $15 a month. Certain conditions apply. Details at fizz.ca.

The Chaser Report, news you know you can't trust. And a big thanks to Tony for making himself available. For that, Lachlan and I very, very much enjoyed that, and I hope you did too. Our gears from remote microphones and we're part of the ACAST Creator Network, back with another morning edition tomorrow. I catch you then.