Chat Show Secrets, Restaurant Reviewers & Glasto Sound checks

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

I'm Marina Hyde.

I'm Richard Osman.

Hello, Marina.

Hello, Richard.

How are you?

Yeah, I'm all right.

I'm okay.

Lots of fun questions to get on with.

I'm very excited by lots of these questions.

This one, I actually really want to know the answer to, and I know you will.

Kate Heath says, on the programme The Trip, the amazing programme The Trip, how many of the people in it are actors, e.g.

when they're in restaurants, etc., are the staff actors or actual waiters?

I'm really looking forward to the new series in Scandinavia.

I'm so looking forward to the new series in Scandinavia.

I've got a lot of times ever the trip.

I love it.

This is Steve Coogan.

This is Michael Winterbottom.

Steve Coogan and Rob Bryden go, if you haven't watched it, on various culinary tours and it's a sort of weirdly fictionalised but also not fictionalised.

Sort of traveloggy thing where they go to beautiful places, eat beautiful food.

They do a lot of celebrity impressions.

Do a lot of celebrity impressions.

Yeah, it's like gone fishing.

but for food, but also slightly fictionalised because there's always some sort of little storyline.

It's absolutely fascinating as a kind of creative endeavour on every level and I completely love it.

So yes, I'd like to know this too.

I mean presumably the waiters are so good and they must work in the places because it's part of that serving is so high end.

Well I spoke to a man called Rob Bryden.

Do you know him?

So

yeah, I heard of him.

So I asked Rob your question, Kate.

He was delighted that you'd asked and delighted you're looking forward to the new series as well.

He says that often it will be waiting staff or often it will be friends of the restaurant owner.

So the restaurant owners know you're coming and they know you're taking over the restaurant or a section of the restaurant for quite some time.

And so they will have somebody who they absolutely know and trust and, you know, will work for the whole day and they know will represent the restaurant in the way they want to be represented.

And Rob says, you know, they get everyone's always excited to do it.

He said, however, they eat each meal three times.

So when they go to these restaurants, it's lucky they go to those sort of restaurants where they just sort of serve in like one cube of red currant jelly with a, you know, an anchovy, it's that sort of thing, and so they don't fill themselves up.

But he says, Yeah, we we eat each meal three times.

So, Italy was a bit more of a challenge in that case because that wasn't

a lot of food, but because you've got Michael Winterbottom directing, who's a movie director, he wants to be around various angles, he wants to do lots of different improv, you know, he wants to get the best out of everyone.

So, do it three times, different angles, um, retake bits and bobs.

So, he said, you know, even the sort of most friendly of the owners, waiters and waitresses you're ever going to get, by the end of a whole day they're like oh you're doing that again yeah oh you're oh you're doing sean connery again rob okay what could be more scintillating than making television yeah exactly but he does he says it's genuinely a really wonderful day of filming and the restaurants of course love it because it makes the restaurants look incredible and it's very respectful of food isn't it it's one of those things that's oh completely but i mean it is very technical that the waiting and the serving of that type of food is very very technical so you could you couldn't just say just get an ordinary supporting actor to do it with no offense to the ordinary supporting actors but it is actually an extremely skilled thing a lot of the people I know have done a lot of supporting

acting work have also done a lot of waitressing you're right that's a good point but have they done it in one of those type of places because I always think that's a when you're when when you're having a tasting menu done to you and I often feel that it is being done to you you can see that it's quite a sort of tall order and then Kate as you know around that there's there's all sorts of little narratives that go on you know between the restaurants but yeah the bit in the restaurant they're there all day, they eat three times.

But yeah, the staff are the staff or someone that

the owners know and trust very, very well.

And everyone has a jolly good time.

But I cannot wait for that new series.

First, it always looks beautiful.

It looks incredible.

But there's something about the two of them together that is so

Rob Bryan

humanizes Steve Coogan in such an interesting way.

But you know what I mean by that?

Yes, he does.

He's a support animal.

Yeah, it's a support.

But he's not a support animal because I literally love Rob Byden more than anything.

And

it is so compelling and it is so warm, but it is also so edgy and you know, bitchy.

Yeah.

And it's all of the things at once.

I absolutely love it.

I can't wait.

It's such a treat when it comes.

You just think sometimes I save it all up and think, well, I'm going through a bad patch, but this, I won't be able to on this occasion.

And if people haven't seen the previous series, by the way, absolutely catch up on them.

There's Italy, there's one that's in the UK,

one in Spain,

and Scandinavia, but really, really worth seeing.

And just is what you know, those two, they're such a brilliant double double.

I mean, I'll watch Rob Bryden in anything, and I'll watch Steve Coogan in almost anything.

And the two of them together is a tremendous.

And that is a genre of one.

And anything I think that is that original and unusual and kind of slightly hard to describe is just evidence.

But anything that's genre of one, I think, is always worth your time.

Now, a question for you, Marina.

Shall we stick with restaurants while we're on the subject?

And should we stick with Kate's and Katie's as well?

Katie Roberts.

Katie Robarts.

Is Katie Robots or do you think someone's just mistyped that's Katie Roberts?

I don't know.

If you were called Robots as your surname you would spend your entire life having to spell it for people.

So for Katie's sake I sort of hope she's Roberts but perhaps she's Robots.

To us she'll always be Robots Katie.

She says restaurant reviews are usually really good and gushing or really bad.

Do they generally pick places beforehand they know will be more extreme either way to lead to more entertaining reading?

Okay, that's really interesting and I was actually talking about restaurant reviews with a friend of mine this week and thinking about what they are.

It depends what Steve Coogan is writing.

The Steve Coogan character, Steve Coogan, in the trip is always writing it up for The Observer or The New Yorker or somewhat, you know, he's sort of doing an article.

And there's something about that in the

in the even in the fiction, they've hired someone who's going to riff on this and that, and it's not just about the food.

Restaurant reviewers fall for me into two categories.

Some who are real food writers and know all about it.

I can't, I have to say, I think this is what I was talking about with my friend this week.

You have to do some crowd pleasers.

Some people think, no, I just want to go to great restaurants and foreground them to our readers and say they'll go, you've got to accept that a lot of people are reading the restaurant review because they like your writing.

Most people do not live in the place where the restaurants go to those restaurants.

And even if they are in that place, they won't get a table.

And so, yeah, it's a...

And it's expensive or whatever.

So you want to be telling them something about their world.

And it might begin with a sort of riff on something completely different.

And, you know, many of

our most beloved restaurant critics will write a huge 500 words on something completely different and then you'll hear a bit about the food at the end you know you just have to accept that you're in light entertainment i mean do you think i think i'm in the bus if i'm writing a column about politics do you think i think i'm in the business of changing the way governments do things don't be silly i think i'm in light entertainment and that is honestly how even though you might feel grand and think i'm doing it no i don't think that light entertainment suits you yes well i mean

i want to give people three or four good minutes with something i'm sorry i i really I mean Calvin McKenzie who used to edit the Sun and obviously I know people have a number of views about him but he used to just say about it yes, but he'd say about the paper I want to give people a good half hour with a paper and I feel often you know if you're writing anything really instead of thinking imagine yourself as someone who writes for a newspaper news outlet that you're moving markets or changing the world or anything like that think am I giving people a good three or four minutes with this with this thing I've written and that is I think a good half hour with a paper sounds like a night after a particularly bad meal.

Yeah, and

I can certainly equate that with Kelvin McGill.

But the point is that

you're trying to sort of serve the consumer in one way or another,

and it should be entertaining.

And so, I do think that if you're reviewing restaurants, you do have to go and do something stupid, like think, okay, even though everyone hates sorbet, I'm going to have to go and have a look, or I'm going to go to some,

as well as, you know, then there are obviously the bigger openings, and

your editor might say, well, this chef's got a a new one opening and you'll go along because they're a sort of figure in the world yeah um I mean I remember my friend of mine was a restaurant reviewer for a long time and I used to go to so many of them with him and it is extraordinary first of all it is extraordinary when you go to that many because I used to often often go with him I remember you know someone had sent us to a place and said it was supposed to be quite good it was the first of all it was a disaster and then the people were saying to us I'm really sorry chef likes to see clean plates

I remember my friend said I'm so sorry I'd like you know a full head of hapa and a washboard stomach, but we're all having to make compromises here.

Does the restaurant know that the reviewer is in?

They try to keep themselves secret,

but sometimes, you know, if it's Giles Corrin, you're going to know who it is.

And if it's Jay Rainey, you're going to know who it is.

But Marino Lachlan, who wrote for a long time for the Sunday Times and also The Guardian before, has managed to keep her face secret so people didn't know what she looked like.

And that's someone who I would say is a definite, a brilliant food writer and understands all of that world.

And it mattered that people didn't know what she looked like.

You always see the numbers in

newspapers and things.

Do the pans, I speak deep pans in terms of restaurants, do they get bigger numbers?

Are those the ones that go viral when someone goes to a restaurant and really, really has a terrible time?

Yes, I mean and it's like one-star movie reviews.

You know, reviews, people,

if it's a five-star one, they do well.

But I mean, I think one-stars probably do better than anything.

And the difficulty is, you are, when you're writing film reviews, of course, technically dealing with someone's business, but it's, you know, a big movie studio and you just have have to live with it that there's something different about doing it to a restaurant i mean i'm this friend of mine who was a restaurant review if i would once i remember when greg wallace had a restaurant open i mean again it was terrible but i slightly felt we'd gone along just so he could use the line cooking doesn't get rougher than this

but you know it was a great line and i'm sure that one went viral too but they tend to when i've seen like the the proper pans it tends to be like if a restaurant has been opened by you know some huge restaurateur or someone with deep pockets they tend to do that they tend not to go to to sort brain 100% they tend not to go to a local neighborhood restaurant I see them if they go to a local neighborhood restaurant and have a terrible meal they just go I'm just gonna leave maybe I just won't review this I don't need to review you don't have to review you know I know like just as the film critics go along to lots of films and think you know there's actually no this obviously took a long time to get this little British film made I don't actually have to give it a huge kicking yeah I'll save that for the new Jurassic or whatever it is

and yeah but as in general I think my personal principle is that you you probably are right you're in a form of light entertainment when you're doing any of these things, political economist, restaurant reviewer, film reviewer.

It's all.

I sometimes think when I present Chris shows, I think, you know, in some ways this is light entertainment.

It's possible, I mean light entertainment.

You know, obviously I don't really think that.

What I think is I'm doing some great treatise on the human condition.

But sometimes I like to pretend it's light entertainment.

You know, what I like is that it just rattles both worlds.

Yes, exactly.

Yeah, mainly, mainly light entertainment.

Talking of treatises on the human condition, someone's got a question about House of Games.

Bethany Squire says, You mentioned a possible House of Games special.

Well, it's not even a possible.

How do you prevent contestants from interrupting questions?

They seem to wait a few seconds before answering, which helps viewers at home.

My husband thinks it's editing, not just your instructions.

Oh, Bethany, it's so annoying when your husband is right, isn't it?

That's the last thing you want.

Like Bethany's husband punching the air currently.

Yeah, you can buzz in at any time on House of Games.

And people buzz in before I said the first word sometimes when the things are up on the screen

and then at the end of each each show or in fact at the start of the next show I will then re-record all of the questions just because it's no fun to watch a quiz show at home if you were watching the show as it actually happens especially if you've got two competitive quizzes I get like one word of a question out so you would not have read the question at home and the person would have buzzed in and answered it so awful because the contestant has to realize they're on a light entertainment show as well yeah but the competitive thing I've done one before where I just literally felt like I have to I know this answer yeah I've got to buzz in

it doesn't matter whether you win or not because you're in light entertainment.

I know, but you sort of do want to as well because also they're spending all day together.

So there's a friendly competitiveness.

So, no, they are absolutely, they do not have to sit there as I go, okay, and now you may buzz.

They buzz in whenever they want.

We then edit all the questions in at the end of the show.

When celebrities come on and watch it and they realize that,

they sort of are crestfallen and say, like, oh my God, I thought I was good at this show.

Because at home, I'm like, God, sometimes halfway through the question, I get it right.

And

everyone on the show is like waits forever and I go oh no but then they get there they go oh it's it's literally almost instantaneous and we we finally off our bonus episode tomorrow is a is a day out at House of Games we just finished 110 episodes as I said I think I said on Tuesday and so we've got a day out where we talk to all the people who work on the show all the little secrets of the show what a day on house of games looks like so for anyone who is a member or would like to be a member it's a wrestlersentertainment.com we have a life in the day of house of games but no that's the one thing when i suddenly see some

celebs who are good quizzers who are just thinking, I'm going to absolutely ace this because I, honestly, I interrupt most questions before they even get read out.

And nobody does that.

And you go, everybody does that, I'm afraid.

But quite often on the shows, we'll be going, oh, my God, that was a, God, you got in quick there, or, oh, my God, you're so quick.

And people at home must be going, it's not quick.

It literally, like, every question is like waiting a second to laugh at the thing.

But anytime you ever hear that, it's because someone would literally have buzzed in before I've said the,

because they'll see it on the screen and they'll just go boom and straight in.

And it's

sometimes the bane of your life because every time they do it, I'm like, okay, that's another pickup.

Okay, now I've got to do another pickup.

Sometimes when you get people who don't buzz in, I'm like, great, I will have no pickups at the start of the next show here.

But yeah, the first five minutes of me recording any episode is me recording all the questions from the previous episode until I think I've gone insane.

That is such a fun episode, by the way.

That's such a fun bonus.

The bonus one, yeah, yeah.

Yeah.

And I recommend you all listen.

I hope it's interesting.

Basically, there's lots of people I know telling me what they do.

Because sometimes when you're on the floor, you go, oh, of course, you do actually have a busier day than that.

Yes, of course you have to do that.

Shall we listen to some adverts?

Let's.

I don't know why we say that because we're not going to say no.

No, we're going to.

So

let's listen to some adverts.

Yeah, just let's do it right now.

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Welcome back, everyone.

Marina Sarah Wilson has a question for you.

She says, My family and I have just returned back from a theme park holiday in Orlando.

Wow, that's like Ingrid's dream.

And mine.

Yeah, she would.

The two of you should go together because I don't want to go.

She said, We absolutely love the Star Wars Galaxy's Edge at Disney and the Wizarding World of Harry Potter areas at Universal.

We were astonished at the level of detail in these zones.

In particular, the Cantina Bar at Disney and the new Ministry of Magic at Universal Epic Epic Universe looked exactly like they do.

Ministry of Magic at Universal Epic Universe.

Is it called Universal Epic Universe?

Wow.

Okay, guys.

Absolutely.

Marketing much.

Anyway, they looked exactly like they do in the film.

How do they get these areas to be so accurate for theme park guests?

Do they have access to the original set designs?

Who signs off on the finished construction?

As you know, I've banged on about on this podcast many times before.

I love set design.

I've seen so much footage of that Moss Icely Cantina.

And it's really amazing because when you watch the original Star Wars movie, the thing about Moss Icely is that a lot of it is the people who it's a wretched hive of scum and villainy, so it's the people who are wandering through that cantina who make it.

But the fact that they've managed to make it feel like you're in the vibe of it, you know, you're only allowed like two drinks and then they move you out because people just want to stay there and they're playing the cantina music.

But also it's dangerous because some of the worst villains in the universe are there.

So

you're inspired by bounty hunter to do something you didn't want to do.

A huge advance in materials has been a huge advance because in the old days you used to get like a lot of like fiberglass water.

Everything was made of fiberglass, including cinderella's castle cinderella's castle in except in eurodisney where they were really so paranoid the americans had a complete crisis of confidence and thought oh my god france is full of actual castles so we're gonna have to build cinderella's castle out of actual stone unlike plastic like we build all the other ones fiberglass yeah but it'll look much worse in stone yeah yeah yeah i mean the whole opening of that park is a five arc uh five episode arc of bonus episodes let me tell you so yes okay we spoke to george lawton who is a theme park lighting designer and he said that's a cool gig I know.

And actually what George said is that scene design in the States, it's a waning business really, because so much more is CGI.

And so lots of the most talented people in that business are moving over to what is a huge growth market, which is themed experiences.

The reason you can go in the old days you would go to maybe Universal Studios and Disney World and if you think how many different worlds there are now, they've got the Star Wars, Harry Potter and all of those, it's billions and billions every year to the US economy.

George says that the the accuracy comes from the talented, nerdy people who spend years dissecting the plans and construction methods to bring them to life.

You can obviously 3D model everything and you can get people to walk through it.

For something like the Wizarding World of Harry Potter, and it's so detailed, it's unbelievable when you're creating sort of Hogsmeade or whatever, even J.K.

Rolling will be taken through the 3D modeling of all of it.

And by the way, actually, I've got the most brilliant book about this, and you won't believe it.

Richard Ingrid came to my house on Saturday night.

You will have seen that all the empty bookshelves, which, as you know,

only moving in, yeah, exactly.

Given the issue with the bookshelves, which is coming down the slitway, it's a bit, I felt like it was a little bit like seeing one of those scenes at the start of an Oliver Stone movie, and it's just like a sort of Vietnamese rice field.

And

all the helicopters are a lot of boxes full of books, and I was thinking, where are you just leaving them like this?

These are a pre-war zone.

Perhaps this is your new system.

Well, actually, one of the weirdest books I own, which is totally fascinating, there cannot be another book like this.

It's by this guy called David Younger, and it's about theme park design.

And he sort of codified everything about theme park design I think he did a doctoral thesis about it But because no one had spoken to anyone who builds all these parks he went and spoke to all the Disney Imagineers which is what they call them and everyone told him all of these things and like you know how many fireworks you do and all about roller coaster design It's it's so technical.

It's absolutely mental.

It's a completely weird book.

It's called theme park design.

It's like an academic

but it's the only time anyone's ever tried to put everything about that they know about theme parks and every you should see the quotes on the back from absolutely every single person who runs every biggest park in the world anyway back back to what george has told us but you have to understand that these parks are all outside and so the advances in the materials are really important because they're in all weathers people are obsessed with making these things immersive because the whole thing about you know she loved going to the moss icely cantina but if there's no if it's only just people in their shorts and t-shirts who are on holiday in a park walking around you really have to make it work so some places will even if there are characters walking around they'll train them in how to do it so someone had to fly over from the walking dead you know at thorpe park um

they've got a Walking Dead ride which I've been on several times.

Some people from The Walking Dead flew to London to teach the actors how to walk for that, how to be proper zombies.

So it's just fair.

We all know how to walk like zombies.

I'd like to be able to give my zombie before being told that I had to do it in a certain way.

Okay.

David Young's book is so weird and niche, but if you ever see a copy of it, I don't even know if it's still for sale anymore, but it's like one of the only books I've taken out of my boxes.

But he divided all visitors to parks into three tribes.

He said there are thrill seekers, there are character huggers, and there are world travellers.

World travelers are the ones who want the world to be so totally immersive.

And so that's what you like, Sarah, is that you like you're a world traveler when you're going to one of these parks.

And the advances have made them so amazing.

If you go back in the past, they were really quite basic.

But I remember the first time I went to Disney World, and one of the oldest rides then was Pirates of the Caribbean, which they subsequently, I remember thinking, this is so weird.

They're making a movie about a ride, but anyway.

did pretty well I heard.

I remember thinking this is so amazing.

How have they done the ceiling like that that it actually looks like the night?

Everything else looked like quite old and like these weird old puppets.

But the ceiling genuinely looked like, it didn't look like there was a sort of black cloth over it.

It just looked like the knight.

And I made my husband go around it about three times

because I just wanted to see how they'd done the ceiling.

Poor Kieran.

Yeah, I know.

That's one of my favourite things about visiting the Thursday Murder Club set was seeing the set people and seeing the designers and seeing what they'd made and just watching them sort of build the whole insides of flats.

And that's the thing, they're just incredibly good at it.

It's like the people who actually build castles and build, you know, people are doing this in the first place.

And these people have exactly the same skills, but they work in show business.

So, you know, some of the flats in Thursday Murder Club, you think, God, I would absolutely love to live here if only it had four walls.

Yeah.

But they're just beautiful and beautifully designed.

And, you know, attention to detail, every single thing.

Every detail about your character's pasts and things, tiny little things reflected on the stuff they might have on their desk.

Or I find it so amazing.

I remember when I worked on Avenue 5, which was set in space, and Simon Bowles was the production design.

He's an incredible production designer for that.

You would see honestly on the back of these tiny little logos that no one could ever see, like on the back of people's shoes.

The detail was beyond granular on every single thing.

It was extraordinary.

Ingrid sometimes talks about going into the TARDIS and just how, as an actor, how you just feel, because it's so brilliant, you genuinely feel you're there.

Like I said, it doesn't feel like a set.

It feels like this real environment.

And that's the art of all those people.

And I'm so glad that because the experiential industry is now massive, right?

And it's huge.

And the fact, as you say, that CGI took a lot of those jobs away, but there's so many jobs now in this industry.

And there's only going to be more and more as well.

Yeah.

Okay, Richard, for you from Mike McDonald.

I've been thinking about Glastonbury sound check, says Mike.

With normal gigs, bands arrive early, do a full sound check with nobody around, and then the gig starts and everybody's set and ready to go.

How does that work at Glastonbury?

Surely there isn't time for any sound check.

Yeah, I'd always wondered that funnily enough.

And I'd never asked my brother, so I thought I finally will.

Because, yeah, anytime you ever go see a band or hang out on a band, you go and see their sound check in whatever new venue they're in.

And, you know, it's a sort of half an hour and you know, all that kind of one, two, two, two, all of all of those things.

Firstly, that world has changed a lot for various reasons.

But yeah, secondly, so I talked to Matt, and they've headlined Glastonbury and done all sorts of things.

And he said, Yeah, you don't get a sound check at Glastonbury.

He said, What you might get if you're a headliner is a line check.

Now, this is interesting about the ISIS thing the other day.

So he said, a line check will be your crew can play a previous live recording through the PA to hear how that sounds because they know how you normally sound so they'll so it's not you but they'll play a live recording.

And that was there's lots of clips that went viral when Oasis played in Cardiff and like the day before when people are going, oh they're already here.

I can hear them playing.

And that was the crew doing exactly that, playing a live recording through the PA to see how it sounded, essentially, which is a common thing to say.

But Matt also says these days almost everyone has in-ear monitors rather than so actually quite when you see those wedge monitors on the front of the stage which are you know the things that you know people put their foot up on when they're rocking out a lot a lot of those are faked and a lot of those won't ever be plugged in so you've got in-ear monitors and you also have a thing which are called modelled amps which is essentially ai for amps which is it's a computer thing and you can recreate any amp sound through it so if you've got like a 70s vintage amp it can it can literally make that sound for you it's not perfect if you're going to a Glastonbury of course it said it will sound perfect on TV because the TV will take your the soundboard feed which is you know you're able to control completely you know pretty much how you sound in these areas you you know the the in-ear monitors and all those things are so amazing these days that actually you need a sound check less but yeah the sound at Glastonbury won't be the perfect sound that you want but for the headliners if you're like 1975 they would have tested every single bit in some big shed outside London two days beforehand.

So

you can control everything you possibly can control.

It is, some of it will be in the lap of the gods.

But if you're listening on TV, that sound should be perfect.

Thank you, Matt.

Let's finish with this from Mike Collins.

This is an observation more than anything, but it's a fun one.

I'm a bit of a talk show fanatic, love watching them all from the UK, whether it be Jonathan Ross or all the US late-night TV shows, Letterman Will Never Be Beaten, says Mike.

Agreed.

But over time, I've noticed the positioning of the hosts tends to be to the left of the guests in the UK and to the right of the guests in America.

Why so?

That is definitely true, and it's really interesting.

I definitely think it says a different, slightly different thing about the status of the talk show host in American culture.

Your

Western readers read things left to right, and so your eye sort of comes to rest on the right-hand side of the screen, and therefore that's regarded as the more sort of prestigious place because it's where the eye comes to rest.

And by the way, and that works in visual mediums as well.

If you think about watching a film, weirdly, you are watching from left to right, is the weird thing.

And actually, in Hebrew or Arab things, where

they don't have the same thing because it's a different way of reading.

In the US and the UK, we read in the same direction.

It was Johnny Carson who originally started that whole kind of desk late-night format, and he put himself on the right.

And so, therefore, people sort of just copied Carson to some extent.

And apparently, there were kings used to sit there in state banquets and things like that.

But, British and Irish talk shows have often had the host on the left, if you think of things like Wogan or Graeme Norton or anything like that, and Parkinson.

I slightly feel like it's because we defer more a bit more to the primacy of the guest rather than like, this is my show, I'm the boss here, I'm the guy behind the desk.

Whereas, we sort of, I think, slightly defer more to the guest.

Jonathan Ross, when he went to ITV, did go over to that US thing of being on the right.

It's interesting, actually, it happens a lot in portraiture as well.

People's faces face left to right, and that's regarded as a sort of the dynamics, even of painting, even you go right back to the Renaissance and people are doing it like that.

It's feel you'll feel like someone's got a sort of forward dynamism.

It's a power move.

But in breakfast TV, funnily enough, we think, oh, the status is the person on the left of the screen.

And there's always a lot of furore.

We're like, why is the man man there and the woman there?

And then some people will say, oh, no, no, one's eyes read across.

But actually, people think, oh, they put the senior presenter on the left on breakfast TV when they're both on the sofa together.

Keep an eye on that all the time.

There's also a camera shot thing with most people are right-handed and shaking hands in a certain shot.

You know, you want to see if you shake hands from the right with your right hand, I'm not seeing you.

Whereas if you shake your hands...

Holding up someone's book.

You don't want to reach across yourself

if you're interviewing someone.

So that's part of it, too.

But mainly it's the divine right of kings.

Yeah, the divine right of the American late night host.

Yeah, as so often in TV.

Thank you, Marina.

Covering the show.

Thank you so much.

We did.

We've got our bonus episode tomorrow, which is a day in the life of House of Games, talking to the whole gang there: the producers, question writers, directors, just wardrobe, just all sorts of people who do all sorts of different jobs on that show, which I hope people find interesting.

I have no idea if it's interesting because it's.

Yes, I found it really interesting.

I really loved it.

If you're not a member, you can sign up at the RustasEntertainment.com.

But other than that, I'll see you next Tuesday.

See you next Tuesday.

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