The Rest Is Entertainment - Robot Horses and Banning Wikipedia

Episode Date: April 3, 2024

How easy is it to shut down busy public locations for films? How did Ridley Scott not harm any horses in Napoleon? How are quiz questions researched, written and checked? Your questions answered by Richard Osman and Marina Hyde on the latest The Rest Is Entertainment. Twitter: @restisents Email: [e-mail] Producer: Neil Fearn Executive Producers: Tony Pastor + Jack Davenport Learn more about your ad choices. Visit podcastchoices.com/adchoices

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questions and answers edition with me, Marina Hyde. And and me Richard Osmond. I'm not sure I like it you keep saying questions and answers. No I don't like it either, I think I'll just go back to the mistake. You've got to have a catchphrase in this business. My catchphrase is a mistake. Yeah, Monkhouse understood it. We need to understand it. Right we must begin with some any other business. Jonathan Harvey writes in to say... The Jonathan Harvey the writer. Now this I don't know. I don't know. His name is Jonathan Harvey and he's actually written something that's not quite accurate so I'm afraid. Uh oh, it sounds like a writer. It's got an interesting fact in it.

It says, following your What Makes a Star conversation, the term star comes from Paramount Pictures, which the stars are in their logo. They made it policy to have a specific number, 24 at the time, of leading performer contracts and these were represented by the stars on the logo. So you had only made it if you got a contract and became a star. Okay, it doesn't come from the Paramount logo, the word star and why we talk about things. I mean, think David Garrick, the actor who lends his name to a club that's been in the news a little bit recently. I'm not a member and I'm assuming you're not. Yeah, not yet. But he was referred to as a star and that was been in the news a little bit recently. I'm not a member and I'm assuming you're not. Not yet. But he was referred to as a star and that was back in the late 1770s. But it was true that those stars do represent the contracts people were contracted by Paramount

back in the sort of 1910s, I think. But there was a cricketer who was called a star in 1832, even described in a report about his bowling as a star. And actually the first use of the word celebrity was by Chaucer. He was translating some Boethius, strangely getting his first shout out on this entertainment broadcast. Boethius is a philosopher. And Chaucer was translating one of his famous works. About Joe Swash. And about a celebrity of renown was the actual phrase. And that was the first use of the word celebrity way back in about 1400. Wow.

Which you don't think of, but anyway there it is. So like two years after Canterbury Tales he brought out Celebrity Canterbury Tales. Celebrity. There's never a TV show, every single TV show you ever make. It used to be you do like four or five series and they go can we do a celebrity version. Now you do like three episodes and they go, maybe do a celebrity version now because you know, then people actually watch it. There was a little bit more of a run in time back then in the 1400s.

It took a while before they were all slagging each other off on the Talking Heads show. I tell you what I want to do. I want to replace the wife of Beth with Jackie Stallone. That would have been, if I'd listened to, if I'd been the TV exec back in Chaucer's day, I would, yeah, you would definitely do it. Yes, sorry, please continue with that line of thought You would definitely do Celebrity Canterbury Tales. Oh, yeah, why have they not done it? Well, they do pilgrimage. That's essentially what that show is. They have celebrities and they do various religious pilgrimages

Yeah, I mean I do think it is less good than the Canterbury Tales and I'm sorry if I'm just gonna put that out there You think that Celebrity Pilgrimage is worse than the Canterbury Tales? Yeah, I do. Okay Wow, my god. Finally, we've come up with something we disagree about. We disagree on this big time. But listen, we've done enough Boethius and Chaucer on this entertainment podcast today, Richard. Can we please move on to another question? Yes, so let's do that. See, Jonathan Harvey, I bet it was the writer because he caused so much trouble. Okay, I have a question for you, Marina. I wonder if they'll keep in the stuff about celebrity canterbury tales and the philosopher. Let's find out. What was his name again?

Boethius. Boethius. Yes, he's a philosopher. He's like a really genuinely big time philosopher. Oh really? A lot of people pronounce it Bow-Ethius of course, don't they? But yeah, it's Bowie. Graham Tongue has a question for us. Great. Fingers crossed. Hit me up. Graham asks, my question relates to clapper boards, more than likely replaced by electronic boards which no longer clap.

What exactly are they used for? Outside of a precursor to the word action, is there a function in editing? Yes, very, very important. And the reason it's important is less so for editing, although that is a part of it. But it's in order to sync the audio and the visual together. There was some Australian guy way back when, a filmmaker called F.W. Thring, who came up with this idea that if you have the thing and the sound, because they recorded the sound and the visuals separately, and even if there are systems now in which they can record the two together, and actually for a while they did it with magnetic strip on film, but it was unsatisfactory, things go wrong and they still have to sync it manually.

It is a really important job. It is done by the second assistant camera operator. At the start of every single take it happens and there is a clap. And they'll say something like, 104, 15.3, take two, B camera roll. Sorry, no, B camera mark is what they say. And there might be two cameras

and it will need to be done for both cameras. And it's a very, very important thing. And it might be two cameras and it will need to be done for both cameras and it's a very very important thing and it's amazing how often apparently they do end up still using the two files together to sync it. Yeah you do if ever you're doing the documentary or anything as well you'd always do it. I mean I mean by and large we even do it on this podcast for the YouTube bit so we use the old-fashioned thing of not a board we use our hands yes to clap but yeah it's it's one of those it's amazing because I've never really thought about it but it's's incredibly analogue still, but you never ever see anything.

Yeah, and it's written on, and it's, they're called slates, mainly, not clapperboards, but it's absolutely vital, and it happens so many multiple times a day, and there are two cameras or whatever, however many cameras there are on your show, and the first assistant director will call for quiet, and then calls the roll, and the camera's rolling, and the sound's going, and then you will see the clapperboard quiet and then calls the roll and the cameras rolling and the sounds going and then you will see the clapperboard and then action will be called and it's every single time. It's also exciting because there's the moment before it goes clap and there's the moment after and they're two entirely different moments.

Yes. Quiz questions, Richard. Oh yeah. Poor Castor has written in to say where do various quiz shows obtain their quiz questions? It's a huge industry, actually. If you have a look at the credits to TV shows, you'll see the same names come up again and again and again. You'll have a team of question setters who are full time on the production.

So you know, on Pointless, essentially, that's all year round because Pointless is very hard to write the questions because you have to write them, you have to send them off to a polling organisation, they have to come back, you then have to go through them and see categories where no one knows anything or categories where too many people know too much, you then have to work out how to sort of put that into the show and then your job on the show is to make sure that every single question is written out and there's a little fact about each one and you know, so it's a huge job. It's not just sitting around in the morning and go, why don't we ask what is the capital of Belmapan? So it's a huge job.

And the people who do it are incredibly, incredibly smart. Quite often people will say, you got the fact wrong on Pointless this week, I noticed. You said X, Y, and Z. And, you know, occasionally you look into it and go, oh no, it turns out that you got it wrong. It wasn't the question setters. They'd actually gone further than Wikipedia. Every single question has to be verified by

three different sources, none of which are allowed to be Wikipedia. And that's a whole other job, question verifiers. That's another industry where you'll send through a whole tranche of questions to people. They will go into their local library, not really supposed to use the internet, find out the answers, verify the answers, send them back and then that's all verified. Are you not supposed to use the internet? find out the answers, verify the answers, send them back and then that's all verified. Are you not supposed to use the internet? No. What, because it's so untrustworthy?

Yeah, exactly. You're supposed to go back to like, you know, primary sources as and when you can. It's a, so to have a crack at that in some places, I think. But that's why, you know, some questions have very weird phrasing, so they say, you know, which actor appeared in this film in this year. So you have to be very specific sometimes about certain things. And then you get show like House of Games, which I mean, House of Games,

the whole idea of it was that question setters are so brilliant, I wanted to give them something fun to do. They get to write limericks, they get to write spoonerisms, they get to do rhyming answers, they get to do all sorts of ridiculous things because they're a brilliant gang, brilliant on a pub quiz team as well. But yeah, it's a real skill.

They're super, super smart. People just go, I could write questions and it's definitely a job that you can do, especially these days we try and get people who can work from home as well. So it's very kind of inclusive. But watch your favorite quiz shows, look at who writes the questions,

write to the exact producer. But it's really, really, really, really hard. I would say that. It's not sitting around and coming up with some questions and that's fun. The first bit of it is creative, but after that it's like, it's an absolutely hard slog, but they are the unsung geniuses of all quizzes. People sometimes say, do you write the questions for Pointless? I think that's honestly a full-time job. Absolutely full-time job. You've got the air of someone who writes the questions at Pointless and that's pretty nice to get away with. No, hold on a minute. The other nice thing on House of Games is I reference them all the time as well.

If ever there's a particularly good question, I'll always say there they are in their lair. So yeah, they're my absolute heroes, the question writers. And pointless, we ran out of questions very early on, we ran out of lists, which is why in series two onwards we asked specific questions and then asked them to 100 people. Because really, really quickly we ran out of stuff because we didn't think it was going to go beyond the first series that we threw every... This will be a great problem to have if it goes any further. Yeah, because you can only ask about Tom Cruise films once. But yeah, we completely ran out of stuff.

And that's again where question setters come into their own because they're brilliant at kind of problem solving and what have you. Marina, one for you from Andrew Matthews. It says, recently the centre of London was closed down for the filming of another Mission Impossible film. Slightly judgmental that another in Andrew's question. What is the process producers must follow in order for that to happen? Who do they approach?

Particularly when it is Westminster and right outside the Houses of Parliament, do the local councils get paid? Yeah, I saw this Tom Cruise with a bloody shirt running across Westminster Bridge. You will have noticed, Andrew, that it was at night. Obviously, you cannot do it in the day. Although famously, there are, is it 28 days later?

Is it Killian Murphy? Is he going across Westminster Bridge? Or one of the bridges? But if you look at a lot of those shots, and it looks like daylight, and it's a completely deserted place, I think there's one in, I think there's another Tom Cruise one in vanilla sky, and it's Times Square.

But the light is often quite odd, and they will try and put filters on it to make it look like X, Y, Z, but it really is at about three in the morning or four in the morning in the summer. Locations are interesting. You do have, you do pay the local councils and some places around the world are trying and incentivize people to and will allow enormous amounts of disruption to their city to happen. Tbilisi, Georgia will really like come and do what you like in our country for quite a long time but Tbilisi now apparently Fast and Furious really trashed quite a lot of it.

One of the iterations of Fast and Furious really messed it up quite a lot. And they really spoiled filming in Tbilisi for many other people. It's very on brand though for Fast and Furious to ruin a city. It's just completely trashed city. You're welcome. Yeah, okay. Thanks, gang. But you know, places like Glasgow was Gotham in the Batman. Yeah, when we were filming, when we were doing House of Games there, a couple of years ago, they closed down the whole of the middle for Indiana Jones.

Yeah. The big victory parade, you know, quit through there and they turned the whole thing into, it's amazing. Glasgow is often something like old New York or, you know, in this case, a sort of stylized Gotham. They had a lot of Avengers in Edinburgh. So they do shut it down and the council should get money. Sometimes it's sort of private land. And I was talking to someone recently who was saying, yes, six people own this particular piece of, it's like, oh man, that's going to be tricky

trying to get all the signings off. And if you're doing it in other countries, you have local fixers who will help you negotiate with the people who may lend you the things. And obviously, people have... There's a lot of things... It's quite difficult to do things in this country, but clearly you can. If you're big enough and you've got enough money, you'd have to be... To shut down Westminster Bridge is going to be expensive.

But other countries may be more keen to have your productions come there, because... And so they incentivise it, and they will allow you to do different stunts, what damage you're allowed allowed to do all those sorts of things that we might have stronger rules about but yes You have to go through a lot of permits is the short answer when when Ingrid was doing Doctor Who they had they had an episode Where they're in Trafalgar Square and the TARDIS is landing in Trafalgar Square and it's amazing. It's a spectacular Episode but she said they hadn't closed it off so there's literally just sort of barriers to set of shots with like thousands of people trying to catch sight of Doctor Who and the toilet.

It was like absolute chaos. And so, you know, there are ways and means of doing it and just asking people if they could be quiet for two minutes. Yes, you still have to get a permit to film, but to shut it down completely and get rid of the public is expensive. Sometimes they sort of CGI a few lone members of the public who might be out whenever they're filming things, but in general, the more shut down it is, the more expensive it is.

So barriers are a more affordable way of doing it. And there's certain things like, you know, the city of London where places that are sort of very business-oriented, it's quite easy to shut them down on a Sunday, for example, at 6am, so you can do that sort of filming. But yeah, if you need to be in the middle of the day outside Big Ben, then that's probably, it's either Tom Cruise or CGI. Yes.

Should we go into a break? I think we should do, Richard. Welcome back from the break. We're going to go straight into a question from Karen O'Riain. Question rear TV scenario. The presenter strolls up to knock on the door of a house. A couple open the door. The presenter greets the couple, et cetera. We often see this from both inside and outside the house. And it's clear to us that they have already

met to set up the shot. Is this a necessary pretense? And he then goes on to ask a question about all questions and answers, saying that you might have done research. We haven't always actually done research. We've done quite a lot of these off the cuff, Kieran, I should say. I think sometimes that is apparent.

Yeah, that is quite apparent. But what about the necessary pretence of the opening the door, whatever type of show it is? Yes, it's fascinating that anytime you do any sort of documentary or any sort of feature show like that, almost all of your day is taken up with, could you just walk into shots? So can you walk around the corner of that building?

You won't be able to hear me. I'll shout, action, we walk around the corner of the building? You want me to hear me? I'll shout action, and we'll walk around the corner of the building. Okay, okay, okay, I'll do that. And then can we do another one, but slightly tighter? Because they have to cut these things together. There's a certain thing the human brain won't allow. If you just turned up at someone's house and you're talking to them,

you have to walk up to the door. Then they have to have a shot of you knocking on the door. And by the way, they'll just say, can you just knock again? Just so we can get your hand knocking. And then they'll say, we're just going to get that but from like kind of 50 yards back we're just going to get that shot as well and by going wide we're doing now your close coverage of your door knock i i find it fascinating but it is true that the human brain does not want you to just see a presenter turning up in someone's house yeah it would be so weird and also there's all

sorts of little edits so you've got to get from one thing to another and Here's the key if you're directing one of those shows if you're hosting one of those shows if you're Martin Roberts on homes Under the hammer that's a long old day for him but he's going away and chatting to various people but the director then has to take every single bit of footage into an edit and Essentially the nightmare is I don't have the thing that I need and so By and large directors will do everything they possibly will cover every single shot that it's possible to have and you know you watch homes under the hammer and there's always a brilliant shot of just the estate agent walking

into the room just looking up then looking down and it's exactly the same shot every single time and I love as a TV insider that they've got a name for that shot and if you're if you're on homes with that under the hammer can you just tell us what you call that shot what's its nickname within the crew that's a come and get us plea from Marina so that the homes are the by the way homes under the hammer team that would not be our only question yeah sorry yeah we would like to do a deep dive on you so please establishing shots like that are so important in absolutely everything and it doesn't have to be, you know, lifestyle programming or factual stuff in everything.

As you say, the human brain cannot, you can't just materialise in places often. And there has to be a lot of stuff that people getting from A to B because otherwise it's just not believable. But that is a particularly awkward one. And sometimes it is done badly in that, because if you do it, you occasionally are watch shows, often in daytime, where someone will open the door go, Oh my god, John, oh, I can't be. Oh, okay. I didn't expect you around. You can't do that. Don't do that because there's a cameraman behind you. Yeah, if there's a camera behind you and you're just you're acting surprised you've just won

the competition. Yeah. I'm like broadcast news where he fakes the two shot. I'm sorry. This is I'm going to have to break up with you. This is appalling. I can't you're acting surprised you've just won the competition. I'm like broadcast news where he fakes the two shot. I'm sorry, I'm going to have to break up with you. This is appalling. You're a charlatan and a fake. And making the public have to act when they're not. I've won a competition. I don't want to have to win an Oscar as well. Thank you. Can you just tell me what I've won? I love the idea that someone wants to win a competition but doesn't want to win an Oscar. Actually, do you know what? I've rethought I would actually like to win an Oscar. It's the E-Cot. It's the Emmy competition Oscar-toming. Often in those shows as well, specifically these shows we're talking about where suddenly

you know you knock on a door and what have you. Often there's only one camera, sometimes there'll be two cameras and there'll always be a moment where you know you say something funny or someone says something funny to you and of course the camera's not on and they will always say, oh could we just do that again because that would be quite funny if we could do that. I always say no, I literally, it steals my soul. I work organically, I can't. I just can't, but if you watch any of those shows you can see it constantly, like a bit

goes, oh what's that there John, A bit of porcelain you've dropped. It looked like it was smashing. And you're like, oh, OK. But you know they've just set it up again. And I get it because those shows are hard to make. They're quite cheap. But I'm always on the lookout for artifice. The reason that one of the best documentaries on telly is

the Bob Mortimer, Paul Whitehouse thing is, they leave the camera running. And that's the only secret to it. Whereas lots of those other shows, they just, you know, you're sitting in the back of the car being funny and then they'll turn the camera on and say, okay, could you do the funny thing you just said? That's quite hard to replicate, I would say. What an awful lot we got from a question about two cameras when you're opening a door.

Yes, and that has all come off the cuff, can I just say, Kieran? There was no research involved in that, Kieran. So we've answered both your questions then. I like this question Sarah Turner Sarah says I've often noticed the disclaimer no animals were harmed during the making of this film, right? Yes. I've seen that before Sarah goes on to say Does this mean if I don't see the disclaimer that animals definitely were harmed? I watched Napoleon recently where a lot of animals in battle scenes met a bloody end that made me wonder if it had such a disclaimer that I didn't notice or should I fear the worst? Keep it light Sarah. I also found when I was watching that, I wonder if I'll see the disclaimer.

No really? I also think I didn't see the disclaimer. Variety did say that Ridley Scott, who was the director of Napoleon, made good on his promise not to harm any horses. They had a mechanical horse rig. The big moment where his horse is blown up with a cannonball is CGI. I have to say that... I would hope so.

It's CGI, yes. I mean, the old westerns, you do not know how many horses were killed. Oh, no, don't say that. So many horses died in the western era of moviemaking. In general, nowadays, depending on where you film it, they say if the horses died, because often background, the extras might tell people, or it might be filmed on a street outside, somewhere there was a horse, I think in the Gilded Age recently, that died when it was pulling a carriage, and that became a huge thing. Lord of the Rings, Rings of Power, a horse died on that.

Again, it's a big thing. The animal rights organizations make a big thing about it, which is obviously a big change since the Western era. A lot of people said, oh, Wacom Phoenix, why are you even riding a horse? Because you are a sort of committed vegan or whatever he is. So he's talked quite extensively about, yeah, I've struggled with this. I mean, it's really quite a big thing. But you now see each year on I'm a Celebrity, there are people saying it's disgusting how many of these bugs are being eaten and are being used in entertainment. So, you know, there are even bugs rights.

So people are quite hot on this. And in general, if you've got a crew, people would say if something had happened. Having said that, there are people who, as we've seen on something like Rust, the Alec Baldwin production, which is we must talk about actually, at greater length, where the cinematographer was killed as a result of the armorer's failures. That was a crew that was not operating under industry safety standards and sometimes in a remote location things happen. So again, I also didn't see that, but that's not to say it wasn't there. But by and large, if an animal is on set on any show, certainly

any British TV show, their welfare is paramount. They're incredibly well looked after. Oh, it's like the babies last week. I mean they're working for 10 minutes and then they're like, they're not feeling it. On 8 Out Of 10 Cats Does Countdown a couple of times we had to have a basket full of kittens and another one we had to have a basket full of puppies. And it was everyone's favorite day ever at work. But you weren't really allowed to go and bother them in the dressing room because they needed their piece.

So you could just look around the door, but animals are amazingly well looked after on British TV. We have a great question here about the wheel and about the mechanics of how they film it. So I asked the exec producer about it and he said, listen, it's an absolute top secret. He said, but if you come on the wheel, I show you so I've said do you know what for the podcast I'm gonna go on the wheel I'm gonna film it in a month or so and then

I'm gonna be able to answer that question. Oh that's great, service journalism. Service, is that what they call it? Service journalism. I mean I haven't done a whole lot of it in my life let's face it. Like gonzo, gonzo stuff. Yeah just that's what we're about. I'm going to be embedded. Listen, I'm going to absolutely blow the lid off that thing. Like every scandal possible. They are going to regret inviting me on that show so much. You're going to talk yourself out of the appearance in a minute. Can you just, that's enough. It's signed, they have to pay me anyway, so listen. Yeah, but you're not going to know whether the chair goes down or up. No, I want to get the actual detail. It's a great show run by terrific people and I'm looking forward to it very much.

Definitely one for you Richard. This is Your Life, Matthew Quindlen says, do you think This is Your Life could ever come back? Who would host and what kind of subjects would they realistically go after? I mean this is absolutely the sort of show that's never going to come back now. Please can you explain what it is because a lot of our listeners will never have watched This is Your Life. This is Your Life was a show, it had a great beginning which is always like a celebrity thought they were going to the theatre or thought they were turning up to do film an advert and suddenly, you know, a curtain would go back and there, and Eamonn Andrews, who

was the host, would say, you know, let's say it's Bob Carol G's. And if I have to explain This Is Your Life, I'm definitely going to have to explain Bob Carol G's. You're definitely going to have to explain Bob and Spit. He used to have a puppet dog called Spit the Dog and he was on Tiswas. Anyway, listen, I'm assuming if you know This is Your Life you know Bob Carroties. And Eamonn Andrews would come out and say, Bob Carroties, this is your life. And Bob Carroties would be like, oh my god, you are kidding me. It was a big surprise. And then you go into a studio and lots of people from Your Life would come out and they'd say...

Eamonn Andrews and later Michael Aspel would have the red book where he would sort of turn the pages of your life as it were and say, and then you went to live in France and then someone from France would come in and... Yeah, as if anything was in that book. Yeah. It was literally just a front of button and they'd go, do you remember this voice? He'd go, I always remember you from the farm, Bob. And all you have to remember, I have to say, do you remember the time when your trousers

fell down? And Bob would go, oh my God, you're kidding me, It's not John. Is it John and John would come through, you know It's kind of fun because in those days we'd never seen a show really where you go. Oh my god It's so you're filming Bob Carradine. He doesn't know he's being filmed and like a man Andrews is like surprised like Bob Carradine One assumes they all knew they were gonna be on this is your life because you know that have the whole evening free We go. Oh no. oh my god this is unbelievable. It was a huge honour to do and you sort of got to know people. But yeah those shows are sort of gone, they're sort of very simple kind of formatted entertainmenty things. If you want to see an interview with

someone else about someone's life now it's all on TikTok and YouTube and chicken shop dates. People only want trauma now. People want you to go on television and tell about your trauma. It was rather a sort of happy highlights reel, wasn't it really? If there was any down notes, they would be really quite quickly glossed over. Whereas now you have to sort of exhumed all your pain and hawk it out and wait for the ad break and then give them up some more. Yeah, it would always be. And after the second series of that, you were in prison for 17 years, but upon your release, you were immediately back. You bounced back, didn't you? Yeah. I mean, there's something quite partridge-y about

the whole thing, really. But all of those shows, any show that was on in the 70s and 80s, they always say, well, we used to get 20 million viewers, and most of them actually did. So people are constantly saying we should bring that back, bring back Bullseye, which they do constantly bring back, bring back Blockbusters, which they do constantly bring back and no one watches. And Superstars. Yeah, which they brought back and nobody watched. So yeah, there's this enormous hunger to bring back shows, format shows that we remember from the 70s and 80s, and they're constantly

being brought back and nobody watches them. And not even acknowledged because people didn't even see it. Exactly that. I think unfortunately, This Is Your Life is not going to be gracing our screens anytime soon. But there's always YouTube. There's always YouTube to relive those memories. Exactly.

You can go and watch it and there'll be people you don't know, you know, chatting to other people that you don't know. But you know, that can be quite fun. Oh, now Ben Frower at Channel 5 will just bring it back just to spite us. People are like, oh, okay, it's not coming back, is it? Okay, here we go. And to be fair, Ben Frow's going to be busy commissioning Celebrity Canterbury Tales from us. Do you know what will happen?

They'll say, yeah, Richard, we'd love to book you on Celebrity Canterbury Tales, but only if Marina will come on as well. And I'll be like, oh, gosh, she's not going to... She's not a celebrity. It'll be, honestly, it's a definite commission if Marina says yes. And then the next four weeks it'll be me sort of gently, occasionally saying, you should do like a bit more walking on TV than you do. What's your views on religion and spreading the gospel to people?

And then four weeks in, I've dropped the bombshell. I say, Frau wants you. Celebrity can't be tails. Celebrity can't be tails. Me, you, Chico. He just wants you to talk about Boethius all the way. You and Pollard talking about Boethius or Bow-ethius. Is that you, Pollard?

Yeah. Pollard is one of those one-namers. Yeah. Like Goodhue. The surname one-namers. They're a different breed to the first name one-namers. Different breed. Yeah, well we can do a deep dive on that some other time too, but for now I fear we're gonna have to wrap this episode up. Can I do a brief 60 seconds on Gladiators? Of course it was the final.

How's it not happened yet? The final this weekend, which we will not give away spoilers for, I promise you that. Commission for another series, which is unbelievably terrific news. Also, no shit. It's huge. Yeah. Also, no shit. It's huge. Yeah. Also, that's the name of one of the new gladiators. Yeah. Good luck against no shit. We got a couple of gladiators coming on House of Games. We're

going to talk about that in the future. But there's loads and loads and loads. I would say most of our post bag, post bag, most of our email inbox. Post bag. Is questions about gladiators. I think we're waiting for that series. Not most, but much. There's a lot of gladiators chatting there. A lot. So we will get onto it. But a triumphant end to a triumphant series. So congratulations to everybody. And there will be more gladiators chatting due course. Oh, it's unavoidable.

We'll see everyone next Tuesday. See you next week. See ya. The End