The Most Dangerous Job in TV

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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, and we have a whole plethora of questions lined up.

We do.

We actually have something really nice at the start, which, Richard, I'm afraid this one is for you.

This is from Phoebe, who's going to be a maid of honour.

She says, My best friend's getting married on Saturday, and I want to impart some wisdom from three famous people, one of whom is you, that have had a special place in our lives.

Do you know why that you've had a special place in their lives?

Because when they were at university, they tweeted you, saying you're the type of man who would go to the shop and get milk and come back with a bottle of champagne.

Which, by the way, I think is the nicest thing that you can say about anyone.

And it's lovely.

Yes, you are like that.

And you replied quite simply by saying, absolutely.

So you mean a lot to them.

And now there's a wedding on Saturday.

Are you saying I'm like their Nelson Mandela?

Oh, yeah.

I think

she doesn't want to say it in so many words.

I get it, Phoebe.

She's British.

But yeah, I think that's pretty much what we're saying.

Now...

The question is, what advice would you give a newlywed couple to keep the conversation interesting?

Gosh, marriage advice.

I I always remember there's that funny story of their couple who'd been married 70 years, so they're both in their 90s, and the guy gets up and makes a speech.

You can find this on YouTube.

And he says, people often ask, what's the secret?

of a long and happy marriage.

And he said, well, it's this.

He said, right from the beginning of our marriage 70 years ago, my wife deals with all the small problems.

And I, I deal with all the big problems.

In 70 years, of course, because my wife deals with all the small problems, there have yet to be any big problems.

I thought that was, I thought that was.

oh that's lovely okay well phoebe i hope that's a very that's a good one for you and your friend and congratulations to you yes please please wish them my congratulations as well can i just say that the very nice guy pete who i um took away some of my moving boxes yes uh is a giant fan of the podcast also said there's never been an argument you've been on the wrong side of me you can imagine how much i hated that richard but he made me do the game made me do the gate the a-list game we played yeah last week on my doorstep said i want to see if you could actually do this and literally was just standing on my doorstep shouting, like, you know,

Kate Blanchard, Tony Collette.

Did he say?

Tony Colette, I think you're stupid.

Did he say you've never been on the wrong side of an argument?

Oh, yeah, I've said it wrong again.

I've done that thing where I've done, they said that the wrong.

Well, there you go.

No, but so he thinks you're right about things.

He thinks I'm right about things on the right, I know.

And you're letting this guy move valuables.

That seems to me.

He took my boxes and he's going to come back to take some more boxes.

Empty boxes.

Or Klutzy Pete.

He's not a Klutz.

And it was quite fun playing the game on my doorstep.

He was like, I just wanted to see if you could do it.

I was like, I can do this anywhere.

I can.

I mean, he's a phenomenally poor judge of character.

Anyway, we must, sorry, we must get some questions.

Let's do some questions.

We'll never get anywhere.

Let me ask you something.

Yes.

Andrew Bothwell.

Thanks for the surname.

Andrew Bothwell asks, when do you think we will see the end of some or all of the print versions of UK newspapers?

I like that question.

Coming from Scotland, I'm drawn to see the demise of the Daily Record, as it was the main daily paper you saw everyone with when growing up.

Their average February figure was just over 43,000.

Surely they cannot survive much longer.

That's a question that I thought of a lot.

You see so many fewer papers.

You can go to towns where you can't buy a newspaper anymore.

On our WhatsApp group where we live, people were talking about the paper they got.

And when I was reading it, I thought, this feels quite old-fashioned.

I don't remember the last time I heard of someone having a paper being delivered.

I'm sorry, I work for a newspaper and I don't get print newspapers.

So I, 10 years ago, the sort of combined newspaper market daily market was 9 million million and it's now barely two and a half, I think.

The big sellers it was that God, when I worked at the Sun, they sold more than four million a day.

They now sell 630,000.

The Daily Mail.

Which is still a lot, by the way.

The money comes from this, which is why it is dying slowly.

The Mail is the biggest seller at 652,000.

Some of these figures are quite hard to, you can't be quite sure.

And the Sunday Times, 290,000, Times, 160,000.

A lot of people just take their titles out and say we're not going to submit our figures anymore, which tells you that it's, you know, I mean, the mirror used to sell millions and it's now on 196,000.

Maybe it is.

I don't know.

But you say they do actually make money on prints.

So much money comes from print.

And what's that?

Because of advertising?

Because of equal, because they've got the print.

You can sell it.

You're selling it.

Yes.

Online, you know,

it's really interesting.

It's a little bit like a Spotify stream.

For a page with a million views online, you honestly get pence.

Whereas if someone's buying your paper for three quid a day or or whatever, depending on whatever you're charging for it, you'll get, yeah.

But it's sort of mad.

People, even thinking about print and how it used to work, is sort of mad.

You know, that you would have the first editions and they'd go to places in the north of Scotland.

So they'd have, if you were covering a football match where lots of things happened at the last minute, you might get in 1999, some of those people thought that Man United had lost the Champions League because

you had to file and it had to, and it's got to get on a lorry and it's got to go far.

the reason it's hanging around is because they haven't worked out fully the form of transformation to better revenue streams.

It used to be such virulent competition between all the papers

and the idea of printing with a rival title you couldn't have because your brilliant stories might be seen and lifted for later editions.

Now the Daily Mail and News, which is the Sun and Times and all of that, they print together.

So there's lots and lots of collaboration.

And is that A to save them money and B because printing presses are closing down?

Yes.

And the idea of hauling multiple editions all the way around by to different parts of the country just seems, you know, something from the past.

However, as I say, they haven't worked out how to replace lots of that income.

You see now, obviously, there's subscription, there's people who are doing podcasts, there are YouTube shows.

If you look at what the mail is getting into and doing all sorts of lots of those different things, and everyone's doing it, by the way, I'm just using them as an example.

Some things are thriving in print.

So something like Private Eye is doing really, really well.

I mean, Condé Nast, it is a disaster.

Look at the magazines, look what they sell, look at their denuded cultural influence because magazines have been sort of replaced by Instagram and the kind of long reads you can get any day you like online.

Print will survive, by the way, in some form as an artisan sort of thing.

And there are lots of these kind of small circulation magazines.

I've talked about The Fence, which I love, Critic magazine, which is again these tiny circulation things, but people want it.

Yes, exactly.

There are still blacksmiths, you know, there are these artisan things that people like, and they become quite quite expensive and they're for a dedicated but smaller audience.

Five years' time, ten years' time, are we still going to the news agent and seeing those

selection of daily newspapers?

I can't believe the age of people who are buying them is...

people are just aging out and sorry to say you know dying

and they're they're not buying those things anymore i i don't think you'll be seeing barely any of the dailies you might maybe you'll see the mail i don't know yeah but i'm i'm really not sure you'll see a lot of it in in in ten years time i don't think you'll see any dailies at all i'm even more worried about news agents.

Well that but a lot of news agents are closed down.

That's another problem.

That's another part of the whole problem.

Yes, the industry in itself has got to come up with these other ways of getting subscription or payment that isn't based on advertising.

I was on the train this morning and I just looked around.

Every single person had headphones.

Yeah.

Every single person podcasting it.

Yeah.

That's why that's why the newspapers are getting into podcasts.

Yes.

Thank you for that question, Andrew, because I wanted to know the answer to that one too.

Well, this can only be for you about the Armstrong Osman effect, Richard.

James Stevenson would like to know why are more and more shows featuring multiple hosts or hosts adjacent guests, even in cases where they don't have much to do, like Rasheen on Last One Laughing, or the format seems to have been tuned in part to force two presenters, e.g.

the finish line.

Are producers receiving viewer feedback that makes the extra paychecks worth it when one host would do?

I've always preferred two hosts to one host.

America, it's almost always one host.

Over here, all the big shows really are joint hosted.

Funny enough, Anton Deck probably had a huge amount to do with it.

You've got Anton Deck, then strictly, you know, was Bruce and Tess, and now is Claudia and Tess.

Bakoff's always been more than one host.

As you say, you know, Countdown always had its dictionary corner.

I was sort of the dictionary corner thing of pointless.

The finish line is

a BBC Daytime quiz with Roman Kemp and the brilliant Sarah Green plays the kind of

the Susie Dent figure on that show.

I think that

it is just more fun to watch when two people are talking to each other.

You've got dynamics, haven't you?

You've got dynamics and you don't feel quite so sold to.

If you're just hosting a show by yourself, it's actually quite difficult to do because

you're looking down the camera and you're talking to someone.

You sort of have to read a script.

So if I do House of Games, for example, or you watch Lee Mac doing the 1% Club.

Very, very, very quickly,

he will use the contestants on the show to become co-hosts with them.

You immediately co-opt everyone else to do do that.

And that's not how shows used to be presented.

Shows used to be very much front and centre.

Here is this show.

Here are the rules to this show.

Let's meet our contestants.

Here, and you know, you were like the priest and they were just configurance.

Exactly.

Handing down the tablets.

But the moment, you know, Anton Deck really showed it for everyone, which is if you've got two people who are enjoying each other's company and two people who can team up with each other sometimes and sometimes can have a go at each other, it's just everything you do is heightened.

If you watch Bake Off, it is more fun to have two hosts mucking about with each other.

You've got two hosts with two slightly different personalities who can go through the tent and talk to different people about different things.

Like if someone walks into a room and you talk to them, of course you make a value judgment on them.

And we all do.

If a couple walks into a room, your value judgment is kind of tripled because you're like, firstly, what's he like?

Secondly, what's she like?

Secondly, oh, that's an interesting couple, isn't it?

Exactly.

But also, doesn't it give you scope when you've got two for things to be a bit more undone?

Yeah.

Very kind of, as I said, that sort of priestly sort of everything's managed.

As people have become more media literate, they quite like to see the workings a little bit more.

And you can sort of laugh about...

the meta of the show, like how it's playing out, or you can talk about that much more when you've got two.

And I think people, there's something quite old-fashioned in a weird way about pretending it's all just a completely normal thing to be happening in a studio in a weird way.

Exactly.

And often when you're a solo host, the idea is to make hosting look very natural.

But there's a lot of business to be taken care of on any show, particularly if you're doing a quiz show.

There's a lot of business introducing people, asking the questions, all of those things.

And on Strictly, there's a lot of business to be done.

You're introducing VTs, you're introducing the judges, you're introducing the panel.

Someone has got to do that.

And if that's one person, it's quite hard then for that person to keep breaking out of that and to be natural.

Whereas, if you've got two people, usually one person will be taking care of that sort of business.

So, on when we did point this, Zander would by and large take care of the mechanics of the show.

I would take care of the facts, but I would have much more freedom to muck around in the meantime.

And on strictly, test makes sure that the trains run on time and that we're always where we need to be, and you know, the VTs are always lined up properly, which gives Claudia an enormous amount of freedom to muck about a little bit more because there is an anchor there.

I'm the trains running on time person in this podcast, aren't I?

Very, very much so.

Very, very much so.

It's why podcasts have become so huge.

And solo podcasts are slightly harder to listen to because because you're really relying on liking that person.

And that person cannot really riff because what are you riffing off?

You're not really riffing off anything.

Whereas if someone's giving you information and

someone else can, you know, if you listen to the rest of history and, you know, Dominic Sandbrook's talking about something, Tom Holland can ask a question, you know, or Tom Holland's in the middle of something, Dominic Sandbrook and say, no, but hold on a minute, because what does that mean?

And you can't do that to yourself.

It makes you much less of a salesperson just going front and center to camera.

And as a producer, it gives you so many more avenues so in america they don't really do it particularly in america we've still got solo hosts and it's a certainly particular way of presenting the shows but over here it's very very rare to have a new show now that just has one host all the big shows so that roman kemp show the finished line perfectly good example he could be presenting that by himself and 10 years ago would have done they all wanted to work with sarah green what can we do with sarah green we can watch roman host it we can watch sarah give some information but we can also watch roman and sarah talk to each other.

Possibly an accidental thing, and Anton Tech really, really, really sped the whole process up.

But I've always, as a producer, if you said I could have two presenters, I'd have said yes, please.

I'd always rather have two presenters than one presenter.

Very few two presenter chat shows.

Very hard to think of a very high-profile two-presenter chat show, which would be a fun thing.

We must talk, by the way, about the assembly at some point.

The

brilliant interview show ITV.

Yes.

Maybe we'll talk about it

on the main show.

Yeah, that's a good idea.

Next week.

Thank you very much for that.

Thank you very much for that question.

Okay, I love that, but we must now go to a break.

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Welcome back, everybody.

Marina Rachel Blythe has a question for you.

Thank you, Rachel.

By the way, if you want to send in a question, it is the rest's entertainment at goalhanger.com.

Keep on coming.

Rachel Blythe asks, I just took two of my teenage children children to the pictures as an Easter treat.

To the pictures?

To the pictures as an Easter treat.

Thank you.

It's taken me back in time, and I love it, Rachel.

We went to the flicks, and we had a Kiora.

Anyway, on the drive home, they were driving an Austin Maxi.

We wondered if Juan Salvador, the excellent penguin star of the Penguin lessons, was the only penguin.

We thought his markings were the same throughout, and it didn't look like CGI.

Any info on this matter would be greatly received.

Penguins in film.

Steve Coogan is actually biologically a penguin, so he was also.

No, no, no.

No, they were real-life penguins.

I assume he's in that film.

Yeah.

Okay, good.

Well, you can't, he looks like a penguin.

He's playing a penguin.

He's so good at the imitations, you see, that you just can't tell.

No, the film didn't use CGI, but it had two real-life penguins named Richard and Baba.

No way.

Yes.

Now, when Peter Cateneau, who is the director, he started filming, apparently he very quickly realized that loads of the stuff that was suggested in the script, where the penguin has a very significant role, I mean, you know, it's right up there in the title.

There were all these things that the penguins had to do, like nod their heads and flap their wings and they were just thinking, okay, this isn't going to be possible.

Apparently, when the animal handlers, which I'm going to come on to, first met the crew, they just had highlighted pens over the whole script saying, yeah, no, we don't know how we're going to do this.

We just, you know, have you tried working with one of these?

Richard, the calmer, sorry, I'm not speaking to you, I'm mentioning the name of the penguin.

Richard, the calmer, more mellow penguins.

Was used, yeah,

was used more often in scenes than the other.

He was uncontrollable and maybe not very professional and couldn't make the trains run on time.

So what was the other one called Marine?

No, the other one was called Bada.

Yeah, okay.

Occasionally though, they did use like a puppet penguin or robot penguin if something has to happen without getting into the whole plot elements.

But it does have some drawbacks working with the penguins because you have to carry around small fish, sprats, sardines, in order to, you know, bribe them into action.

It's actually a lot like that working with many of the major stars in Hollywood.

Glenn works like that.

Steve Coogan does.

You just have to have to have a couple of sprats or sardines in your pocket at all times.

And there's a load of strict rules about making noise on set because you you can't make a, you know,

these, they're nervous.

They're nervous.

Of course they are because they're acting with Steve Coogan.

Yeah.

Of course they are.

The other thing is, much like Steve Coogan, it has to take place filming between molting and mating season.

So I mean that's a narrow window for Steve Coogan, isn't it?

It's a very, very tight schedule.

Okay, so you have to make your days.

Yeah, that's like, that's like one Wednesday in May.

Anyway, so molting season, they look very tall and impressive, but they're very difficult.

Again, I'm talking about the penguins.

And in mating season, they're very, very feisty and unpredictable.

Again, still on the birds.

Now, the other thing was the penguins had to be introduced to the crew.

So they filmed actually in Spain and they had a rented villa in the hills above Barcelona.

I mean, this is what you're dealing when you're dealing with a movie animal.

And the actors had to go and slowly introduce themselves.

I hope they had to leave a little sort of silver card on a silver salva.

Steve Guggen has called, I'm not taking visitors this afternoon.

Anyhow, we actually had a goat in the franchise and my God, the list of stuff that you couldn't do with a goat.

Don't touch the goat.

Don't talk to the goat.

Don't look at the goat.

It was like, oh my God, it's like one of those absolutely the biggest divas in Hollywood.

You know, do not make eye contact with Mr.

Cone or whatever it is.

It was ridiculous.

It had so many things that you couldn't do.

You know, it can work for sort of 40 minutes a day.

Again, I'm just no one else on the cast.

And they have these incredible rules.

I mean, don't worry about animals.

If it's a reputable film thing, it's so organized how much work they can do.

I know we've talked about insects, which I think is rather more unregulated.

But so two penguins.

One of them, calm as you like, absolutely held the film together, called Richard.

And Baba the Maverick.

Baba the Maverick.

Listen, you need both.

Yeah.

Yeah.

The Val Kilmer of the piece.

Oh, I want to know this.

Paul Bonetto says this, and you must answer this, Richard.

There are two episodes in the new Black Mirror series where a room full of people are frozen and the main characters walk around them.

How do they film that?

I mean, the amazing stuff you can do with technology these days.

A very famous way of filming weird things like that is they started calling it bullet time after the matrix, you know, when essentially everything slows down and the bullet is in slow motion, but the cameras still seem to be moving around.

And there's all sorts of ways of doing that, all of which are ludicrously expensive, sort of huge rigs.

You know, this is, by the way, tricks that people were doing, you know, back in the 19th century when photography was very new, is setting up lots of different cameras, sort of, and shutter speeds going at the same time and splicing them together in weird ways to make something either slow motion or to make it look like you could go around an object in slow motion.

It's essentially just a much more complex and much more technical version of that.

And time slice is sort of the official name for this technology.

If you do it, it's incredibly time consuming.

It's incredibly expensive.

Now on Black Mirror, there's two episodes, Eulogy, the Paul Geometty one, Hotel Reverie.

They pull this trick a couple of times.

And I can exclusively reveal that they use a slightly different technology.

They didn't use time size.

They didn't use bullet time.

What they do, so you can go back and pull and watch both of these and see if you can spot it.

What they did is to tell all the actors in the scene to stand still and that's it.

And that was it.

No way.

A couple of tiny little tweaks in the edit just for, you know, blinks or sort of slight moves.

But no.

I've got to re-watch.

All that's happening in both of those things is all the actors are standing still.

Well, that's selling you money, isn't it?

That is craft.

Yeah, exactly that.

Well, well, well.

Isn't that great?

Yes, I mean, that technique, that thing, or they sometimes used to call it Flow-Mo.

I think I've said this before, but I remember seeing it in the Matrix and thinking it was the coolest thing ever.

But then I did see it, honestly, two years later in a centrebox advert, which shows you how quickly things come downstream.

Yeah.

But yes, obviously, very expensive.

Very expensive.

But asking actors to stand still, much, much, much cheaper.

I'm definitely re-watching now.

Isn't that brilliant?

Here's one for you, Marina, from Simon Young.

Thank you, Simon.

Simon says, I wanted to watch Peep Show and put it on Netflix to watch it.

But should I have done this or should I have watched it on 4 OD?

And what about BBC-produced programs?

So essentially, if you've got stuff that has come from a terrestrial TV channel, funded by a terrestrial TV channel, should you seek out a way to watch that on the terrestrial channel or are you allowed to watch it on other streaming services?

Is Simon's question.

Okay, Simon, you're a very nice person to be thinking about this at all.

To cut to my ultimate answer, just you do you.

It doesn't matter.

But it is interesting that this has happened a lot.

Obviously, when lots of broadcasters and networks in the US have licensed their stuff to streamers and something like very famously suits, which by the way, you can still watch fully on Peacock NBC service, but nobody does because it became a massive hit on Netflix.

Oh my God, I think the one on Netflix, they've got a sort of, the opening episode is nine minutes longer.

I mean, the director's cut of suits, kill me now.

But anyway, there's things like that.

Sometimes they retain one series so that you do go back into the broadcaster's service at one point.

But to be honest, you're the viewer, Simon.

Just watch whatever is best for you and that basically means where there aren't any ads and therefore you would be watching this one on netflix you can't be worrying about the decisions that broadcasters have made and if channel 4 have made their decision to license it to netflix Eventually it is providing value to Channel 4 indirectly, I guess.

And, you know, if people don't watch it on Netflix, then they'll stop getting that revenue stream from Netflix because people will say, oh, people don't watch this.

So it all sort of ends up in the same place.

I mean, the BBC is obviously different because different kettle of fish to that.

But let the broadcasters take care of us.

I mean, there was something I was seeing recently, that Russell T.

Davis series, did you ever watch that?

Years and years.

Now, they obviously think that's been had everything wrung out of it that's possible on iPlayer, and they've, that's gone to Netflix.

And I saw people writing news stories about, you know, all this, if you've liked, you know, whatever dystopian, this or that, then you might love this series.

And I thought, gosh, that's interesting because it really wasn't on that long ago.

But if you're a subscription company, you want your programs to be watched within your own service.

People are talking about this all the time, like, the traffic's going to start going the other way because Netflix have built up this enormous library of stuff.

Are you going to start seeing some Netflix shows?

I don't know, licensed by Channel 4 or ITV or whoever.

I don't think you will.

I think they will, even though people say, oh, yeah, but they said they weren't going to do sport.

They said all sorts of things.

I actually think what is the benefit of that?

You want those things only to be accessed on your streaming platform.

And this is why Netflix, I don't think, is ever going to give its stuff elsewhere.

But as I say, Simon, the short answer is just watch it where it's best for you.

And that probably means where there's no ads.

It's up to them if they want to sell their stuff.

And many of them have to.

and that's how it goes well that's the thing channel 4 have made their yeah money from it they've looked into it gone okay we can have this on our streaming for five years and we will make x netflix are offering us y y is bigger than x y is a much bigger number so so simon you're not costing anyone any money because it's already baked into the cake let the terrestrials do their deals with the streamers and you watch wherever you want absolutely oh can we finish with this question on the deadliest catch liz fowl says can someone please tell me about the film crew for Deadliest Catch?

I know the fishermen have one of the most dangerous jobs, but it seems that the crew have to risk their lives to film it too.

Do they have to sign waivers?

Do they have any training beforehand to cope with the rolling waves?

And how do they get shots of the boats in the water?

I mean, basically, the thing with film crews on any of these types of shows, there's that famous thing, isn't there, about Fred Astaire and Ginger Rogers, which is Fred Astaire is this big star.

Ginger Rogers is having to do everything Fred Astaire does, but backwards and in heels.

And that's essentially the principle of being on a film crew on something like The Deadliest Catch.

So deadliest catch, they're catching fish.

That's it, you know, it's the biggest shot out in the oceans, and these incredible swells, and you know, waves everywhere, and everyone being sick.

The film crew are having to do an incredibly technical and difficult job, which in a studio is hard enough, but on the boat, the only way to do it really is the way they do on that show and lots of other shows like that.

Anything extreme like that, that brilliant Steve Baxel thing, where he's finding places where no one's ever been before, and you know, absailing down cliffs.

The crew are embedded.

The crew have the same training as the fisher folk and they absolutely do everything that everyone on board does.

You know, they bunk down with them.

If the crew of the boat is working a 30-hour shift all in one go, because that's where the fish are, then the crew behind the cameras are working a 30-hour shift.

While doing an incredibly precise technical job.

Yeah.

And, you know, while the crew of the boat are kind of watching out for booms and jibs and, you know, things that are dangerous, the camera operators are essentially looking through a lens and so so not able to see that.

So, they are doing an incredibly difficult, incredibly technical job.

So, the only way to do it is to be part of the crew as a whole and sleep with the crew, if you know what I mean.

And to do exactly the same shifts of the crew.

So, yeah, it's one of those jobs where there is not a simple way around it.

There's not some clever thing where they're in a, you know, sort of tied into some robot bubble, or you know, they just doing all from

a drone operating room back in Maryland.

No, yes, exactly.

In terms of how they shoot the ships from elsewhere, most of that they will do as close to port as they possibly can.

So, you'll be on a pilot ship, and and you, you know, if it's the weather is bad, you can get some spectacular shots fairly close to shore.

You can get drone shots, but they can go up to about 35 miles an hour is about as blowy as it can be for a drone.

And often in deadliest catch, it is blowing a gale far more than that.

But you know, this is the thing with camera operators, that they're nuts in the best possible way.

As well as being scientists, they're also artists.

There's one occasion where one of the camera operators spots an ice flow, says, oh, just drop me on the ice flow, and I'll, because we're out right in the middle of an ocean that i that's a great place for me to get some cutaways here quite literally asking to be abandoned on an ice flow yeah exactly just just to get a few cutaways so yeah anyone who works on that boat is doing an extraordinarily dangerous and difficult job but the camera crew in some ways are doing that plus walking backwards and in heels yeah well i love that now we have got a bonus episode coming up on the basis of the shortest chart hits ever to enter the charts on the basis of jack black's lava chicken from the minecraft movie which you know i have views about.

You do indeed, yeah.

Well, all sorts of just the craziest records in British chart history.

Which, can you guess whether that one was my idea?

Of course, if it's so, it's essentially

I'm going through the longest, the shortest, all that kind of stuff, just weird chart records.

So, if you want to be part of our members' club, you can sign up at the resttersentertainment.com.

Otherwise, we'll be back as normal on Tuesday.

See you next Tuesday.

See you next Tuesday.

Well, that brings us to the end of another episode of The Wrestlers Entertainment, brought to you by our friends at Sky.

I have been catching up on The Last of Us recently, such a gripping watch.

Absolutely right.

The critics are fairly unanimous.

It's dark and intense, brilliantly done, they're all saying, especially on your sky glass with its high-quality screen.

Yeah, even those very low-lit scenes, every flicker, every detail, it really pulls you in.

One minute you'll be stretched out on the sofa, the next you'll be gripping the cushion, and that is not a euphemism.

The picture quality really just brings everything to life from the comfort of your living room.

It feels properly cinematic, like the room fades away and you're in the thick of it.

Until the clickers show up, then it feels a bit too real.

Well, that's when you reach for the blanket.

The perfect night in.

Couldn't agree more.

So, for anyone wanting to upgrade this screen time, head to sky.com and check out SkyTV.

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