The Rest Is Entertainment - Why Are Brits So Good At Acting?

Episode Date: July 15, 2026

Why are British actors overrepresented in Hollywood? Will we ever be able to ‘smell’ films at the cinema again? Is Christopher Nolan's The Odyssey too long for a summer release? Richard Osman and Marina Hyde answer questions on horror film release schedules, book rights and past entertainment stories they wish they could have covered on the podcast. You can email any questions you have to restisentertainment.com The Rest is Entertainment is brought to you by Octopus Energy, Britain's most awarded energy supplier. Lloyds. 250 years on and still backing the nation's aspirations. Lending is subject to status. You could lose your home if you don't keep up your mortgage repayments. Conditions apply. 1996 average first-time buyer deposit based on Office National Statistics House Price Index data. Summer sale is here: get an annual membership for a third off with code SUMMER26. That's ad-free listening, every bonus episode, and full access to our exclusive members' series. Sale ends August 31st, so grab it before summer's over. For more Goalhanger Podcasts, head to www.goalhanger.com Video Editor: Max Archer Assistant Producer: Imee Marriott Senior Producer: Joey McCarthy Social Producer: Emma Jackson Exec Producer: Ami Bennett Filmed at www.westdigitalstudios.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

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biggest tournament and we're officially in the business end. The knockouts are here and don't worry, myself, Alan and Micah are still here every day from New York City, all the debates from the biggest games and a special guest or two for good measure. What a time we're having. Don't miss it. Hello and welcome to this episode of the Rest is Entertainment Questions and Answers edition. I'm Marina Hi. And I'm Richard Osman. Hello everyone. Hello Marina. Hello Richard. How are you? I'm very well. We've got some really, really good questions this week. Can we start with Louis Campbell? Yes. Who has this question. He says, can we finally have the conversation that everyone is too cowardly to have? Okay.

So that's always a, that's a punchy way to start a question. They better be good. He said, It is summer, the sun is shining, the World Cup is on, I'm busy. The Odyssey is three hours long. That's too long to sit in the cinema for. Okay. It's a provocative question. It's a provocative question. It's the Odyssey too long.

It's quite famously long, the Odyssey. First of all, it's three hours of air conditioning. What's wrong with you? Second of all, I would say, no, of course it isn't. It's an epic. There's some Marvel films that I've seen and been like, sorry, how on earth was that three hours and seven? What a joke.

But I hope there's lots of people will go out and see it. Because I always, I mean, obviously, part of the reason we do this is because I want to see and listen to and watch all the things that dominate pop culture. Because even if you don't like it or you think it's too long, whatever, just see what it tells us about our times. I don't think you have to like these things, but you should be interested in it. And I go and see if it's too long. If you think it's too long and they could have lost 40 minutes, then, wait then you've had to sit through it. But you should experience it anyway, because I tell you what, this is a direct, because what I would go, because it's, it, will dominate our culture.

Oh, I'm definitely going to go. You've got a director whose name is bigger than any star in terms of getting people into theatres, which has been problematic and difficult. And, I mean, it's forced this ridiculous discussion, which I sort of slightly love between people like, you know, Elon Musk, who obviously doesn't understand how literature and history work and Tom Holland, who does.

Which Tom Holland? Not the one in it. Are Tom Holland. You see why I was confused. But people who are saying, you know, oh, this is an adage. Yeah, you don't understand how literature works. You don't understand how arts and history of arts work.

And you don't understand the history of literature and the history of art. You're insanely good at catching spacecraft in a way that I wouldn't be. No. But you, okay, it's the idiot trifector culturally. Honestly, all things derive from things, build on them, on new versions of them, you know. But also, you should be clever enough to know that other people are clever than you in other areas. Yeah, yeah. He's got some personal growth to affect that, I would say.

And also Elon Musk has as well. But that's not, yeah. I was pretending I was talking about Tom Holland. I know, I know. But yes. So I know I don't think it will be too long. I'm pretty sure he knows quite a lot about pacing. And I will love to go and see it.

I'm really looking forward to it. My view would be if any film should be three hours long, it probably is The Odyssey. And if any director could be trusted with making a three hours long film, it is Christopher Nolan said they put the two of those together. Either way, though, I do sort of think any film where you pick a mix runs out halfway through, you know, if you'll pick a mix runs out, If you have your last cola bottle and you can just have like a sneaky little look at your watch,

sorry, I've got an hour and 40 left and I have got no white mice. I find that quite difficult. I don't want to double pick and mix it. No, no. Well, I mean, you must have a ratio. Like if you're going to see something quite short. Yes. No, I eat at the same rate, whatever.

Pick a mix. Pick and mix it at it is. Just buy more. Why can't you do the maths? I mean, if anyone can do the maths, it's you. If you think I'm not... Pick and mix maths, why don't you just get enough for a three-hour film? Right, if you think I'm not filling it right to the top anyway, you're very, very, very wrong. Well, then get two?

Is it crossing a bridge? I just think with the, you know, the cost of that. Get two and make Ingrid carry one so it looks so less bad. She would not do that. I could honestly fund Odyssey 2 by buying two pick and mixes. Don't you think? It's quite expensive now. Although it's a food court with a digital screening room attached.

Yeah, but yeah, I think it's okay to be three hours. long if it's, listen, we may come back in a week's time and just go, oh my God, Louie. You're absolutely right. But it is, I think there are a few things better when it is really, really hot than going to a local cinema during the day. It is air-conditioned. There's no one in there. Someone has spent millions of pounds producing something just to entertain you, and you can

have a mint chotch-chip ice cream. What more honestly do you want? Yes, please. Yeah, I wouldn't have pick-a-mix during the day. That's an evening cinema snack. Oh, really? But during the day, I'd have like a little ice cream or something. Okay.

And a bottle of water. Yeah. Of course. Yeah. Yeah. Just in case you were wondering. I was on tender hook. Yeah.

Good. Oh, you told me you were going to answer this one. And I like it. It's from Chris Ellis. He says, it often seems like British actors are overrepresented in Hollywood. Firstly, is there any data to back that assumption up? And if there is, why do you think it's the case? I struggle to understand why the UK would consistently produce uniquely fine actors.

Yes, it is. Funny enough, we were talking about Disclosure Day the other day. And we were just saying, it was interesting because, you know, you've got Josh O'Connor in there. There's a lot of British actors in there. And then you realize they're pretty much all British. Josh O'Connor, you've got Emily Blunt, there's Colin Firth, Henry Lloyd Hughes. There's a lot of Brits in that movie. So I was thinking, oh, perhaps maybe it was filmed in the UK.

And no, it was filmed in New York, in fact, I think. So they've flown everyone over. So you are definitively right. There are a huge amount of Brits in Hollywood. And more to the point, they're not playing Brits. There's a huge amount of Brits who go over and play Americans. So obviously we share a language, so there's that. But as to why it is, I hadn't really given a huge amount of thought.

So I thought the perfect person to talk to is an amazing casting director, one of the biggest casting directors in the business called Tamara Lee Notcutt. And Tamara works mainly in L.A., but she is British. So I thought, ah, I will ask Tamara. And she says something. It hadn't occurred to me before, but of course it's true. She said, well, look, when the Brits are coming over to Hollywood, the actors, She said, Britain is quite a small industry.

And to make it as a working actor in the UK, actually you have to be amazingly good because there are far fewer opportunities. I said, we have this culture of theatre as well. So actually by the time these Brits come over to Hollywood, they are so honed, they are so brilliant anyway. They're incredibly honed by, you know, doing theatre or doing soaps. Australians as well, by the way. She said, same thing. So they speak the language and they go over there. and they already have a skills.

She said a lot of people come to Hollywood without training. They'll be working as waiters and stuff like that. And of course, it's amazing American actors. But actually, the Brits come over. They are already the finished article. So they'll go into a read or to an audition. And immediately, they have years of training.

They've been on sets forever. They just, they know what they're doing. She says, so they're incredibly highly valued in the UK. I said, is there like a, an issue where they would be cheaper than an American actor because sometimes people think that. And she said, I mean, maybe on your first job, if you're not repped by one of the big American agents, she said, but A, not really. And B, if I want to cast a British actor in an American show or an Australian actor, there are so many hoops I have to jump through in terms of visas and

in terms of working visas. So actually, you have to go out of your way to cast Brits and to cast Australians in these things. So it's sort of the opposite. So she said, no, they just come over and they are just unbelievably brilliant because of the way our culturalism, because we do have these theatres and we do have, weirdly, we have things like soap opera, which he's talking about, when the Australians go over. And, you know, in your own country, if you've been in home and away, our neighbours, you might slightly be looked down on, whereas in America, they genuinely go,

oh my God, so you've spent a long time on set, you're absolutely, you're professional, you know exactly what you're doing, and the craft has been honed as well. So, you know, it had not occurred to me just that even to go over they're in the first place. Usually, you're passed through a school which a lot of American actors, a lot of American actors, some do of course, a lot of American actors have not had to pass through, so you're immediately at this incredible level. And I, you know, I was talking about Widows Bay on Tuesday's episode about how brilliant it is. And, you know, the star of that is Matthew

Reese, who's incredible, has been incredible in American things for a long time. One of the co-stars is Cato Flynn, who's another British actor. You absolutely wouldn't know it from the accent for anything. She's done loads of theatre. And again, they just, go over and they're already brilliant. You don't have to do anything with them. You don't have to train them up further. You don't have to show them how to act and work on a set. You don't have to show them how to work with other actors.

They have done it all before. So I thought that was fascinating. So thank you to Morley not cut for finning us in a bottle. So she loves to talk about it. Because she was like, oh yeah, it's fascinating. And we sort of rooted that out, isn't it, Chaz? Yeah. Makes you proud to be British.

Yes. She also points out, of course, that lots of things like Lamar. Marvel films are filmed in the UK. And so that's sort of helpful. But the main thing is just is the sheer quality of the people who present themselves. I, funnily enough, you know, I said that I saw the producer of Only Murders at Wimbledon. It was so, they're filming Only Murders in London. There's a lot of Brits in it now.

Oh my God. The caveos I think are going to be off the chain. I think it's going to be very, very fun. Question for you, Marina, from Sean McNeil. Given that television and movies have been able to reproduce audio and sound. for us for whatever 100 years, when do you think that technology will allow for reproducing other senses

for a more immersive entertainment experience? Okay, that is a good question. And what people always think about when they think about this is smell, which is why it was the first thing that they ever did. Smelovision debuted at the World's Fair in, which I think was the one in New York in 1939.

And there's these guys called Mike Todd and Hans Lauber. They believed that the sort of smell of stars and the smell of what you were watching could create this. kind of primal, atavistic connection with them. Which is true. Yeah. Sort of.

Yeah. Yeah. But it was a while until something came out with it. And there was a movie called scent of mystery. And it synchronized the smell with specific scenes. So there was roses. There were pipe smoke. And it had a hilarious tagline, which was,

first they moved, brackets 1895. Then they talked, brackets, 1927. Now they smell, brackets, 1960. about the movies. 1960. Yeah. But the trouble, you can see what the trouble

is. So they're just piping that into the cinema through the vents or something. Well, part of the trouble with it was that it didn't reach back. So the people at front were like overpowered. It's like one of those things that in the old Batman series,

the Adam West Batman series with that green stuff comes out. So it's always on the verge of coming back this thing. The actual release cinemas is struggling. And the idea that you'd have to specially equip theatres with it, It is very difficult. And the biggest problem has always been, not the creation of the smell, but the dissipation of it in time for the next smell.

And also the dissipation of whatever smell is in the cinema anyway. Your pick and mix. Before that might pick a mix. You're picking a mix. But people eating, you know, tacos or something. Some things are so, yeah. They've now created something called Olerama, which is kind of thing. Olerama.

Ola-O-O-Dorama. That's better than O-Durama. Yeah. But that sort of VR and home TV, which where it might be more successful, They're trying to get into home technology. But Smelovision gets so much coverage because it's the most intuitive one in a weird way, because I suppose it is this primal instinctive thing. Having said that, what's much more, I think,

and lots of people who watch this sort of stuff think will become bigger, is haptic cinema, is the feet is touch. And so you might have wearable vests. You might have, I mean, people say chairs that move. Again, that is especially equipping theatres. But if people had wearables of different types than the one, ones we have now and you could watch the film with them or without them. Either bring them from, you know, either have your own.

That is much more doable, wristbands, things like that. And actually, if you go to somewhere with like an extraordinary technology department, like sort of Harrods or Selfridges, you will see these incredible gaming rigs that are kind of cordoned off that you're not really allowed to touch, where people, which people wear so that they can be immersed in the game. And that's much more likely that you might have. Yeah, it feels to me that it won't be cinema going down that route. it'll be, the world of gaming will come towards you

and people will start making content for that rather than filmmakers doing it. For sure, people will have rigs, people, there will be wearable things, you will be able to experience the film with or without it and they're doing a lot on this. Anything that is more immersive, they are doing more. I just think if 3D glasses didn't take off.

Pervert glasses, yes, carry on. Then, you know, it's, I think, as you say, for cinemas, which are... Well, no, you see, we did that article, on meta glasses. Did you see like every single advert on the tube now is incredibly hot people wearing these glasses. Metta, people are talking about them. Yeah. And literally no one is quoting you as calling them pervert glasses. I just, quoting them as Kendall Jenner's pervert glasses. Kendall Jenner's pervert glasses. It's so weird. It's Kylie Jenner's perfect glasses.

Something will put you different. Yeah. Kylie Jenner's pervert glasses. Yeah. I would just have that Kylie Jenner's pervert glasses, Marina Hyde, Restless Entertainment. That feels to me like an open goal. Meta reach out. Anyway, so I think that that is going to become both at home because you can see it's already so aspirational in gaming and obviously there are these rigs that cost like 35 grand or something so that you can do it. But there are also much cheaper versions of it

so you experience some of this and it will come down and down in price and I think that that sort of immersive thing will happen. I think Smelovision remains just around the corner forever. They used to do all sorts of like, they used to do scratch and sniff sometimes a TV guide in the States where you would for a particular episode and you'd just scratch it while something was happening. That sort of thing. But actually just trying to wholly equip a theatre is a whole different thing.

Exactly. Let's go to a break. After the break, we have a lovely question about stories of wish that happened while the rest of the entertainment was on air. Stuff that happened before we started the podcast, what we would have liked to have covered. Looking forward to that one. Okay.

This episode is brought to you by the Lloyd's 5K House Deposit. Lloyds are offering a 5K house deposit, which was last seen in 1996. What are your entertainment memories of the 1990s? I feel guilty talking about the 1990s because you look back and it was such a golden era. We'd never had it so good and we didn't even realise because we were young and we just thought we were entitled to it. We absolutely took it for granted. Yeah, Brit Pop was absolutely in its pomp, Oasis playing to a quarter of a million people. You had Blur and Sweating and Pop.

I'm so sorry. Squires, guys. Amazing movies at the cinema, train spotting. I mean, it felt a time of absolute optimism, but at the time, you just assumed that was the way that the world was going. A very British type of optimism. Yeah. But part of the optimism, of course, is that mortgages were more affordable. And that is what Lloyd's is dealing with right now. Yeah, last seen in 1996, Lloyds are now offering 5K deposit mortgages to first-time buyers. Search 5K, first-time buyer. 1996 average first-time buyer deposits based on O&S data. Subject to status, your home may be repossessed if you don't keep up repayments. Conditions apply. Hi everybody, it's Dominic here from The Rest is History. I just wanted to let you all know that on our sister podcast, The Book Club, we have just released an episode digging deep into George R.R. Martins,

a Game of Thrones. The first book in his Song of Ice and Fire sequence. We go deep into the history behind Game of Thrones. So we go into the Wars of the Roses, Hadrian's Wall. We talk about the influence of J.R. Tolkien and comparisons with the Lord of the Rings. But Tabi, we also talk, don't we, about George R.R. Martins, stagnation and whether he's actually ever going to finish the books. We investigate why it is that he has battle to finish them at all and whether he will ever be able to.

But if you want to hear lots more about the history behind some of the greatest novels of all time, Fear Not. Coming up on the book club, we have The Leopard by Giuseppe Tomasi de Lampedusa, which is all about Italian unification. We talk about Circe, where we delve into a particular part of the Odyssey. And then after that, we are doing the 39 steps, which Dominate you chose and you love. Please join us at the book club. It's loads of fun and you will never find a better way to spend your life. Bye bye.

Bye. Welcome back, everybody. Now I have a question about moral rights from Daniel Steele. Maybe Danielle's boy. From Daniel Steele? Yeah, Daniel's still. Okay. Maybe Daniel's son, I don't know.

Or grandson. Yeah, it could be. I've recently been listening to We Solved Murders, ready for the new book. Guys, it's called We Chase Shadows. It is out on September the 15th. I'm dying for it. Okay. At the end of the recording, it says,

all rights reserved and the moral rights of the author have been asserted. What is the difference between all rights and the moral rights? You know why I really wanted to answer this question? Because you're a very moral person? Because I'm a very moral person. Well, two reasons, really. I've seen those two things on books my entire life. I've absolutely seen it.

I've written books within. Yes. I've written. In all of my books, it's all there. So firstly that. And secondly, I thought, well, I have absolutely no idea. I've never known. And I've always just said, oh, yeah, of moral rights and all rights reserved.

And he's absolutely right. Well, surely if all rights are reserved, that includes moral rights, doesn't it? So, listen, I just ask my agent. Often in this show, we've done things personally. We've been through personal experiences. Sometimes we know exactly the right people. On this case, I literally just texted my agent to say, you know what? Daniel's right.

What are those things? Yeah. And so, hello, Juliet. Thank you so much for, for, for, replying. So all rights reserved, which is the first one, that is just part of the standard copyright notice. That essentially says, that's the business thing. That says, we own this. You might be able to buy it from us, but you would have to buy it from us. So that's essentially saying, look, every single right in this to it being on screen, on anything like that, it belongs

to us. So that's an economic thing. Essentially, if you want to do anything here, come to us and we'll talk. Moral rights, however, are the author's rights. So that's my personal rights, which is the right, should anyone ever reproduce this in any way, I'll talk about it, the right to be recognised as the author of the piece. The right to be hunted down by me for doing it to you. Yes, exactly. Or the right to object to derogatory treatment of the work, so it can never be edited or adapted without your permission. So it's sort of your moral right to the words that you have written and to what people might ever do with that and for no one ever else to be able to claim that they wrote it so it's to me uh Daniel I don't know if you agree those two things

sound quite similar but they are legally very different but essentially the all rights reserved is a business thing that is purely we own it come to us for anything come to us for anything the moral right is simply for in perpetuity those words were written by me don't mess with me essentially, I think, is the thing. So I thought it was going to be a more intriguing answer than that. Because as I say, I've seen it my whole life. And I thought, oh, the moral rights, well, that's very intriguing. But that's all it is.

It's on every single book ever. I've seen it for the whole of my life. I have never understood it. As an author, I've never understood it. There will be lots of authors listen to this podcast. None of them will know the difference between this. They go, oh, okay. I didn't know.

And B, I still don't really know. But I kind of, I see that this order. I see that they're sort of different. So thank you, Daniel, and do say hello to Danielle for us as well. Is that helpful? I love it. Marina, Anthony Bellows has a, I love someone with a verb as a surname. Is that a verb?

Yes. It's the present tense of To Bello. Sorry if it's confusing. No, but I never know, like, verbs, I get them all mixed up. Anthony Bellows says, why aren't more horror films held back for the Halloween season? It seems like October would be the obvious time to release them. yet many major horror films come out in spring or summer instead. Okay, good question.

Actually, that weekend is really not good ever for the North American box office because there are lots of parties there as trick or treating. Last year, it was the worst weekend of the entire year in the box office. And if a horror film is Halloween themed or coded in any way, then yes, but get it out before the weekend. so that it has, because remember, horror films can stick around quite a lot of times in the cinemas because they build in words and mouth. You know, we have talked, talking films that are built by word of mouth, something like

obsession, which built and got bigger and bigger every weekend. Horror is big all year round. It has, it is now, you know, it's a hugely well-performing genre. It is absolutely in the mix with the big titles. So what you're optimising for is the holiday audience rather than the theme. So you don't feel like, oh, I have to have it, you know. So the biggest title last year in horror was conjuring last rights. They released that on September the 5th.

It got just shy of $500 million. They did it the weekend. So that's the weekend after Labor Day, which is one of their big holidays, but it has a kind of big halo that particular holiday. So they really went for it, and they put it on the schedule at a point where they thought they could maximize money.

And as you can see, it was kind of incredible. So this summer, this year you've got summer, you've got stuff like Evil Dead Burn, Ice Cream Man, Insidious Out of the Further. Those are all sort of July and, August things. Again, lots of people will watch those titles then. In October, what they've saved for it, you've got other mummy, that's going to be quite big. I think that's Blumhouse and Atomic Monster, which is released under Universal. Clayface, this is, this will be interesting

because it's like the DC universe under James Garnett Warner's, they're doing a horror title, so we'll see about that. And maybe Terrify a Fort. Now, do you remember we talked about Terrify? Yeah, it costs two million and made 90 million. It's genuinely extraordinary how often we're talking about these low-budget horror movies that go absolutely crazy. Unbelievable. Yeah, so you can see why there is absolutely no need to keep them around. There will be stuff there in October, as I said, those titles there. But there's absolutely no reason.

And genuinely, it's so big and it's such a runaway success that they are optimising for the big holiday weekends to try and get them out there for audiences. So it's a thing about the health of horror. Yeah, and horror and Halloween are not. necessarily the same thing. Halloween is a very specific thing, right? And horror is everything. Although we associate the two, I always love every year that strictly still does Halloween.

You think that I mean, once they've done the monster mash once, what else are they got? But yeah, but how good have some of the treehouses of horror have been? I love The Simpsons every single year doing it. And they're absolutely brilliant. My children sometimes just go on a tear and will only watch treehouses of horror on repeat for the old ones. Yeah, it's, I mean, and the guy who did obsession got his idea

really. Carri Barker got his idea from seeing a treehouse of horror about monkeys' poor. You know, again, Elon Musk, that's how it works. Sometimes art is based on other art, the end. Like when you saw the people go to the moon, you think I'd like to do that, but in my own way. Yeah, absolutely derivative bastard. You didn't go to the moon in the same thing. No, you built on it. Yeah, you go, sorry, why are you sending people into space but they're not Neil Armstrong? Because you know it's Neil Armstrong that went into space. You seem to be sending completely different people up there.

Go and tweet that back at here. Yeah. And then have a nice Tuesday. And also, oh, you sent a woman into space. But it's interesting because all the original space people were men. So we're not, okay, fine. Anyone can go into space. He's so woke.

Yeah. Yeah, he's so space woke. Oh, Richard, I know you've thought about this one. It's from Brianne. And it's about stories that got away. Are there any big entertainment stories from the pre-Resters Entertainment years that you would have loved to have discussed on the podcast as they were unfurling? Yes, absolutely.

And mainly, Brian, I think it's because I always want to hear what Marina's got to say about something. So I've tried to choose ones where I thought I would be, there's a couple here that I would have been fascinated to go into. But a lot of them are ones where I'm like, oh my God, I have to hear what Marina has to say about this. When something comes on the news and you're like, okay, I'm just going to sit across from Marina and listen to this. So I've got a few of those. It's interesting because with our bonus episode, sometimes we do get the chance to delve further into stories, which I find fascinating. And a couple of these actually, I think, oh, we should do. little bonus things on these. Yeah, me too.

Tell me what they are. I've gone sort of slightly starting almost just before we started. We just missed Will Smith, Chris Rock, which would have been really good. That would have been, yeah. Because there's a lot there. The stories that I love are where there's about five or six different angles to it. Yes. You get to talk about

the shock of what happened. Then you get to delve a bit more into Will Smith and into Chris Rock, a bit more into And Jada. And Jada. You know, it's a really, it's a world where you just think, I know I'll come into it from one angle, you'll come into it from another angle. We will never run out of things to say about it.

No, that's a really good night. I wish you'd have that. And because two weeks beforehand, I had met Will Smith on the Graham Norton show. And I was thinking, how are we going to be friends, I'm sure of it. And then, yeah. So I would have loved to talk about that. I would have loved to talk about any, I like, if something is TV based, I get excited. Pierce Morgan's Stormoff of GM TV and the whole Megan Markle stuff.

I'd have enjoyed that too. I would have loved that so much. And his amazing thing of saying, well, I left the show at, double the ratings I started. No, on the day that you threw a hissy fit, had double the ratings before then it didn't. But all of that, because you get to talk about, again, you get to talk about Megan, you get to talk about Pierce Morgan,

which is always funny, you get to talk about morning TV. So I would have really, really, really enjoyed that. And also, he's the sort of person, you can go on a 10-minute, absolute, like, eviscerating rant about. And, you know, he'll be like, yeah, that was fun. Okay, good. You know, some people will take events. So we could have absolutely gone in two-footed on him.

I would have loved to talk about the Sony pictures hack. Oh my God. Don't you think? I, well, I mean, I'm sorry. That would have to have been a, I mean, we should do that as a fall, I think, because it's so interesting and how it changed so many different things. That is a really, yes, you're right. Do you remember the North Koreans hacked Sony because there was this Seth Rogen comedy

about Kim Jong-un about North Korea, and they hacked them, and it was just this unbelievably embarrassing experience. of emails, but so revealing. And, you know, when you just want to understand a business, which we're always trying to do on this podcast, you understood so much about the staff and so much about, you know, Amy Pascal, who was one of the executives, all of whose emails kind of came out. And she was, you know, she is, more of an old style executive to some degree. And you can see the rise of franchise stuff.

You can see all the different things they were doing. The kind of so much information about our business came out of that. If ever I hear the expression, unbelievably embarrassing explosion of emails, I think that sounds like it's up our street. Yes. So I would have loved. That's a very good one. I would have loved that.

I would have loved Diana on Panorama. I think would have been very interesting. In a way, worth doing that now because we know an awful lot more about how it came about, the machinations. And, you know, actually history, like, gives you, you know, makes that a bigger story. Yes. In lots of ways. And I thought just I'll go back as far as I can. I would love to, and we should do it as a special episode or a series.

The history of the sex pistols. Because I think that culture sometimes it's slightly ahead of where a country is going. And I think the sex pistols ushered in. It felt like they ushered something in, but of course they didn't. The thing was happening anyway and they were reacting to it quicker. So I love that about them, but I love that how manufactured they were in one way because of Malcolm McLaren and all that kind of stuff, which I find fascinating. but how unmanufactured they were in another way

because that's the way that culture was going. I love the hype around them. I love how they didn't last particularly long. The stories about, I love the fact that, you know, you got Sid Vicious and Johnny Rotten, but you've just got some guys from West London in that band who were just like cool musicians. One of my friend, Paul Cook, let's get him in.

Let's get him in. He's very good at talk about all this stuff. I really, I find that era completely fascinating. about, you know, it's a real chicken and egg thing, what came first, you know, the sex pistols or, you know, just a new Britain. Yeah. And equally, funnily enough, it would be interesting to talk about Blair and Cool Britannia as well. Yes. I think that might be great.

That would be absolutely brilliant. Okay, those are great. I love all those. Let's do those. But thank you. But yeah, it's absolutely one of those things where I just think, oh my God, I would love to get Marinas. I want to hear yours. Really, really, really.

We can both get our teeth into it. But we'll do some of those as. Please, I'd love them. There's a brilliant. Okay, I want to do all of those. All right. I think that's us for today. Yeah, I think so. Thank you so much for listening as always. For members, there's the World Cup of UK quiz shows, which I know lots of people listen to already. It's a subject quite close to Richard's Hall. Yeah, it was. We had a lot of fun recording it did with Maisie Adam and John Robbins. It's really funny. And we discover what is the greatest or most popular British quiz show of all time on that. For everyone else, though, we will. We'll see you next Tuesday. See you next Tuesday.