What?

We can deal with that if you want.

What's behind?

Have you done many interviews talking about the show yet?

We haven't done many interviews.

Really?

Okay, Now And also, people never ask about those things.

Well, I'm going to know.

Okay.

When you sit down and write the show, always like Mark Lawson already going, D you know, obviously, when you're writing for the last little Britain or whatever, you you had your character, we could not pick.

He knows what I'm doing.

I'm just I'm just scratching it now.

You were picking it?

Well, kind of Hear on the radio.

Get away with it.

We're on the webcam.

Sorry, sorry.

Sorry.

Cameras hurry and then we'll pick it up your face if you flick.

You think nothing of my put it.

I put it back up there where it belongs.

This is like my audition for, you know, BBC two or something down using night.

So obviously you writing forget well established characters.

But with the new show, you have to establish the carrots are very quickly.

That's right.

Did you find that a challenge?

I thought it was a really nice thing.

I mean, just in general, right?

Little Britain became so much bigger than we ever, ever, ever would have dared to dream.

So there's no point trying to compete with that.

So the best thing to do is just start over on no pressurized yourself to make a show as big or successful is that Onda We felt what we can't We can't be as big as that.

But we could be funnier than that.

So that was just we just as usual, We just write what makes us laugh.

But it's a big cleaner than little Britain.

It's a little bit a little bit more family is fun, creating new characters.

You think you know, you don't exactly know how they're gonna sound, how they're gonna look how they're gonna walk, you know?

And it was it was quite a pressure, I think creating so many new characters all at once.

But I think they're quite vivid.

He ride together, don't you?

So do you ever have a scenario where David arrives or matter?

You turned up and you go?

I've had a brilliant idea.

So right.

We have an idea off this character on glee, making this and that and this that the other And I'll be really funny.

And the other one goes, Yeah, you do.

Sometimes you don't share the same vision.

But then the idea is, hopefully you then offer something to build on that you don't just go.

Oh, no, that's rubbish.

You go.

Okay, Well, okay, that's interesting.

But how can we pull that toward?

And you didn't discard lots of things that you don't end amusing?

You know, we do create also characters that we don't use until that's fine.

Because if you write lots and lots and lots and lots, then you can afford to discard some.

So it's not normally tense of one of you says, I really like this idea and the other one doesn't really get it.

You just can't be too rude about someone else's idea.

That's Rob.

Even if you do, you'll think is rubbish.

Me just trying to build on what might be good about it.

I think I picked him out saying the word interesting.

I might use that if we I have no next brainstorming session interest here.

I guess I got an idea.

Interesting, Alex.

But his mind coming like you are now.

Normally, you look at me.

Go.

What?

No, No, I don't.

I'm very I'm very much a team player.

You've got to say something like again.

It's sort of apprentice speak.

You go.

I'm gonna run with that.

But I'm gonna run with that tablet.

Later on, we'll come back to that.

It's all just all of that kind of pussyfooting around, basically.