Can Men Read?

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Hello and welcome to this episode of the Resters Entertainment Questions and Answers Edition.

I'm Marina Hyde.

And I'm Richard Osman.

You're still in Cefalonia, Marina.

I remain in Cefalonia, a place of incredible beauty, but substandard internet connection.

I remain in London's Charing Cross, which I have to say, the internet connection is absolutely perfect, but it lacks maybe vine leaves.

Yeah, and a couple of other bits and bobs.

Now, shall we kick off?

Because this question can only be for you.

Okay, Alison Gaynor says, this week in France, a game show contestant was finally beaten two years after starting his run on the show.

Has something like this ever happened on British TV, or are the rules too strict and therefore it's impossible for it to happen?

Yeah, it was a crazy story.

It's actually not unique in the world, especially of European game shows.

But a guy called Emilier was on Les Ducou de Midi, which is a daily daytime quiz show.

He won 647 episodes of the show.

647.

He won 2.5 million Euros in prize money across that time, as well as 23 cars, holidays, and he won a parachuting lesson as well.

Oh my God.

So

it was a huge deal.

I spoke to a wonderful man, I've mentioned it before, called Brig Bother, if you want to follow him on x and he is like the game show guru of uh everyone in britain he knows everything about every game show so i chatted to him about it and in europe these shows where you can stay on and you can start ramping up huge amounts of money are very very popular weirdly pointless is the same we have a thousand pound a day and if you if it's not one you kind of hang on but i think the most we ever got up to was was 24 000 that's the most we ever had but on these shows on the continent it's very hard to win the jackpot sometimes there's all sorts of different ways you can rack up enormous amounts of money so a million won as i say 2.5 million in spain is where they really love those shows there's one show which is called boom which has a combination of the two things so it has you can stay on for as long as you want if you keep winning but it also has a sort of prize end game which is almost impossible to win and that money keeps going up so It's a team game and the most famous team we've ever played on Boom were called Los Lobos, the Werewolves.

They won 505 episodes in a row.

And during that time, they picked up over 2.5 million Euros in prize money.

But they'd also been trying to play this Impossible End game every single episode as well.

And the Impossible Endgame starts at 50,000 Euros and goes up 5,000 a day.

Eventually, after two years,

they won the end game as well.

So to add to their 2.5 million Euro winnings, they won another 4.1 million Euros as well.

So they won over 6 million euros.

So it's a cultural thing.

In these countries, they love a show where it's almost impossible to win the jackpot because they've seen people win enormous amounts eventually.

And it has never really worked over here.

There's another Spanish show

which we brought over here.

Jeff Stelling did it called Alphabetical.

And in Spain, that rolls on and on and on.

It's been over 2 million euros a few times over there.

But over here, there was like a limit of 10 shows.

It got up to £50,000

before

it got reset.

Because our audience, because we don't have an example of it working, we don't like it.

We feel like, you know, we want to see somebody win eventually.

One, you know, Eggheads works quite nicely in that way because Eggheads, the money goes up and up and up, and eventually you can win sort of 80 grand or something.

But it's not something we're never going to have a show where it goes up to millions and millions.

In America, it used to be, they used to be the same as us, which is they would always have a limit.

They'd have like a five-show or a 10-show limit.

And funny enough, Jeopardy got rid of that in 2003.

And that's where this guy, Ken Jennings, came good, who was the greatest winner in Jeopardy history, now hosts Jeopardy as well.

And he won two and a half million dollars.

He's also on various kind of spin-offs of Jeopardy.

He's won another $4.5 million.

So there are, there's big money to be made if you're a professional quizzer in these countries, but not over here.

So to speak to Alison's specific question, if it happened over here, would we change the rules?

What exactly that happened?

This is a very, very British story.

Channel 5 used to have the quiz show 100%,

which I used to rather love, where the contestants didn't say anything apart from their name and where they were from.

And the whole thing was just them pressing A, B or C and, you know, getting answers right or wrong.

And there was a guy on that called Ian Ligo, or as Channel 5 viewers knew him, Ian from Hemel Hempstead.

He won 75 shows in a row of that.

He won 75 shows.

And there's a daily prize.

every single day on this show and he won 75 in a row and the producers at that point retired him.

Oh, no.

They said, no, do you know what?

We're changing the rules.

This is boring for our viewers.

We have to get rid of you.

We're changing you.

So he won 75.

He said, they could at least have let me got to 100.

You know, that's the name of the show.

It's called 100%.

But they didn't.

After 75 shows, they got rid of him.

We've talked about the money that people have made in various foreign shows

because...

This was Channel 5 and because it's Britain.

After winning those 75 shows, he walked away with £7,500.

Ian Ligo, £7,500 £7,500 after 100 shows.

He won £100 an episode.

That's the longest ever streak on British TV.

They wouldn't let it go on.

But, you know,

you can win more on a daily show in the UK.

But yeah, in Europe, I'd love to see those shows in the UK.

But it's just one of those things that they love a rolling jackpot and they love an impossible to crack endgame where the money goes up and up and up.

So thank you for the question.

Also, thank you so much to Brig Bother for

helping me out with a lot of the research for that.

I love that.

Marina, I have a question for you from Jason Cahill.

What are your thoughts on the Royal Rotor?

It seems publishing anything controversial about the senior royals will result in a loss of access.

Does this lead to an unstated form of les majeste?

What's the royal rotor?

Okay, the royal rotor is a sort of press pool system where selected journalists and snappers, photographers, have access to royal events

And then they can share them with those who weren't present amongst themselves.

And so you have what's called pool clips and shared write-ups.

And what it has allowed Royal Communications, who are the people who run

sort of the various palaces,

media operations, it's allowed them to control access and maximize distribution.

And it's to create a sort of orderly press access that isn't overwhelming for various members of the royal family.

So, on a sort of really basic practical level, it's a bit like I've done this in elections as well.

If a politician, or in this case, if a member of the royal family is going somewhere quite sort of small and intimate, you do not want 40 people sitting.

Maybe they're going to a hospice or maybe they're going to something like that.

So, you in that situation, you would have one person there doing the moving images, one person there doing the write-up, and it would be very, and then they share them with all the others.

Now,

different people are in different news organizations are in this at any one time but they basically they broadly stay the same so at the moment you have the people who are in it are the BBC ITV channel 4 channel 5 sky the sun the mirror the express the London Evening Standard the Telegraph the Mail the Times Press Association and various

various picture agencies.

We'll get on to what I think about this in a minute.

You're given a rotor rotor pass and you have to sign up to all their conditions, which are all controlled by Royal Communications.

And as I say, they keep a, you know, maybe there'll be 15 or 20 per event.

And sometimes you'll get that, what's called solo rotor.

Megan and Harry criticised it and withdrew completely.

They said it pushed bias and invasiveness and unfair press practices.

And they said, what we're going to do is we're going to create our own sort of rotor.

We're going to go with selected

selected favoured people, so grassroots or socially responsible

or socially oriented

outlets.

And they were also going to use their own social media.

I don't think it's interesting.

Listen,

this particular system doesn't stop other reporters getting

other stories about the royal family.

And the royal family has really never been able to stop people getting too many stories about themselves.

It's just for things like official visits, is it?

And stuff where it would be overwhelming to have 30 people there.

Yes, it is.

I mean, having said that, rather like when football clubs say, oh, we don't, you know, you wrote something rude and disparaging about us, you're not allowed to come to press conferences anymore,

there are moments of carve-out like that, which, you know, in my view, are obviously wrong.

It is much more exclusive and sort of managed than the lobby system, which we must do a question about some other time.

The parliamentary lobby system, which is the system via which which

politics is covered to some extent.

But equally, just as with the lobby system,

if you get some story that's outside of that,

you will run with it.

And you always have been able to.

It's very interesting because I would say that so much of the story of modern celebrity, sport, whatever it is, is about access.

So much of everything that has happened over the past decades in public life has been about of different ways of restricting access and to a certain extent people you know when social media came along and you can see that's what megan and harry think has happened like oh hang on why don't we just control our own stuff which a lot of celebrities also found for good or for real probably a lot for real if you try and control press access or you don't cooperate with anything then they do come after you and that's a sort of

unpleasant fact of that business.

And people will always try to get to a truth, as we've talked about before, if they feel that, oh, you're selling me something with so much, again, so much as, you know, that people have regarded as fair game and that they're all in the business of selling something.

And if people feel they're being missold something,

then they have a problem with it.

It's very interesting.

The Royal Reporters, I mean, if you think of the stories in like the 80s and 90s, which were obviously hugely invasive in lots and lots of ways.

That book I was talking about the other day, there's a really good sort of little nugget in

the Diana World book, which is the sort of story of the obsession with Princess Diana.

James Whittaker, who was this sort of legendary Daily Mirror royal reporter.

I remember him from sort of Breakfast TV and things.

Always looked very jolly.

Hugely jolly.

And a sort of, yeah, it's a slightly sort of foghorn voice.

And

but he, he

went out and sold all those stories on the, on Breakfast TV as well.

But so all the best stories really are partly to do with access.

And then you kind of maybe do something with that access or a piece of information that has come var access and then you can do something else.

It's really interesting.

He thinks his best story ever

was about Princess Diana was

he found out partly var access, partly var contacts where Charles and Diana were and they were on a yacht in the Mediterranean in 1985.

And he had a network of insiders so we found various and he sat there and he watched them on the deck with a pair of binoculars for six hours, and nothing happened.

But that was the story.

But you see, they didn't talk to each other for six hours.

And he thought, oh my god, there's something so wrong in their marriage.

This, this is something dreadful has happened.

And of course, he was right.

And, you know, that wasn't access.

And, but equally, in a weird way, it's very weird.

And the book that I was reading is very kind of good talking about maybe he liked her best just to sort of observe as a creature.

but that story

is

you know that that's not from the press pool that's not from the royal rotor and it's not it's not really anything it's a story where absolutely nothing happens but it became the biggest story of the 80s i suppose in lots of ways which was that the biggest royal story certainly which was that their marriage was completely falling apart so the royal rotor is really just a sort of official functions and outside of that it's fair game and people people have always found ways through it.

Yes, but they can use it to, you know, as always, as I was saying, with as football clubs have done, to say, oh no, you're being cut out of this because of the way you've behaved.

And there are many, many stories where

it always exists, where you have to give us access to things and you have to tell the press a certain amount of stuff and serve yourselves up to a certain extent.

And if you don't,

we will find ways of getting our own stuff because you've failed to provide for us.

And that, I mean, there was a sort of famous incident when Prince William was at university in

St Andrews, and they felt that all the royal people felt they were just being completely cut out as they weren't having anything, they had no access whatsoever.

So, they just did a paparazzi shot of him getting his shopping in one night to say, oh, we could do this all the time.

So, either you give us something or we'll do our own thing.

So, it does work both ways.

It is a weird sort of carve up, and um,

but I'm a, you know, I don't think any of us could say that the royal family have been successful in suppressing stories about them over the last few decades.

So

it's a sort of arrangement that broadly works for good or for ill, as I say.

Sounds like it works for no one.

The British way.

Well, we want everyone to be suffering, really.

We certainly want the monarchy to be suffering, I always think.

And the tabloid press.

No one's unhappy when the tabloid press is suffering.

Let's go for a little break, shall we?

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Welcome back, everybody.

Now, oh, this is a sad question, Richard, but possibly not.

It's about fiction for men.

Martin H.

has written in and says, it is assumed that men have largely stopped reading fiction books.

Is this true?

God, I certainly believe it was true if you read every article about it.

So it's seeped into our culture that women hugely dominate the reading and writing these days of fiction.

It's not as true as they say.

There's a stat you see all the time that says 80% of the fiction market is female and 20% is male, which I find zero evidence for anywhere.

There's evidence for, it's clearly female skewed, that's for sure.

The best UK evidence is that I think 67% of fiction books are bought by women, 33% by men, which, I mean, that's a big skew, but no different to lots of other, you know, markets and marketplaces.

And there's still a lot of men reading.

But the funny thing about books is not many of anyone reads all that many books.

It's not like television or sport or something like that.

It is still quite niche.

It's a very profitable industry because everyone it does read, by and large, is paying for those things.

And books have a very, very, very long life because, you know, you can still sell books many, many years later.

So that's where the money in books come from it doesn't necessarily come from you know almost all of British people reading the stat about how many people books in general that people read a year is also misleading which is the average person reads 14 books a year 14 fiction books a year which sounds like a fair enough amount but there are many people my mum would be one of them you'd be another one who will read such huge amounts of books that that is skewed.

And actually, the better average is the median, which is uh sort of halfway across our culture how many books do people read and that's about five a year so the average person really in a more interesting way of using an average reads five books a year five novels a year i still think that's quite a lot in a way in a way for the if the average person that's everybody taking the average of everybody then i think that's quite a lot i mean certainly there are male skewing authors and female skewing authors there happen to be an awful lot more female skewing authors at the moment probably the four best-selling authors in the world world at the moment would be Colleen Hoover, Sarah J.

Maas, Rebecca Yarros, and Frida McFadden.

And they have predominantly female readerships.

You know, you'll have other writers like Stephen King, who would skew more male, Lee Child would skew more male, but again, not crazily.

So my books are almost exactly 50-50, which I always love.

And I often talk to men who say, oh, I...

I absolutely got out of reading and I've got back into reading.

So, you know, I like that.

So I don't think it's as big a problem as people say.

But but I think if we constantly keep repeating this thing of, you know, 80-20, then I think it gets worse.

I think Andrew Tate had something to say about men reading books.

This is not his worst crime, but this was his quote.

He said,

reading books is for losers, losers who are afraid to learn from life.

He thinks if you read a book, you're learning from other people's lives.

And it leads him to this conclusion, which is books are education for cowards.

I thought he spent his whole time holed up in that shitty compound out by the airport in Romania.

I mean, what life?

He doesn't have any.

I mean, surely you can also get through a Tom Clancy or two.

I like that.

I think, but I mean, you can't read books about 17th century...

You can't live in 17th century England, but you can learn about it.

You can't live in someone else's heart, but you can learn about it.

I think he's sort of...

I don't know what books he's talking about.

Do you think he's pre-enlightenment?

I think he might be.

I don't think he'd be thinking about the 17th century.

I think he's sort of, yeah, he's a sort of dark ages figure, really, isn't he?

Listen, it's an interesting take.

But to Martin's question, yes, fiction does skew female

in writing and in reading, but not as much as they say.

And lots of people are trying to encourage more men to read.

But essentially, we're trying to encourage more people to read.

We're trying to encourage more children to read, more women, more men, more everything, because, you know, books do make you smarter.

They do tend to make you more empathetic.

And it also takes your face away from a screen.

And that, you know, it's your brain does change.

And we all know when we can fall out of love with reading for a month or so, and then you, you have to sort of force yourself back into it.

And when you do, you're always happy that you did.

But

yes, it's female-dominated, but not as much as they say.

And the more, the merrier.

Oh, thank you.

Well, that's a much more optimistic take than I had feared at the start of the question.

Marina, Mark East has a question for you.

He says, during an important parental lecture on patience, triggered by a 12-second YouTube buffer, I recounted how tough we had it in the olden days, the 1990s, when we would wait patiently for months for the UK release of a film compared to the US.

I remember those days.

Why did that used to happen, those big release gaps between the US and the UK?

And what changed to bring global release dates closer together?

Has that shift had any real impact on the industry or box office behavior?

Well, those are all very good questions.

And yeah, exactly.

Skip ad or you know something buffering you never had it so good kids um yes this was the thing now this there was a very very rigid system of windows of what happened uh with films and the us basically because most of the films were made there um obviously it's different with bollywood films and things like that um but they were obviously prioritized in terms of market rollout and when films were shipped on physical reels, you showed in the US first and then you shipped the reels overseas and you needed all that extra time between release for things like, I don't know, dubbing and subtitling and local marketing, whatever that, all that sort of stuff.

But you also hoped,

because you could, because this is the system you'd created for the world, was that the US run would get a buzz and that would sort of serve as a momentum type of marketing campaign for the international rollout, as would the box office if you heard that something had been a huge hit in America.

And so, yeah, the 90s that you were talking about, i think in 1995 the average movie hollywood movie came out in the uk um on average four and a half months after they had in the us that's insane in the 90s i know but you remember it you know and i'm going to talk to you about the various windows in a minute but then 10 years ago the average was three weeks after uh now as you can see it's simultaneous by the way obviously that's it's all digital now and so you're not shipping these huge literally physical reels of things anywhere.

But there are various reasons this happened.

So,

we'll go back over the decades, pre-Jaws, pre-Star Wars, all that sort of stuff,

which we've talked about before, you know, movies were sort of opened in a kind of roadshow-style way.

You'd open them somewhere, you'd rip them on sort of limited release, and then if they were popular, you'd roll them out and they'd go onto wide release, more than 600 screens.

And then, anyway, Jaws comes along, and they have these idea, and then we all become used to the idea of blockbusters, and everything wants to be a blockbuster.

So, the 1980s to the 2000s, it's all wide release.

Now, the 2000s and 2010s are where it all changes because

things go digital, and as soon as things go digital, you have the piracy risk.

And that's what really changed.

Yeah,

everything changes without piracy risk.

And now, in the 2020s, obviously, you've got the streaming issue, so things have much shorter theatrical runs.

But

so what these were called windows, and this is how it went in the olden times.

And you can tell your child that this is how it went.

You would have the theatrical window, i.e., cinema.

It was then available for hotels and airlines.

Don't forget, you could sometimes, I mean, I didn't do this, but I knew people who'd say, oh, yeah, I saw it on a plane.

You know, how have you seen Beverly Hills Cobb?

I've seen it on a plane.

Well, excuse me.

So then it went to rental and then retail.

So you could buy the disc or whatever it was or the VHS or the

DVD.

Then it went to pay-per-view.

These are all the windows.

They're like eight windows.

Then it went to video on demand.

Then it went to pay television.

Then network television.

And then finally, it could be sort of syndicated, right?

So

that even that rental

window had eight weeks exclusivity.

So that,

but that went, I think in the mid-2000s, Warner Brothers had a big, a big standoff with Blockbuster because Blockbuster said, we will not stop Warner Brothers films if you can buy them on the same day that you can like rent them in Blockbuster.

We, you know, because we, we, we won't accept that.

But they came to accept it, Richard.

Like so many of these businesses, they caved.

Um, and then all the other window, once that had happened, all the other windows began to look vulnerable.

So studios were thinking, well, hang on a second.

If I, if something's miles apart, well, I'm spending all this money and we know how much marketing costs, they don't want to spend all this money and then like six months later say, oh, it's now it's out on DVD or, you know, now you can watch it.

I like to spend it again.

Yeah, you basically want there to be a sort of momentum.

And so now we're, so yes, it's changed everything hugely.

As you can see, there are certain people who desperately want theatrical release for their win, for their stuff.

Netflix say we don't give anyone theatrical release.

And oh, hang on, except for you, Greta Gerwig, who's doing your Nania movie.

So she's managed to get a carve-out for that.

But then it's like, we'll have some Thursday Murder Club.

And Thursday Murder Club.

Yes, Thursday Murder Club will have a theatrical release, and then it will be on the platform.

How long between all those?

I mean, it would have to be, you know, with certain things that

like, you know, whatever the rocks, Christmas, was it called Red One?

That ridiculous thing with a rock.

Yeah.

Well, I mean, that would have been each one of those windows, those eight windows would have taken about 15 minutes with how quickly they got that out of theatres and onto the service.

There are many things.

So all of this is collapsed.

And that collapsing Windows thing was a big thing.

And you still see creators still want their movies to be theatrical.

Studios actually would like to have, lots of people would like to, the theatre owners would like to have longer release in cinemas because it allows them to make money.

If you've got a two-week release and then it's going to somehow end up on the platform or on Apple or wherever it is, then really you just know that people are waiting at home see it so you can't really make money out of the out of the property at all.

And so they want to have longer releases.

Everything has basically been thrown up in the air and it hasn't properly settled.

It's still very, very difficult.

And it definitely hasn't made anything better for the cinemas.

It's become a nightmare for the cinemas.

But, you know, yes, it's good that everything can be released worldwide at the same time now.

So we immediately see.

the combined box office for a film.

So you can see

the way the American trades break it down, you'll see the domestic box office and the worldwide immediately,

which also makes your film look much more profitable in an era when films are much less profitable.

And the only time you really still see that delay now is with indie films or films that do get a bit of a buzz.

So

they might do well in the States and then they'll come over and we sort of read about them and looking forward to them opening or something like the Battle of Wallace Island that was huge in the UK and therefore gets a much bigger rollout in the States sort of the next month.

So that still happens, but it doesn't happen for any of the big movies.

Or they don't have a distributor.

You know, there was a film that had a little bit, you know, just a kind of low-budget comedy called One of Them Days.

And I remember reading about it and thinking, well, when can I watch this?

And it was a long time till I could watch that.

But clearly, because it didn't even have a UK distributor.

And there are lots of situations like that, as you say, with the Indies, but with the big studio movies, they try and open them simultaneously.

And piracy has become

a big part of why they did that.

Piracy is a thing.

Whenever you get proofs now for new people's books, it always has, like, I got a book this week, the new Francis Spufford book.

It's one of my favourite authors.

But it has the word Faber written in very dark ink across every single page that is it's unreadable because

it has Faber written across every page.

Chris Columbus, who's who directed Thursday Murder Club, he just got a copy of the new Thursday Murder Club book, The Impossible Fortune.

But he says it's got Chris Columbus written all the way across every single page.

So listen, the top and bottom of each page, I have to say, are great.

He said, the middle of each page, I have no idea.

Oh, this is a good one about promotional work for movies.

Ella Worsley says, will actors be contracted to attend red carpet events and do cover shoots?

If so, who pays for their dresses and hair and makeup?

Ah, well, I've been

literally had a big meeting last week with Netflix about Thursday Murder Club.

So I've been right in the heart of all this.

Yes, basically, yeah, for any TV show or for movies or anything like that, in your contract, it will ask you for a series of days to make yourself available for promo duties.

Red carpet, slightly different.

It might, if you're the big star of the movie, then you'd have to be on the red carpet, but otherwise it'd be, can you turn up or not?

But every single time a big movie comes out, they'll get hundreds of pictures in from all the big magazines.

You'll get, and you know, people who want to host the premiere, places who want to host the premiere, they will be apportioned out to the stars of that show.

requests will go out to those stars and the stars usually should say yes to two or three of them.

You know, that's the idea.

All they're gone are junk it, they'll have like a junk it day where they'll do lots at the same time.

But yeah, it's absolutely in their contract.

In terms of photo shoots, in terms of premieres and stuff like that, they, yes, they, you, you do get a glam fund, which is

if you are turning up for a red carpet,

the film company, the TV company is very, very aware you're being photographed everywhere, and those photographs are going to be used by the TV or film company.

And so you are given a budget for hair, hair, makeup,

for dresses, for whatever you want to wear.

So there's always that as well.

So yeah, people are not expected

to fund a red carpet look by themselves.

And most people, you know, you absolutely can do, and lots of people do do.

But if you do need hair and makeup, that does get paid by...

your Amazon or your Netflix or your Lionsgate or whoever is making the movie.

But yes, it's all written into the contract.

That's why quite often when you get, you know, there's all sorts of headlines saying Piers Brosnan speaks out on this, or Tom Cruise reveals this, is none of them are revealing anything.

They just

have to do three interviews for the thing that they have to contractually do three interviews.

They will have to answer the questions that they're being asked.

And so people often go, Oh, God, why don't celebrities shut up?

And you go, Well, I mean, celebrities are very, very, very happy to shut up.

But every single time they see anything in any interview, it immediately gets reported.

And of course, all those interviews are asking, you know, things that try to lead them into

giving stuff away.

And so it is contractually, you have to be talking and you have to do interviews and you have to go on the red carpet.

And that it's not like, oh my God, these people are desperate for publicity.

Oh my God, these people love the sound of their own voice.

It is contractually for anything you do, part of your fee is you have to promote this and you have to say yes to a certain amount of things.

You can always turn things down, but you can't turn everything down.

So you have to pick and choose the things you want to do talking of uh red carpets by the way a perfect place to say we're not doing a bonus episode tomorrow but anyone who is a member we have 10 tickets 10 pairs of tickets to give away to the thursday murder cup premiere in august in leicester square uh everyone will be there uh mirren brosnan imri kingsley tennant the cast will be there uh we'll be there so if you are a member in your newsletter you get a chance to apply for those If you're not a member, by the way, and don't want to be a member, there is a, you can follow my Penguin newsletter as well, which is absolutely free.

And there'll be tickets there as well.

But yeah, we're trying to do a premiere where there's lots of members of the public there and not just,

you know, influencers.

I think is the idea.

The people's premiere.

The people's premiere, exactly that.

So the stars will be there of the actual film, but hopefully apart from that, it'll be.

it'll be fans that's the idea and i'd love it if uh if some of them were listening right now and you can find details about our club at the RestorsEntertainment.com.

Now, I think that about wraps us up for today, Richard.

Thank you for all your questions, everyone.

Will you be back with us next week?

You'll be delighted to hear that I will be back

where we belong next week.

In a dingy basement.

Yeah, in a dingy basement, but together.

See you in that dingy basement next Tuesday.

Yes, please.

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