The Rest Is Entertainment - Taylor Swift On House of Games?

Episode Date: July 31, 2024

Is there ever a celebrity booking that is TOO big? Well Richard and Marina imagine a scenario where Taylor Swift is on House of Games and what impact it might have on the usual production processes. "In a world..." where trailer's don't have that deep American voice Marina explains why they fell out of fashion. And, do football commentators get paid more if a match goes to extra time and then penalties. Your brilliant questions answered! Sign-up to The Rest Is Entertainment newsletter for recommendations - www.therestisentertainment.com Twitter: @restisents Instagram: @restisentertainment YouTube: @therestisentertainment Email: [e-mail] Producers: Neil Fearn + Joey McCarthy Executive Producers: Tony Pastor + Jack Davenport For more information about how you can use Snapchat Family Centre to help your teenagers stay safe online visit https://parents.snapchat.com/en-GB/parental-controls 🌏 Get our exclusive NordVPN deal here ➼ https://nordvpn.com/trie It’s risk-free with Nord’s 30-day money-back guarantee! ✅ Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Hello, and welcome to this edition of the Rest is Entertainment Questions edition. And answers, questions, and I'm Marina Hyde. There we go. And I'm Richard Osborne. Welcome to the Questions and Answers edition. You're still in Corfu. I am, and it's still, yep, another day in paradise. Great opening. Getting better every week. Very well done everybody. Shall I just go straight in and ask you a question? Please do, Richard. I have a question from Christina Mailer. If a celebrity is cast as a guest star in a TV show, is the character written for them or would the character already be written and a celebrity would be found to match?

Ah, it's a good one. Sometimes you might write it that they're going to do a guest thing and you would end up collaborating more with the actor. In fact, one of the really interesting things is that, say they're just doing a one episode thing and they're doing a cameo for one episode, they will have a lot to say, as we've discussed many times on this, they know their characters very well, very quickly, and the script will, if it's a TV show, will probably go through a few drafts after they've come on board because you'll want to talk to them and they'll see something you haven't seen and you'll definitely incorporate that into the script. In general, the casting agent would find an actor to match what's been written, but that

will still be adapted, as I say. But I have to say something about the writing process. I think it's really helpful, and a lot of people when they're advising people, like when they're starting out writing characters, write with someone in mind. There's something about it, having a very clear idea of an actor when you're writing,

that makes it sort of coherent. And I don't know if you do feel that in your books, Richard, if you have a sort of mind's eye person. Yeah, I don't massively, just because that's not how my imagination works really. I get the vibe of people. Funny enough, we just started writing the play for Thursday Murder Club and on that I do have a couple of actors in mind for that and they're sort of, they're slightly in my head. Not what would they be like, but more I want to write these lines

so brilliantly that they will enjoy saying them. Knowing that someone is going to say it, knowing something you admire is going to say it, so wanting to impress them, wanting them to pick up that script and go, oh yeah, this is a great line. Well, you're in a position where they'll probably do it, you see, so you probably are writing for your mind's eye person. Well, we shall see, but in terms of that idea of being a celebrity and being a guest on a show, I've done it a couple of times and I think it's illustrative of the different ways you can go about it. So one time I was on Charlie Brooker's A Touch of Cloth, his brilliant cop spoof on Sky, which I think is still available

to watch. And if you haven't seen it, it's so good. It's like Naked Gun or Airplane for cop shows. By the way, I think they're remaking Naked Gun as well. We talked about reboots on Tuesday. I think Naked Gun, they're doing Seth MacFarlane's doing, but I digress. There was a retrospectively problematic element in Naked Gun and they can DOJ it in the new version. If you can turn that Bucks Fizz into a champagne, you'll be fine. So I did that and they had a telethon on TV and I came on and I juggled grapefruit. Essentially all it was in the script is, and now Richard Osman from Pointless

juggles grapefruit, right? So that's all in the script. Now if they ring me and say would you like to do this and I say it's not for me, you can swap me out. Absolutely the easiest thing you can possibly do because any celebrity could possibly get something they could do on a telethon put them in. Anyone can juggle grapefruit, I mean who can't? Well to be fair it wasn't can you juggle grapefruit? Yes I can. Is there anything you can do? And I said well I can juggle and so I juggled grapefruit which looks like anybody else juggling tennis balls. So on that they know they want a celebrity for the joke but they can absolutely,

they can transfer out the celebrity and put anyone in. But then I did Lee Metz not going out and in that there was a whole episode where he and Katie Wicks who plays Daisy were appearing on Pointless and the entire plot line was about them appearing on that show and what happens afterwards. So on that even before start writing, they came to me and Zander and to the people at Pointless and said, can we use Pointless, would you guys be interested in doing it, could we use the set, could we come along and do it. Obviously we all said yes, I love Lee and I love that show, so we said yes and therefore they write the whole thing and the whole thing is filmed around when

we're filming Pointless so the set is all in. So with that, that has to be six months, nine months ahead, you have to get those permissions. But for a lot of things, if you can just be sort of, if it could be me or Claudia Wincoman or Chico, then you can just, you can ring up the day before. It should be said, I haven't seen those episodes, I'm sure you're brilliant at playing yourself, but a lot of celebrities are terrible at playing themselves. I mean, there was some like, I Love Lucy guest spots Which has got all the sort of stars tripping through the various decades at which they're absolutely awful at playing themselves

So I was really bad. I mean really when I'm doing the juggling. It's okay. So don't have any lines I just had to concentrate on juggling But yeah when when I was doing not going out, it's so fascinating because I cannot act in any way whatsoever I've spoken about this before. I can't do it. I just don't know what it is that people are doing. And on that, I was literally just being me. And I'm thinking, well, not any of that, but part of it was literally being me and co-presenting pointless, which I've done a lot. And so I'm literally I'm saying exactly the same things I would say if I was presenting pointless, but I am then incapable of actually saying them normally. What is that about acting?

It is really odd. People really can't do it. I've spoken to some actors about doing this when you play a version of yourself and they say, this is so embarrassing. I had more takes doing that than I've had ever, ever on a set for anything else. Shall I tell you somebody who was a celebrity guest star in a series and is unbelievably brilliant at playing themselves was Salman Rushdie on Kerbery Enthusiasm. Oh my god, it's an epic series. But he's just brilliant. Timing is perfect.

I mean, he's really, really got it. But yeah, if you'd have me on Kerbery Enthusiasm, they'd have had to reshoot the whole thing. Five years between seasons. Exactly. But yeah, it's always nice to be asked to be on shows that you love. I've got a question for you Richard from Caitlin Hogan who says, I have recently become a big fan of Formula One, particularly the foul-mouthed Japanese driver Yuki Sonoda. That is a wrong opinion, Caitlin, but moving on. She says, how are the snippets

of Driver to Garage radio selected and what is the time delay? Do you think drivers deliberately try to say funny or controversial things to get their clip aired? God, I definitely would. So the driver radio is essentially the pit wall talking to the driver and there's all sorts of things they're talking about, you know, how are your tires, telling them how far behind or ahead various people are, they're talking about the strategies. So they're an important thing to have.

And yes, obviously the broadcasters have access to that feed. I don't know all the details of this so I asked somebody who did who is the wonderful Tom Clarkson, host of the official F1 podcast Beyond the Grid and this is what Tom said in answer to Caitlin's question. That's a great question and yes Yuki is renowned for his bad language. In fact he was recently fined $20,000 for using an offensive term over the airwaves. But every driver uses the radio during a race, mainly to tell the pits how the car is performing and to discuss strategy. Anything that's said over the radio can be broadcast, so the drivers often use it to persuade race control

and the powers that be to give another driver a penalty. He pushed me off the track, that kind of thing. One of my favourite radio messages came from Mark Webber at the 2007 Japanese Grand Prix. He was suffering from a bout of food poisoning at the time and came on the radio to say this, I'm being sick in the car, but I'll see how I go. That while everyone in Europe was having their breakfast. Amazing. Tom, thank you so much.

That's the Beyond the Grid podcast that Tom does. Um, that's good. Yeah. So I guess everything is recorded, but nothing is sort of going out live. You would always sort of cut to it if you had to. There was a wonderful Grand Prix a couple of weeks ago when Lando Norris was constantly being told to pull over and let Oscar Piastri through. And it was a brilliant soap opera because Norris did not want to let him through.

He knew he had to, for various reasons at the start of the race, he knew that Piastri deserved to win the race. So Lando, you have to pull over at some point and let Oscar through. But Oscar couldn't catch up with him. And he kept going, yeah Lando, if you just let Oscar through in the Oscar couldn't catch up with him. And he kept going, yeah, Lando, if you just let Oscar through in the next lap or so, that's great. And Lando would go, tell him to catch up to me.

And they're like, okay, Lando, understood, understood. And next lap they go, yeah, we're just thinking Lando, it'd be great if you could, just in the next couple of laps, if you could, and like silence from Lando, be great if you could just in the next couple of laps if you could and like silence from Lando he's not saying anything and then they kept bringing in more and more senior people from the team and they're going yeah sorry it's your chief engineer here Lando really really just think it's probably for the best mate if you pull over and you know and Lando's going hmm I don't know and then like literally the boss of the team is coming and saying, yep, Lando, pull over.

At which point Lando goes, okay, I'll pull over. But it was such a great soap opera. But that's one of the lovely things about sport. I mean, Formula One, because you can't see the people. We've talked before, they've got helmets on so you don't have that connection. But actually when you can hear them talking, it's usually absolutely fascinating.

I loved what Tom said there about how they know that the authorities are listening so they will try and get other drivers fined which you see all the time anytime there's an accident both of them come and goes I can't believe what Max just did did you see Lewis I can't believe it that is that that's Max Verstappen did I did I say I can't act yeah you should hear is Richard Osman but anyone finding a Formula One driver £20,000 a swearing, that's like finding anyone else one P. Okay, so the swear box is one P. So I think they all do it because these are not big penalties. So then to me, it'd be quite horrific.

Did I pick up when you were asking the question that you weren't a fan of Yuki Sanoda? The strange annoying boy child. No, I'm not. I'm finding him very, very handsome, I'm afraid. He seems to have been frozen at the exact point. He's a presumably very rich father, put him into a Formula One car. You know sometimes I cannot predict the things you will and won't have an opinion on sometimes. I did not think you would feel strongly about Yuki Sanoda.

I've watched way too much Drivers to Survivors, you know, way too much. And I have an opinion on every possible detail about it. Marina, Steven Jaggard has a question for you. It's a good name. Yeah. What happened to voiceover man that deep American style as most movie trailers no longer seem to have a voiceover? That guy was called Don LaFontaine.

People nicknamed him Thunder Throat and he did absolutely thousands of movie trailers and almost all trailers actually had this kind of narrative voiceover. And he died in 2008. movie trailers and almost all trailers actually had this kind of narrative voiceover. And he died in 2008. He had a pneumothorax linked, and you can probably tell from the voice, to long-term smoking. He just had that incredible voice. But he was a fantastic guy, I think, and he did a lot of stuff and he did lots of sort of free ones for people. But it became parodied weirdly, you know, in a world. He coined the expression. He had quite a lot of control over his scripts, I think, And he coined that sort of phrase that began so

many of them, in a world, which I've done very badly because I'm not thunder-throat. In a world. Yeah, that's much better. But it became sort of parody, particularly that phrase, to the point where I think that it sort of died with him in a way, that particular idea of narrative voiceovers for trailers, because if you've heard it so many times and it's been parodied so many times, then what you risk is the audience thinking, hang on, am I watching a comedy here? And it's not, it's a very serious movie in a world where something happens. You do still very occasionally get it in a comedy trailer, but in general, narrative voiceovers have disappeared.

There was a guy called Mark Elliott who did all the Disney, and so that's a real voice of people's childhood. And there was a UK guy, wasn't there? The UK version of Don LaFontaine is a super cool guy called Red Pepper. And Red Pepper was a tube driver, London tube driver. And in the 90s or something, a TV executive is on a train and just hears this tube driver saying, you know, the next station is Kensington.

And mind the gap, ladies and gentlemen, mind the gap. And Red Pepper himself said, I was aware of the power of my voice. I used to say, this is your train driver speaking, or is it? He said, I just have fun with it. And a TV executive heard him, went to the cab and said, you've got to come and do voiceovers.

And very quickly, Red Pepper left the London Underground and became the biggest voiceover artist in the UK. They came on Pointless Celebrities, did like a voice special and he was a super cool dude. You know, you often hear people with those voices that work perfectly as voiceovers. We had a guy on Pointless once years ago and he was a student, I think he was only 21 and he had just this unbelievable velvety voice. And when he introduced himself, Zander just said, do you do voiceovers? And

the guy goes, no. And he goes, well, you should. And the guy literally signed up with a voiceover agency and got a load of work from it. Oh, that's terrific. Because sometimes you just hear a voice that has that quality that you just think, oh. And we've all heard someone grab the mic in a sort of public address system way and just thinking, oh, please not a comedy tube driver. Maybe they're all auditioning now because they know that Red Pepper kind of managed to make it out and have this amazing voiceover career.

But I have to say, I haven't heard anyone that I thought you should be doing this professionally. But I hadn't thought it is interesting. Yeah, there aren't we don't really get there's no voiceovers on trailers anymore. It is all just text. Narrative voiceovers have gone. And in you know, back in the day, there was, you know, I'm trying to think which, you know, the alien one where it's just like the heartbeat. Yeah. Or sometimes it's just the breathing. But those were very hyper stylized things. And they were unusual. In general, that sort of died with Don LaFontaine and that whole way of doing it has been superseded, I guess, as people become more literate about how trailers can be. It's just a genre. And now that seems old fashioned. And if you heard it, you'd think it was old fashioned and potentially a comedy.

And potentially a comedy. And now it's just sort of Elf in singer songwriters covering Leonard Cohen songs. Yep. But between explosions. Yes. I'm up for that. You still get lots and lots of those voiceover voices on adverts, do you not? Yes, you do. Marina, speaking of which.

Oh, we need to go to an advert. It's clear, isn't it? That's good. Sorry. I see what you've done and I see what I was supposed to do and fail to do. Yes, speaking of which, Richard, shall we go to an advert? Yeah, let's Welcome back everybody and I love this question and it's got to be for you Richard David Miller says I was listening to a discussion of Tories in the media post-election and I have a question

Is that such a thing as a booking that is too big? For instance Richard if you received a call from Taylor Swift saying she loves House of Games and is willing to drop everything to come on, is that a great day for you or is someone of her superstardom too much of a burden? Would she change the dynamic too much? Would having her be too disruptive? God I love that. That's gosh.

Okay, let's think about it. Taylor Swift wants to come on House of Games. Firstly, if you're listening Taylor, you're very welcome. Okay, is this such a thing as a booking that is too big? I suspect not. Let's assume as a thought experiment that Taylor Swift is coming on House of Games. Now that's not a booking that's come from her PR people and saying I'll tell you what you need Taylor, a bit more publicity, when you go on House of Games. This will really up your profile. So the only reason Taylor Swift is coming on House of Games is because Taylor Swift loves watching House of Games. I can imagine, you know, maybe she'd say, I'll go into a special Taskmaster

or something. I love watching clips of Taskmaster. I love watching House of Games. Of course I'll come on. So Taylor Swift says she'll come on. Two things, I'd be very nervous about who else was on. You would want great bookings. you would want really good bookings. You would say to Lorraine, who does all the bookings on House of Games, I think we need at the very least a member of the cast of ghosts on because Taylor is on. We need an Olympian, we need someone who's done something. You know, this is... We've established she has no peer group.

You're not sitting there saying, look, should we try and get Beyonce? Because just say Taylor's doing it, you can both go on together. Yeah, say Beyonce for the Christmas special. Yeah. So I think we have to assume that Taylor would want to be on the show and enjoys the show. And if she does come on the show, then it just becomes a slightly different flavor. Now, the one thing with any celebrity booking, you know, if you look at I'm a Celebrity or any of those shows, week one, you know who the most famous people are, who the biggest bookings are, the ones that people are excited about. You go, oh my God, they've got Jerry Hall, whatever it is, these sort of big names. Within about three days, people who love that show do not care who the biggest bookings are. However important you are, however big

you are, you become subsumed into the show. The show's format becomes bigger than who's famous. Almost always, the very, very expensive booking, you know, the one that's designed to get all the headlines of the week, will just fall away to someone who's on almost one of the lowest fees. I mean, that guy from Made in Chelsea, Sam, he would have been on one of the lowest fees. And obviously Nigel Farage was off the biggest film, just sort of fell away. So exactly that. Fans of the show understand the ecosystem of a show and weirdly the star has to fit

inside it. So I would think even on House of Games, listen, people would definitely pay attention if Taylor Swift was on House of Games. I absolutely get that with Steve Pemberton and Josie Darby, but I think by Tuesday people go, oh my god she was great on Where is Kazakhstan wasn't she, but she cannot do this code round, she can't do it at all. And you know I would have a few things to talk to her about for sure. Occasionally you get a contestant on House of Games who is not a quizzer but has had an interesting life and so you just think I'm just going to, for you I'm going to treat it as a chat show so whenever we

got a question I'm just going to talk to you about stuff. I think that I think I could handle Taylor Swift being on House of Games is that's how I'm going to conclude. You would love it. Oh can you imagine it would be such a huge deal. It would be absolutely hilarious. You'd be doing interviews about it for weeks. Honestly sometimes you get people on. Funny enough, I've mentioned people from Ghosts. If you have like Lawrence Ricard or Jim Howick from Ghosts on, the entire studio is so excited. Everyone is like thrilled. And I suspect it would be a bit like that with Taylor Swift.

I suspect that maybe a few more of the kids of the crew might pop in and see their parents on that day. But yeah, everyone would be thrilled. But yeah, honestly, by show two, we'd still be going, oh, God, we're five minutes, you know, we're five minutes behind schedule. Oh, there's a problem with wardrobe. That's annoying. And you know, you very quickly a show, a show is like a stately galleon. Nobody's bigger than the show. Nor even Taylor. Nobody's bigger than the House of Games. Listen, let's experimentally, let's try it. If Taylor's people, honestly, let's get her on.

I think that's such a good question though. That's great. Because obviously Graham Norton, you put everyone on the, the best thing on Graham Norton is saying, huge Hollywood stars and someone from 8 out of 10 cats. You think, oh, that's, that's quite fun. I have to think about what seat I put her in because that's a, that's a big deal on house of games thinking about. And that's just like a dinner party for me. I work at who's in seat one, seat two, seat three and seat four.

I wouldn't have a next to me because you know, that's so that's front loading too much. I wouldn't have her in seat four. I don't think. I think maybe, I think maybe Taylor would be a seat tour. You've done half the work. I really hope they ring in. Yeah, that would be great. Come on, Taylor.

That is such a good question, though. But yeah, I think that if someone wants to come on a show, they will never be too big for it because they will embrace it and they would enjoy it and they will understand the rules and understand the feeling of the show. If someone is booked on a show by their PR, often they can be too big or too disruptive for a show. But if someone has chosen to come on a show, it doesn't matter how famous they are, they will have fun and the show will have fun with them,

I think. Look forward to seeing what the Daily Express headline is on that. I have a question for you from Benjamin Myers. I wonder if he's the wonderful novelist, Benjamin Myers. I hope so. I think the novelist, Benjamin Myers, might ask a different question to this but I could be wrong. I've noticed while watching British police procedural documentaries such as Channel 4's excellent 24 Hours in Police Custody, one of the best shows on TV, that's me, not Benjamin, although I suspect he agrees, that whenever someone is shown being held in a police cell following arrest the toilet is always blacked out. I have noticed that. Unless all British police cell toilets

have black perspex paralelograms as lids, I can't think of any reasonable explanation as to why the programme makers do this. Could someone perhaps please shed some light on this modern mystery? Well it's actually a very simple answer, Benjamin. It's the CCTV. That is what it looks like on the CCTV to even the custody staff. There have been a few cases actually, this is the formal guidance, you must always pixelate and so even the custody staff are seeing a pixelated version. Every now and then there's a case where a force has failed to pixelate the loos in one of their cells and it actually becomes the subject of a formal inquiry, you're not actually supposed to

do it. So that's the feed they're getting. The idea of like, Lou's on TV in any way is quite interesting. In America, there was this whole thing that was like regarded for a long time as it was really for taste and it was sort of obscene to show a Lou on TV. And they had this thing called standards and practices, which was basically the censorship bureau and Leave It to Beaver in 1957, that's the first time that it shows a bathroom, it only shows the cistern. Because they, even then- That's the least of Leave It to Beaver's problems, isn't it? I know, well, I agree in retrospect, but the first flush sound aired was all in

the family in the 1970s, and I would love to know the UK version. I sort of slightly feel that you might have seen Bathroom in one of those kind of play for today kitchen sink dramas. Maybe even one of those kind of angry young men playwright written once, those great years in the BBC. But if anyone knows when the first Lou was shown on British TV, I would love to find out when that is because whilst you might find lots of humour related to it in later decades, it's an odd sort of piece of primness that has persisted. Step two and son had flushes, didn't it? I'm sure.

I think so. In the episode where they divide their whole flat. I'm sure there's some flushing. I think so. And I wonder if there's anything earlier, but anyway, it would be interesting to know. So if anyone happens to know, sorry, you are now being required to write in with the answers, but thanks. But that 24 hours in police custody, so that's exactly it. Because of course, when we're watching it with, we think we're watching the TV feed, we think we're watching the edit, but actually what we're watching is the genuine CCTV from

those cells. And of course, that CCTV, at some point someone will need to go to the toilet. Yeah. So there's that is constantly blacked out and so that that's the feed we take. Got to pixelate your toilet. Yeah. I've always said it. Okay Richard. Sean Freeman says Richard football do commentators get paid a flat rate or are they paid more if a game goes to extra time or penalties? Genuinely I love the minds of our listeners. It's such a good question, isn't it? It will not shock you to learn that no, you are you are played a flat rate. Otherwise, like during the commentary, they'd be like, they'd be desperate for one team to equalise,

because you know, they're building a conservatory. And they're just absolutely desperate for penalties. Commentators would love penalties if they're getting paid time and a half, wouldn't they? Well, you've got the maximum leverage, haven't you? No, I'm not going any further unless you do me a deal right now for the next half hour I expect. No, I'm not going any further. I'm not saying anything more. That is your moment of maximum possible leverage, but therefore they probably don't expose themselves

to it in terms of contractual negotiations. That is the absolute key from BBC Sport. They're thinking we mustn't leave ourselves in a position where with four seconds we've got to decide whether to double the pay of Alan Green. In fact Rich Wolfen done the BBC final score reporter he said commentators get a flat rate regardless of if a game goes to penalty or is at standard 90 minutes if a game is cooled off or abandoned for any reason, ching-ching, they still get the full rate. That's, do you know what, that still get the full rate. That's,

do you know what, that's the joy isn't it, when something's cooled off and you still get paid. By that stage they would have probably traveled all the way there if you think about it, how these games are covered. So it's, the 90 minutes is often the least of it. They're like, I'm already in Burnley. Yeah. I wish you told me before. That's such a, listen, I've never, I've never thought of it before, but, and equally, you know, if you commentate on volleyball, which takes forever, I think you just still get in the flat rate. I assume. I love the commentators out at the Olympics who suddenly become experts in beach

volleyball and archery and kayaking. But that's what it's like when you're covering them. It's the, it's as a reporter, if you're covering them or if you're writing about the sports pages in any way about it, it's so stressful, you know, because the UK was often good at really weird things. And if you ask them to do cover the dressage or whatever, because we're suddenly doing really well on it, they're like, is it meant to do that? Or I don't know. And you have to sound like an expert. And it's such a ridiculous sort of suspension of disbelief is that the person who is reading it thinks, I've read all our other stuff. She's got absolutely no clue about Greco-Roman wrestling. I was always lucky because I could say, yeah, I've come to the Greco-Roman

wrestling and I don't know what is actually happening here. But anyway, here's a counter that so I could write a self color piece of not knowing. Yeah, I was watching the synchronized diving the other day. And it's brilliant because they've got a synchronized diver as the co commentator Yeah they've got a you know a regular commentator as the commentator and they do this extraordinary kind of synchronized dives and It's the wife's the one time where the commentator will not talk So the the Chinese pair was sort of jumping and the co commentator go that was extraordinary

What tightness what lines and the commentator go? Yep, really? I mean God she could see it, couldn't you? And then equally, like, sort of, you know, the Australians would sort of dive in and looked identical. And the co-commentator goes, ah, the symmetry was completely off, you can see. And the commentator's going, yep, they will not be happy with that.

I was gonna say it, I was gonna say it, yeah. Exactly what I was gonna say, that and the gymnastics where you just have to go, okay gonna say it. Exactly what I was gonna say, that and the gymnastics where you just have to go, okay the person who knows what they're talking about, you just say something and then I'll do the commentator bit to get real disappointment for the Australians. Four years of training and just inches between them and a medal. That bit I can do, I can't do that, was that any good? I've written 30 versions of that down on a sheet before we start and I'm going to save them. I lightly adapted depending on what my co-commentator

says. I can just imagine the commentator just staring into the eyes of the co-commentator as the dive goes on and just going, just shrugging a tiny bit going, huh? What do we think? But again, you get your day rate out your pop and you have to cut your cloth accordingly I think they do there's such extraordinary commentators out there at the Olympics But the funniest ones are always the generalists again watching the kayaking I'm getting a lot of information about these people But I'm really waiting on the co-coms to tell me if that if that was a good turn. Was that a good kayak? I don't know

Great kayaking there. Just someone's another co-coms is nodding really amazing kayaking there. Just someone's not the co-commenters nodding. Really amazing kayaking there. That is wow. What a kayak. That'd be me. Thank you very much for that question, Sean. I know we moved on to other sports as well, but you'll forgive us, I'm sure. Our time is up. Can you believe it? Yeah, I'm looking forward to seeing you in person next week. Are you making a rare visit? Leave it out, leave it out. I'll be back in the UK. Be so lovely to have you back with us. I'm so relaxed that I will just not, I won't even react to that but yes. Now do keep your questions coming in, the address is therestisentertainment at gmail.com. See you next Tuesday.