The Scold Cast

Here Comes the Guillotine contains offensive language, mature content, and adult themes.

It is not suitable for a younger audience.

This is a Global Player Original Podcast.

Hello, and welcome to Here Comes the Guillotine.

I'm Frankie Boyle, and I'm going to be talking to Christopher MacArthur Boyd.

This one comes from someone called Shane.

I'm hoping it's not the cowboy

Shane.

You know him?

Yeah.

Yeah.

Dear Frankie, Susie, Christopher,

and Bruce Randy.

What was Shane's thing?

He was like a new cowboy, and there was a young boy who didn't have a dad, and a woman who lived in a ranch, and he was kind of helping out, but there was a conflict.

Okay.

Shout out to Shane.

Dear Frankie, Susan, Christopher, and Bruce Randy, I have loved your podcast since day one and eagerly listen every week.

Truly, a one-of-a-kind podcast.

Anyway, I think that's sufficient smoke blowing, so I'll get into my question.

Do you know there was smokeblown in the film Shane?

Because that's how Native American people communicate stereotypically.

I am an Irishman doing my master's in literary studies in the Netherlands.

Against my better judgment, I'm currently doing a thesis on post-apocalyptic satires and neoliberalism.

I'm using Shanky's

for history.

Frankie's short history.

Not Shanky.

Frankie's short history is one of my primary texts, along with Zone 1 by Coulson Whitehead and Galapagos by Kurt Vonnegut.

I have scoured the internet for interviews with Frankie discussing neoliberalism and satire to find quotes relevant to my argument.

Because I'm still writing it, I can't discuss much, but I figure a mail-bag question to the gang would be the best help.

So with all that being said, I would like to know, and this is for all of you, as I know Christopher likes Vonnegut and Susie is politically sane,

Satire can be seen as both protest and resignation.

How do you reconcile this?

Can satirical resignation function as a form of resistance or does it ultimately reinforce the very capitalist inertia it critiques?

And what does the apocalypse say about our current moment's relationship to crisis and depressive hedonia, the inability to imagine beyond the current system?

Has the plight of the satirist become more acute or is it necessary?

Of course, you can answer all of these, none of these, or just talk about soup.

But if you'd like me to incorporate your answers in my thesis, then please respond before mid-August.

Free Palestine up there, and all my love, Shane.

I wrote this column one time called Consider the Plight of the Satirist, if he wants to Google that and might be of some use to him.

I sort of feel differently about satire.

I sort of think it's like one of the problems with it

is that

it tends to,

well,

satire historically or, you know, academically is thought of as

three different things usually, which is juvenilian,

which is like

a sort of

bombastic,

angrier, more accusatory, not angry, but like more direct kind of satire.

There's Horatian satire which is a kind of indirect

you know what we would think of as wildy and kind of

slightly more

tangential

and refined and there's a Menopean satire which is like

It's supposed to be about kind of classes of people and social structures to some extent.

So something like Black Mirror could be seen as a Menipian satire.

Or even, I would argue, Stafflets, Flats, or something like that.

Is a Menopean satire.

Right.

Anyway,

those categories aren't particularly useful,

but

I think the principal problem from the inside, just from doing it, is that it tends to cause you to lean towards describing individual failings as if they were moral failings.

So you see a lot of this when people doing their people do their own satire all the time, you know, the tweets and

their dunks on Donald Trump or whatever.

And it's like, oh yeah, you're attributing the failure of the American political system

to the election of a guy who's unworthy of the office.

So his individual moral failings

are the reason that things are going wrong.

And, you know, really, it's systemic problems.

satire tends not to address that.

And it's quite, we used to do a wee bit of a new world order, we would talk about, oh, so you need a revolution and all that kind of stuff.

Um, but it's hard to go into critiques of systems within something as direct as like spoken word comedy, for example.

Um,

what you get on the left a lot is people say,

and this has been the standard opinion for maybe 15 years now, people go satire

is unhelpful because it breeds a kind of cynicism.

It breeds a kind of they're all the same thing to politicians.

I would argue a very large part of the problem of the British population, certainly over the last 15 years, has been insufficient cynicism.

You know, Boris Johnson was elected because people lacked the cynicism to see what was likely to happen there.

Kier Starmer was elected to the leadership of the Labour Party because

party members and MPs were insufficiently cynical.

That he would be an absolute useless cunt.

Yeah.

And

I don't really buy that argument.

So that idea on the left really is that

the people we like should be celebrated.

Part of the thing with Corbyn was you know people, why didn't you cheer harder?

Why didn't you love him more?

You're like, that's really not the job of satire.

And if you go back and you look at any satirists of the last

of any note of the last 50 years they don't do that george carlin says look it's all a carnival i'm outside of it i don't vote i watch the parade and i criticize it and that's my role you know and that's a much more

that's a much more useful role and in fact if you know people had criticized Corbyn a bit more and joked about him more, it would have been better.

There's also that thing where like people need to learn to take a joke or at least pretend to take a joke because British culture runs on that.

You cannot seem be seen to be thin-skinned.

You know, it's extremely unattractive quality in the world.

At any level of society.

Yeah.

So

in the House of Commons, it doesn't matter if you can't really take a joke without going.

You've got to take a fucking joke.

I mean, and actually, you've really kind of got to learn to take it genuinely if you wanna if you wanna be happy.

Oh, yeah.

Do you you know what i mean um but yeah i think that's the principal

uh the principal thing with satire is it's it's become this thing where people use it to describe um wider desires that they have for society so they go oh it should always be punching up

there's a very good article about this about why it shouldn't always be punching up um this guy sort of makes the point that you know we start out in satire with cervantes with Don Quixote and he's going that also satirizes just being an old man that's punching down right it's satirizing

reading books and being interested in literature you know it's going satire isn't there to punch up or down it's to punch anything that needs punching i mean it's not it's not it's not it's also it's not as dramatic as punching and that word i'm always like really

uncomfortable when people in comedy tend to use these very masculine terms about storming things, killing

shows, crushing it, you know, punching up and you're like, you are the least punchy, you're the people least capable of punching anything

in the world.

Folk with pipe cleaners for arms

who crush the gig.

If you ever see like a comedian who actually is capable of doing damage, they're always like, yeah, I had a lovely time.

That's how I like to think of it.

Yeah, I had a good time up there.

It was nice.

I'm trying not to use sports like that because it is utterly unhelpful as well.

And it's,

I guess, it's people who don't have a lot of

physicality in their life.

Do you know what I mean?

And they just try to have that access to that language and stuff.

Dude, also, people who were bullied at school and are still, you know,

still kind of ringing from that experience um

i'm the only person i've ever known who thinks this right so apologies in advance but i think punching up and punching down is completely stupid and that

um

if you take an example like

say there's a group of people who are opposing a new

Sainsbury's being built on their local park or something like that, right?

By the laws of punching up and punching down if you wrote something about that it should be satirizing the people at sainsbury's who are taking over this local facility right sainsbury's will have a corporate structure that is reflective right they'll have three six day evaluations they'll have internal reports on how a land purchase went all that kind of stuff and they will store that information Institutions are capable of learning.

They might do it in a slow and haphazard way, but when money is involved, they're capable of learning.

Protests famously, and resistance groups famously spring up and learn the lessons of the last protest.

That's a common theme, right?

Is that people who come together to resist the Iraq war look back and go, oh fuck, this is what people were doing in Vietnam, but it's taken us a year to work it out.

So if you were writing something satirical about Sainsbury's purchasing that local park, you would be just as valid to satirize the protest group so that the next people could do better so that you're making some record and some observations and some critique and that may be useful to the future you know yeah and the whole sort of simplistic

there's a real thing in british culture people say things because they sound good punching up i wouldn't want to punch down i'd prefer to punch up just it's snappy it's you know and people need to stop saying things because they sound good and actually think about what they're saying when we talk about being internet poisoned, that's one of the ways in which we've been poisoned.

We've been poisoned into believing that rhetoric is real.

Rhetoric comes from ancient Greeks, right?

It's a set of

rules that you can use to persuade people.

But when you're using rhetoric to persuade people, you need to remember that these are tools.

This is an abstraction that you are using in an attempt to achieve your political ends.

It's not real.

Punching up and punching down isn't real.

I feel really bad for Shane because

there's no way he's going to hear this before mid-August.

Yeah, it's a pity.

It'd be great.

But there you go, you know, that's that's the fucking dystopia.

That's the plight of the satirist, brother.

That's the plight of the satirist, my friend.

I don't, um,

I don't understand why he means neoliberalism within dystopia.

I think because it's the issues with neoliberalism has caused dystopia?

I think it tends to be.

It's usually big businesses destroying the world and things, isn't it?

I guess corporatism and all that kind of stuff.

And then Yanis Varifakis, who I'm interviewing 1st of October in Edinburgh, which I'm sure will sell out.

He's a very popular dude.

So by the time you hear this, probably sold out.

I've learned how to say his job.

He's an economist.

He is indeed an economist.

But his

last book before this one was about techno-feudalism.

So he says...

We've passed capitalism.

We are now past capitalism.

We're in a different stage that he calls techno-feudalism or sometimes cloud capitalism.

Techno-serfs.

Yeah, more techno-serfs.

Yeah.

That's how it feels anyway.

Toiling in the fields for the daimyo.

I'm just collecting this stuff for the algorithm.

Is that your impression of a feudal Japanese person?

I don't know who I was being, really.

But I was collecting stuff for the algorithm.

Yeah, it's interesting, isn't it?

Because you think about the thing, punching up, punching down.

And I think about you had a really, it wasn't one of your most well-known jokes, but you had a bit in your last show before last show where you were talking about Ben Men being really loud.

And it's like, I guess some people say you shouldn't make jokes about bin men, those are working-class people.

And it's like they are really loud, though, you know, and you're there just to kind of notice things that are incongruous.

That's your job.

Yes.

So it's worthwhile pointing out that

how loud bin men are.

it's yeah it's me it's a real disruption in my life.

I get woken up every bin day by

my wee buzzer goes and then I have to go okay I'll let them through.

I went to sleep on that day.

It's sad that the market has dropped out of scolding for the reasons that it has right that we're all fucking doomed and heading towards some kind of like camp-based reality.

But the market has kind of dropped out of scolding and that doesn't exist anymore.

And that is a good thing.

You can't scold somebody when you're hanging out on a Nazis website.

Yeah.

The morality completely,

the morality of like, I'm on Twitter and I'm here to say that you are doing things wrong.

Well, you're on Twitter, so you have no fucking

you've got no base with which, whereas it used to be, well, this is, this is just where everybody hangs out.

Well, now it's like a lot of people don't hang out there.

And nobody's on blue sky and nobody's on threads.

So the idea that you could scold somebody from there, the algorithm won't show you any scolding on Instagram because if there's any inflammatory language, you get absolutely deep pushed by the algorithm.

Facebook is a carboot sale.

There's nowhere to scold people other than newspapers, but they're very much who deserve to be scolded just now with their coverage of things.

So, where are you going to scold from?

Your scolding platforms have gone.

Here comes the guillotine, the new scold cast.

Yeah.

But that didn't get anywhere.

And, like, at the time where you were sort of going, like trying to s police people for saying freak or something is just not a good use of anyone's time in this reality.

Yeah.

You know, there might be a kind of, you know, wonderful fucking big rock candy mountain world where it might be worth fine-tuning some of these things.

But for the moment, the fact that Lily Allen had more white dancers than black dancers on her tour or whatever the fuck

is just not worth the fucking ink.

I'm afraid not.

People didn't listen to that because they were getting attention.

And they were getting attention for the first time in their lives, you know, because they're not performers and they're not, you know.

And they're just kind of like, oh, great, right?

Fuck.

Another 2,000 likes for saying, don't say freak.

And you know what?

It's an absolutely...

wonderful word to use.

And those people were freaks.

Yeah, they were the biggest fucking freaks gone.

You couldn't tell them.

It was a freaky thing to do.

The whole website was a freak show.

full of freaks

and you were the bearded woman the spider boy the mermaid who's got something wrong with the elephant man

he was well

i've seen where he was from today was it yorkshire the elephant man he was english wasn't he he was english yeah i can't remember where i was on the wikipedia for the Elephant Man this morning.

He looks like he was from Yorkshire.

Oh, no, he was from Leicester.

That's right, he was from Leicester, yeah.

Yep.

Well, they go.

I hope that you're uh,

I don't think Galapagos is one of Vonnegut's best books, if you're honest, but uh, okay, fair enough.

They're not gonna

scold Vonnegut, but it was a late career move there.

Often towards the end, they should just stop, shouldn't they?

There's a final, like, Umberto Echo book that's just like, How the fuck did this get published?

You become accustomed to a certain way of living, you're happy, you sit, you know.

Having watched the Kirk Von, I got listen, he's one of my favourite people in the world, but having watched the documentary about his life story, he left his uh wife who loved him for a younger person and then was like not happy.

And then he just had to pay loads of divorce things and you gotta keep pumping them out, and you've not got the ideas, and tailors all this time like a Jim Henson you know do you ever read Lynn Barber's interviews who's that Lynn Barber is this woman who used to write interviews for maybe the Times or something like that right but

it's really worth reading she's really talented she really didn't give a fuck

like in the way a sort of posh English person doesn't so the sort of civility was gone from it completely.

Sometimes it's horrible because because you're just reading it going, oh fuck, you're absolutely just shooing this person who, you know, turned up late for fucking lunch or something.

And

sometimes it's really interesting because she's like,

she's done a couple of quite good interviews with Goldie, who I really love Goldie.

Oh, yeah, of course.

And she's like, I was so much more interested in when he's just got onto explaining everything by the fact that he was in care.

You know, and she's just

going, well, you know,

she's like, let's get past that.

What if we got past the the first story that's crazy but it's interesting because I think Lena Dunham's girls is a bit like that as well a lot of it's kind of about autism right and the characters are autistic so she's to me autistic and and

autistic clearly autistic autistic love story but it's like if you introduce civility into those plots they wouldn't work because like you know you tell marnie exactly what you think of her over dinner you you wouldn't see her for like three months you've just absolutely destroyed her fucking self-image it does feel like in that program sometimes that they don't speak to each other for ages.

Well, you know, they'd somehow have time-lapse thing and stuff as well.

But, you know, it's like, what would life be like if you took away that film of civility?

And there's, you know, there's something interesting about that.

But she's good in that sense, Lynn Barber, and that she doesn't buy anyone's opening gambit.

Right.

And

she

does

one with Joseph Heller.

And I love Joseph Heller, wrote Cash 22, wrote Something Happened, which really loved his second book.

and but it's just such a fascinating thing

so she's not she's not in she's not an uncomplicated character right she's not entirely punching up or down right um and you know she tends to have more social status than her interviewees in a way because she's quite posh English person but anyway she turns up to interview Heller

and He's supposed to meet her at maybe the train station or the airport or whatever.

And she says, I'm pretty sure I see him driving driving by just as it starts to rain and he drives by and kind of leaves her there and she's kind of like well i don't know but i think he just deliberately drove by

and he picks her up and she's like soaked and stuff and he takes her to his house and um he's got this new wife maybe or maybe it's his old wife i don't know but um

She sort of says to him at one point, oh, you did all this shagging.

Like you used your literary celebrity to be kind kind of mad shagger and you were married and stuff.

And he's like, Yeah, I did, you know, I mean, and I loved that.

And she's like, Would you, would you change it?

Like, if you could, because obviously, now that the you know, the fire of it all has died down, would you?

And he's like, No, I wouldn't change it at all.

You know, and it's kind of fascinating.

And they obviously don't get on and all that stuff, but all that stuff that we think of what's required for something interesting to happen, for civility to be present,

and for you know, critique to happen and all that kind of stuff it sort of isn't necessary it can just be this kind of

spark that creates something I used to be and I used to interview musicians when I was a teenager and you get much better interviews if you play dummy wee bit and if you just ask really brutal questions and just go they'll say something you know if you say

I mean I'm ashamed you can the issue is you can ask a really interesting question and get a really good response, but then you can't really live for yourself for the rest of your life as that person who upset that person, do you know what I mean?

And I think if you're a sociopath then or a psychopath, then that's really handy for um

being successful in business and for

interviewing Goldie.

Yeah, I don't think she was at all a sociopath.

I think she was interested in people and did care about people, but was also just a very complex person herself.

And now we have this thing of people arriving at the altar of celebrity and going, Oh my god, I met Kate Moss, and she told me the three stories she always tells.

And this was someone turning up, going, Well, I'm fucking dealing with who are you?

And okay, and why do you do that?

Well, complicated.

Can you get away with it if you're not independently wealthily through generational wealth?

That's a good question.

Or would you try it?

Do you know what I mean?

Would you ever try it if you didn't have some kind of sense of security?

Yeah.

It's like people who who do really not naming any names, but very confrontational stand-up that really pushes buttons.

And it's like, yeah, but your mum's famous and your dad's famous.

And you're fine.

You've got money sitting there.

And if you bomb the entire fringe every night, it's fine.

You know, you're not, you're not going to go worrying.

And then, you know, it's hard.

I find it difficult to look at people like that as brave.

Do you know what I mean?

Yes.

So it's certainly different.

It's different.

Yeah.

It's different.

So,

yeah, to me, it's like, yeah, you can afford to be an arsehole.

Whereas, if you were a working-class journalist and you were just a cunt, they'd go, get rid of that guy.

And they'd go, yeah.

Instead of get rid of her, oh, she's

thing with Bob's niece.

Oh, well, never mind then.

Just let her keep being an arsehole to Goldie.

Sorry, I keep saying Goldie.

It's just funny to be an arsehole to Goldie because he's so beloved by everybody who's ever met him or interacted with him as a real genre.

Yeah.

And absolutely, you know.

What's the type of music?

Garage?

Jungle.

Jungle music.

How dare you?

Sorry.

I nearly said two step and that's definitely not true.

Is it?

What is two step?

I can tell you.

It's like five different types of dan it's such a bad name for a genre'cause there's loads of different dances called the two step.

'Cause I think that's like a not to get into the etymology of two stepping, but I think that that is such a old dance phrase that there's been countless dances called the two-step to then call one thing but genres genre labels are extremely unhelpful for most people unless you try to sell music so marina heides did an interesting thing about doing press she went um don't do press because it always will mean more to you than it does to them yeah of course

yeah you're going to be really upset by that sentence for the rest of your life and the other person is going to forget they wrote it by fucking lunchtime tomorrow Of course, yeah.

It's like that blind boy thing where he was talking about I'm not doing interviews with broadsheets anymore because what they do is they'll interview you and they'll take one thing out of context, they'll make that the headline, then they'll put it behind a paywall.

So the only thing you said is this thing that you didn't say for 95% of the people who see it.

Oh yeah, I hadn't even thought of it's behind a paywall now.

But yeah, it's it's just so you better hope the first paragraph's flattering, Frankie, because that's how people are reading it.

Do you know what I mean?

Then all the context is, well, who the fuck pays I accidentally got I know I say this because the times have been really nice to me twice this week, but I mean they're evil newspaper, but um they're recommending my show for the uh fringe by the sea in Berwick if everybody wants to see a

comedy show in a big tent.

Uh that's a cracking gig.

Is it?

Yeah.

Oh, good.

Think fuck.

Yeah, no, it's a belt.

I'm doing that.

Come see that.

Oh, this won't be out in August.

I've got the same problem with Shane.

My dissertation and my rush this out.

Rush this out.

Thanks, Diss.

Yeah.

Bruce Randy, please rush this for the sake of Shane and the sake of me.

Get this out before the Duns and Dragon stuff.

Sorry.

So I'm doing that.

And then it was nice in some other sense as well.

But it's like,

you know, I accidentally signed up for the.

I wanted to read an interview with, I think, Jimmy Carr.

I wanted to read.

The headline was really good.

I was like, I want to see where this is.

And then they got me.

It was only one pound for the first month.

It was like £26 per month after that.

And that you can't just cancel it so I just

ended the direct debit but hang out affects your credit rate

I think um

no matter how much

they try to kind of meet you halfway like

the world of a English broadsheet journalist is so different yeah from us yeah that it's very difficult to establish a common place

the very last one I did I did it with someone else a two-hander and it was like a nice guy but like just a very posh English guy who'd been to public school and you know done the sort of kind of freelance life that those people do and you know he's talking to two working class Scottish people and it was a bit like you know you try and have a you know you meet a Dutch comic in a green room and you go oh how are you finding it oh and you did up the creek yeah and and you had that slight pitch of hey with friends and blah blah blah, but you can't really communicate too easily.

Yeah, it's kind of like that.

I think, anyway, I mean,

speaking to a Polish person, it's like speaking to a Dutch person, you might as well be Dutch.

I don't begrudge anyone

success

because it's all all work

man

you still gotta do the fucking thing

you know it's like those people that go fucking bell and sebastian it's just leonard cohen and fucking velvet underground and fucking so and so and so and so you're like yeah it is but you've still got to go and write fucking 300 songs

i mean

yeah

yeah but you're probably going to do that anyway yeah you know i love oh that's what i was saying about art earlier on it's like you're just the stuff you've heard vomited back out, you know?

Unless you're really good.

Apart from the really good people.

But then I think they're just hiding it better.

Oh, yeah, yeah, yeah.

I think they're just hiding it better.

No, there's something to that.

You think, what could Richard Pryor have been copying?

I'd say

the stand-up records.

What was that one that Eddie Murphy, this isn't really the podcast anymore, but what was that thing that Eddie Murphy was in the film for?

And it was like the black comedian who had his own records and his own films and stuff.

He had blacksploitation stuff.

Beverly Hills Cop.

No, it wasn't Beverly Hills Cop.

It was called.

It's just we don't have action.

It was probably a fucking caveman.

What the fuck is it with these bison?

You fucking kidding me?

We use every bit.

Every bit of the bison.

I use bison crack.

It's a cigar.

Are you kidding me?

I don't want to use every bit of the bison.

Right, cut that, Andy Man.

That's just for you.

Don't cut that.

Why did they gold?

Why do Black Keep mentioning?

Do you know what's happened there?

You've stumbled on something original and you've instinctively rejected it.

That's fun.

That was a fun riff.

That was a fun riff.

That was a fun riff.

But I don't think it's for public consumption.

Well, luckily it's going out on this podcast.

Absolutely no cunt will hear it.

You've seen this shit.

Yeah, the story only got out because it had one listener and he was only doing it because he was doing a fucking PhD in Holland.

In Holland?

I don't know.

In the Netherlands?

Like in Holland?

Yeah.

Free Palestine up there.

I know my love from Shane in the Netherlands.

I'm going to the Netherlands soon, Shane.

Let's meet up for

some kind of crepe.

What did he eat there?

I don't know.

Probably not crepes.

I don't have a crepe.

Aye.

Aye.

Absolutely, they will.

You saying this shit.

Try to think what else.

I don't like doing the voice, but I think that.

You can't do that black voice.

And anyway, you did it so inaccurately that it was basically

a sort of American Bostonian voice.

So

Landy, leave it.

It's fine.

Leave it.

Leave out my

Protestant.

What will I leave out?

Leave out my protestant.

Leave everything in, the protests, everything,

leave it all in.

You see this wheel shit?

Fire and the wheel?

Come on, man.

Pick one.

You moving stuff or you getting warm?

This modern technology.

Why'd Caveman be like, oh, I'm printing rubber hair?

You know, there's Caveman and there's Neanderthals.

And the Neanderthals have got to go.

Or do you think

who's the Neanderthals?

And did the Neanderthals have their own stand-up comic?

Maybe because they do more prop stuff.

Clowning, yeah.

Yeah.

The absolute...

I can't say.

Maybe you just went into Neanderthal camp and it's just a panel show.

They're all set up.

I would love to see the Andy Parsons of the Neanderthal race.

He's got such a good rhythm to his stuff.

He's a rhythmic guy.

He's rhythmic.

he's like a dance one rhythmic son of a bitch he's like the fucking a comedy two-step he was so nice when i was opening for him in dump freeze he's a lovely guy i couldn't believe he was in dump freeze and neither could dumfries neither could he i'd imagine

a few words with his agent

i'm in dump frees

yeah shout out to dumfries theatre royal i had one of the best

my tour show the my two best tour shows last year inverness

glasgow was awesome Dublin.

Yeah, that was three.

I had a good tour.

That was a fun tour.

That was fun.

My hand was longer.

I'd slap you in the face.

Inverness.

Inverness was awesome.

You just haven't played the right room, man.

Thank you.

You need to go to

50-seater nightclub.

There might be 50 decent people in Inverness.

There is not 800.

I'm going to do...

Oh, I don't know if I should promote this or not.

I don't know if I'm...

Promote it up.

This is coming out fucking next week.

Rushed out.

I'm doing...

I'm doing Little Wanders putting on an Invernessian gala.

So it's like me and like Michael Odewally and some other people up north and we're all doing like 10-15 minutes each.

That sounds very much like something that might be designed to help the harvest along.

I'd be on my toes.

And then in the winter I'm doing one of those fun kind of line up shows where it's like David O'Doherty and Sam Campbell or whoever

in Inverness.

No, it's in Glasgow in Edinburgh.

So it's kind of Christmas shows.

They've done it last year with who was it, like Sarah Pasco and stuff.

Cool.

Where's that at?

Rhys James.

That's in Glasgow and Edinburgh at like the O2 Academy and the

fucking some other place.

But they're like, some shows are coming up.

And please sign up for my mailing list as you know when my new show is going sale.

Please, I beg of you.

There might come a time when you won't be able to hear about Christopher's dates in this podcast.

That time could be coming soon.

Sign up for his newsletter.

Yes, please.

Anyway,

I think it's been a nice day of podcasting, thank you.

Guess who has been audibly digesting three different curries at once?

Is it Bobby Blow Constrictor?

It is Bobby Blow Constrictor.

Thank you, Bobby, for coming on.

Thanks, Bobby.

Thanks to the elk within him.

And to you.

I heard screaming from inside the boa about Thatcher and various other topics.

He was talking about the polo lounge in 1996.

Seemed unusual behaviour for an elk.

But we don't know what's going on out there these days.

So, fair enough.

Thanks for listening to Here Comes a Guillotine with Chris and MacArthur Boyd, Frankie McBoyle, Frankie McBoy,

and

Bobby Boy Constrictor.

Fairly well.

Peace and love with a new millennium.

You can get all the episodes of Here Comes the Guillotine on Global Player right now.

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