The Rest Is Entertainment - Our Most WTF Celebrity Couples

Episode Date: April 29, 2026

Will Millie Bobby Brown’s ghostwriter get paid for the film adaptation of her book? What’s the real reason the footage from Parliament is such bad quality? And what acting tips can Meryl Streep give our audience? Richard Osman and Marina Hyde answer your questions about TV, film and the world of entertainment. The Rest is Entertainment is brought to you by Octopus Energy, Britain's most awarded energy supplier. 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: Max Archer 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

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Brought to you by FedEx. These days, the Power Move isn't having a big metallic credit card to drop on the check at a corporate launch. The real Power Move is leveling up your business with FedEx intelligence and accessing one of the biggest data networks powered by one of the biggest delivery networks. Level up your business with FedEx, the new Power Move. Hello and welcome to this episode of the Rest is Entertainment Questions and Answers Edition. Questions and Answers edition. I'm Marina Hyde. And I'm Richard Osman. Hello, everybody. Hello, Marina. Hello, Richard. How are you?

I'm very, very well. Don't forget we're doing a special Q&A very soon with Sir Paul McCartney. You think I forgot. I'm not forgetting that. You're not forgetting it. But if you want to... I'm genuinely very little else. But, well, no, you'll think about this episode first. Oh, yeah. Because above all, I'm a professional. Yeah, above all, if... If people say, what's one word you used to describe, Marina? And let's say, professional.

I'm still excited I can do the intro to this particular edition of the show. You did great. Without messing up. I know. Every time I do it, I still can't believe I've done it. You're like a little fist pump,

little Andy Murray fist pump. If you want to ask a question of Sir Paul McCartney, we'll be giving your questions. It's not ours. It's the rest of entertainment at goalhanger.com. But we are going to be answering your questions

this week. I'm sorry that that's a disappointment because neither of us are Paul McCartney. But we start with a question from Beverly G. Beverly G is like an 80s 80s New York rapper. Beverly asked,

she's talking about House of Commons television. She said, could the House of Commons up the production value of their select committees. Finally, Beverly, someone said it. If potentially millions of people are watching Sir Olly Robbins reveal crucial information for our democracy, would it not be a good use of taxpayer money to improve the cameras and mics? Yeah, we have reached the blockbuster

select committee per phase of any government's life. And so, yeah, last week it was Olly Robbins. This week, there's been Morgan McSweeney and Philip Barton. Let me tell you something, Beverly G., which is that the filming in the House of Commons, and that means in, in the chamber itself and the House of Lords and on all the committee rooms is governed by incredibly strict rules, which were mostly established in 1989 when they let the cameras in. And some of some have relaxed a little, but I will tell you what they are, which will explain quite a lot. The main rules are that you have to focus on the speaker while they're talking.

So this is why in the House of Commons, you've got this like static angle on the dispatch box and it's quite wide. You're not allowed to do a close-up, though, which would just be ahead. And zoom in. You have to do head and shoulders. Yeah. All the things you'd want to say, which is, you know, get me ties now, because you want to do a cutaway. You can't do that.

They have relaxed them slightly to allow cutaways at all, but they can only cut away to the person who has been named or effectively, you know, by the Honourable Lady Officer or something you know who you're talking about. They can only do that. and you can't highlight a group of MPs. You can obviously have no shots of documents of any kind. And it's, as I say, it's got to be a sort of medium angle shot where you can. And this includes in the select committees. Yes, all of it is very, and it's kind of largely the same because you've got a speaker and someone who might be being referred to. So you're in general switching between a kind of medium angle thing and a wide thing.

Never close up. And never split screen. That's like, you can't have anything like that. It was absolutely transformative for the darts, split screen. Maybe it could be transformative for democracy. The darts so much you believe could flow from darts. So many things could be made better by adopting more of the conventions of the darts. Well, listen, liberal democracy is in crisis.

I agree. I just say, why not to, you know, throw a few balls in the air? Yeah. You can occasionally in the chamber have panning shots along the benches, but only really occasionally, and it's a whole sort of special permission thing. Christopher Nolan did the thing when, because he directed it for a day, didn't he? And he turned the whole thing into like a tombola. and so like everyone was like a Jamiroquai video that was a great day yeah that was a great day and they were all sort of keeping up they were all sort of walking a lot it was it I thought it was amazing wonderful wonderful but not enough guest directors but they only have actually they have they have two sort of control rooms galleries really with you know the robotic cameras so do they have a director do they have an actual is because presumably someone must be overseeing that someone has to oversee like that's a boring gig well it is I mean listen we it's work but the main reason for all of these rules is you can you

cannot trivialise Parliament and this is why you cannot use any footage from Parliament in any entertainment programmes. You're not supposed to, you're not allowed to trivialise it and it's supposed to be about recording it and creating a record rather than a drama. And you can see why everything, the most crucial thing is that everything has to be impartial and you can see why even a cutaway could provide the idea of the slants. So it's almost like a visual version of Hansaer and the Handside is literally they're just writing down every single word that said just so future generations. have that. And I guess the idea is if we're filming it, all we are doing is showing future.

It doesn't matter. I mean, whatever you think about what might be having today, you want someone in 200 years' time to be looking at this. And they just want to be able to hear what was said and by who and when. Exactly. And also, you do want them to be able to do their job. And everyone, I mean, I'm going to shock you. MPs are subject to vanities as anybody else. And being always on is hard. Even the greatest actors in the world have to remember not to become a reaction GIF when they're at the Oscars in the audience. You all have, everyone has to remember that you're, so eliminating that thing helps. But obviously, yes, for the viewer, Beverly G, you are, you're used to TV being a pretty fluid

system of close-ups and different things like that. So it does seem, it would be expensive, by the way, to up the production values. You know, my dream is that you have, when people are talking about Kirstarmer, there's a camera on Kirstarmer, wherever he happens to be, to have the reaction. Or like, a committee looks like when. Tom Wams is in the committee in succession

but yeah it's not going to look like that it's not one thing therefore I would say is that I absolutely adore

the work of something that is such a unique thing in our country which is the sketchwriters and they can

when it's done brilliantly there's so many great sketchwright you know I love Tom Peck in the Times

John Crazy in the Guardian and Rob Hutton and the cricket I loved Madeline Grant's spectator

I love her ones in the one of that committee that you were talking about Robbins one was so good. And I haven't spoken to her about it, but I would say that probably what she's done is even she's probably done this subconsciously. Because by the way, you have to write your, you have to file it so quickly after it's all over. But the reason her one was really good of Olly Robbins is because I think she subconsciously probably thought, you know, you're thinking it conforms to the conventions of a sitcom or ideally a sitcom really, which is that you've got two lead characters here, Emily Thornberry and Ollie Robbins. The rest are just sort of bit, bit past. And every. Everybody doesn't like a third character who's not on screen and that's why it's funny,

who is Kirstama. And it all sort of works because they conform to the conventions of a sitcom, but they also tell you things that you can't see because of the way it has been filmed. As you say, it's this very dry way of filming. And so what I love is when the sketchwriters who are in the room and if they're not in the room, people always say, oh, you can do it from the TV. I've done it occasionally how to do sketches from the TV for one reason or another or you're not allowed into the room when you're doing it on the election.

trail. It's always worse. It's always so much better. It's like covering sport. You know, yes, technically you could cover a golf tournament of the TV, but it's nothing like doing it when you're there. And I really value the work of our sketch writers, particularly because they give you the little details, the little bits, what people were doing when the camera, you know, which you'd never know what the other committee members were doing, who was getting everything off their phone, who wasn't really concentrating. And I really value that particular thing. And it's funny because it's not something that other countries particularly have. It's just a British thing. And so those accounts, which often come out really soon after they've happened, are a very good

window into the actual drama and the actual, you know, they have higher production values, if we could put it that way. Yeah. And this idea of, you know, could they have better cameras and better mics? Better cameras they don't need because genuinely it is, they need a static shot. So that's the shot they're going to get. And mics is one of the things. Anyone who's ever put on a vent anywhere knows that mics always go wrong. I mean, you know, if you know, if you're, you know, if you you if you want mics to always go right, it's almost impossible. You know, if any village hall in the country or the second you mic somebody up, somebody's mic goes wrong, they're just notoriously difficult to use.

So whenever I do event, I say, can I have a handheld? Because, you know, at least you know if they're right or wrong and no one has to come and, you know, fiddle about with things. But yeah, microphones, unless you're going to have a full-time staff doing that all the time, which probably is not what we should be spending on in our democracy, the microphones are always going to be an issue because microphones, bless them are always an issue. Richard, a question from Escher for you.

Richard's previously mentioned that Freedom at Fadden was the best-selling author of 2025. It's since been revealed that she is in fact an American physician named Sarah Cohen, which I found incredible. How does she find the time? This has me wondering what motivates authors to write under pseudonyms in the first place and what leads them to eventually reveal their true identities? Lots of different reasons, really. I mean, Sarah Cohen is a particularly interesting one.

she didn't want to write under her own name because she had patients. And she's quite rightly thinking, if someone wants to go and see a brain surgeon, are they really going to go see someone who is sort of writing fiction in their spare time? And so I think very, very early on, she thought, no, this is a hobby for me. My job is brain surgery, so I'm going to give myself a different name. I can't believe she's a brain. It's just every time I think of it. It just bores my mind.

And Frida is taken from a machine they use in brain surgery. surgery as well. So at least it's a little reference to her job. How does she have the time? That's a slightly different question and an interesting question. She does not do an awful lot of brain surgery anymore. She is mainly writing all the time. She did a really, really good takedown of people accusing her of using AI. It was really, really, really good. She says, no, I can write two books a year. I mean, I can just do it. Plenty of people can. Some people can write four. That's just something I can do. You know, take a look at every single thing I've written, you know, including before AI even existed, right? It's exactly the same.

I don't use it. Shut up saying I use it. You know, I use a different name because I was a brain surgeon. I don't do very much of it anymore. And this is how I write my books. And by the way, she doesn't add this, but people love her books. Yeah. So she uses a pseudonym for that reason.

I would only have accepted that from a rocket scientist. Yes. Exactly. No, thank you. No, anyone else making that accusation, yeah. And there are all sorts of other people who, want to protect their day jobs journalists quite often will, you know, write under different names. Sam Bourne is a pseudonym, for example.

Just people whose day job and the writing job might clash with each other. They will use a pseudonym. So that's one reason. Something like, so E.L. James, who wrote 50 shades of grey, E.L. James is a pseudonym, Erica Mitchell, who works in television for many years as a production manager. Now, she is using a pseudonym, maybe because she's writing something that's vaguely pornographic and feels like maybe she's. She doesn't want her professional name. Yeah.

Racy, yeah, associated with that. So that would be a reason that you would use a pseudonym. Sometimes perhaps you just don't particularly like your name. A really, really good example of why a pseudonym was chosen as Lee Child. So Lee Child's real name is Jim Grant. And again, worked in TV for many, many years, like lots of writers. So he decides he's going to use a pseudonym for his writing. And he comes up with Lee Child.

And the reason he uses Lee Child is because he's writing crime and thrillers. And he said that child would be exactly in between Raymond Chandler and Agatha Christie. So if you're in a bookshop, he's between two people who everyone's looking at all the time. That is brilliant. I did not know that. That's one of the many reasons why he's a genius, lead child. So cool. J.K. Rowling's an interesting one because there's two different things going on with J.K. Rowling.

I'll do the second one first, which is when she moved on from the Harry Potter books. She did the casual vacancy, but then she starts writing. thrillers, the Cornwall and Strick Thrillers, and she writes those under the name Robert Galbraith. And she did that because she's very, very aware that she has this

unbelievably enormous success, but, you know, would people just buy anything with her name on it, I guess? So she's thinking, well, I want to prove myself again. I want to prove to myself that I'm a great writer, and this wasn't a fluke or, you know, critics, you know, sort of sag off my books,

and I just want to show I can write. So she writes. Cornman Strike under Robert Galbraith. These books did not sell when they were under the name Robert Galbraith. And it was only a few weeks, but literally, like, nothing. Because that's what happens with most books. You know, it's really, really hard if you're a new writer, especially if you're Robert Galbraith,

because you can't really do any interviews. You can't because you're not real. And so, you know, but she used the pseudonym because she wanted to prove herself in a different way. But you very, very, very quickly, when Robert Galbraith was outed, who knows who by, suddenly those books became a, enormous bestsettors because they knew it was J.K. Rowling, not Robert Galbraith, but that was a reason for using one. And J.K. Rowling itself is sort of a pseudonym because her name is Joanne Rowling. And she called herself J.K. Rowling. And this is a very, very common reason for

using pseudonyms because she didn't want people to know she was a woman. She just thought, I'm writing these books. But literally centuries that's been going on. For centuries, you know, George Elliott. It's, you know. But different reasons now and now in a way. I think she felt she wanted, we all know that girls read more than boys, and we all know there's a gender split between the sort of books that boys will read, the numbers backed that up. And she thought, well, if I'm J.K. Rowling, no one knows if I'm a man or a woman. And therefore, you know, boys and girls can read me in equal numbers. I mean, obviously, with the success of those books, it became apparent very quickly that people did know who she was.

but the idea at the start was if she calls herself JK, then people won't know what gender she is. So all sorts of different reasons for people to do it. Sometimes people just don't like their name. Sometimes people, you know, their day job is not quite suitable for the sort of books their writing. And sometimes you just want to hide who you are. You know, primary colours was written by Anonymous, for example,

which sort of showed that they were kind of an insider who couldn't, you know, Freedom McFadden, absolutely, you can understand 100%. she's thinking, no, I literally see patients day and day out. I do not want to be sitting across from someone discussing something very serious. And they've literally just read a thriller that I've written. That would be awkward. But now she doesn't really do it anymore, so we know she's Sarah Cohen. Should we go for a break?

After the break, if you are listening to Lisa Kilroy, you asked us a question, and we are not going to answer it. But someone very exciting is, that'll be straight after the break. Hey, this is Michael and Hannah from Gollhangers. The Rest is Science. This episode is brought to you by Cancer Research UK. We often think of beating cancer as treatment, but imagine stopping it before it begins. After years of work, cancer research UK scientists are launching a clinical trial of lung

Vax, the first vaccine designed to prevent lung cancer. It builds on TracerX, the world's largest cancer evolution study, which tracked lung cancer cells over many years to uncover the disease's earliest warning signs. Lung Vax is designed to train the immune system to spot these signs early on, destroying 40 cells before cancer develops. So it's not treatment, but preventative with the potential to stop lung cancer before it starts. The first stage of the trial starts this year focusing on people at higher risk. It shows what long-term research makes possible.

For more information about cancer research, UK, their research breakthroughs and how you can support them, visit cancer research UK.org forward slash the rest is science. Amazon presents Jeff versus Taco Truck Salsa, whether it's Verde, Roja, or the orange one. For Jeff, trying any salsa is like playing Russian roulette with a flamethrower. Luckily, Jeff saved with Amazon and stocked up. on antacids, ginger tea and milk. Habaniero, more like habanier, yes.

Save the everyday with Amazon. Welcome back, everybody. Now, as trails before that break, Lisa Kilroy has a question. How do actors master crying on demand? You know, we just went to someone vaguely famous. We went to Meryl Streep to answer this question. Merrill, take it away.

So, Lisa, Your question is, how do you wrangle a good movie cry? And I think you mean when you're acting, or do you mean when you are a member of the audience and you feel yourself tearing up? That's a different question. But as an actor, I remember a friend of mine in drama school. And I asked her the same question.

I said, God, Marcel, how do you cry like that? She said, how do you not cry? How do you not cry, given the world we live in? I thought, oh, I'm in a bubble. Yes. So I think if you leave yourself open to what real heartbreak there is in your surround, and everybody has it. You can get there.

Wow. How about that, Lisa? The legend. Acting lessons from Meryl Streep. We try to be a full service podcast. But it's funny, isn't it? You talk to it because actors get that a lot. Because it's the one thing I think non-actors think, oh, I absolutely couldn't do that.

And half the time it is, yeah, you find something within yourself. You know, we've all had moments in our life where we have cried. And one of the parts of being an actor is, you know, you go inside. yourself and you can do that. But also, you know, there are tear sticks, which are, you know, very sort of viscous things that you can put under your eyes just before a take starts, that'll give you a little tear as well. I will say that a lot of actors will tell you that if they have got themselves into that place where they can cry, they are almost always thinking of something pretty, it takes a while to come out of it. They can't just switch it off. So when

cut gets called, it's great if everyone on set realizes that they must be in a place. to have got there and they're treated quite gently so that either they can do the take again or whatever it is. But yeah, I think that it's worth remembering that someone in the room has gone to quite a dark place

in order to be able to do what they're doing and everyone else, if they're thinking about it, has to respect that when you come out of the take. Yeah, on a set, there's always, you know, before a kiss or before a cry, that's when everyone knows they have to be absolutely on their game.

Because if somebody is in a situation where they're going to, you know, they have to cry in the middle of a scene. And as you say, it's usually that involves going somewhere quite dark. If you're about to start to take and then you go, oh, hold on, I just need to change a bulb. Yeah. You just, that you can't. You know, that's the moment where you go, no, that person is, we have to turn over immediately because this actor is ready. So a lot of pressure on anyone.

And if you do have to abandon a take and an actor is halfway through, that's tough. They'll often do like a closed set for things like that, which is the absolute bare minimum of people to be, definitely for nude scenes, but even for kisses and sometimes for cries, because it's just helpful if there's not a million people, even silently changing light bulbs. Yeah.

What a legend, Meryl is. Oh, my God. Because that's a great answer. Yeah. How can you not cry? Yeah. How can you not cry? Well, then, Marcel.

Yeah. James says this week Netflix have announced they are releasing a film of Millie Bobby Brown's 19 steps with Tom Hooper signed on to direct. Given that this book was ghostwritten by Kathleen McCurl, how does it work with intellectual property? Millie is signed on as a producer and is almost presented as the author of the novel. Does the ghostwriter get a one-off fee or will they also get remunerated for the film? Yes, this is the book based on Millie Bobby Brown's grandmother's experience in World War II in the Bethanyl Green Tube disaster. but she's done lots of things Millie Bobby Brown, as lots of these young stars do.

You know, she's got a makeup line, clothing collaborations, a book as well. They're very diversified. But when this book came out, there was a real backlash about it, saying that someone else had written it, so much so that Millie Bobby Brown actually posted a picture of herself

with Kathleen McCall saying, I couldn't have done this without you. Yeah, no shit. No, no. No, but also, ghost writers have been around for absolutely hundreds of years. every speech that you ever hear a politician give, nobody says to Nigel Farage, you didn't even write this, okay?

Yes, but that's different to being an author. I agree, but being a ghostwriter is something that has existed genuinely for hundreds of years. It is a deal that you do, by the way, in answer to your question, no, she won't be getting anything out of it. I'm almost certain. You're a writer for her. It's like a contributor gig.

You're paid a certain amount of money, and I'm sure she got paid well for it. at Cathy McCarles, she seems to have been still willing to do the picture with Millie Bobby Brown so she knew what she was signing on for and any agent has foreseen this and obviously thinks, as you can see how carefully Millie Bobby Brown's career with all these different strands as being planned out, we'll think she'll do the book

and then we'll do the film of the book and knows all of this and it will all have been sewn up. So my feeling is I'm very, very much doubt that she is possible that they say if it is made into a film you get a bonus, but it won't, it would just be that they could have that clause in. I very much doubt it. You don't need to give people that. You tend to just pay them for the ghost writing game. My thinking would be in this particular case, because you're absolutely right because what you want to do is control the amount of money the ghost writer is getting so they didn't get a percentage

or something. I think given that they would have known for a fact that this would be optioned by Netflix, it might have even been optioned just off an idea. It means that the fee that Kathleen would have got in the first place would have been significantly higher. than she would have got without that, because you are, because you're not just buying out the book, you are buying out the film rights as well at the same time, because you must have known that those film rights will be lucrative and will be sold. So, yes, I think you're right. She would not get extra for this, but that would have been baked into the original deal, I would have thought.

Yes, and there are, you know, there are lots of famous ghostwrights, J.R. Muringer, who did Prince Harry's book, and he also did And, Andrea Agassiz's biography, he's brilliant, and ghost writes lots of these things. the name wasn't on the front of the book and it's sort of understood she got a big backlash I think and I think that even her publishers felt that that was quite sexist and that you wouldn't in lots of other cases have a backlash like that but as I say she clearly tried to get in front of it by posting this picture but in general a ghostwriter is always a defined writer for high gig and you've signed away future rights to this or that

Yeah, and I think, listen, I absolutely understand why there's a backlash because, you know, writing a book, there is supposed to be an authenticity to it. And if you are a consumer who's not used to books and doesn't understand the world of ghostwriters, if that's the first thing you've ever heard of it, you've been going, well, this is absolutely insane. If you write a book, you write a book. But as you say, you know, especially in autobiography, in nonfiction, it is very, very common. And so long as you lean into it and admit to people that you've done it, there are people out there who have ghost writers who don't tell you they've got ghost writers, that to me is the one. That to me is the one. worst crime of all, but Minnie Bobby Brown at least her ghostwriter has been acknowledged, her ghost writer has been paid, and if she does another one, she'll probably get paid again. So, you know, it's nice money, but

if it's the first time that you'd come across this idea as a consumer, I think your immediate reaction would be how on earth do you expect me to read your book when it is not your book, it is someone else's? I hope I'm saying your surname right, Rob, Feene. Rob Fien says in your Jet 2 discussion, you didn't mention that Jess Glyn is in a long-term

relationship with football presenter Alex Scott. I don't know how I didn't because I live for this stuff. I didn't know that. I'm stunned. You've just we don't spend, I said to you, you need to spend 15 hours a day on mail online and then you know everything like this. I think we consume different media, which is, which is why the podcast works. You don't read snook a scene a lot, right? I dabble. Yeah. Rob says it's one of those beatings. celebrity couples that you only discover when you Google one of them. I was wondering what your favorite surprise celebrity couples are. We can lose B tier, I think, because just Glenn and Alex

Scott, I think that's quite a lot of star power right there. As I say, I didn't know. And, you know, that's on me, I guess. Be happy now? You know, I've been writing a book. Yeah. You know, I just, it's, sometimes I spend more time doing that. But, you know, I do love that. You see, I'm beginning to question the wisdom of my 15 addicts a day on these websites. No, listen, you keep it up. I do a celebrity that I really like the idea of because I like both of them. And I read that they met when they're like 15 or something. They met when they were kids at like a Christian youth camp or something.

But it was only years later they became a couple. And one of them starred in my favorite film of last year, the Battle of Wallace Island, Kerry Mulligan and Marcus Mumford. I think that's a fun couple, isn't it? Don't you think? They both seem so lovely. Yeah, I absolutely think that that is a fun couple for sure. And yeah, they did have that funny story where I think they were pen pals.

I think they started. I don't want to get that bit wrong. I'm a big fan of Maya Rudolph and Paul Thomas Anderson. That's one that always goes. Paul Thomas Anderson feels like someone who isn't real. Because he's so cool and it's such anuteur. And then you see a picture of me. You think, I can't believe you're an actual real human being.

And then you discover he's married to Maya Rudolph, who everyone will recognize. from every American film ever and sat in that live and stuff like that. You think not only you real, but you're sort of, you appear to be married to this wonderful woman as well. How are you making these, how are you anuteur with a three-word name? And yet you also just appear to be married as well. Listen, for me, the absolute best of the best, of course. I don't think it's unlikely, though, because, you know, when two people get together,

you think, oh, yes, of course. Joe Swash, Stacey Solomon. Yes, please. But you don't, it's not like you don't know they're together. You certainly do if you spend 15 hours where I spend it. What was the question? What was the last bit of the question? Unlikely ones that you had to sort of, you know, you had to think, oh, hang on a second.

Are they together? I just wanted to talk about them. Yeah, I know. If you haven't had a mention of them in each podcast, you get very upset. I'm going to stick with Mumford and Mulligan there. It would be lovely to have the Mumford Murrigan's round for dinner. I mean, that's the thing, isn't it? And I wish they'd double-barred it, but I don't think they have.

I don't think they have. So again, Muddigan, Mumford and Thomas Anderson and Rudolph. Yeah. Beautiful. Right. It is that time of the episode, Richard, the recommendations section, which this week is brought to you by Tesco Mobile. Yep. We love making recommendations.

We love recommending film and TV things in the same way that friends and family always do. If someone tells you about a show, tells you about something to read, then it makes it that bit more important. And also gives you a little insight into who they are. Sometimes you agree. Sometimes you disagree. Yeah, that whole connection with friends and family is what Tesco Mobile is all about, which is why they're happy to be your second most important network. Now, let's get on to our recommendations.

My recommendation this week is for a book called London Falling by Patrick Raddenkief, which people are absolutely gripped by this book. If you read the story, it's a story about a boy who becomes obsessed with the super rich. It's a true story. It's nonfiction, this book. And he pretends he's the son of an oligarch. His name was Zach Brettler, and age 19, he jumped. to his death from the fifth floor of one of those very fancy new tower block developments on the banks of the Thames.

And it's this story, I mean, it's absolutely gripping. As I say, it's a true story. It's got it all gangsters, violence, and this absolutely tragic end, which isn't really an end because it's so unclear what happened. And even the coroner says, I don't know what happened. And it illuminates a world and an era definitely and a city, I have to say, and some of the things that have happened in London. and most particularly his parents' search for their lost child and for answers. It's brilliant. I'll also say I read anything by Patrick Ray and Keith as well. I met him at a festival last year, and he's an extraordinary writer. He told an amazing story about how he was singing with his son. He was watching one of his children at a baseball game,

and his other son is playing with his phone, and then he realizes halfway through that his son is FaceTiming a Mexican drug cartel boss who he was writing an article about his phone. Anyway, he wrote an amazing book. There's a selection of his things about rogues. I think it's called Rogues and also he did say nothing. He did Empire of Pain. Yeah, say nothing

from the troubles and Empire of Pain which is amazing about the opioid epidemic. Yeah, he's a great writer. Listen, I'll recommend something a bit more chill which is Interior Design Masters is back on BBC One and you can see it on Eye Player, Alan Carr and Michelle Ogunahin and

you know, new designers and they just do lots of interior design challenges each week. It's got such a big heart and you can be very, very judgmental about people's taste as well. Something with a big heart where you can also be judgmental. I mean, it's perfect, isn't it? In the privacy of your own home. Exactly. So yeah, my recommendation is interior design masters, BBC 1. Well, those were our recommendations brought to you by Tesco Mobile. Who, after the friends and family, you share your recommendations with, Tesco are very happy to be your second most important network. Tesco Mobile it pays to be connected. Search Why, Tesco Mobile, to find out more.

Don't forget to get those questions in for Sir Paul McCartney, Restors Entertainment at Gollhanger.com. We have a bonus episode tomorrow, which is all about the birth of breakfast TV. Absolutely right up my street. Start of the series, which I'm very into. If you want to become a member, ad free listening and all those bonus episodes, that is the rest of entertainment.com. You can sign up for that. You don't have to. We always tell you. And if you don't, we will see you next Tuesday. See you next Tuesday.

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