The Rest Is Entertainment - Did Star Trek Invent The Mobile Phone?

Episode Date: January 29, 2026

What is the greatest invention from film and TV? Could Marina replace Oprah in the future? Why was Batman almost Canadian? Richard Osman and Marina Hyde answer your questions from the world of TV, celebrity and stand up. Join The Rest Is Entertainment Club: Unlock the full experience of the show – with exclusive bonus content, ad-free listening, early access to Q&A episodes, access to our newsletter archive, discounted book prices with our partners at Coles Books, early ticket access to live events, and access to our chat community. Sign up directly at therestisentertainment.com For more Goalhanger Podcasts, head to www.goalhanger.com Video Editor: Joe Pettit Assistant Producer: Imee Marriott Senior Producer: Joey McCarthy Social Producer: Bex Tyrrell Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello and welcome to this episode of The Rest is Entertainment, Questions and Answers Edition. I'm Marina Hyde. And I'm Richard Osman. Hello, Marina. Hello, Richard. How are you? I'm very well. Looking forward to answering some questions. Yes. As always, the questions are brilliant. I love the first question. The first question is a fun one and I'm looking forward to hearing your answer. Should we get straight on and do it?

Yeah, I have actually thought about this one. Good. Hit me with it again. Chloe Satchel Cobbitt has been in touch. Yeah. Thank you, Chloe. And she asks, if you had to do a job swap, with any celebrity, including all their multi-hyphenet roles, side hustles, etc., who would you pick and would you be able to do a good job?

I think the last bit is a definite note. I like that follow one bit is great. Yeah, it's really hardcore. Yeah, because evil can evil and no. Okay. Multi-hyphenates, first I started going down the wrong alley and I started thinking, oh my God, who do I most admire and I think is so unbelievably talented. Now, people like Hugh Lorry, I find him so extraordinary.

me, okay, think of what he can do absolutely to an A level. Comic acting, serious acting. He's written one book. Again, he does these things and says, I don't know why I did this. I really didn't enjoy it. The book is brilliant. It's called The Gun Sederator. It's a terrific book.

He's academically, very clever, was a great sportsman, brilliant at music. I would love to ask him if he's good at art because I'll do my nut if he's good at art as well, because that's ridiculous, that's everything. Yeah, and like call of duty. Yeah. Oh no, I'm amazing at Call of Duty. That's just like multi-talented. I think the funny my multi-hyphenates are the ones that, you know, I'm such an ironist.

I'd have to go to. Liz Hurley, whose actual Instagram bio is Mummy, actress, model, farmer, bikini designer. I mean, I'm not saying I'd like to model them with Damien, her to sign taking the photos. I do enjoy farming. But it's in the mix. Okay. I can't bear all the sort of really over-diversified younger celebrities like Millie Bobby Brown. You know, I've got a beauty line and your own fashion line.

they've diversified really early and they're obsessed with all those things. Oprah, like show, producer, book club, America's conscience. I mean, could I do it? I'd love to have a go. I was thinking of things. Margot Robbie, I've got a bit, I'm a big fan of Margo Robbies. I think producer, actress, like an unpretentious person. You always see her like having to drag her own suitcase somewhere.

You know she loves infernos in Clapham. Then I thought, okay, Clarkson. Farmer, TV star, producer, columnist, I mean, Prime Minister across the water. Could I do it? Halfway there. Richard, I just feel like it's, in some ways. He doesn't seem to mind what people think of him,

which is the thing I'm most envious of. Yeah. That would be, imagine living your life, not caring what people thought about you. Yeah, I think that's pretty, I'd quite like that. I think I could go for that. But of course, when I thought of the Prime Minister over the water a bit, I thought, who wants to be Prime Minister over the water?

don't you just want to be president? So I know who I would actually be and I think you know who I'm going to choose. It's Dwayne Johnson. It's the rock because it is the most hyphens of all the multi-hyphenates. He's an action star. But he's so much more than that.

He has his own tequila brand. Yes, I could do it. He considered his GSD table, the get shit done table. Is that a real table that he has? Yeah, it's like air lifted into his trailer for every single film he works. It's got a GSD trailer.

Yes, of course, it's the GSD table, my get-shit-done table. A future president, yeah, I think I could easily do that. You weren't born in America, but that feels like it's getting less and less of an issue. Wrestler, it's all staged. Come on. I could lean in. UFC and WW board member, yes, I want to sit on the board of like a thing about lots of men fighting. I want to sit on a board of it and to make decisions that really affect both actually US politics and entertainment.

So I want to do that. But ultimately what I really want to do is give the interviews and do the posts that he does. And you're probably saying to me, yeah, but, you know, how could you get all those muscles? And I would say, well, look, you know, I would do it with injections. Unlike the rock, comma 53. I would do it. So you would do it. It's not cheating if you're not competing.

You're just competing against other actors to be in Jimangy. Yeah. It's just, you just compete together. So you're not at the Olympics. You would do everything. Not that I think he does any of this sort of stuff. Of course, I should make that entirely clear for the benefit of the shape. You would do everything that the rock does,

except you would build your muscle mass through steroid injections rather than just through good diet and sheer hard work in the gym at 4 in the morning. Yeah, because I'd need to be posting all the time so that I could be like, you know, better never stops, you know, games getting tougher, all of this stuff. I could just do.

I'd love to do the interviews, the humble brag interviews. I'd love all of it. Yeah, so the rock is without any question just because he just bestrides entertainment and maybe other things like a colossal. this and I think I could do that. I think it's a really, really good idea.

Okay, I mean, I would have, I was going to say Ryan Reynolds, only because he gets to run a football team, and he has an alcohol brand. And that's just like free money. He's not spending a lot of time sort of looking through sales figures. Have you read the email that he wrote that's now come out to Colleen Hoover, and it's come out as part of the disclosure in this, the world's most never ending case, even worse than the one in Bleak House, the lively Valdoni.

Oh my God, you must read. What do they say? It's the biggest cringe. You'd cringe yourself. You could never write that email, whereas I know I could write The Rock's Workout post. It might be better for Ryan Reynolds if I was Ryan Reynolds. That's what I'm saying.

I'd watch that body swap comedy. Yeah. See, there you go. I've already got a hit movie. Yeah, that's the hit. And then the art house one doesn't work. But then when you said Oprah, I thought, actually, that's better for me.

Because she does lots of behind the scenesy type things. And she does producing and the book thing and all that kind of stuff. And good stuff. And really good stuff. So I think, listen, I would be absolutely in, in unbelievable footsteps. But that's a job, I think, that maybe would suit me more than... You can be Oprah and I can be The Rock.

Imagine if The Rock and Oprah had a podcast called The Restors Entertainment. If you do you know... What are you talking about this week? Alan Carr. Wow. I would listen to every single nanosecond, as you know. That would be amazing. Okay, Chloe, thank you for that question.

There are others I'll have missed off there, but I know I would always end up in the same place with Dwayne. I have a question for you about Shakespeare from The Rock. No, I'm so sorry. it's from Alcuma, who says, what is the most successful film about or adapted from Shakespeare commercially? And do you have any favourites? Filmmakers love a bit of Shakespeare, don't they?

They really, they crazily do. And actually, the direct adaptations never do particularly well. The only one, certainly the biggest grossing one was Baz Luhrmann's Romeo and Juliet, which was updated as, that's good idea, isn't that updating Shakespeare? Why did no one do that before? But, you know, there aren't many huge, you know, you've got Ken Branden as much ado about nothing. You know, there's various versions of Hamlet and Othello from their 50s and 60s that did well. But the adaptations obviously do very well because, I mean, Shakespeare took a lot of his stories from other places anyway.

But we, you know, we take something like the Lion King to be inspired by Hamlet. And the Lion King is one of the biggest grossing movies of all time. And the musical is one of the, you know, and the, you know, the, live action version of it. So there's a lot of money to be made in Shakespeare adaptations. That's for sure. West Side Story, which is based on Romeo and Juliet, made a huge amount of money. Ten Things I Hate About You, Inspired by Taming of the Shrew. But I generally think that the best Shakespeare movies are the ones that are about Shakespeare. So I'm going to go through my top three. Because all that stuff is fine Lion King. But this is like storytelling from the ages.

And I do think direct adaptations are hard to sit down and concentrate on and what have you. But Hamnet, which is out this year, which I didn't love. I didn't love it. It's great. You can tell it it's great. It's a beautifully made film. It's a bit grief-pourney. It's a bit relentlessly bleak.

So it's very beautiful. And Jesse Buckley's performance is amazing. And the kid in it is unbelievable. The boy in it is like incredible. There's an incredibly sweet and uplifting post by the films. Did you see it? At the end of a day of heavy, heavy grief filming, I think Chloe Chad, the director got everyone to dance. And at the end of this particular day, they're filming in Shakespeare's globe.

And they're dancing to We Found Love, Rihanna and Calvin Harrison. It is particularly joyous. There's something about all those people in those clothes, the groundlings, just kicking off. If it was me, I would have put that, like in the Marvel movie, I would have put that in the credits. Yeah. Just put it as a pre-title. Because it's quite a lot, that film. And it's, you know, you can tell it's quality cinema, but you are kind of going,

okay. And that would have raised my spirits a little bit. Shakespeare in Love, of course, is Joseph Fines as Shakespeare, I think, is brilliant. And Ed's Vicks chapter on Shakespeare in Love in his book we've talked about before, hits flops and other illusions. is well worth reading the Tom Stoppard scripts and all that. But I think the best Shakespearean movie... I know what you're going to say.

I'm taking into account... I know what you're not going to say, but you're wrong. I'm taking into account all the faithful adaptations. I think the best one is by the Horrible History's Gang, starring Matthew Bainton as William Shakespeare. That is a good one. You're right. About the Life of Shakespeare.

That's my favourite ever Shakespeare movie. Just like anything done by the horrible history. Ghosts crew. It is impeccable and funny and weirdly I think shot in

very similar places to Hamnet but they do very different things with those locations but if you haven't seen that as fun one to watch with kids as well

Bill it's a very very enjoyable movie is that what you thought I was going to say Oh yeah no I think you were going to say Curisaur

Throne of Blood or Ran Yeah Of course not Awesome Wales Chimes at Midnight No No Yeah

Talks through Thrones of Blood And Throne of Blood is Metbeth And Ran is King Yeah, and I mean, those are like ultimate movie classics. And, you know, they're done as sort of samurai films, really. Those ones, the Corrissau.

But not as good as Bill. Sorry, Matthew Bainton. Yeah, I defer to you. You're answering this question. In my opinion. Just chucking in some other Shakespeare things just to sort of, you know. Yeah, I think that it's interesting that if we were the Rock and Oprah in that situation, I think the Rock would insist on himself a little bit more.

I think the Rock would be a little bit more. I'm not doing this without talking about Caruso. hour. I'm refusing to do it. And Oprah would be like, I know what I wanted to do. I wasn't being the rock then. I wasn't being the rock. If I'm being the rock for the rest of this podcast, which I'm not going to do because it's going to ruin the rest of the answers. But if I was being the rock, you'd know about it. Exactly. And by the way, I'd deliver. I absolutely know that you would. You weren't being the rock or then now you look like the rock. You're doing like, you've got rock body language now. There's a new role he's doing where he's talking about losing all the weight or

losing all the bulk because he's doing some different role. Mr. Bump. He's not, he's not happy unless he's talking about things that are happening to his body. Tom Stevens has a question for you. It says, my girlfriend has just said that she thinks no film can be good unless it has an element of romance. My initial reaction was one of outrage, but when she asked for examples to disprove her hypothesis, I found myself struggling. Could you provide me with some examples or must I concede defeat? Tom, I'm so happy to be able to tell you that don't worry, she's wrong. Yeah. But she is right to this extent that an amazing amount of films do have, I like the way she put it, an element of romance because there's always just, it can be quite small, but they always, it's eye-catching when they

don't have them. I was, weirdly, for some reason, the first one that drifted into my tranceom was a few good men, which is a good film, just calling it. As you know, it obviously stars Jack Nicholson, but it also stars Tom Cruise and Demi Moore and they're both sort of military lawyers, but nothing happens between them and so many people have said to Aaron's talking you know why doesn't anything happen between Demi Moore and Tom Cruise and he says he said women have other purposes than to sleep with Tom Cruise but actually he had a note of one of the executives he said well if Tom Cruise and Demi Moore aren't going to sleep with each other why is Demi Moore a woman which tells you a lot about the business they're in but look anything courtroom um almost

often doesn't have you know 12 angry men would have made it a better movie I I'm joking. There's almost certainly a porn film called 12 Angry Men, which would have some romance in it. Romance element to use the euphemism of Tom's girlfriend. Someone's being hung and that's your starting point. Loads of thrillers and war movies don't obviously have any romance, you know, Apocalypse Now or Apollo 13 or Dr. Strangelove or, I mean, you know,

the comedies of these. She's looking worse and worse for Tom's girlfriend. Hunt for Red October. I mean, loads of Denzel movies. Dunsel had barely ever had a screen kiss at a certain point. Apocalyptic things. If you think of like, there are so many women in something like Mad Max Fury Road and nothing, you know, they're just going nuts all the way through. No country for old men.

Yes. Again, there are lots and lots of movies that do not have any single romance element in them. And so she's right to the degree that there is always, that so many people put one tiny bit of in because otherwise it doesn't make sense. And it's the biggest note ever one would ever get in any situation, which is, You know, people do prefer it when there is a little bit of romance. It often works when you can leave it out. But if you're struggling with a particular script or something, then you do think, you know, in the same way that I think Raymond Chandler said, if you're, you know, struggling with a storyline,

send a man into the room with a gun. Yeah. If you're struggling with a film, make two of your characters fall in love or miss out on falling in love. You haven't got a C plot. Yeah. I've said before, I once said to my daughter once when she was getting to the age where I wanted to show her sort of older movies. And I said, look, you know, here's three movies.

movies, choose one of these, and it was Shawshank Redemption, usual suspects, and reservoir dogs. And she, I.D. B'd them. He said, there is not a single woman in any of these films. And I'm like, oh, yeah. Which also means there's, there's, there's, there's, there's no, I mean, there's, there's a little bit of sexual jealousy at the beginning of Shawshank Redemption. I mean, that's where we saw to start, but not really. So I would say in, in, in, in, in, in, in, in, in, in, in, there's not a lot of romance. So, I think, Tom, we absolutely get to what your girlfriend is saying, which is romance almost always improves a movie, but there are loads and loads and loads of movies.

Well, it would have been preposterous and they would be the worst movies for it. So you're right. And Tom, if you just tell your girlfriend, that is not us talking. That is Oprah and The Rock, both disagreeing with her. And after the break, we have a great answer from a very famous contributor. Welcome back, everybody. Now, Sam Fletcher, thank you for this question. Sam says, how do voiceover artists react realistically to other characters when they're not in the studio together?

What so does an actor have on how their character moves in the scene? It's a question we get from a lot of people. And so we thought we'd go right to the top. And so answering your question, Sam, you'd be delighted to know the star of many animated shows, Mr. Will Arnett. Thank you, Sam. Decent question. You know, they, when it just depends. It all, it varies from project to project.

I can tell you that, you know, working on something like an animated film, which you make over the course of a number of years, that process is you do it over and over again. We record the audio and then the animators go and animate to that. And then we come back and we finesse it and see how it works. and it starts to take shape after that. Well, the first Lego movie, I probably went five, six times, maybe seven times.

Lego Batman countless. We made that over years, and it was really, first Lego movie was Phil Lord and Chris Miller, and none of us knew what it was gonna be. So we were, you know, and it was really fun and exciting. Lego Batman was fun and exciting too. It was just really Chris McKay and me. And he and I did all that stuff together.

And we ended up, it changed. So we ended up doing all sort of, we, there was a, there were a few months where I kept improvising this stuff that Batman was secretly Canadian. And so we went down this whole rabbit all and eventually were like, no, no, guys, you can't, what are you doing? They can't, this is not part of the story. So, yeah, it's just, sometimes it feels, it was over the course of a, of a couple years, Chris and I probably recorded 30 times when you're making a show.

show that's week to week, like say, BoJack Horseman, we don't have the luxury of that much time. So we go and we record Bojack, I always recorded with Raphael Bob Waxburg, who created the show. So he's there with me, and he's reading the other characters. And so what's great about that is, because he's the writer, I'm not necessarily getting an interpretation from another actor of what he wants that line to be. I'm getting exactly from him what the intention is of the other character. And so I'm playing, kind of playing right off the source, if you will. And yeah, we just, we just record the scene like that. But I, you know, you do, of course, also get a lot of license as to how you react to things, how you deliver a line,

and you get to add stuff as well. I always did. But with Unnet himself, answering your question for you, we were listening to an amazing episode of Smartlist the other day with, I love Smartless. but with Julia Roberts. So there's just something you're so charming about that show. But Will, thank you so much for doing that. It is greatly appreciated.

And I would be very much here for a spin-off of the spin-off and for the Lego Batman Canadian interior monologue. Yeah. Oh, this is a good question for Michelle Burton. She says, when I hear about someone directing

a stand-up comedy show, I'm unable to picture it. Presumably the comedian decides what to say, how to say it and where to stand, and the sound and lighting requires very little. What more requires direction? Thank you, Michelle.

I love that question because it's one of those things where what a director would do with a stand-up is not immediately apparent, but actually the second you start looking into it becomes very, very apparent and actually tells you a lot about what stand-up is. Funny enough, by the way, Will Arnett is currently in,

is this thing on, which is the film loosely based on John Bishop. But yes, this idea that a stand-up would have someone directing their show because when we think of a director, we sort of think of a movie, director and sitting up shots and, you know, choosing this out of the other. And that's not really what a comedy show director does. So I talked to a few stand-ups. I also talked to, there's a

brilliant comedy director called Phoebe Burke, who's worked with everybody. And it's brilliant. It's won every award in the business. So I said to Phoebe, is Eric, can you explain exactly what it is that a comedy director is doing? And if, really, we're talking about stand-ups who are putting together an hour or an hour and a half or two hours, that sort of thing. And that's That's quite a lot. It's quite a lot of talking. And Michelle is rightly saying, well, surely it's just a comedian doing jokes. And most shows do start out like that.

Just here's a joke, here's a joke, here's a joke. Where a director comes in, I'll give you Phoebe's words, in fact, she says, well, the director's role is to shape the journey of the show, the order, the themes, the flow, the callbacks. Callbacks is that thing, you know, the way you sort of weave a show together by going back to something you talked about. Or, you know, you keep making the same reference. And you go, oh, my God, you're talking about that thing you were talking about earlier. that is incredibly satisfying in the same way

that a piece of music has little coders that kind of satisfy you the callback does that so the director is doing that and so all of those things Phoebe says that's the connective tissue

that gives structure to the material the comedian is doing and makes it feel like a show rather than just a pile of jokes and I think that's the key is that thing if you go and see a comic if you go see a comic for 20 minutes

they can just do their material and that's great and we all enjoy it but you go and see an hour show or if you go and see a show at your local theatre theater that's, you know, 45 minutes, interval 45 minutes. They often do have a flow and a structure and they go somewhere. But also with so many specials nowadays, where it really has to be quite a coherent and produced piece of television. It has to be coherent. It has to have an overarching

concept. And, you know, Phoebe says that the director has this kind of bird's eye view of the whole show, which is hard for a comedian to hold while they're inside the material, which is absolutely right. And it's very like a book in a lot of ways, very like a novel. In that a novel, I know everything about the story. I know my characters. I know what they're saying. I know what happens. But an editor can look over and just say, oh, what happens to this character? Or why did this happen here and not here? They're looking at it differently. And any comic, the reason that almost all comics work with directors, some of them don't, especially when they get later in their career, and they've worked out how it is that it is done. But almost all comics will work with

the director. We'll go, okay, here's my stuff. Try it out. Try it out. Maybe at a small venue with the director sitting there with a notebook, often try out in front of other comics as well. And we'll then sit and go, what do we think? And they'll go, oh my God, this joke,

this joke. I love this. I'll talk to John Robbins, the comic who has been directed in his time, has done direction for other comics, says these days I don't really use it quite so much, because again, he's sort of worked out how to do it.

And he says, if you're directing someone, you're trying to turn a funny routine into something that is a show. It's exactly that thing of, I see what the jokes are. And John is saying there sometimes you go, you know, that joke, that joke and that joke actually have similarities in what they're about. And at the moment, they're all funny, but they're all in different places.

If you bring them together, then, you know, that maybe that builds momentum. You know, you can then start structuring what are individual jokes into an argument that can capture and hold an audience's attention, which is what you really, really need over an hour. He also says, and he's absolutely right. It's much more helpful with, there's lots of standups do very theatrical type shows or shows about something. shows about their family or shows about something that happened to them that really do need a narrative structure. And then you really, really do need a director. So forget the lighting and all of that malarkey. That's a holdover from movies.

A director and indeed fellow comics, everyone is incredibly giving in the world of comedy. They know that this person is funny and can write jokes. So they're not sort of taking somebody who can't write a joke and saying, why don't you say this, why don't you say this, why don't you say this? They watch somebody who's really funny. And then he kind of look at the material, say, oh, that's your. interesting, you know, maybe if this was here and maybe you could do this callback, and comics will often give each other jokes if it is a joke that it directly comes from someone else's

joke, if that makes sense. So it's not a joke that would make any sense in their own set, not a joke they'd ever would have thought of themselves, but something that comic says, they go, oh, and after that, why don't you do what you'd call a topper, which is something that goes on top of a joke you've already done, and then you can do another topper on the top of that, and then you do a callback, and then, you know, joke, topa, topa, callback, you know, You've got a show. Do that for an hour on repeat. So it's a really good question, Michelle.

And I hope listening to that as well, anyone who's watching like our specials, you can start to see sometimes how these things are woven together. And they all start, which is why you get loads of comics doing working progress nights. Yeah. Because what they're doing is I know I've got something and I know I've got jokes, but A, I need more jokes and B, I need it to have a flow and a structure. And I need when you get to the end for you to go, Oh, okay, so it was all going in one direction.

So if you are a stand-up, having a great director like Phoebe is, I mean, it's so worthwhile. And it's not cheating and it's not I can't write my own stuff. It's just that thing of here's my raw material. I need someone with a different pair of eyes and a different pair of ears. Marina, this one is from you from Michael Stevens. Have any products invented for TV or film ever come to be made in the real world? as genuine consumer goods. It is a very good question and lots of them have really

and there's a real overarching thing which is that if you see something that's really cool in a movie, a futuristic sort of thing or on TV, then almost always it addresses something that you think, oh, I'd love that in real life. That would save me a lot of time or isn't that a minute, you know, obviously flying cars which have yet to come to pass although that I haven't seen in real life.

life kind of Amazon drone deliveries and stuff, but I do sort of want to see. Yeah, we don't see, but yeah, but so much stuff came from Star Trek. Yeah. The communicators in Star Trek. I was going to say sci-fi is slightly different because it's not saying, no one's thought of this idea, how about this? It's like, this is a sort of thing that will happen in the future and you get to the future and it does happen. But, and it always addresses a sort of need, do you think, what would be so kind of, how would they have addressed this need in everyday life? Like inventing, you know, machines or typewriters or computers or anything. How would they have addressed? How would they have addressed? How would They would have addressed this in the future.

The communicator in Star Trek, the flip phone, the Motorola Star Trek, that like iconic flip phone, is called StarTac because of Star Trek. Self-opening doors were first seen in, you know, automatic doors were first seen in Star Trek. Because again, you know, of course they wouldn't, they're in the future. They wouldn't be wasting their time opening doors. So expectations always kind of pushed by sci-fi, but it should feel intuitive to the audience. It addresses something in the contempo world that you think, oh, that would be good.

Touch screens, again, seemed so like... Yeah, yeah. These are the first time anyone saw these. Smart watches. Do you remember watches where someone would have a screen and, you know, their like controller would be saying, your spy handler would be giving you a mission or whatever it was. Again, we can have all these things now.

Back to the future, those kind of hoverboards, they haven't actually quite worked out how to do that. But they did do that? Do you remember in Back to the Future, too? Nike made self-lacing trainers to, as a sort of... Yeah, those actually exist, don't they? Directly as a result of...

There are a few kind of ultra-limited edition versions of those. Iron Man's glasses, I mean, meta-glasses, that's sort of a bit like what they're like. There are some food and drink things. Butter beer, where they now serve that and Harry Potter's thing, and my favourite, because I've always been trying to get some of this, because I think it would be funny to get my husband, is duff beer.

There are duff beers that they have actually made and you can get sort of gift boxes of things like that and I just think from the Simpsons obviously Wonka chocolate Yeah, Wonka chocolate Things like that are sort of really merchandising things But a lot, a huge amount of sci-fi has Because they're sort of intuitive these things

You think wouldn't it be cool if you could just throw up a screen Or you know like the plot of an invasion or some sort of thing And they throw up a screen and it's all computerising It's kind of hanging in the air All of these things now exist but were created for the movies Can I give a particular shout out to Hitchhiker's Guide to the Galaxy where he literally has a tablet in his pocket which has all the information from the universe on it

and you can just sort of scroll through it. It's a much happier story than what happened when we did get those. Well, that's because it had, don't panic written on the cover, which is what we should have had. But also in the babel fish, which you put in your ear and it turns any language into your language, I think we're literally now at the stage where we do essentially have that. And so, yeah, it's, sci-fi is a different thing

is it predicts what is going to come in the future. But the actual thing of things that didn't exist before they were in something, and people thought that would be a good idea, are fewer and further between. But if you watch any sci-fi movie now, anything you do see would at some point happen. We have a bonus episode for our members tomorrow, behind the scenes at Ardman, everything that goes on in the Ardman Studios. I hope you enjoy that. But for everyone else, we'll see you next Tuesday.

See you next Tuesday.