S8 EP9: Mo Gilligan on being quoted by Drake, his surprising shopping addiction, and eating fried chicken for 28 days straight

31:13Mo Gilligan:That was a big tune. Massive tune growing up, especially like Romeo's verse. Turn up the bass line. I got 21 seconds to chat this line in time. First of all, I got to big up the ladies looking slender and fine. Romeo Dunn I cut to the end Romeo Dunn Have you met Ashley? Yeah Yeah yeah yeah So I've met him before I remember meeting him once Just doing a comedy show And I was in Birmingham And he was lovely man Then we'd done a show together Called Drunk Histories And we have to like Dress up as like I can't remember I think it might have been like King George V Or something like that And we're all sitting there And I was like Oh did you learn your lines?

31:58Mo Gilligan:and I'll never forget he said to me he's like nah bruv bad man don't learn lines and he didn't say that he did he did was he joking he was joking but I don't think he learnt the lines because you had to kind of learn the lines but they were almost like what's the word you kind of mime them on drunk histories right yeah so it doesn't matter that much yes I reckon he learned his lines on adolescence yes there was nowhere to hide on that that was all single take but he's like one of my idols I think just meeting him where he's come from what he's doing yeah I've really got a lot of time for Ashley Boyce yeah he's definitely had a few scrapes over the years yeah yeah did you meet Drake?

32:34Mo Gilligan:I met Drake twice yeah lovely guy really really lovely guy was this before or after the feud with Kendrick? this was before yes this was before yeah yeah yeah yeah when that blew up did you reach out and say it's alright hang in there this must be tough I just want you to know I'm thinking of you I don't know I think for me one I'm like I don't know if you're going to listen to me Mo Gilligan in this feud you could dm him on insta couldn't you I could but also I don't feel like Drake's like oh yeah all right Mo appreciate that man um you kind of got to let rappers I guess figure it out do you know I mean because then I might be in a lyric you know I mean I was killing them got advice from my guy Mo Gilligan and everyone's like who's that you just came out of that that was good can you freestyle I feel like I can and then when it gets serious I just kind of crumble a little bit but I do like in my car freestyle a rap about what's happening now chilling in the studio with the man Louis I'm in a podcast we're getting real chewy ooh we're about to get chewy and with a man like Faroo first name Louis doing a doc going overseas he's done docs in Asia none in the West Indies on paper that would look good but you weren't riding a beast.

33:53Mo Gilligan:I know because you put me under pressure. That's why, man. In my head, I was like, that's what I said. It's like, in my head, I had something but then I was like, I don't know, you know. I don't know. It's once you're on the spot, it's hard. It's really hard. Yeah, but in the car. In the front room, fine. In the car. All day. Flowing, man. In the car. Because I remember you had... Killing Owen Gilligan was so promising. I know. That's what I mean. I'm on the podcast with Louis Farouk and we're killing them. It's Louis. We've got Mo Gilligan doing docs, we ain't got much time 21 seconds this podcast might be done go on

34:31Mo Gilligan:you did it so daintily that's brilliant yeah stay out of rap beefs I think your intervention could easily have you don't want to be roped into that I just don't think anyone wants any advice from a comic a lot of people don't take comics very seriously anyway I asked Ed Sheeran about the about the Kendrick Drake Beef and he's like I'm not even touching that it's hard I think for musicians same with Little Sims you just didn't say anything do you find like a lot of musicians are in awe of you when they meet you well I love that question no definitely not you don't think so do you find that no I don't think they're in awe of me because I think a lot of them as a comic you know I realised when I'd done the Brits everyone was quite scared when I'd go to their table it was like ah is he going to get me is he going to embarrass me and they're on the table with their record executives and their friends and that's like their place.

35:27Mo Gilligan:That's all musicians. Like you're going to deliver a sick burn. Yeah, because you've got to remember if it's at the Brits, that might be your biggest opportunity. Some people, it's their first time ever there and you've got me as a comic. You're like, oh God, is he coming over here? And also there is also a connection where you're like, I know how big this is for you and for me and I'm not here to really, I don't want to embarrass the mandem. I don't want to do that do you know what I mean this is my moment as well as it's yours so yeah I always feel like I'm quite fortunate as a comic that I have a really nice connection with the musicians and with music in general but I feel like people are very much especially with yourself because you're so when it comes to pop culture like you're very cool as well Louis do you know what I mean you're very cool I don't know about that you know this man come on don't do this man no come on stop it you're flattering me and I'm no but you come on I see people I see people being like when you've done the Manosphere and it was like oh Louis man this guy's hot man like the gal then were like on to you stop it I haven't even seen you're just making things up now that's nonsense I definitely haven't seen that come on man Louis it's alright man the gal then were feeling Louis man stop it send me some screen grabs give me the evidence

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38:30On the subject of comedy, and especially US comedy, did you watch the Kevin Hart roast? I didn't watch the...

38:37Mo Gilligan:I haven't watched it yet. I've not seen it. Why not? Because I don't really watch a lot of comedy. You heard about it? I heard about it. It was kind of extraordinary. I think Rosado. Rosado, like the most extreme when it comes to comedy. It was the aristocracy. It was the absolute creme de la creme of American comedy, and especially black comedy. Although it was hosted by a white comedian, Shane Gillis. But it was obviously Kevin Hart was there, and then Cat Williams. Did you hear about the Cat Williams bit? No. Did you not digest all of this? Because for me, when I'm at home, the one thing I probably don't watch is comedy.

39:13Mo Gilligan:because then I'm going to start breaking it down of, okay, this and that and this delivery and what about the nuances of this or the nuances of that? So for me, I watch, one, I love wildlife. Wildlife is my thing. I like something, you know, I need things that detach me from... That's not funny at all, is it? No, but that's what I don't want. I don't want the funny because I find the funny. I'm looking for the funny every day. Right. So you need a break from the funny. Yeah, and also it's like as a comic, I'm always looking at it trying to break it down and break it apart. and it's too much for me to handle.

39:45So I need to watch the thing that is pure escapism.

39:49Mo Gilligan:Do you know what I mean? I'll watch a documentary on, I don't know, like dolphins or something. Do you know what I mean? And I just find it mad interesting. It is. Everyone likes those. Yeah, yeah, yeah. One of the striking things in the Black, British and Funny documentary was the fact that it's alleged that in the 2000s, there was like a step back, and without getting too deep in the weeds on it, There's a comedian, Dane Baptiste, who says that if someone comes up to him and says, Booyakasha, as soon as you say it, I fucking hate you. Right?

40:27And I was just struck that there was almost a sense like, oh, we've sort of arrived at a place where we can do edgy racial comedy. There was also Keith Lemon and Little Britain are also mentioned, but the Ali G show in particular. Any reflections on that?

40:41Mo Gilligan:it's funny like watching old stuff back because i think whenever i watch stuff like that back now i'm like rah is that what was on tv like that and it was very normalized do you know what i mean so and also hearing other people's experiences i remember richard blackwood told me his experience of being successful at that time and there's something that he says about uh about ali g where they had made some reference to him in the tabloid papers because of Ali G. And you realise that, oh wow, as much as that stuff was very normalised, some of it was feeling like you're being laughed at or laughed with.

41:27Mo Gilligan:So that realisation, once you get a bit older and how I guess comedy has changed a little bit, is like, yeah, we're no longer being laughed at, we're now being laughed with. It's a fine line, isn't it? because I think at the time it was like well he's not like Sasha Baron Cohen who plays Ali G he's not darkening his skin but he's playing an ambiguous character like yeah is Ali G what is Ali G's ethnicity it's never really made clear is it yeah and so it felt like it kind of people gave it a pass or some people gave it a pass at the time feeling like oh no I think he's making fun of a white guy suburban white guy who'd like to think he's black but it all got a little bit blurry Well yeah because you know when I would watch it you're like oh this is a kid from Staines that likes hip hop and jungle and you know you're talking like the yellow Max Power car and all that kind of stuff but I guess it's like how that gets digested into your friend at work and coming up to you being like eyes not black you're like what are you doing?

42:27Mo Gilligan:We're in the workplace what gave you the comfortability to go and tell me that do you know what I mean but then I think also So when I look back at television at that time, it was so, because now you have social media. So if I feel like if there was a character like that now, people are like, oh, this character is this person and he's from here. And you get this easier breakdown, whereas back then you didn't. You're like, comes on our screens. I don't really know much about this person that plays the character or the comedian. There wasn't podcasts. You didn't get to see a breakdown of comic tell you why they done a couple of cans that didn't exist.

43:04Mo Gilligan:and where they got the inspiration from. It was just, it's on TV, it's blowing up. You know, I feel like back then when it blows up, it's, you know, you can now dress up as the character. It becomes almost like an outfit. People can dress up as Halloween characters, do you know what I mean? Which I think is a little bit different now, you know. It's evident that you have to, or maybe feel you have to pick your way quite carefully like maybe in a way that a white comedian might not you talk about pressure you can't slip up you have to represent your community properly oh 100 i say that a lot like and i kind of know that i think i've always known that coming into this space that's not occupied by a lot of people that are from where i'm from that's going to come with a certain amount of pressure you know you've got to represent your community and where you're from but also that community wants to be represented right but also knowing that you're not going to please everyone in doing that there's a part of me that wants to feel free and be myself and I felt like that when I first done the big nasty show because it was you know just me and nasty and it was just kind of do whatever you want so if I was with David Schwimmer and I'm like go on man look in the camera and tell them suck their mum like that stuff felt really fun and and free but then also you had you know you've got to listen to the constructive criticism of some people saying yeah but bro like we ain't gotta do it like that you know i mean like some people your mum is quite rude isn't it oh yeah it's very very rude very rude yeah yeah yeah yeah yeah i don't think i don't think i've ever heard you say that i guess it's like one you want to bring where you're from in your culture and feel like it's relatable to people that are watching tv being like right this I don't think I'd see you know Big Nasty and Mo Gilligan on my TV let alone them having the guests that they have and it feel like a free show where I always used to love that show because people came into our world and had to get on board and if you didn't you would stand out almost do you know what I mean did you feel like you were in control I think yeah majorly or in control enough at least yeah I'd say in control enough because we had a structure of the show we had guests on the show we would you know we'd have briefings and biogs and who was going to come on.

45:22Mo Gilligan:But then I think what made the show what it was, was that it sometimes was a bit loose around the edges. I remember you coming on eating gummies. We didn't expect that to happen. But at the same time, I felt like there was an audience that was like, these lot got Lou Thru on here eating gummies, like CBD gummies. No one had ever really seen that on television. But also there's a constructive criticism that comes in your community and they're like, yeah, but guys, we don't want this. we kind of want it now a bit polished, a bit, do you know what I mean? So I think you have to look at both sides of that pressure.

45:57It had the chaotic energy that was brought by a big nasty, a grime artist, just a sort of force of nature, liable to say or do anything.

46:05Mo Gilligan:I think it was an open secret that he was often quite high during taping. I can't confirm nor deny this. No one would be wildly surprised if that were the case. I can't confirm nor deny this one, Louis. I'm so sorry. And then you were kind of the disciplined one. you were keeping things on track. I remember one of my takeaways was like, it's called The Big Nasty Show, but Mo's kind of keeping the trains running on time. But I think what helped with the show, it was almost like, I'm driving the car, but Nasty's the passenger that's playing the music, eating the snacks and having a fun time. And I think it needed that.

46:40Mo Gilligan:It needed to balance. You needed Nasty to be himself. It was the yin and the yang. Yeah, absolutely. He brought the kind of the X factor, whatever that was. But that wasn't ever a planned thing. we just realised that that was what worked for the show you know we need Nasty to be like sometimes I'd have questions and he'd be like hey listen forget that boom I'm going to ask you this and I needed that and he needed that because Nasty comes from music he came from doing Uncle Payne which the audience loved so now he's on this show and you know Nasty was never going to be the person like okay cool let me ask you that time when you've done this he was like I want to be loose I want to ask you this I want to ask you that you know what let's go old school let's do a quick role play.

47:21Mo Gilligan:Like, you know, we've got Natalie Cassidy on. We're going to go and do an EastEnders sketch. You needed him to be that loose, but you also needed me to be like, all right, Nasty, if you're going to do it, you go over there, I go over there. So it gave the audience this, ah, okay, cool, this looks loose, but there was a sense of structure. It needed that. I needed it as well, because I'd never done TV before. So it was a perfect way to be the person that's like kind of anchoring it. But I'm like, some of the things Nasty done was so funny, so funny. Like I'm talking belly laughter, which you got that was captured on TV.

47:55And it was only until I think we were probably three seasons in

48:00Mo Gilligan:and you start realising what we were doing and you're like, oh, okay, this is how this show works. This is what people like of the show. And what also people would, you know, come up to and be like, I love your show, man. You know, when meeting people in prisons and they were like, bro, everyone in the prison waits up and watches this show like we all wait and watch this show I've met people recently not I say recently but in the last couple years it's like ah bro you guys got me through prison like watching your show and it helps me because when I then got my own show I had an idea of the show that I wanted to do I couldn't replicate the same show I was like I've got a different idea for my show that's going to separate our shows you know but again it comes with a lot of pressure Louis like you know you're representing the whole community you know you're going to get people that are going to say hurtful things to you online.

48:48Mo Gilligan:Have you ever done something where you're like, I slipped up or I shouldn't have? Well, I'm slightly also in my head is the fact that you've got a stand up special where you talk about being asked to dress up as a chicken. Yeah. And you tell, and the producer's like, okay, just put on the chicken costume. Okay. And then you're like, I don't think I want to do that. Presume because you think it's embarrassing. Yeah. And then you call your agent and they cancel it. Cause it's a fine line between acquiescing in a bit, like being able to laugh at yourself and say like no okay fine why not okay because you don't want to be precious and full of yourself but you also don't want to be mugged off but also you know when you get into this space you want to do things that make you feel comfortable and i guess like when i got into i got to do stand-up and i got to do comedy if it wasn't in the brief before and almost like hey we got this chicken suit you want to chuck this on it'd be quite a laugh it goes back to the Ali G thing a little bit where I'm just like I don't think people are going to be laughing with me at this one do you know what I mean?

49:46Mo Gilligan:I just don't Was that a real situation? Yeah it was a real situation Was that on your show? I can't say what show it was yeah I can't say that but it was enough that I was like I'm just not feeling this I'm just not feeling this at all There was no malice in it right? No it wasn't malice but I guess it's that thing where sometimes as a young black man in this space you feel like if you say no you then might get the difficult card of like, oh, it's very difficult, very hard to work with. Now, I only know that because it's stuff that I've heard before from other people that have been in this space.

50:21Mo Gilligan:If I say no, I might be difficult. They might not even invite me back again. I'm not trying to be a diva, but I do want to have ownership of what I do and how I do it. You have to stand up in what you believe in. And you're like, my morals just tell me I don't want to do that because I'm going to be laughed at. I don't want to be laughed at. I'm representing almost a whole community and they're going to be the ones who sit there and be like, oh, bro, what are you doing, man? That's just not it. Why are you wearing a chicken suit? You know? Such a fine line. Yeah. I wore like a badger suit, I think, on Harry Hill's podcast.

50:56Badger or ferret or something. I was like, I'm 56 years old. You know, like, I have some pretensions to being a serious broadcaster. But then they said, well, you don't have to wear it, but if you don't, the only other person who's refused is Deborah Meaden, and we will put on a sign saying Louis Theroux refused to wear the Badger outfit or whatever. So I was like, all right then. Did you regret it? I don't think I regretted it, but I looked quite uncomfortable in the publicity pictures. Yeah, yeah. Not because I was unhappy, but it just didn't really fit that well.

51:29Mo Gilligan:Yeah, yeah, yeah. And I was like, I think I'm in on the joke. Yeah. I think I am, but I'm not 100 % sure. Yeah. But then I think that's also like when you think of the history of black comedy, quirkiness is not something that people relate to with black comedy, especially black British comedy. I guess things might have changed for a different generation with social media and stuff. But, you know, being a quirky comic and being like, well, I'm just going to, you know, chuck on this fox suit. When you're a black comic and you're doing shows, especially if you start off in the black circuit, you're looking for big laughs.

52:09Mo Gilligan:Like they're the laughs that you are writing for. And you're like, I need the big laugh. I need the hand claps. I need the hitting the friends. I need the, ah. So we're always writing for big laughs. We're not writing for, hmm, this will get a chuckle. did you get it did you get the pun in that we're always writing for big laughs and I think that's also down to our audience they're looking for the escapism with our comedy I've got my hair done I've got babysitter for the kids this is a big show and you have to deliver you get 10 minutes most of the time most of us comics are going over because there isn't really a time constraint it's just like cool if he's smashing he's on fire you're gonna stay on stage like it's only until i'd probably do more mainstream shows it was if i go over that five or ten they're like you know the guy who runs the show like so you've got you've got to come off now regardless how good you are doesn't it's not the same in the black comedy circuit it's like he's smashing it let him kill do you know what i mean um but we're not competing for small laughs we're competing for big laughs in big rooms it's also So striking that you think of the legends of black American comedy, Richard Pryor, Eddie Murphy.

53:23They're very funny, but actually, you get enormous, Dave Chappelle as well, enormous sense of integrity and self-respect that comes from them. One of the things in the Kevin Hart roast is that Cat Williams is giving Kevin Hart hard time for what he sees as pandering, like excessively sort of playing a certain archetype of someone who's sort of ingratiating. Yeah. Cat Williams kind of personifies this sort of pimpish... Have you seen much of Cat Williams' stuff? Yeah, yeah, yeah. You know what I'm talking about. He's... Even though he's like a five feet tall, but he's got his hat... Yeah, very stylish.

53:59He's extremely stylish. Yeah. And his whole thing is like, I'm like God out here. Like, you pay respect to me.

54:05Mo Gilligan:It's the same in a black comedy circuit, especially in the UK. It's like, you can't go on stage looking raggedy. No. That can affect your whole performance because your audience is looking at you like, right you look a bit dusty you know some comics will like you think of your outfit sometimes before your material you know let's talk about your shoes yeah the ones i got now no which ones the ones in the room that you have that's specially dedicated to shoes

54:34right you're on record as saying at one time you were buying eight pairs a month is that true you've got a sneaker room that one got me you know Louis because I was like what's my shoes now

54:49Mo Gilligan:yeah so look I'll be honest once I started doing well for myself that was like my thing and I used to be into trainers way before you know any of the success happened how many do you have I've cut down a bit now but I think I'm on about 180 you had 400 at one time yeah no I've cut a lot of them down What was the most you ever had? Probably about 400. 400 pairs? Yeah, yeah, yeah. 800 shoes? Yeah.

55:16Mo Gilligan:It's a lot. It's a lot. Like, because I think at that time, that was more of an obsession. Because what happens... Sounds like an illness. No, it was. No, the reason why it's an obsession, right? Because you're like, I want a pair to have a way, which is they stay in the cupboard and no one sees them on the attic. I've got a pair on display, maybe. Then I've got a pair that I wear. So you're buying three pairs of the same shoe. but it's a limited shoe do you know what I mean because sometimes how much is each pair costing? I would say average around that time I'm saying like £200 a pair but now the prices have skyrocketed doesn't that feel like the system's got you thinking you need these things and you don't?

55:56Mo Gilligan:no because I really do like trainers like some of them it might be a childhood pair trainers I've always wanted some of them or vintage ones or just a real shoe I would say vintage it's almost like I remember having those when I was younger and you're like oh they're back out again some of them are exclusive some of them are they just go nice with outfits so you're wanting them now in a few different colours stop it yeah yeah and the minute I started doing alright for myself it was like finally I can get the ones that I want and that was when it was a real obsession I think now I've just got the ones I really like and a lot of them I've just given away really?

56:33yeah yeah the ones that you'd put in a box and lay down like a wine like a fine wine when do you go back to those? do those get given?

56:42Mo Gilligan:you kind of don't unless they're like become like majorly exclusive do you know what I mean? if they become like a dead stock exclusive pair then you're like just don't touch them because they got up in value and you pass them down to your children? no because they might not fit it might not be their size but again there's like shoes that are going for like thousands of pounds Millie's opened the door we haven't even talked about Big Chicken Oh, okay. Big Chicken's your documentary coming up on Netflix. Yeah. The premise is that you're exploring the world of chicken fast food, and as an experiment, you're eating it three times a day for 28 days.

57:22Yeah. Surprise, surprise, your health suffers. And not just your health, but your mental health, right? You look like you're breaking up. Oh, I broke down.

57:31Mo Gilligan:What was going on? It was probably the best way to describe it. it was fight or flight. That's really the best way. I'll be honest, when I was eating the food, probably the first two days, I was like, this is going to be a breeze. And I was quite naive in thinking that. I didn't do any research on the food and what's in it and how it's going to make me feel. And you say that you actually, in general, in your normal life, would eat quite a lot of chicken. Yeah, yeah, yeah, yeah. Fried chicken specifically. Yeah, because fried chicken, I was like, I know it's always going to be tasty. You can get chicken anywhere.

58:01Mo Gilligan:But no, I think, honestly speaking, and it was the hardest thing I think I've ever done because the food tasted great. And I'm eating some of the food in America as well. And it felt like at first I was like, this will be a breeze. This won't be as hard. But mentally, I could feel my mood changing. I was becoming more snappier, less patience, brain fog. Really? As a comic, I feel like I'm quite sharp. you kind of built that way to be a comic to be like again you're looking for the funny and stuff but the funny just didn't exist in i couldn't find anything that was funny and that's the silly things normal things i would see but then when it probably halfway in and i guess as well for the crew i think they could see it more in me than i could see it really and they would say like are you all right and i'm like yeah but they're like you just don't seem like your normal self Well, you recorded little sort of video diaries in your room and it was clear that you were struggling.

59:03Mo Gilligan:Oh, yeah, yeah, really struggling. I had a few times I broke down, but I wanted to just persevere and get to the end. It didn't make sense stopping, because I'm like, why would I stop halfway through if it makes me feel like this? And also, I just didn't know when you do a project like this that it's only until some of the crew was like, oh, you know, like, some people don't really go through it the way you're going through it, you know? And what do you mean? It's like, yeah, they might go for a run or they pretend to eat the food and not eating it. It has been known to happen. And I was like, I've got to do the thing, you know?

59:37Mo Gilligan:Yeah, good for you. You committed to it. Yeah. I think we're pretty good. Thanks for coming by, Mo. What does the future hold? We've got the big chicken dock dropping on Netflix any minute if it isn't already out. Yeah, yeah, yeah. What else is going on? Just touring, world tour now. Hollywood? Most definitely, yeah. You've got to move out there. I don't know. I just don't know if you need to move, though. They film so much stuff here or in Ireland now. Did you see Drewski's bit about black British actors taking American jobs? Yeah, I thought it was so funny. I thought it was so funny. It's all guys being in the hood, like, oh, man, I'm going to...

1:00:11And then they break it. Oh, is that okay? It's like very posh British actors.

1:00:16Mo Gilligan:Yeah, I think, as comedy, you've got to laugh at it. If you're an actor being like, no, no, but we don't speak like that. We know we don't speak like that. Well, there's a couple of British actors who probably do speak a bit like that. But then also, it's like, sometimes you have your kind of, you've got your TV PR voice. Do you know what I mean? Like, if you're on Graham Norton's show, or, you know, Jonathan Ross. Or the Louis Theroux podcast. Yeah, you can't just be like, yeah, you know what I'm saying? No, because you're mandem. Oh, man. Louis, come on, you know this man. You know that, Millie.

1:00:44Mo Gilligan:You're trying to do the whole like, I don't know if I am. You're mandem, Louis, so it's a different way with you. But when it's like, you know, big BBC or ITV and you're sitting next to a bunch of you know other stars and they're like so tell me what was that like making that track and you're like yeah I really had a great time making it it was fantastic it was wonderful but I guess like here because you're Mandem we'd be like hey Louis no like it was an awful experience I can't lie like we could really like yeah you're Mandem Louis that's the difference but you heard that everyone that's official yeah got to do it for the Mandem keep up the good work Mo thank you for coming by thank you so much Louis appreciate you each and every time, man.

1:01:33And we're back. Big thank you to Mo. We didn't get to this. Mo isn't short for Muhammad, which I thought it might be. It's a common abbreviation of that name. It's short for Mosiah, which was Marcus Garvey's middle name. Marcus Garvey the uh pan-Africanist leader of the early 20th century Marcus Mosiah Garvey it's also a name in the book of Mormon I'm not sure if that connects or not um Moe's not Mormon I don't think Marcus Garvey was Mormon it remains a bit of a mystery do check out Moe's new doc big chicken a fast food conspiracy on Netflix from the 5th of August. Is it a conflict of interest that a company I co-founded helped make the documentary?

1:02:25Let us know in the comments. There was a reference in the conversation about me dressing up as a badger. Fact check, it was a hamster. If you want to see the Harry Hill episode in which I do dress up as the hamster, it's up on YouTube. people found it amusing someone who'd never made a comment about my podcast said i loved you on the um harry hill podcast i said i didn't make that podcast i said with some asperity if you're going to give me a compliment i'd rather hear it about something i've done that's a little note like uh any compliment i guess is good but i'd rather have the right compliment i'm at that stage of life you've seen the darker side of Louis Theroux now that the onion skinned sensitivity that's not a good place to land for that's it for this week all compliments are welcome and I'm also on the Theo Vaughn podcast the Romesh Ranganathan podcast I've been on the Joe Rogan podcast uh find me a podcast I haven't been on but people should just listen to the back catalogue of off menu this podcast uh dish uh annie max podcast or you could just listen to the louis through podcast but why would you do that that's it for this week apart from the credits the producer was millie chu the assistant producer was beth johnston the production manager was francesca bassett the music in this series was by miguel Olivera.

1:04:01The executive producer was Aaron Fellows. This is a Mindhouse Studios production for Spotify.