Our Most WTF Celebrity Couples

Hello everybody. Hello Marina. >> Hello Richard, how are you? >> I'm very very well. Don't forget we're. doing a a special Q&A very soon with Sir. Paul McCartney. You think I forgot I'm. not forgetting that. >> You're not forgetting it, but if you. want to. >> genuinely very little elves. But it will now you're thinking about. this episode first. >> because above all I'm a professional. >> Yeah, above all you. So if you were any of the if people say. what's one word you used to describe. Marina. and let's say professional. I'm still. excited I can do the intro to this. particular edition of the show without. messing up. I know every time I do it I. still can't believe I've done it. You.

have like you have like office pump. Little Andy Murray fist pump. Um if you. want to ask a question to Sir Paul. McCartney we'll be giving your questions. not ours. It's the rest is entertainment. at gollhanger.com. But we. are going to be answering your questions. this week. I'm sorry that that's a. disappointment because neither of us are. Paul McCartney. The Rest Is Entertainment is presented. by Octopus Energy. Now they've looked at. admin and decided it should behave much. more like a game show. >> When you provide your meter readings. they will give you a spin of a wheel. which allows you to win prizes, allows. you to win octo points which you can.

spend in the shop to bus. Yeah, it's the. gamifying of the boring bits of your. admin. Now listen, you know how much I. love Octopus Energy. The prizes I'm. going to say are not quite up to the. standard of the Wheel of Fortune. The. biggest ever prize on the Wheel of. Fortune is over 1 million dollars. What. feels more similar is some of the random. prizes they'll get on the Wheel of. Fortune. They've had ceramic Dalmatians. I saw one where you could win a Gucci. calculator. You think okay, that's two.

of my favorite things. There was an onyx. bin. Yeah, I'm not again I'm not dissing. the prizes, but I would have probably. gone for the Dalmatian. None of these. things you have to worry about with. Octopus Energy. It is simply octo points. to spend in the shop to bus. >> Well, you have to submit your meter. reading to earn your spin. And then you. get prizes you don't actually have to. persuade yourself you want like money. off your next bill. You can get a. thousand pound off your bill. If you get. the top prize which is 800,000 octo. points, thousand pound off your bill. just on the spin of a wheel. We start with a question from Beverly G.

Beverly G is like a like that 80s New. York rapper. Beverly asked So about. House of Commons television. She said, "Could the House of Commons up the. production value of their select. committees?" Finally, Beverly, someone. said it. "If potentially millions of. people are watching Sir Oliver Robbins. reveal crucial information for our. democracy, would it not be a good use of. taxpayer money to improve the cameras. and mics?" Uh yeah, we have reached the. Blockbuster Select Committee. phase of any government's life. And so. yeah, last week it was Ollie Robbins, this week there's been Morgan McSweeney. and Philip Barton.

Let me tell you something, Beverly G, which is that the the filming in the. House of Commons, and that means in the. chamber itself and the House of Lords. and in the on all the committee rooms, is governed by incredibly strict rules, um which were mostly established in 1989. when they let the cameras in. And. they've some of some have relaxed a. little, but I will tell you what they. are, which will explain quite a lot. The. main rule is that you have to focus on. the speaker while they're talking. So. this is why in the House of Commons.

you've got this like static angle on the. dispatch box, and it's quite wide. You're not allowed to do a close-up. there, which would just be a head. And. so You have to do You have to do head. and head and shoulders. Yeah. All the. things you'd want to ta- say, which is. why you know, "Get me ties now, you. know?" Cuz you want to do a cutaway. You. can't do that. They have relaxed them. slightly to allow um cutaways at all, um. but they can only cutaway to the person. who has been named or effectively, you. know, by the honorable the honorable.

lady officer or something, you know who. you're talking about. They can only do. that. And you can't highlight a group of. MPs. Um you can obviously have no shots. of documents of any kind. And it's as I. say, it's got to be sort of medium angle. shot where and you could you can. >> includes in the select committees that. Yes, all all of it is very and it's kind. of largely the same because you've got a. speaker and someone who might be being. referred to. So, you're in general. switching between a kind of medium angle. thing and a wide thing, never close up, and never split screen. That's like.

that's you can't have anything like. that. >> it was absolutely transformative for the. darts. Split screen may maybe it could. be transformative for democracy. The. darts, so much you believe could flow. from darts. So many things could be made. better by adopting more of the. conventions of the darts. >> Well, listen, liberal democracy is in. crisis. I agree. I just say why not to. you? What's to lose? Throw a few darts. in the air. Yeah. You can occasionally. in in the chamber have panning shots. along the benches, but only really. occasionally, and it's a whole sort of. special permission thing. >> Christopher Nolan did the thing when cuz. he directed for a day, didn't they? And.

he turned the whole thing into like a. like a tombola. And so like everyone was. like a Jamaica way video. That was I. like that I like. >> a great day. Yeah. That was a great day, and they were all sort of keeping up. they were all sort of walking in the It. was a I thought it was amazing. Wonderful. Wonderful. But not enough. guest directors. And but they only have. actually they have they've got two sort. of control rooms galleries really with. you know, the robotic cameras. Yeah. Do. they have a director? Do they have an. actual Is it cuz presumably someone must. be overseeing that? That must be a. boring job. Someone has to oversee like. cut to cut. That's a boring gig. Well, it is. I mean, listen, we it's work, but.

The main reason for all of these rules. is you cannot trivialize Parliament, and. this is why you cannot use any footage. from Parliament in any entertainment. programs. You're not supposed to you're. not allowed to trivialize it, and it's. supposed to be about recording it and. creating a record rather than a drama. And you can see why everything The most. crucial thing is that everything has to. be impartial, and you can see why even a. cutaway could provide the idea of a. slant. And so it's like it's almost like. a visual version of Hansard, and Hansard. is literally they're just writing down.

every single word that's said just so. future generations have that. And I. guess the idea is if we're filming it, all we are doing is showing future It. doesn't matter I mean, whatever you. think about what might have been. happening today, you want someone in 200. years time to be looking at this, and. they just want to be able to hear what. was said and by who and when. >> Exactly. And also it you do want them to. be able to do their job. And everyone, I. mean, I'm going to shock you. MPs are a. subject to vanities as anybody else. Um. and being always on is hard. You need. even the greatest actors in the world.

have to remember not to become a. reaction gift when they're at the Oscars. in the audience. You all have to. Everyone has to remember that you always. So, eliminating that thing helps. But. obviously, yes, for the viewer, Beverly. J, you are you're used to TV being a pretty. fluid system of close-ups and different. things like that. So, it does seem um it. would be expensive, by the way, to up. the production values. You know, my. dream is that you have When people are. talking about Keir Starmer, there's a. camera on Keir Starmer wherever he. happens to be to have the reaction. Or.

or like a committee looks like when Tom. Womsgams is is in the committee in. Succession. But yeah, it's it's it's not. going to look like that. It's not. One. thing that therefore I would say is that. I absolutely adore the work of something. that is such a unique thing in our. country, which is the sketch writers. And they can when it's done brilliantly, there's so many great sketch writers. You know, I love Tom Peck in The Times, John Crace in The Guardian, Rob Hutton. in The Critic. I loved Madeleine Grant's Spectator I. love her ones in The Spectator. And the.

ones The one of that committee that you. were talking about, the Ollie Robbins. one, was so good. And I. I haven't spoken to her about it, but I. would say that probably what she's done. is. even she's probably done this. subconsciously cuz by the way, you have. to write your you have to file it so. quickly after it's all over. But the. reason her one was really is cuz I think. she subconsciously probably thought. you know, you're thinking I it conforms. to the conventions of a sitcom or a. ideally a sitcom really, which is that. you've got two lead characters here, Emily Thornberry and Ollie Robbins. They.

Russell and just sort of bit bit parts. And everybody doesn't like a third. character who's not on screen, and. that's why it's funny, who is Keir. Starmer. And it all sort of works. because they conform to the conventions. of a sitcom, but they also tell you. things that you can't see because of the. way it has been filmed. As you say, it's. this very dry way of filming. And so, what I love is when the sketch writers, who are in the room, and if they're not. in the room, people always say, "Oh, you. can do it from the TV.". I've done occasionally had to do. sketches from the TV for one reason or.

another, or you're not allowed into the. room when you're doing on the election. trail. It's always worse. It's always so. much better. It's like covering sport, you know, yes, technically you could. cover a golf tournament off the TV, but. it's nothing like doing it when you're. there. And I really value the work of. our sketch writers particularly because. they give you the little details, the. little bit what people were doing when. the camera, you know, which you'd never. know what the other commission members. were doing, who was getting everything. off their phone, who wasn't really. concentrating. And I really value that. particular thing. And it's funny cuz.

it's not something that other countries. particularly have. It's just a British. thing. And so, those accounts, which. often come out really soon after they've. happened, are a very good window into. the actual drama and the actual, you. know, they have high production values. if we could put it that way. Yeah, and. this idea of, you know, could they have. better cameras and better mics? Better. cameras they don't need because. genuinely it is they need a static shot, so that's the shot they're going to get. And mics is one of the things that. anyone who's ever put on an event. anywhere knows that mics always go. wrong. I mean, that's, you know, if you.

if you want mics to always go right, it's almost impossible. You know, if any. village hall in the country, the second. you mic somebody up, somebody's mic goes wrong. They're just. notoriously. difficult to use. And so, whenever I do. an event, I say, "Can I have a. handheld?" Because, you know, at least. at least you know if they're mics are. wrong and no one has to come and, you. know, fiddle about with things. But. yeah, microphones, unless you're going. to have a full-time staff doing that all. the time, which probably is not what we. should be spending on in our democracy, the microphones are always going to be. an issue because microphones, God bless.

them, are always an issue. Richard, a. question from Asher for you. Richard. previously mentioned that Freedom at. Fadden was the best-selling author of. 2025. It's since been revealed that she. is in fact an American physician named. Sarah Cohen, which I found incredible. How does she find the time? This has me. wondering what motivates authors to. write under pseudonyms in the first. place and what leads them to eventually. reveal their true identities? Uh lots of. different reasons really. I mean, Sarah. Cohen is a particularly interesting one.

She didn't want to write under her own. name because she had patience and she's. quite rightly thinking if someone wants. to go and see. a brain surgeon, are they really going. to go see someone who is sort of writing. fiction in their spare time? And so I. think very very early on she thought, "No, this is a hobby for me. My job is. brain surgery, so I'm going to give. myself a different name." I mean which. is a writer it's just every every time I. think of it it just blows my mind. Uh. and Frida is taken from a. machine they use in brain surgery as.

well. So at least. Yeah, so it's it's a little reference to. her job. How does she have the time? That's a slightly different question and. an interesting question. She does not do. an awful lot of brain surgery anymore. She is mainly writing all the time. She. did a really really good take down of. people accusing you of accusing her of. using AI. It was really really really. good. She says, "No, I can write two. books a year. I mean, I can I can just. do it. Plenty of people can. Some people. can write four. Right, that's just. something I can do. You know, take a. look at every single thing I've written, you know, including before AI even.

existed, right, it's exactly the same. I. don't use it. Shut up saying I use it. You know, I used a different name. because I was a brain surgeon. I don't. do very much of it anymore. And this is how I write my books. And. and by the way, she doesn't add this, but people love her books. Yeah. So So. she uses. a pseudonym for that reason. >> have accepted that from a rocket. scientist. If you It's like No, thank. you. No, anyone else making that. accusation, no. And there are all sorts. of other people who want to protect. their day jobs. Journalists quite often. will will, you know, write under.

different names. Sam Bourne is a is a. pseudonym, for example. Just people. whose day job and their and and the. writing job might clash with each other, they will use a pseudonym. So, that's. one reason. Something like So, E.L. James, who wrote Fifty Shades of Grey, E.L. James is a pseudonym that Erika. Mitchell, who who worked in television. for many years as a production manager. Now, she is using a pseudonym maybe cuz. she's writing something that's vaguely. pornographic and feels like maybe she. doesn't want her professional name. Racist. Basically, yeah. Associated with.

that. So, that would be a reason that. you would use a pseudonym. Sometimes you. actually just don't particularly like. your name. A really, really good example. of why a pseudonym was chosen is Lee. Child. So, Lee Child's real name is Jim. Grant. And again, worked in TV for many, many years like lots of writers. So, he. decides he's going to use a pseudonym. for his writing and he comes up with Lee. Child. And the reason he uses Lee Child. is cuz he's writing crime and thrillers. and he said that Child would be exactly. in between Raymond Chandler and Agatha.

Christie. So, if you're in a bookshop, he's between two people who everyone's. looking at all the time. That is. brilliant. I did not know that. >> One of the many reasons why he's a. genius. Uh, Lee Child. So cool. J.K. Rowling's an interesting. one cuz there's two different um things. going on with J.K. Rowling. I'll I'll do. the second one first, which is which is. when she moved on from the Harry Potter. books. She did the Casual Vacancy, but. then she starts writing thrillers, the. Cormoran Strike thrillers. And she. writes those under the name Robert.

Galbraith. And she did that because she's very, very aware that. she had this unbelievably enormous. success, but you know, would people just buy anything with her. Yeah. name on it, I guess. So, she's. thinking, "Well, I I want to prove. myself again. I want to prove to myself. that I'm a great writer and this wasn't. a fluke or, you know, critics, you know, sort of slag off my books and I just. want them to show I can write." So, she. writes Cormoran Strike under Robert. Galbraith. These books did not sell when. they were under the name Robert.

Galbraith. It was only a few weeks, but. literally. like nothing. Because that's what. happens with most books. You know, it's. it's really, really hard if you're a new. writer, especially if you're Robert. Galbraith, because you can't really do. any interviews. You can't because. you're not real. And so, you know, but. she used the pseudonym because she. wanted to prove herself in a different. way. But you very, very, very quickly when. Robert Galbraith was outed, who knows. who by, uh suddenly those books became a. enormous bestsellers because they knew. it was. JK Rowling, not Robert Galbraith. But.

that was the reason for using one. And. JK Rowling itself is sort of a pseudonym. cuz her name is Joanne Rowling. And she. called herself JK Rowling. And this is a. very, very common reason for using. pseudonyms because she didn't want. people to know she was a woman. She just. thought, I I'm writing these books. I. want. >> centuries, that's been going on. >> you know, George Eliot, it's you know, and but different reasons now and now. and now and away. I think she felt she. wanted We all know that girls read more. than boys. Uh and we all know there's a there's a a.

gender split between the sort of books. that boys will read. The numbers back. that up. And she thought, well, if I'm. JK Rowling, no one knows if I'm a man or. a woman. And therefore, you know, boys. and girls can read me in equal numbers. I mean, obviously with the success of. those books, it became apparent very. quickly that uh people did know who she. was. But the idea in the at the start. was if she calls herself JK, then people. won't know what gender she is. So, all. sorts of different reasons for people to. do it. Sometimes people just don't like. their name. Sometimes people.

you know, their day job is not quite. suitable for the sort of books they're. writing. And sometimes you just want to. hide who you are. You know, Primary. Colors was written by Anonymous, for. example, just which sort of showed that. they were kind of an insider who. couldn't you know, Freedom McFadden, absolutely I you can understand 100%. she's thinking, no, I I literally see. patients day in day out. I do not want. to be sitting across from someone. discussing something very serious and. they've literally just read a thriller. that I've written. That would be. awkward. But now she doesn't really do.

anymore. So so so we know she's Sarah. Koenig. Lisa Kilroy has a question. How do actors master crying on demand? You know, we just went to someone. vaguely famous. We went to Meryl Streep to answer this. question. Meryl, take it away. So, Lisa. Your question is. how do you wrangle a good movie cry? And I think you mean.

when you're acting or do you mean. when you are a member of the audience. and you feel yourself. tearing up. Um that's. uh. that's a different question. But as an. actor, I remember. a friend of mine in drama school. Oh, I. asked her the same question. I said, Con, Marcel, how do you cry like that? She said, how do you not cry? How do you not cry? Given the world we.

live in. I thought, "Ooh, I'm in a bubble.". Um yes. So, I think if you leave. yourself open. to what. real heartbreak there is in your. surround. Everybody has it. You can um you can get there. Wow, how about that, Lisa? Meryl Streep. >> Acting lesson from Meryl Streep. We try. to be a full service podcast. >> But it's it's funny, isn't it? You talk.

to cuz actors get that a lot cuz it's. it's it's the one thing I think. non-actors think, "Oh, I could I. absolutely couldn't do that." And um. half the time it is yeah, you you you. find something within yourself. You. know, it's we we've all had moments in. our life where we have cried and one of. the parts of being an actor is is you. know, you you go inside yourself and you. can do that. But also, you know, there. there are tear sticks. which are, you know, very sort of. viscous things that you can put under. your eyes just before a take starts. that'll that'll that'll give you a. little tear as well. I will say that a.

lot of actors will tell you that if they. have got themselves into that place. where they can cry, they are almost. always thinking of something pretty It. takes a while to come out of it. They. can't just switch it off. So, when cut. gets called, it's great if everyone on. set realizes that they must be in a. place to have to have got there and. they're treated quite gently so that. either they can do the take again or. whatever it is. But yeah, I think that. it's it's worth remembering that someone. in the room has gone to quite a dark. place in order to be able to do what.

they're doing and everyone else if if. they're thinking about it has to respect. that when you come out of the take. >> Yeah, on a set there's always you know, before a kiss or before a cry, that's. when everyone knows they have to be. absolutely on their game cuz if somebody. in a situation where they're going to, you know, they have to cry in the middle. of a scene and as you say, it's. usually that's that that involves going. somewhere quite dark. If you're about to. start to take and then you go, "Oh, hold. on, I just need to change a bulb." Yeah,

you. you just that you can't, you know, that's the moment where you go, "No, that person is we have we have to turn. over immediately cuz this this actor is. ready." So, a lot of pressure on anyone. and if you do have to abandon a take and. an actor is halfway through, that's a. That's tough. They'll often do like a. closed set for things like that which is. the absolute bare minimum of people to. be with definitely for nude scenes, but. even for kisses and sometimes for cries. because it it's just helpful if there's. not a million people even silently.

changing light bulbs. Yeah. What a. legend Meryl is. >> Oh my god. Cuz that's a great answer. How How can you not cry? Yeah. How can. you not cry? >> myself. Yeah. Wherever you may be. Follow that, Marina, cuz I have a. question for you from James Brandon. James says this week Netflix have. announced they are releasing a film of. Millie Bobby Brown's 19 Steps with Tom. Hooper signed on to direct. Given that. this book was ghostwritten by Kathleen. Mac Coll, how does it work with. intellectual property? Millie is signed. on as a producer and is almost presented. as the author of the novel. Does the.

ghostwriter get a one-off fee or will. they also get remunerated for the film? Yes, this is the. This is the book based on Millie Bobby. Brown's grandmother's experience in. World War II in the. Bethnal Green Tube disaster, but she's. done lots of things Millie Bobby Brown. as all lots of these young stars do. You. know, she's got a makeup line, clothing. collaborations, a book as well. Um. they're very diversified. But when this. book came out, there was a real backlash. about it saying that someone else had. written it. So much so that Millie Bobby.

Brown actually posted a picture of. herself with Kathy Mac Coll saying, "I. couldn't have done this without you.". Yeah, no no. >> No, but also ghostwriters have been. around for actually hundreds of years. Every speech that you ever hear a. politician give, nobody says to Nigel. Farage, "You didn't even write this, okay?" Yes, but that's that's different to being an. author. >> I agree, but being a ghostwriter is. something that has existed genuinely for. hundreds of years. It is a deal that you. do By the way, in answer to your. question, no, she won't be getting.

anything. out of it. I'm almost certain. It's a. You're a writer for hire. It's a writer. It's like a contributor gig. You're paid. a certain amount of money and I'm sure. she got paid well for it. Kathy Mac. Coll, she seems to have been still in, you know, willing to do the picture with. Millie Bobby Brown, so she knew what she. was signing on for and any agent has. foreseen this and obviously thinks. as you can see how carefully Millie. Bobby Brown's career with all these. different strands has been planned out, will think she'll do the book and then.

we'll do the film of the book and and. knows all of this and it will all have. been sewn up. So my feeling is I very, very much doubt that she It's possible. that they didn't say if it is made into. a film you get a bonus but it won't it. will just be. that they could have that clause in. I. very much doubt it what you don't need. to give people that you tend to just pay. them for the ghost writing. >> My thinking would be in this particular. case cuz you're absolutely right because. what you want to do is control the. amount of money the ghost writer is. getting as opposed to getting a. percentage or something. I think given. that they would have known for a fact. that this would be optioned by Netflix.

It might have even been optioned just. off off an idea. It means that the fee. that Kathleen would have got in the. first place would have been. significantly higher Yes. than she would. have got without it because you are cuz. you're not just buying out the book you. are buying out the film rights as well. at the same time cuz you you must have. known that those film rights would be. lucrative and and will be sold. So yes, I think you're right. She she would not. get extra for this but that would have. been baked into the original deal I. would have thought. Yes and there are. you know, there are lots of famous ghost.

writers. You know, J.R. Moehringer who. did um Prince Harry's book and he also. did Andre Agassi's um biographies. brilliant. He and ghost writes lots of. these things. The name wasn't on the front of the book. and it's sort of understood. She got a. big backlash I think and I think that. even her publishers felt that that was. quite sexist and that you wouldn't in. lots of other cases have a backlash like. that but as I say she clearly tried to. get in front of it by posting this. picture but in general a ghost writer is.

always a. defined writer for hire gig and you've. signed away future rights to this or. that. Yeah and I think listen I. absolutely understand why there's a. backlash because you know, writing a. book there is supposed to be an. authenticity to it and if you are a. consumer who's not used to books and. doesn't understand the world of ghost. writers if that's the first thing you've. ever heard of it you'd be going well, this is absolutely insane. If you write. a book you write a book but as you say. you know, especially in autobiography. and non-fiction it is very very common.

and so long as you lean into it and. admit to people that you've done it, there are people out there who have. ghost writers who don't tell you they've. got ghost writers. That to me is the. worst. crime of all, but Millie Bobby Brown at. least. her ghost writer has been acknowledged, her ghost writer has been paid, and if. she does another one, she'll probably. get paid again. So, you know, it's it's nice money, but it's if it's the first time that you. would come across this idea as a. consumer, I think you would your. immediate reaction would be. but I I. how on earth do you expect me to read.

your book when it is not your book, it. is someone else's? I'm hoping I'm saying. on surname right, Rob Feen. Rob Feen. says, "In your get-together discussion, you didn't mention that Jess Glynne is. in a long-term relationship with. football presenter Alex Scott." I don't. know how I didn't cuz I live for this. stuff. I didn't know that. I. I'm stunned. You've just We don't spend. I said to you you need to spend 15 hours. a day on MailOnline and then you know. everything about it. >> different media, which is which is why. the podcast works.

Um You don't read you don't read Snooker. Scene a lot, right? I dabble. Yeah. Rob says, "It's one of. those B-tier celebrity couples that you. only discover when you Google one of. them. I was wondering what your favorite. surprise celebrity couples are." We can. lose B-tier, I think, because because. Jess Glynne and Alex Scott, I think. that's that's quite a lot of star power. right there. As I say, I didn't know, and you know, that's uh. that's on me. Yeah. >> I guess. Be happy now? You know, I've. I've been writing a book. Yeah. You. know, I just it's but sometimes I spend.

more time doing that. But, you know, I do love her. >> I'm beginning to question the wisdom of. my 15 hours a day on these websites. No, listen, you. you keep it up. Actually, there's a. celeb couple that I I really like the. idea of because I like both of them, and I read that they met. when they were like 15 or something. They like met when they were kids at. like a Christian youth camp or. something, but it was only years later. they became a couple. And one of them starred in my favorite. film of last year. Uh, the Battle of the Sexes Island,

Carey Mulligan and Marcus Mumford. I. think that's a that's a fun couple, isn't it? Don't you think? They both. seem so lovely. >> Yeah, abso- I I absolutely think that. that is a fun couple, for sure. Um, and. yeah, they did have that funny story. where I think I think they were pen. pals. I think they started as. I don't want to get that bit wrong. I. I'm a big fan of Maya Rudolph and Paul. Thomas Anderson. >> Yes. That's one that that always cuz. Paul Thomas Anderson feels like someone. who isn't real. Like he's so cool and. he's such an auteur. And then you see a.

picture of him and you think, I can't. believe you're an actual real human. being. And then you discover he's. married to Maya Rudolph who everyone. will recognize from every American film. ever and Saturday Night Live and stuff. like that. You think, not only are you. real, but you're sort of you appear to. be married to this wonderful woman as. well. How are you how are you making. these how are you an auteur with a. three-word name and yet you also just. appear to be married as well. Listen, I've. for me, the the absolute best of the. best, of course. And I don't think it's. unlikely though, because you know, when.

two people get together, you think, oh. yes, of course. Jess and Stacey Solomon. Yes, please. Don't you think? >> But you don't It's not like you don't. know they're together. You certainly do. if you spend 15 hours where I spend it. >> What was the question? What was the last. bit of the question? >> Unlikely ones that you had to sort of, you know, you you have to think, oh hang. on a second, are they together? >> I just wanted to talk about them. Yeah, I know. You. If you haven't had a mention of them in. each podcast, I'm going to stick with. Mumford and Mulligan there. It would be. lovely to have the Mumford and. Mulligan's round for dinner. I mean,

that's the thing, isn't it? I I wish. they double-barreled it, but I'm I don't. think they have. I don't think they. have. So, we're going Mulligan and. Mumford and. Thomas Anderson and Rudolph. >> Yeah. Beautiful. Right, it is that time. of the episode, Richard, the. recommendations section, which this week. is brought to you by Tesco Mobile. >> Yep, we love making recommendations. We. love recommending film and TV things in. the same way that friends and family. always do. If someone tells you about a. show, tells you about something to read, then it makes it that bit more. important. And also gives you a little.

insight into who they are. Sometimes you. agree, sometimes you disagree. Yeah, that whole connection with friends and. family is what Tesco Mobile is all. about, which is why they're happy to be. your second most important network. >> Now, let's get on to our. recommendations. >> My recommendation this week is for a. book called London Falling by Patrick. Radden Keefe, which people are. absolutely gripped by this book. If you. read this story, it's a story about a. boy who becomes obsessed with the. super-rich. It's a true story. It's It's. non-fiction this book. And he pretends.

he's the son of an oligarch. His name. was Zack Breatler, and age 19, he jumped. to his death from the fifth floor of one. of those very fancy new tower block. developments on the banks of the Thames. And it's the story, I mean, it's. absolutely gripping. As I say, it's a. true story. It's got it all. Gangsters, violence, and this absolutely tragic. end, which isn't really an end because. it's so unclear what happened. And even. the coroner says, "I don't know what. happened." And it illuminates a world. and an era, definitely, and a city, I.

have to say, and some of the things that. have happened in London. And most. particularly, his parents' search for. their lost child and for answers. It's. brilliant. >> I'd also say I'd read anything by. Patrick Radden Keefe, as well. I I met. him. at at a festival last year, and he he's. an extraordinary writer. He told He told. an amazing story about how he was. sitting with his son. He was watching. one one of his children at a baseball. game, and his other son is playing with. his phone. And then he realizes halfway. through that his son is FaceTiming a.

Mexican drug cartel boss who he was. writing an article about. His friend. Anyway, he's he's He wrote an amazing. book. There's a selection of his things. about Rogues, I think it's called. Rogues. And also, he did Say Nothing He. did Empire of Pain about Northern. Ireland, yeah. >> Yeah, Say Nothing and that the Troubles. And Empire of Pain which is amazing. about the. opioids like the epidemic. >> Yeah, he's a great writer. Listen, I'll. I'll recommend something a bit more. chill. which is Interior Design Masters is back. on BBC One and you can see it on. iPlayer. Alan Carr and Michelle Agyemang.

and you know new designers and they they. just do lots of interior design. challenges each week. It's got such a. big heart and you can be very very. judgmental about people's taste as well. Something with a big heart where you can. also be judgmental. I mean it's perfect, isn't it? Exactly. So yeah, my recommendation is Interior. Design Masters BBC One. Well, those were. our recommendations brought to you by. Tesco Mobile. Who after the friends and. family you share your recommendations. with, Tesco are very happy to be your. second most important network. Tesco.

Mobile, it pays to be connected. Search. why Tesco Mobile to find out more. Don't. forget to get those questions in for Sir. Paul McCartney. restisentertainment@gohanger.com. We have a bonus episode tomorrow which. is all about the birth of breakfast TV. to you what up my street. >> Start of the series which I'm very into. If you want to become a member at free. listening and all those bonus episodes. that is the restisentertainment.com. You. can sign up for that. You don't have to. We always tell you and if you don't we. will see you next Tuesday. See you next. Tuesday.