The Rest Is Entertainment - Live Audiences, Comedians & Superhero Stars

Episode Date: June 26, 2024

What are the top 3 credit sequences Richard and Marina cannot skip? Why do comedians welcome themselves on-stage? And how to be in an audience for a TV show. Your questions answered by Marina and Richard on The Rest Is Entertainment. Sign-up to The Rest Is Entertainment newsletter for more insights and recommendations - www.therestisentertainment.com Twitter: @restisents Instagram: @restisentertainment YouTube: @therestisentertainment Email: [e-mail] Producers: Neil Fearn + Joey McCarthy Executive Producers: Tony Pastor + Jack Davenport 🌏 Get our exclusive NordVPN deal here ➼ https://nordvpn.com/trie It’s risk-free with Nord’s 30-day money-back guarantee! ✅ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello and welcome to another episode of the Rest is Entertainment Questions Edition. Welcome to the Rest is Entertainment Questions and Answers Edition. Oh, I'm Marina Hyde. That's where I recognise you from. I knew it. Here's an I'm Richard Osman. Hello everybody. Shall we jump straight in?

I have the first question for you. It's a top three, we'd be delighted to hear. You're really warming to them. I can't get enough of them now. I've just, I've broken through some sort of pain barrier. If anyone was listening to the Tuesday episode, I hope someone was, I even managed to get you to do a top 10 in proper reverse order. I'm growing so much as a person and as a podcaster.

You know what? You're growing so much as a podcaster, which is all you've ever dreamed of. Very, very small start. Guy Nash has a question for you. Guy Nash says, what are your top three opening credit sequences? And he says, you know when it was a skip intro, which I always do, but Guy says, what are the top three that you will never skip through? Yeah, Netflix introduced that button in 2017. In fact, it was only 15% of people were just trying to manually get through.

And also because of binging, everybody was watching lots of see thing. Okay, I don't have to watch the whole titles 10 times in one evening. This is hard, but it ties into something which I wish I'd said when we were talking about theme tunes, which is that if the visuals are also amazing, and it's got the music as well, the sort of double threat, Game of Thrones, I love the little houses coming up and the music as well. Succession, I love all the different headlines they have. They're such funny sort of ATN headlines, which is the sort of Fox News equivalent in the show. Things like Dynasty in Dallas, going right back in the day, with

those triple screens of each character, we see them in three different views. I used to love those. But of course, we couldn't fast forward through any of those things at the time. In terms of what I genuinely would never fast forward through, I'm going to have to put them in an order. In joint three, because I love both the music, what we do in the shadows, and I love the visuals which are really great, you know the sort of comedy vampire series, and Detectorist. Again, I love that theme and it's very calming and I love that theme and it's very calming and I love that. That's Johnny Flynn isn't it does the theme to that. Yes, Simpsons I will always watch through because of the couch gag which

is the bit when they're all trying to cram in the sofa at the end and they do a different thing every time and I will always watch that too but it's funny I also will watch the earlier part of it just because I know the couch gag is coming so it does make how many times have I seen those titles I mean. And the saxophone is different every time yes and what part is writing on the board yes and then I have to say honestly my number one is because what sort of animal no matter that they know who works in Thunderbird 4 does not watch every single ones of the Thunderbirds when they're telling you you

would have to be an animal to say yeah yeah I know who's on which particular craft and I'm not going to you know yeah I know you're in space you will have to be an animal to say, yeah, yeah, I know who's on which particular craft and I'm not going to you know Yeah, I know you're in space. You will have to watch Thunderbirds. I'll go all the way down Yeah, because and if you don't you are a monster. Yeah, because they're risking their lives for you The least you can do is watch their titles. Yeah. Thank you for your service Um, it is very weird when you watch anything now and you can't pass through through the credits that feels like suddenly you're in the Middle Ages You know suddenly you're banging out like a rock against another rock and trying to make fire. You're like intro won't skip now. People were doing it in their own way and they were actually sort of turning up about halfway through

the first scene thinking oh that'll do and so Netflix didn't want them to do that so they gave them the power and now look where we are. People love Dexter, people always like that. Well funny enough that's on Guy's list of three. Guy has three on his list. He has The Good Fight, Dexter and Vikings. I remain untroubled by Vikings up to now. I don't mean in my life, I mean at the program. I also remain untroubled by Vikings in my life. Yeah, thank goodness. It's not often you look on the old ring doorbell and there's like a there's a long ship outside, oh god, pillages. Best credits for me, simply because it had the greatest graphic transition.

We hadn't seen the like ever when the outline of the island of Jersey transforms into the word Bergerac. Okay. That for me is the best. That is state of the art. At the time, it absolutely blew our mind. It's like when Top of the Pop started, sort of putting things in little bottles

and spinning them around. And we were like, wow, we'd seen the future. So I'm going to go Bergerac. But yeah, no, by and large, I'll fast. However beautiful something is. As you say, if you watch four episodes of something in a row, you're not going to sit through it. But better that than the thing of every, like the

apprentice and stuff like that, where you really you've got to do seven minutes of what's happening this series or what's happened before. Oh God. The coming ups, I hate the coming ups at the end, and I hate what you've just seen. They've really cut down on it on the apprentices this year, I think they've cut like a minute and a half off it. So I keep missing the beginning, but you know, sometimes that's okay. In the apprentice, you can usually catch up up Oh, they're in a meat market. Yes, they are Is it a sales task again? Yeah, they're talking about children's kites. A sales task every week. Yeah Oh, are you having to make an advert even though you're not in advertising and it takes a really really long time to make an advert Yep, still a sales task. Yeah, by the way, that sounds like I'm mocking the apprentice. I absolutely love the apprentice

Do you have a question for me? Thank you Guy Nash by the way for that. Yes, I do have a question for you. It's from Dan Chesney. It looks like tickets to be in the audience for a show are always free. Is this always the case? What happens if you can't fill a studio audience even with free tickets? Do you go ahead anyway? Dan Chesney should go on The Apprentice because I would buy anything that Dan Chesney hawks. It's a really good question.

Yes, Studio One is a really interesting thing because obviously you want to fill a studio, especially if you're doing a comedy show. So if you're doing a I Got News For You, if you're doing 8 Out of 10 Cats or something like that. So there's lots of specialist agencies, Standing Room Only is one of them, The Applaud Store is one of them. And you can sign up to those places and they will advertise, you know, when the Graham Norton show is coming back or when one of those big panel shows is coming back and you can apply for tickets there and for those shows there's always a huge waiting list I always remember the biggest weight the biggest waiting list for any TV show in history I think it had like an 11 year waiting list at one point was Question of Sport. Really? Yeah almost impossible to get into see. It's easier to get in become a

member of MCC than it is to actually. It'd be easier to get into. It's easier to get in and become a member of MCC than it is to actually... It'd be easier to get into the Royal Box at Wimbledon than being the audience in Question of Sport. So if you ever watch Question of Sport and look at the audience, these people, that's the elites. They've been in for the long haul, their names were put down as Nicholas. As children, yeah, exactly. Yeah, it's like Eton. So for those big shows, by and large, it's quite easy to fill. And also you would always oversell because tickets are free and they are free for every single TV show. That's the way you do it.

Because it's such an integral part of a show to have a live audience there. But because of that, there's always an oversupply of tickets. So if you come see, have I got news for you, which I'm gonna say is 300 maybe, they will send out 600 tickets because lots of people just won't turn up because they haven't paid and you know,

there's no commitment to go or anything like that. People who go to a lot of TV shows know to get there early because if you do turn up five minutes before like you would do for a film you're probably not going to get in so the people at the end won't get in. If you're doing a new show, a pilot or something like that it's harder because again you do want an audience by and large, you want them to be there but of course they don't know what the show is. And how many EPs by the way will you watch of one of those if you are in the audience? If you're in, it sort of depends. If it's a Vicon News for you or Would I Lie to You,

it'll be one, so you turn up for an evening. It's brilliant by the way. For both of those shows I would say there's no real recording breaks or anything like that like you would have in a sitcom. So you're watching like a two hour version of your favorite show. So if you go and watch, What a Lie to You, just like four stories that are never gonna be on TV, but it's just a joy from start to finish. Have I Got News is exactly the same in that regard.

So it's a really, really, really great night out. Sitcoms are slightly different because there's an awful lot of sort of doing the same scene 14 times, changing the cameras. And so that's a longer evening and perhaps slightly less fulfilling. But if you love a sitcom, it's amazing because the actors will talk to you in between takes and you know, you feel really involved. And of course, you see things that no one's ever going to see on TV.

If you're doing a new show, if you've got a big star, if I'm doing a pilot and Rob Brydon is hosting, that's easy. You go on to the Applaud store, Stanley Ramone, you say, do you want tickets to Rob Brydon's new show? Rob will send out a link to that and the place is filled. If you don't have that or if it's a new one or you're trying to get new talent, then a lot of those companies, Standing Ramoni, Applaudstore, what have you, they will say, look, I know you want to have tickets to Graham Norton, which has a very long waiting list. If you want to raise your name up that waiting list, you have to come and attend this pilot.

There's this new pilot, so you know it's gonna be in Manchester, it's gonna be in Glasgow, it's gonna be in London. If you come to this show, you'll get extra points, which means you go up the waiting list for the more popular shows. So they're quite good like that. But you know, often, yeah, sometimes you'll do a pilot or something and it's not as full as it might be I think it's a bit of a maybe it was a bit of a giveaway that gladiators was going to do really well because The recognition of it obviously is a show that previously existed, but they were able to fill that arena from season one it's interesting we just had done my now good friend legend on house of games and

Firstly he was great but secondly talking about they were about to do the second series of that. And demand for tickets for that is Taylor Swift-like. I mean, it's absolutely off the charts. And even before the first one, it had that name recognition and parents were going, honestly, you'll enjoy this. Now, it is like, demand is absolutely insane. Now, if you go and watch Gladiators,

you can see the way that shot, you're there for a long day. You're in there for a long haul. Because they've got to re-rig everything for each different game. Exactly that. You can have injuries, all sorts of things can happen. And in that sort of environment,

and maybe we'll talk about it if there's a different question, but at some point, but the warm-up artist is the absolute hero of that environment. And the best warm-up artists, and they're the ones who stand there when the thing isn't filming, and you need to, if you're doing, say to if you're doing say You're in the last leg and you've got an advert break

The warm-up artists will go on the warm-up artist goes on before a show Just sort of 20 minutes of chat just to sort of get the audience warmed up That's where the name comes from just so people get used to laughing and are animated and then in any recording break they come on So if you're doing what I like to you or have I got news for you They won't come on at all because you're going straight through if you're doing an ITV show they will and if you're doing Would I Lie to You or Have I Got News of You, they won't come on at all because you're going straight through. If you're doing an ITV show, they will. And if you're seeing Gladiators, there's an awful lot of audience participation. Things are being rigged. But I will say it's just a great night out. I went to see Have I Got News of You when I was 21. So it was at 92. I went to see it being recorded up at Fountain Studios. And then I worked on it as a writer and now I've been on it and that's a lovely, but honestly, yes, watching it was almost

the most exciting. Yeah, if you're interested in the nuts and bolts of any of these things, there's no better place to be. Yeah, exactly. And people, you know, Ian Hissopp has chats to the audience and it's just, it feels like a proper treat. The stuff that goes wrong is fun. The stuff that goes right is fun.

But lots of shows these days, you know, there's fewer and fewer audiences now is the truth. During the pandemic, of course, we couldn't have audiences. I remember what I lied to you, we did is, because people had to sit apart from each other. And so suddenly you've got half an audience and in some ways half an audience is worse than no audience because you're getting a laugh, but it's quite a, it doesn't feel a fulfilling laugh

when you're used to a big studio full. So there's a cinema in Pinewood where that was made and they took that over as well and people were watching a live stream of it and you combine the two. Laughter, if that makes sense. But yeah, lots of shows Pointless no longer has an audience. The Chase has never had an audience.

House of Games has never had an audience. There's always been just me and four people and the crew because I used to love watching those shows. And it just, because if you're filming a lot, you can just get it done and get it through and everyone feels relaxed. Like a podcast, you wouldn't have an audience for a podcast. You wouldn't do a podcast at the World Albert Hall

or anything, which that would be the end of culture as we know it. But so it's, if you don't have an audience, you make a slightly different type of show. And if you do have an audience, you play out to the audience. And if you don't have an audience, make a slightly different type of show and if you do have an audience you play out to the audience and if you don't have an audience you play to the people who are there. So it's, but it's, so for anyone who asked me can they come to the audience of House of Games, but yeah those big comedy shows it's an absolute ball you're making a pilot that goes on all evening and people start leaving, which they really do, in Boy Oh Boy that feels like... Yes, I guess they're within their rights to

just leave. Exactly, I mean you do, you sort of make it so that they think they're not, they think it's illegal to leave. Yeah. But yeah, if people want to get up and go then they do and when you're making a pilot of course you make mistakes and you haven't got the cameras quite where they should be so you are doing things over and over and over again and yeah that can be that can be a long evening. Marina Jake Clements has a question for the Euros and every other major sporting event the TV studios are always in incredible locations often by well-known landmarks the BBC are right outside Brandenburg gates so are ITV also looking at the Reichstag logically I

think it was a green screen but is it genuine? How do they get such incredible spots? Ah okay well thank you to Tony for this but it is you can tell that is not a green screen it couldn't possibly look that good you can tell when something is a green screen. And also because Gary was wearing a green t-shirt the other day so he would have disappeared. So yes they have built that these are these purpose built things and recently as FIFA and UEFA have built a sort of collection of these studios with iconic locations and then they lease it to the various broadcasters. So the BBC have got the Spanish broadcaster next door. I mean, you often see these things. They do look extraordinary, like, you know,

the Women's World Cup last year in Australia. If you looked around with the Sydney Opera House in the background, and if you sort of turn round and you look at the actual studios themselves, they're kind of clinging on to little bits of Sydney Harbour and you think why have you done that but it is the prime view of the Opera House or something like that and in this case the Brown and Murgate. So essentially a series of porter cabins all stacked on top of each other and you know that's part of the deal for giving the championships to Germany or if you're going to give them to is part of that part of the pitch document is what are the facilities for the media, where are we going to shoot this. And so if you think, yeah, but it must be impossible to build all these Porter cabins

right next to the Brandenburg Gate. Well, you don't get the gig if you don't let them do that. So your wafer will say, look, we need X amount of land and it's got to be somewhere iconic to build these things. There are levels, literally levels in those Porter cabins where different federations from different television companies in different territories have their studio. So BBC and ITV I think are both on the top floor, which A, is a nice view anyway, but also means they have a little roof section. You'll see both of them can sometimes they go out on the roof when it's not too windy or rainy. Beyond the penthouse. That is the real, you've got every single option.

But they do look absolutely incredible. And obviously we didn't use to have these sort of things. There would always be this kind of news countries for a big event around buckingham palace or something but that that a lot more basic than these which are proper fully functioning studios. Yeah there are me and you know jake is right you you have to think it's green screen because it's so stunning and how would you ever be able to build a studio there and it is it's the money it's the fact that the the championships are there in the first place they can literally put the studios where they want to have them and yeah the bigger territories and the bigger channels are able to afford the bigger studios and the and the best views and BBC and ITV are pretty much on a par with each other and it'll be good to see where in the Olympics all of those studios are because you can be sure that they will be absolutely jaw-dropping wherever they've managed to put them.

Anyway from our advantage point here looking over Copacabana Beach. Shall we go to some adverts? Let's do that. Now Richard, we once again have a special question from Purina who are supporting this episode of the podcast. Last week, I told you my favourite dog moments in film and TV, Rin Tin Tin, for those that missed, a megastar. My favourite TV dog was Eddie from Frasier. Well this week, they, we and I want to know your favourite cat moments in film and TV. Well, firstly, I'll say that Lisa has just started eating purina and has gone mad for it. I can't speak as to whether she has the

taste of any normal cat but she certainly loves it. My favourite cat is a recent one. If anyone has watched Ripley on Netflix which I love love love, it's slow, it's beautiful, but there's a cat that you see about 30 times and all it does is look upstairs and downstairs in a sort of just the most beautiful long-haired cat called Lucio and that whole show is about tension and is about nervousness and is about has anybody spotted Ripley? Does anyone know what he's up to? And the one person you know all the way through that show who knows exactly what Ripley is up to is Lucio because he sees all sorts of things going on and I would have loved the day that the second unit had to film Lucio just all day just you know someone clicking their

fingers making Lucio look up look down Lucio Lucio looks suspicious. Good luck I mean Lucio like maybe maybe I'm feeling it maybe I'm not you you just know that they are waiting for Lucio like he's the biggest star in the world. And you know, if you have to keep the crew hanging around all day until he suddenly starts feeling like acting, then that's Cat's view. It essentially be like Planet Earth when they're trying to spot a rare snow leopard and they have to sort of dig into the snow for like six months just to get one shot. Lucio was like that.

Most of the budget on Ripley was on Lucio and just keeping Lucio happy. Mine is born from a sort of similar respect for the complete autonomy of cats. Mine is Blofeld's cat in James Bond movies, Solomon, who I think is a sort of Persian like a Turkish Angora or something like that. Anyway, as you know, people will know that you don't actually see Blofeld, the sort of master villain, you just see the hand stroking the cat. And obviously I thought for a long time, the cat is, let's be honest, not a pet. It's probably in a number two role,

chief of staff type of role. But then you never hear it said, why doesn't Blofeld work for the cat? As anyone who's ever had a cat will know, you work for the cat, okay? And I'm not convinced that actually Blofeld isn't number two to Solomon, and that is my theory on the whole of the movies.

The villain is actually the cat, and Blofeld just sort of works for it and provides it somewhere to sit. So that's an alternative counter-cultural theory, but actually there's a bit where, I think in Diamonds Are Forever, where Bond kicks Solomon, and that is one of the most controversial moments. It really is. It's like you see people talking about this online a lot

because they will take all the extra judicial killing from Bond, they will take all the murder, they'll take all the sort of casual misogyny or whatever people now think in the light of reinterpretation. They think about Bond, but they will not accept that. So I'm naming Solomon as one of the number one movie cats. Literally as you're speaking to me, Lise appeared, but as you disappeared ago disappeared I'll see if I can get her in

you work for her? I can't, no yeah, I work for her but yes she's gone off to have some of her Purina she really does look lovely when you do have it so you just say literally what's just happened in front of you and it's true okay, Dentalife are delicious dental chews with a unique chewy porous texture and distinct ridges that massage the gum scientifically proven to reduce your cat's tartar build-up with a natural cleaning action. Care for your pet's teeth daily with Dentor Life's natural cleaning action. Ah, here's a good one on comedian stage intros. David Brocklesby asks, would you know why the vast majority of the time comedians announce themselves to the stage?

Thank you David. Brocklesby is a good surname. I said it before I'm always looking out for names of murder victims. David and Brocklesby is a good one. I am in the next book. I am just I'm literally just going to take surnames from this Q&A. You've had some fantastic ones. Yeah, most of my characters come from like snooker players from the 70s and 80s. Like really like low ranking. The name of the baddie in the first Thursday Metal Club book, soon to be a film, is Ian Ventham and he's named after a sneaker play called Steve Ventham, who I think played John Parrott in junior Pop Black once. They just got good surnames, but Brocklesby is a good one.

Anyway, I digress. Comedians, yes, often you'll hear someone say, ladies and gentlemen, welcome on stage, Josh Whitacombe. And that person would always be Josh Whitacombe and it will always be Josh literally standing right next to the edge of stage. There'll be a handheld mic and he'll introduce himself and run on. I asked Josh himself why this was, because I figure, you know, why not?

And he has provided us, well he's provided Davil Brookersby with this reply. Hello, Rich the Marina, long time listener, first time caller, Josh Whitiddicombe here, and could I just say I'm a huge fan of the podcast and of your writing, Marina. Anyway, why do comedians seemingly, no matter how successful or famous, introduce themselves on stage? Okay, there's various reasons for that. So the first one is venues, even massive venues that aren't arenas up to the

size of Hammersmith Apollo. You are literally touring with very few people. You're touring with you, a tour manager, possibly a support or possibly not, and a sound man or woman. So it's basically a lack of staff thing in one way. The other thing is the reason I do it, it really helps the support if it feels like the comedian you've gone to see is almost kind of saying you will like this person. In arenas it's still that thing of I think comedians are nervous and I think it's a sense of control, it's a sense of being able to big yourself up. So those are the general reasons. So there it is. So what he's saying really is it's cheapness. But also control.

Cheapness and control. The two absolute tenets of all successful comedians. Yeah. Cheapness and control. No, I think it is that thing. And also they're so used to every great comic has really come through the ranks and a bit of tiny little stages where they have to introduce themselves. I just think it's a nice thing to have to do.

Josh, by the way, when people say who's the nicest person in show business, he's right up there on the top of the list. He's a good one. He's a keeper. Thanks Josh. But also, when I go and do book events sometimes, and it's interesting, lots of places understand, you know, you do sort of need to be introduced if there's a big audience. Someone has to say... You can't just wander onto the stage. Oh hi! Yeah, but lots of book events don't understand that. So book events will go,

oh everyone's out there so you can just wander out. Yeah. I think that's quite unsatisfying for an audience, you know, they've sort of paid. So yeah, then I'll do the old microphone thing and I'll introduce... I had to, I didn't have to, I interviewed Kate Atkinson at Cheltenham, who's one of my favourite writers of all time. And again, they said, oh, the two of you just wander out. I think I'm not just going to wander out with the greatest living writer in Britain. So I said, so Kate was, I said, Kate, I'm going to give you an introduction. And I said, ladies and gentlemen, please welcome to stage

Britain's greatest living writer, Kate Atkinson. And the place goes wild. And then everyone settles in, everyone understands what they're there for. Everyone knows they're going to enjoy themselves. Let's have a sense of occasion. A sense of occasion. This is one of my great bug birds of modern life. Let's have a sense of occasion for these things. Yeah, it's exactly that. You must always be introduced. That's why at my wedding I had a walk on music as well. That's the thing that drives you mad about weddings. The groom

just standing there, produce it, come on. Listen, bride always comes on last, that's absolutely fine. Let the groom come on and have some music as well because then you've got two hits of people crying, which is what a wedding is for. Why would you deny yourself that? You must always, always with any audience and that includes a congregation, you must always make sure they're there, they know something's happening and there's a sense of occasion. Always be a big intro, put your audience at rest, wherever you are. Absolutely.

Yeah. Those in gentlemen, this is Josh Whitacombe. He meets so many celebrities, he should just get the biggest celebrity he's ever met to just do one introduction of Ladies and Gentlemen, Josh Whitacombe, and play that everywhere. This guy I used to know used to, sorry, this has made me think of something completely tangentially related. That doesn't sound like this podcast.

He also used to meet lots and lots of celebrities and would always say, he was a journalist, and say, look, things are looking a bit bad for Frank Sinatra. I wonder if we could just get a quote so that we could have it for our quotes file. This was Ali Ross at the time. When the time came and Frank Sinatra did die, he was like, I've got a little something I've

been working on for the last 10 years. And it was absolutely everybody had given a quote. And he had just this extraordinary treasure trove of quotes from absolutely everyone. Some of them were ridiculous, like Samantha Fox, what do you think about this? But then lots of them were every big person that had ever been interviewed, so it was pretty much a hold of gold. That's like Peter Dixon who does the X Factor voice, so he's had that incredibly famous voice. He's literally every single person he ever meets, he gets to do their answering machine

message. Back when people had answering machine messages, they said, oh, you couldn't just do my answering machine message, that'd be funny. He's like, this is like the 90th I've done today. This is like the 90th I've done today. This is like the 90th I've done today. Also Michael Buffer, who's the, let's get ready to rumble guy. He literally-

The voice of boxing. The voice of boxing, but yeah, you could, you can hire him for 10 grand a pop, he'll come and open anything. If you, as long as you're having to pay him, you know, cause that voice is so incredible, that catchphrase is so amazing. That's his and his alone.

I think first-class travelers work. First-class travel, all of that. I mean, what- Please put that in your budget if you're considering it. Michael Buffer ain't flying coach. Marina, this is right up your street, Nick Watson asks, do actors who sign a contract to be in a DC film have to agree not to work for Marvel and vice versa? Ryan Reynolds seems the only obvious exception as an actor who's been in both DC and Marvel worlds. Okay yes, he has been. He was in a very unsuccessful Green Lantern for DC and he is also obviously

Deadpool. But there are actually quite a few others. Idris Elba has been in Thor and Suicide Squad. Tom Hardy, obviously, he's Bane in The Dark Knight Rises, but he's also Venom. Affleck's been Daredevil and Batman. Affleck. Affleck, one word. We just need the surname. Yeah. Michael Keaton, who is in the sort of original rebooting of this sort of modern era of Batman, I guess, which is all the way back in 1989, so maybe it doesn't count as modern, but he's also been a baddie in that first Tom Holland Spider-Man. So there are quite a few that have done it. There's no rule that you

can't do it, but obviously if someone is so associated with a role, it's difficult and you wouldn't really want them to bring that baggage. And lots of people have done tiny roles in both, but there's been a point where they've sort of, they've saturated so much of the culture that you've really got to be in one or the other of one of them. And pretty much most actors have been in one or the other. When we were looking for the show that I've been working on which is set in a sort of fictional superhero franchise movie, it was so hard to find actors who hadn't actually at some level worked within these two universes. It's really difficult because everyone has now done stuff. But there's no actual, it's not like the PDC and BDO darts. No, no, you're not in a rival tour.

It's not like Live Golf. Yeah, no it's not. It's called Live Golf the movie. Someone I knew wanted to write a comedy about golf evangelists because there's a lot of very hard-writes, small states, small taxation, American golfers who also still have what would Jesus do. Answer none of those things that I've just said. Answer pay tax. He certainly wouldn't go of those things. He certainly wouldn't go and play and live golf. But look, this is what it is. And I thought someone, golf movies make a lot of money. And so I've always thought it'd be quite funny to try and write one. But I think the type I'd like want to write is not the one they'd like to turn out for. I'd watch a golf. I love a golf movie.

Oh, so do I. Happy Gilmore. Top three, Happy Gilmore, Tin Cup. Tin Cup, yeah. I've run out. Caddyshack. Caddyshack, obviously. Caddyshack number one. That was a lot of fun.

It was. Should we do it again next week? I think we should do. So we'll see you next Tuesday. See you next Tuesday. Hi there, this is Cathy Kay from the Rest is Politics U.S. And I'm Anthony Scaramucci. On Thursday, June the 27th, Joe Biden and Donald Trump are going head to head in the first presidential debate of this campaign.

And some very exciting news, Katty. We're going live on YouTube straight after the debate. We've got one candidate accusing his opponent of being senile and the other saying his rival is a danger to democracy. Yeah, for all of us politics nerds, it's going to be a very exciting evening. And to get our instant reaction just search The Rest is Politics US on YouTube straight after the debate. Don't worry if you miss it. You can listen back to the episode on our regular podcast feed the next morning. Just look for The Rest is

Politics US wherever you get your podcasts.