How To Get Rich From Fan-Fiction

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

I'm Marina Hyde.

And I'm Richard Osman.

Hello, Marina.

Still getting over our bonus episode from last night about celebrity traitors.

If you haven't listened to it,

yeah, we will not be speaking about celebrity traitors on this.

Do not worry if you've not seen that first episode.

As soon as you do, then feel free to listen to that bonus episode, but do not listen to it until you have.

In the meantime,

do you remember we talked about last week?

We talked about our own theme tune,

the the theme music of Red Versus and Timothy?

And who wrote it?

And who wrote it, who was a composer called Tim Garland, who sometimes composes library music.

Grammy Winning composer.

Grammy Winnie.

He has written to us.

No.

He says, I wrote the theme, Live It in Style, and I thought I'd drop you a line to prove what you said, that we composers don't know how our music is going to be used.

And it's lovely to find out.

So sorry, he has not heard the podcast.

Wow.

Tim, I mean, that is unbelievable.

Well, yeah, it's not totally clear, is it?

But no.

Oh, I think that's that's totally clear.

It's lovely to find out.

He's got involved in any of our biggest arguments here, so I'm guessing he's never heard of it.

I mean,

Tim, we played this at the Abbott Hall.

He says, it's been a joy to write in different musical styles, and also crucial that as a composer, one has a genuine love of them.

I wrote this theme after watching High Society.

See, I told you I could come down a big staircase to it.

And was moved again to recall the story of the big, beautiful impact Louis Armstrong's band made in a world that was not afraid to show its prejudice.

He says, Talking of not knowing when one's music was used, I recorded a rather tricky piece for bass clarinet, only to find out years later it had been used in a Scandinavian advert called I Can't Stop Farting.

Amazing.

Obviously, I did what any self-respecting composer would do and tried to find it on Google, which resulted in getting a whole load of medical adverts in my feed for months afterwards.

I still have never seen the advert.

Any clues, anyone?

Can anyone help Tim Garland, composer of our great theme music, to find out about this advert in a way that will stop him having flatulence-related products beamed into his feed for all eternity?

Well, there are going to come a time where they'll welcome it.

You know, so I mean,

you might, you might age into it, Tim.

How lovely, though.

What a lovely sounding man.

That's amazing.

If you know that I can't stop fighting advert, do please tell us.

And thank you so much, Tim.

Everyone now opening a private browsing window.

Because you just don't want to invite it.

Why are you on private?

Honestly, you would not believe me.

You know what?

Let's just say I'm looking at porn because that's going to be easier than the actual explanation.

Can I ask you a question?

Please.

This is about something that's been in the news.

We've had a few questions on this.

Richard Milnes asked, What is the deal with the Tilly Norwood AI actor?

And could I get one of Marina's hot takes on if and how this changes actors' negotiation power?

Tell us about Tilly Norwood.

Tilly Norwood is an AI actress,

actor, created by a company.

We know that she exists because at a tech conference, a woman called Aline Van der Velden announced.

She's a Dutch comic, right?

Yeah.

She says, oh, everybody is clamoring to represent her.

I have agencies in Hollywood.

Sure.

Okay.

Yeah, I'll come back to that.

Clamouring to represent her.

She's like a fake.

She looks like a normal human being.

She talks relatively like a normal human being.

And she's been launched as, oh, this is the next big AI star.

I think this lady said, I want her to be the new Scarlett Johansson.

I don't know.

I don't doubt it for a second.

I'm sure you do.

That sounds like that would be really profitable.

I want to open the batting for England, but it doesn't matter.

You never know.

Never give up on your dreams.

Now, what does this actually mean?

We were offered her, actually.

We were offered Tilly Norwood as a QA subject for this podcast.

Oh, my God.

And I thought, well, what does that actually mean?

Doesn't mean anything.

Can we email her some questions?

Do you know what?

What a grift.

What a grift from start to finish.

Anyone in the world can do this.

And just because you've got one and people are talking about it, it is so pathetic.

Tell it, we'll interview her.

If she comes down, does she fancy it on a rainy Wednesday instead?

Can she do it on a Wednesday?

Can she do it on a Monday morning in the basement at Spotify in person?

What's the name of this lady?

He's invented her again.

Helene van der

you can invent all the AI actors and actresses you want.

You do it till the end of time.

Why is anybody booking your AI actor?

If there's going to be AI actors in the future, a studio will have their own AI actor because then they own it.

An agent is not going to sign your AI actor because an agent, if AI acting goes anywhere, will have their own AI actors which are controlled by them and

they will use their talent to write for these people and do stuff for these people.

This is 100% a grift.

The one good thing about it is it's brought out SAGAFTRA and everyone just saying, no, come on, this is absolutely pathetic.

It's great that the first version of this is quite so obviously a money grab and quite so sort of poorly done that everyone's able to go, oh, yeah, a lot of Hollywood agencies are interested in your AI actor.

I don't, I genuinely don't.

I'm assure you,

the none of the like CAA, WME, UTA, the big ones, you think they're going to annoy all their actual real-life talent.

I mean, somebody showed it to Emily, showed Emily Blunt.

She said, I haven't heard this story.

And they showed it to her during the interview.

And she was like, oh my God, agents don't do this.

It's like, am I going to lose Emily emily blunt so i can have tilly nord okay is tilly nord going to get her ass out on the red carpet like emily blunt is and take her next movie all the way around the world and promote it okay no they're not having having said all that there will be agencies who provide who are essentially technically who provide ai actors and actresses and they are already they're already out there and they they will be very very successful and they will make huge amounts of money the talent agencies will not do it on books in that way in any way because they will annoy their human talent.

A lot of these jobs that used to go to actors, to human actors have already been automated.

There's lots of voice work you hear

around all the time in phone systems.

In the old days, you would have actually got someone to do the voiceover of.

It sounds ridiculous, but so much of this stuff has become automated.

And

there will be a point where there's all sorts of people who, you know, at a certain price point,

this is already automated.

It's not automated at the Emily Brunt price point or anybody else.

I'm only using her because she was shown the article and forced to react to it in real time.

And again, that journalistic thing saying Emily Brunt has spoken out.

She hasn't spoken out.

You showed her something.

She shoved something in our face in one of those interviews.

She had to say it.

Yeah, if you ever see an article saying someone has spoken out, just take a look.

Did they actually speak out?

Or were they shown something?

And did they say, oh, yeah, yeah, this sounds like a terrible thing.

I mean, this type of journalism could certainly be automated.

I don't know.

I think it has been.

I think real people ask these questions.

I think

if Tilly Norbert is looking for a job, there are jobs in journalism for her.

Oh, yeah.

I'm sure she's perfectly good and whatever, and you don't, you know, have to,

she's not nuts, and you don't have to drug her and all the other things that people say about human actors.

You don't have to drug her.

You know what?

Probably better than Emma Watson.

He's great, but you have to.

Wow.

What?

Am I wrong?

Wow.

Yeah, that's unbelievable.

You say in your fans.

I've seen the films.

Anyway, it does show that media outlets will print any of these things if it's to do with AI.

And I'll love to say that this is a fake person.

But we're going to keep seeing this stuff.

And many of the jobs have already gone over to AI.

And people just don't like to think about it.

None of those big jobs are going to go over to AI, of course, the big human actor jobs, but huge other parts of the supply chain are already going over to AI.

The studios are already doing this.

So she's a sort of harbinger of one type of thing, but she's not a realistic threat on her own.

No, what she is on her own is someone trying to take advantage of knowing they're going to get free publicity, which they have.

And we're talking about it as well.

But that's why I'm talking about it quite so bluntly because i want to say yes we are talking about it but it is a grift right this isn't you know a studio could absolutely one day have an ai robert de niro right that is worth some money to them and robert de niro can make some money out of that and there'll be three people writing it you know that is a possibility this sort of nonsense though that you you're going to build this huge star is is there will be an accidental ai star one day for sure but just going oh my god guys i've had the best idea i'm going to launch an ai actor you think you know what Stop being so 10 years ago.

I mean, it's such, it's so boring.

And yes, hopefully we hear nothing more about her.

She's got a very English name.

Yeah.

Tilly Norwood.

I mean, genuinely, Tilly Norwood sounds like someone who would open the batting for England.

Do you think?

Yeah.

No, I don't think so any longer.

I think there's been a changing of the guard in people who'd opened the batting for England, and I'm pleased to say so.

Wow, this feels like a different podcast all of a sudden.

Anyway, we're not doing that.

We have a question from Donna Caron, who has taken the time to say no, not that one.

Wow.

Well, she doesn't know which one we're thinking of.

But there are two other Donna Karens out there.

No, but I wasn't thinking of the fashion designer, Donna Karen, when I heard the name.

I was thinking of our listener, Donna Karen.

So, in which case, this is the fashion designer.

Right.

Because I'm thinking of the listener.

Right, she spells her name differently.

Let's just move on to her question.

Wow.

Is sound on nature documentaries real?

If so, how do they get microphones there?

And how does this work underwater?

That's a good question.

Yeah, I love this so much.

This is a question.

This, it won't shock you to know is not my area.

But I know a man whose area is, so I asked the wonderful Steve Baxhall.

The last time I saw Steve Baxhall, he was in the House of Games studio and a pigeon got in and he showed us how to catch and safely take a pigeon out of a studio.

By the way, that's a huge thing.

That's so helpful.

We had one up on the...

in the rafters in the front.

It was an absolute nightmare.

Oh, really?

Yeah, you just couldn't get it out.

They're so high and you just can't get it out.

Yeah, you need backshaw.

You need, what did he, how did he, sorry, this is a sidebar, but how do you

Marina's written in?

Yes, sorry, what is the pigeonhyde?

What is Marina?

Yeah, Marina Hyde.

No, not that one.

In a humane way.

In a humane way, how do you get a pigeon out of the studio?

Yeah, so there was a pigeon there and he's flying up and then he's on the floor and someone had the bright idea of saying, Steve, is there any way?

He goes, yeah, I can get rid of a pigeon.

We go, oh my god, this is going to be amazing.

He's going to do something like with his throat or something.

It's going to be.

And he literally just walked up behind it really, really, really slowly and then just grabbed it with both hands and then took it to the scene dock and out it flew so it was it was i mean it was impressive because i've never seen anyone catch a pigeon before but it wasn't like oh my god i've no it's not like a hack i see i was thinking it was in the rafters because that is it was for a bit because it was a bird so it was it was fairly mobile and it was able to yeah thanks for explaining birds to me yeah

if it had been in the rafters that would be to be fair to steve

he could have done both

he would have been swinging up there Anyway, can we get on to the answer, please?

So, Donna, I asked Steve about the sound on Nature Docs, and this is what he said.

Hi, Richard and Marina.

It's Steve Batchel here.

Thank you so much for your question.

I am an avid listener to your podcast.

So

this is a really big topic, actually, in natural history filmmaking.

There's been a couple of really big documentaries in recent years that have focused just on sound, but it hasn't always been that way.

You know, conventional, what we would call blue-chip natural history filmmaking, you'd have a lone, sometimes lonely camera operator who could be in a hide for months on end.

And they'll classically have like a thousand mil massive lens filming wildlife from a distance, could be a kilometer away.

So just impossible to record sound.

And some of them wouldn't even bother taking a microphone at all.

And then the sound would be put in later.

So that would either come from library or it could be what's called Foley sound, which is where sounds are essentially faked up in a studio.

I've been to one of those Foley studios and it's absolutely bonkers.

So they'd be recreating the crunching footsteps of an Arctic fox walking through snow or of a moose sneezing.

And essentially it's just some bloke in a dark room with a tray of gravel and the cardboard from an empty toilet roll.

That though isn't done anymore.

So now we might use a parabolic mic.

That's essentially like a satellite dish around a gun mic and they're super super directional.

So you point them at a distant animal and you can hear them and what they're doing the downside is they are so sensitive they pick up everything so i was trying to use a parabolic to record the wheeze honk of a hippo one of the sounds of aprica it kind of goes

like that and essentially all we got was two hours of wet soggy hippo flatulence completely unusable not surprisingly because it is it is so so sensitive um so for close-up stuff then you might put radio mics our closer things.

So we put them inside dead carcasses to hear the cacophony of sound as vultures and hyenas scrabble over the spoils.

Seriously, it would put you off your tee.

And then there are legendary soundies like Chris Watson, Gary Moore, Mark Roberts, who've made it their life's work to pick up wild sounds for real.

And they might use tiny microphones in situ.

So for example, putting them underneath a leaf that a column of leaf cutter ants is about to walk over and the leaf almost gets turned into a tiny drum so you can hear their their miniature footsteps.

Mics can be pitched up high or low so you can get the infrasound bellows of mating alligators or the ultrasound squeaks of bats on the wing.

And some of this has led to new discoveries in nature, especially underwater, where we started realizing that, for example, the fish are talking to each other and sometimes to you.

So one of my favorite bits in recent years in my job, I was doing a piece of camera underwater about clownfish, the famous nemo fish, and one of them swam out of its anemone home right up to my mask and gave me a right telling off.

It was a kind of a,

which was, you know, essentially go away and leave my home alone.

And because we had this new bit of tech, we recorded the whole thing, this conversation between a naturalist and a fish, all possible with a little bit of snazzy filming kit.

Oh my God.

I mean, that raises the bar for every other contributor ever, doesn't it?

Steve.

Steve, I love you.

Is there nothing?

I literally already loved you, but I love you even more now.

Steve Batchel being told off by a clownfish.

Okay, I'm done.

I'm done.

Honestly, I thought Ben Shepard was great last week telling us about the tipping point machine, but that is, I mean, very different answers.

That is bar raising.

Wow.

Absolutely fascinating.

Yeah.

Oh my god, I need to go home and watch a document.

I need to actually find the clownfish footage immediately.

Yeah, clownfish talking to Steve.

Yeah, not talking to.

Give him a dressing down.

Give him him a dressing down.

Um, Donna, thank you for your question.

Who knew that it would elicit such a terrific answer?

He also does an amazing podcast, Steve.

He's got a nature podcast called That's Just Wild, which I would strongly recommend.

Steve, if any of your listeners have a question that Marina and I could help with, we'd be very, very happy to.

You know,

I'm pretty good on the big cats.

You're not bad on arachnids.

So, yeah, anything they need to know, you just ask us.

We owe you one.

Thanks so much, Steve.

Shall we go to an advent?

Yes, shall we?

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Welcome back everybody.

Marina, Marcus Dale has a question for you.

Marcus says, after watching the Ryder Cup, I need you both to lift the velvet curtain on how golf is broadcast on TV.

How do they time all the pairings, all teeing off at the same time?

How do the camera operators follow such a tiny white ball?

Is watching in real life worse than on screen?

Ah, okay.

This is very good.

I've got a lot on this.

Okay, let's deal with the ball first.

It is very small, but they've got high-speed cameras that can do the equivalent of several hundred, several thousand frames per second sometimes, because when the ball's coming off the tee, it can be going over 100 miles an hour.

They also have these telephoto lenses that have image stabilization.

and they now have this tracking technology which you you know like shot link or trackman or whatever it is um and it which has sort of radar and optical sensors so that when you watch the trajectory trajectory it's kind of you'll you'll see it overlaid over the picture.

Anyway, your understanding of the game is so much better when you're watching it at home on TV.

For sure.

But obviously when you're there you you get the atmosphere even if that atmosphere is you know some people throwing some drinks in someone's hair and just I mean obviously

that was amazingly ungolfy.

I have to say say golfer is a fun thing to go and see for a couple of days the rider cup did not look like a fun thing to go and see that i would definitely rather watch on tv yeah it just obviously that the whole lot of that was just appalling but if you are going to a golf tournament uh or and then i think if you're a spectator you have to say okay we are going to do three things all day and so you say okay well we'll see everyone sort of tea off on the first or the second which is so you've kind of got that and then you'll say let's find a good spot somewhere near the middle towards towards middle to end-ish.

So maybe, I don't know, 9th or 10th or whatever.

It's good if you get a par three because then you can see it all.

And it's quite sometimes you can be sitting on a bank and you can just sit by the screen of a par three for like a couple of hours and just see everyone.

Yeah.

But it's

the par threes are good because you can see, then you get to see everything.

Yeah.

I mean, I can't, but I know I know what you mean.

But you know what, but you know what I mean.

Okay.

And then at the right moment, you want to make a break for the 17th or 18th.

The 17th at this ride, the rider cup we just had was great because it was a par three.

Obviously so much happened on the 18th.

This last one,

I've heard from people who covered it, it was an absolute nightmare because there were so many people inside the ropes, all the entourages, all the vice captains, it was much more than they've ever had to deal with.

So I think that was very, very difficult in terms of covering it.

And, you know, you are between ropes and being sort of herded around quite a lot.

And so in terms of the directing of it, you've got the people who come out and do it.

And my husband, husband, actually, one of his first jobs when he left university was working for Transit World Sport.

And, you know, he was in the buggy with a cameraman and a sound guy.

Oh, that's fun.

But there is someone who fully understands and can anticipate things about the whole golf tournament because they're watching it on the TVs.

So you're getting it in your headphones, right?

You know, go up to the 12th because Faldo's imploding or whatever it is.

That's a good reference.

Well, that was the era

of when it was.

Someone watching TV is understanding it best.

The only difference with all of this is, of course, at the Masters, which I particularly hate Augusta National Club, because,

okay, why, you're not allowed to see, remember, you're not allowed to see the score on the screen when you're watching the Masters.

Watch any golf tournament and then watch the Masters.

You'll be like, sorry, what's going on?

What's the score?

Oh, I'm so sorry.

I'm not allowed to see it because the footage is controlled by Augusta National Club.

For what reason?

For me, two reasons.

Power, because they can.

They can.

And two, I just probably just hate the fans.

Probably they hate the fans in some really kind of incoate way, but you're not allowed to see the score at the Masters for most of the time.

Every now and then they'll flash it out like it's a present to you.

Oh, I'm so sorry.

Thank you so much for letting me in my hovel at home watch this.

The whole of that tournament is a sort of real power game and whatever, and I find it absolutely ridiculous.

That is a tournament where perhaps it's

better to be on site.

Well, I think 100% it's not.

But my phone response then rang me and said, oh my god, I'm in the clubhouse right now.

There are literally only two black people here, me and Condoleezza, Rice.

Yeah, I mean it's

a it's a thing.

Can I say atmosphere, Richard?

Atmosphere.

Yeah.

There's a lot of atmosphere, Augusta.

It always has been.

It's a you know a bucket list thing, but it's it has a very rarefied atmosphere.

But a day out of the golf is nice.

But funnily enough, the Ryder Cup is slightly easier as a director than most other golf tournaments because there are, you know, on the first two days, you know, there's four pairs playing at any given time.

Usually someone's on the T, someone's on the green, someone's spotting all of those things.

If you watch any of the big majors or anything, there are, you know, you've got first couple of days, you've got 100 people playing, and you know, the last couple of days, fewer, and which is why you often you're watching something and you hear a cheer from somewhere else on the course, and then you then you cut to that, to someone doing a party, go, well, I think I know what happens here because I just heard an old cheer.

I just heard a massive cheer, yeah.

But essentially, you can't cover everything all the time in that sport because there are three or four things happening that are important at all time.

But that's why I like watching golf because you know that's what happens.

But right with Ryder Cup is slightly easier, but on that last day when you had those 12 games going, what, 11 games going off at the same time,

that's what makes it such an exciting sport is because there is always, because all 11 of those games are incredibly important.

And almost at all times, someone has got a box to win or tie the whole.

The directing of it is brilliant.

It is so anticipatory and it's constant having to make a really quite important decision of where you're going to be.

And so absolutely full.

The coverage was great.

There was one part where you're just like, oh my God, who is that inside the ropes?

That's not just walk right in front of the camera.

You're like, great, I've missed the partner.

Okay, fine.

And you've got that amazing iconic thing in the Ryder Cup as well of

red for America, blue for Europe.

So you can literally just look at the bottom of the screen and see instantly what the state of play is.

And that's a great thing to have.

So I think hats off to everyone who put together the Ryder Cup in what I imagine were trying circumstances.

Richard, a question for you from Golder.

From Vera Wang.

From Vera Wang.

Not that one.

Not that one.

From Golder.

Golder Golder asks, fan fiction is in no way a new phenomenon, so would Richard receive any cash from a published Thursday Murder Club fan fiction?

It's an interesting time to ask that question because funnily enough, there's a book that came out last week which was massive, sold 50,000 copies in its first week, which is called Alchemized.

And it's essentially, it started off as Alchemized, written by someone called Sen Lin Yu, not actually their name, it's a pen name.

Anyway, this starts off as Alchemized was

Harry Potter fan fiction.

It was a sort of Draco-Hermione fan fiction, Draymione,

and then it weaved in the original book, I think, was called Manacled.

And it was Draco and Hermione.

It weaved in lots of Handmaid's Tale stuff as well.

And it went huge online.

People went absolutely crazy for it.

I've not read it, but I assume it's...

very well written because there's a lot of stuff out there and for this to have risen to the top, I'm guessing it's good.

Been huge around the world.

It's come out, as I say, as alchemized.

So the interesting thing for Golder's question is it was enormously popular, this thing, but it absolutely was based on Draco Hermione, based on Margaret Atwards, The Handmaid's Tale.

And in order for it to be published, every single one of those references had to be taken out.

So the whole thing had to be rewritten.

And those kind of universes had to be expunged.

And new universes, and slightly new law had to be put in its place.

But it doesn't seem to have affected the popularity of the thing.

So from manacled to alchemized, got a seven-figure movie deal instantly,

straight out of the park.

It sold 50,000 hardbacks in the UK last week.

It's

done very well in the States as well.

So it's an enormously profitable thing to do.

But yes, legally, you're not able to publish that traditionally in

the JK Rowling universe or in the Margaret Atwood universe.

You have to do a different version of it.

So this author absolutely absolutely gained popularity through writing fan fiction, but then has rewritten it in order to monetize that in a different way.

And the same thing happened with E.L.

James.

So 50 Shades of Grey, which was enormous.

And that was Twilight fan fiction, really.

That's what it started as.

But you wouldn't necessarily know that.

from the final version, from the 50 Shades.

It becomes something different because

you do have to hide your workings.

So I think most authors are comfortable with there being fan fiction.

I mean, there's always been things that are based on stuff, you know, like Bible stories or the million kind of Greek myths that are retold.

But this really is someone's IP.

You know, it's really someone who's created these characters and it's great that people love them and want to do something with them.

But when it gets to the point that someone is suddenly going to get a £2 million movie deal out of it,

if you were J.K.

Rowling, you might go,

I wonder if maybe some of that might be, because those are my characters.

So you have to rewrite it.

But it seems to work for everyone to do that.

So in terms if they were Thursday Murder Club fan fiction,

you're very comfortable with people exploring that world.

That's nice.

It's something you want and

having their own versions of it in their mind.

The second someone's making...

money from it, I guess there's copyright issues.

I mean, not as big copyright issues as

all the massive tech companies scraping every single book and putting it into their large language models, which is genuine theft.

At least this is people who like what you're doing and want to add.

Is there a slash fiction version where I get together with Bogdan?

I mean has someone written that?

I'm just saying if someone wrote that,

I would read it.

Yes, if someone has written that.

It's weird enough.

No, I would read it.

I was reading that from a Harina Mide.

So yeah,

it's lovely that stuff does inspire people.

And it's an incredible way for young writers just to you know, the thing about writing, as you know, there's only two rules, which is read lots and write lots.

That's all you can do.

And if you are doing fan fiction, you're doing both of those things because you're reading something you love, you're taking it in, and then you're writing a lot.

And by the time you've done five years' worth of fan fiction, if you are a good writer, remove your stabilizers.

Yeah, then your writing has become good.

And you can see instantly that people like it.

And that's the time where you go, oh, okay, I trust myself to do.

my version of this and then I'll let other people do fan fiction of.

It's like copying drawings by artists or paintings of artists you love it there's it's a fantastic way to learn lots of things yeah and then you do you start going oh yeah but what do i actually think what is it that i would do and you but by that time you've learned all these building blocks you've learned all these skills so i think fan fiction is a wonderful thing and the amount of people who've come from absolute obscurity to making an awful lot of money via the route fan fiction self-public fiction all of these things it just it's there's more and more and more and more and the story of publishing now is that that's the route through that's where that's where people are coming from but yeah, so Alchemy's out last week, been absolutely huge.

It is fan fiction.

Hasn't yet sold as many as 50 shades of grey, but almost nothing ever in the history of publishing has.

But they both come from the same place, and that feels like a really positive thing.

As you know, this week we're doing something a little bit different, which our bonus, our bonus episode came last night.

It came right after the first episode of Traitors.

So it's come slightly in a different order this week.

But if you haven't listened to it, it's free.

Yeah, and it's free.

It It is.

So dive in, but only once you've watched episode one of Traders.

Please, please do not listen until you have.

Unless you're not going to watch Traitors, you just want to hear people talk about a show you haven't and are not going to watch.

You must do what you wish.

But yeah,

it was a lot of fun to record.

So I hope you enjoyed it.

But for everyone else, we will see you next Tuesday.

See you next Tuesday.

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