BBC Content Boss on Tim Davie, Traitors and Strictly's Future

0:00This episode is brought to you by our good friends at Sky. Every December we return to our favourite festive routine, revisiting beloved Christmas films as tradition demands. And with the Sky Glass TV, it almost feels like you've stepped into one. From love actually to the holiday and elf, it's the one time of year we all agree that re-watching feels like coming home. It's comfort cinema. Snow, sparkle and the annual reminder that Colin Firth once learned Portuguese for love. Sky Glass makes it feel spectacular. Christmas through a director's lens. Glossy, golden and impossibly perfect. Every frame alive in 4K, every glow adjusting in real time.

0:32Built-in Dolby Atmos turns the gentlest carol into surround sound spectacle. Every note filling the room like the season itself. Just say Christmas and Skyglass lines up your festive favourites in one place. The gift every living room deserves. Discover the Skyglass TV. Visit sky.com. Requires relevant Sky TV subscriptions. Content may vary. Broadband recommended minimum speed, 30 megabits per second. 18 +, UK, Channel Islands, and Isle of Man only.

1:25Sparkle throughout the night with Born in Roma fragrances by Valentino Beauty. Each bottle holds the energy of Rome after dark. Donna Born in Roma blends luxurious jasmine with rich, creamy vanilla, creating a sensual and vibrant signature scent. Uomo Born in Roma fuses aromatic sage and smoked vetiver, leaving a lasting impression that lingers well into the early hours. Shop Born in Roma by Valentino Beauty now at Ulta. This episode is brought to you by eBay. Buying a car should feel secure start to finish. That's why you should buy your next ride on eBay. Whatever you're into, eBay's got it.

2:03From classics to SUVs and trucks to imports, all in one place. And with secure purchase, the process is streamlined and protected. Secure purchase means no DMV visit. Sellers and titles are verified. All the paperwork is handled. And financing, delivery, and insurance options are built right in. Plus, eligible vehicle purchases are backed by up to$100 ,000 in protection. Looking to sell your ride? Secure Purchase makes that easy too. Your buyer and their funds are verified, and the title transfer and loan payoff are totally seamless. So skip the hassle. Shop with confidence. Buy your next car on eBay.

2:38eBay. Things people love. Secure Purchase is powered by Caramel Dealer Services, LLC, an eBay subsidiary.

2:50Hello and welcome to this episode of the Rest is Entertainment, Questions and Answers Edition. I'm Marina Hyde. And I'm Richard Osman. Hello, Marina. Hello, Richard. Now, we've got a very special guest today. We have. It's not just the two of us in the studio, is it? No, it is not. We have with us the BBC's Chief Content Officer, Kate Phillips. Hello, Kate. Hello. Hi, everyone. Really, really pleased to be here. Oh, my goodness. Thank you so much for coming. Now, Kate is probably responsible for more of what people watch day to day than anybody else in Britain. I would say. And listen to and everything to all of the BBC services.

3:24And so when we asked for questions, we had, I'm going to say, a deluge of questions. Yes. And some good ones as well. Great. Kate, did you imagine, should we just kick off? And listen, I apologise for some of the swearing that our listeners do. No, everyone's been so lovely. Everyone, yeah. We're going to start with something topical because you agreed to do this before the recent, there's been some shenanigans at the BBC recently. I don't know if you know that. I don't know if you know you're being sued for one billion dollars. Shannon Hughes says, what is the atmosphere like at the BBC now with Tim Davy resigning?

3:55Was his time up after so much scrutiny and press coverage? It's definitely been a tough few days for the BBC. That's undeniable. I think we could literally have said that at any point in the last 30 years. That's true. Yes. I think particularly recently, we were all very shocked when Tim and Deborah Ternus, our head of news, resigned. because for me personally, I am huge admirers of them. They have been incredible colleagues, great friends, and I know no one who has worked harder or cared more about the BBC and making sure that it's of value to everyone in the UK. That is at their core. And it was a real shock when they resigned.

4:37In typical Tim manner, he rung me and told me personally, and it was a bolt from the blue. And I just think he is an amazing leader and he will be very hard to replace. And I think everyone at the BBC is feeling great sadness that they've gone because we're very proud of everything we do there. And two of our most talented and brilliant leaders are stepping down. You know, as we know, it is the most trusted news organisation in the whole world. So imagine how bad last week must have been for the second most trusted news organisation. except no because we're the only country who tears our things apart like this is what i would like to think but and is it is it is it tricky working at the bbc listen we all know that uh public service is wonderful but there is there is this sense and i felt that with tim that you're you're constantly under scrutiny and it feels to me like maybe that was a thing that pushed him over the edge he just thought that there's other jobs that i could be doing and i i've spoken to him about the BBC and I genuinely believe how much he loved it and how much he did for it.

5:41Do you think maybe it was just one thing too many? I think we are under a lot of scrutiny at the BBC, I think more than any other broadcaster, but rightly so. We're funded by the public and I always say we are utterly accountable and when we get something wrong editorially or something comes into question it should be questioned and looked at. I think Lisa Nandy spoke about warning against sustained attacks on the BBC. So for me, yes, we should be scrutinised. Yes, we're accountable and we should be upheld when we don't get it right. But in the spirit of making the best broadcaster in the world even better, it's as simple as that.

6:19And that's what we should strive for. I've just got a little thing before we get onto our next video question, because it's made me think of that. Do you, I mean, you would drive yourself mad doing this. Do you ever try and think, what culture will next blow across my door? So do you look at what you're about to put out and think, I wonder if it will be this that blows up or is it always just something you totally didn't predict and then it just becomes the biggest dominant news story? Yeah, it's a really good question. I think it's a bit of both. I mean, we are very proud of our content and I don't think we want to sanitise it for fear of people not liking it.

6:53There's this great line that indifference is the enemy, not contempt. And I think that is a good line because I think we stand by our content and you know the BBC mantra of inform educate and entertain is in everything we do but yes sometimes you can be a bit blindsided by something and think oh right okay but you know you just you're prepared for anything at the BBC and you're right Marina I can wake up in the morning and by the time I go home at night it's a very different day to the one I thought I was going to have. Enough about politics let's talk about entertainment I felt for you when when all the BBC stuff happened because you just had Celebrity Traitors, which you were one of the first big advocates of.

7:33Such a huge, massive success. And you had about maybe two days to enjoy that before this all happened. So let's start talking about formats and shows like that. Mike from Leeds has a question. Thank you, Mike. Hello, Richard, Marina and Kate. Oh, hello. Hello, Mike. Inclusivity. Yeah. He says the BBC has had great success recently with big entertainment formats like the Traitors and Race Across the World and their celebrity versions. how are these large show scales developed or sought out by the BBC what is the process for spotting or nurturing a potential hit format essentially what is your job in some ways so I think one of the great things about working for a public broadcaster funded by the public is that is literally our jobs as commissioners to give the audience the best shows we're not a commercial organization we don't have to worry about advertising funding it is about what do audience want to watch.

8:23If you want to know how the traitors came about, it is quite interesting. So we've had the pandemic and I was very conscious of a really tough time that millions had been through. So we wanted programmes that brought audiences together, something that collectively would be popular. I've talked before about the three G's and by that I mean three generations. What is a programme that kids, parents and grandparents would watch together? So The Traitors was developed by two very talented brains in Holland originally. It had been on in Holland. It hadn't knocked it out of the park. I think it had done okay.

9:01I mean, Richard, you know all this. I know that your knowledge is extraordinary on The Traitors. But someone on my team, Saida, she was talking to a friend at NBC, Ed, and they thought, is there a show we can do together? Because they're expensive, these shows. So is there a show we could co-fund with another broadcaster? And that's happening much more often. It happens much more often now, yeah. So then they would have it exclusively in America. We'd have it exclusively in the UK. But the creators would hold on to the format rights, which is important for us at the BBC, that people own their IP.

9:33And Ed talked to Saeeda about this show in Holland called The Traitors. So Saeeda came to me to talk to me about it. And I remember when it was first pitched, the instinct I had was, I'm sorry, we know who the traitors are. Wouldn't you want to play along? You know, you want the audience playing Goss. And they said, no, no, no, it's more fun when you know. Of course, you're right because you see the duplicitous behavior. So we thought it sounded exciting. Then they were looking at filming it in Costa Rica. That is true. They were looking at Costa Rica as a location. Claudia's outfits would have been so much worse.

10:14I don't think Claudia would have liked wearing outfits of Costa Rica. No, she would have hated it. So I then went to the then chief content officer, Charlotte Moore, who was a brilliant chief content officer. And I said to her, I literally said this. I said, I've got this show, Charlotte. It's a bit of a punt. And everything is a punt. You know that, Richard. You can do all the audience research you like, but ultimately you're holding hands with the indie and jumping in and hoping it works. It's a bit of a punt, but there's something different about it. And what I liked about it was its distinctiveness.

10:44I've never seen it before as a television show. So, yes, there were sort of parlor games that were played like this. And Charlotte, God love her, literally took me on that. And then at the BBC, we like to spend money in the UK and we like to do portrayal across the UK. So, Charlotte came back to me and said, well, the good news is I think I found you the extra money. Because I was head of entertainment then and I sort of spent all my money. So, I was going to Charlotte. You're always pitching up, asking for more money. and Charlotte said well I can use a thing about the entertainment but we would like you to make it in the UK so then I had to call um Studio Lambert yeah and NBC so Studio Lambert are the production company and how does that work so if if I was an ordinary just normal person on the street and I'd seen that Dutch show I I'm not going to be the one that's making it so did you talk to Studio Lambert did they come to you you'd worked with them before on lots of things presumably Yeah, they make Race Across the World for us, of course, which they do brilliantly.

11:40But yes, so they had the rights to make it in America and the UK. So Studio Lambert were their right. They'd taken the rights to make it. And that is a really good point, actually, because often when you do television programmes, it's, is it a great format, but it is a lot about execution and having a team that know how to make that. And one of the reasons Traders is so great is because it's got incredible people working on it. But yes, so I then had to ring Studio Lambert and NBC and say, how do you fancy a Scottish castle? And they, of course, I think the Americans love a bit of that. And it's really interesting with the show because a lot of stars have to align.

12:16So that worked well. Then we were looking at hosts and Alan had been signed to do the American one. So I thought, well, Alan's known here and he's a popular Scottish actor. So we did actually, full disclosure, ask Alan if he would do it but he couldn't do it with our dates because America were filming first and then we were going and he had another job so he couldn't do it so then we were thinking who else and Julia Lambert had got a good list of names and I just thought Claudia because I've worked with her on Strictly and the thing about Claudia on Strictly is she's brilliant on that show but she's brilliant because she's interested in people more than the dancing she's about the people and the contestants and what's happening.

12:58So I rung Claudia and I rung her up and I said, and she's a good friend and she's always open to sort of new challenges. So I said, Claudia, I've got the show. Before you say anything, it's the two things you hate. You've got to leave your home and it's in the countryside. And she was like, oh, no, no, no, you know how I feel about that. I said, look, I'm going to ask the production team to send you a copy of the Dutch version see what you think she watched that and she was in straight away but did I know that her clothes were going to become such a big thing or it would get so sort of camp and gothic or that it was scheduled so well as well I think scheduling you know big credit to them to Lindsay Curry and his team because they when we put the first step out they then said we'd like to drop the second one straight away and that was like what because I'm of the old school sort of apprentice once a week but they said no no we think yes we need to put people in and then we're going to strip it and do these three eps a week and that made me really nervous but it was absolutely the right call and i think so everything marketing did a great campaign press so everything comes together you watch it you've got all the tape so you know what the show is you've known from start to finish so you must have had firstly what was your confidence about the show that you've been delivered and secondly at what point did you think all the audience have started to work this out as well so that again good question because often you watch a show and we've all been involved in shows that actually have been really good but they haven't found an audience so i watch when you watch a show you watch it on your laptop in the office and of course that's a very different experience to watching it at home or a friend so i watched the first two eps and thought oh no this is good you literally when you watch the first step of something your heart is in your mouth going please be good please be good it's good so i'm like wow this is something special i do remember another story for you Stephen Lambert ringing me up after I watched he's the guy who runs after I watched three eps and said um the the castle that we filmed at if you want it for series two we need to put a deposit down now because it's a wedding venue now when is that play what's that play but he did say you need to put a significant amount of money down now to secure it and NBC I've spoken to them and they will and um so of course I rung NBC and NBC he said no no they said you were putting the money down that's fine but that's absolutely you're Americans yes but incumbent upon you yes and I would do the same if I was Stephen but I remember normally you wait for a show to transmit or at least do some audience testing on it before you commission a second series and I remember sitting there thinking what do I do well it's good but I've had other good shows I'm fan audience and then I just rung them back and said yeah put the money down and I didn't tell any of my bosses buy the castle Kate yes it's a point now or would you just buy the castle?

15:48They always say that about, I think The Apprentice back in the day, they should have bought a luxury house back in the day 20 years ago. That's not with Avalon. You think just buy the Taskmaster house. It's really small. I know, the Taskmaster house. It's not even as expensive. But yeah, so I knew it was good. But I think when it first transmitted, the very first series, it didn't get huge numbers overnight. No, it built. It really built. With anything new like that, it's really, it just built. And then by the end, you had to watch it on the night. And word of mouth is key, I think. I think often, particularly, well, actually all audiences, sometimes they don't want to be told that they're going to trust a friend more than they are us.

16:25So that word of mouth build is really key. But it's easier to catch up on as well when there aren't millions of episodes a week. When there were three, people felt like, OK, I can join the bandwagon. yeah and then yeah celebrity traitors so you know lots of people go oh my god they're doing a celebrity version of this thing um how did that come about were you certain about doing that and at what point did you you must have seen that and you must have gone oh okay i think this was the right thing to do yeah well i mean it's interesting that claudia wasn't keen so she didn't she didn't want to do a celebrity she wanted to rest the format yes but she's very protective of it and claudia is all in if you yeah if you go um in the dressing room that claudia has in the traitor's castle she has feed she has screens she's watching it all the time she is in claudia i've never seen a presenter so invested in show so she was very protective she was reluctant i think the good thing we did was because we had civilian versions first i think when we started booking the celebrity one they just wanted to play the game if you'd had a celebrity version first you wouldn't have got the names you did.

17:30So, I mean, yes, the names were fantastic. And it was the mix of names as well. And who knew that Joe Marler was going to be such a star and actually cleverer than any of them at seeing who the traitors were. But I suppose the thing I always remember is Alan Carr. So, Alan Carr said no, because he doesn't really do reality shows. When he was offered it first. When he was offered it. Did he? So they came back to me and said, Alan's a no. So I thought, OK, what do I do to change this? Because I knew Alan would be good. So he was filming in Bromley and I live in South East London. This is true. It's about this time last year.

18:07So and I know his agent Danny very well, who did think he should do it. So I said to Danny, let's take Alan out for lunch. Let's do a pincer movement and get him signed up. So I remember walking into the restaurant and just went, I know why you've asked me for lunch, Kate, and I'm not doing it. And I sort of said to Alan, OK, this is why you should do it, Alan. And I just talked to him about what a great show it was, how he'd be looked after. Stephen Fry was actually the first person to sign up for it. I was going to say, is it a bit like casting a movie? If you can say, Scotty Hanson's doing it.

18:40Yeah. So Stephen was great. Stephen signed up for it because he wanted to play the game. And he did say, look, use me to get others. so that helped but I said and then what Alan said to me so then we sort of talked him around and he was coming around to the idea I said you'll have fun it's amazing you know it's a proper game I think you'd be really good and I think you'll really like the other we couldn't really say who else was signed up at that point because there were some names anyway because you knew he was disclosed it accidentally yes Alan was there yes and we had to be quiet before he became Tony Montana he was quite loquacious but he obviously developed as a villain but the thing he said to me he said alright Kate I think maybe I will do it on one condition.

19:18I said, what's that, Alan? He said, you've got to promise me I won't be a traitor. And I was like, well, first of all, I can't promise that because it's the format and I've got no control. And then I said, and honestly, Alan, I think if you, and he said, I can't, I'm sweating thinking about it. I can't lie, Kate, I can't lie. And who knew he was going to be the best traitor of all. And you know, Claudia's very much part of picking those traitors as well. I think I'd say those interviews that Claudia does are very key in the civilian version and the celebrity version. And they normally have one, possibly two people in mind for the traitors.

19:54But I think on one series, it was only about an hour before that roundtable that the team with Claudia had said, OK, these are the three we're going to go for. I think because those interviews with Claudia do actually. And actually, if someone really doesn't want to be a traitor, we wouldn't make them. We do look after people on it. We don't want them to have an awful experience. I think by the time Alan got to Castle, he changed his mind. Yes, of course he did. Because again, we talked about what a great booking is. He understood what the show is. He understands the role that he can play. I saw an amazing graph at the weekend that I thought was so fascinating.

20:25The graph of Google searches about neuroblastoma is sort of flat. And then suddenly there's this insane spike. I think it was like half a million more searches after Traces, which is brilliant. And I told Alan that because we got that from audience research. and I said but it's it's just been a real joy to see it take and see it become I think it's still you you've talked before about linear television and and the challenges of that but you can still get big numbers I mean strictly this Saturday and Sunday you know was was the biggest show watched over both nights and it's still getting really good numbers so that is brilliant to see and and but when I commission for linear now or my team still I should say because you've got amazing commissioning teams who are experts in all of this but we very much commission for linear television as a shop window for iPlayer so iPlayer is where we're really seeing the growth so it's very much commissioner show it used to be commissioner show for linear iPlayer's the catch-up it's now commissioner show for linear and shine a spotlight on iPlayer so episode one of Traitor's Celebrity is now up to 15 million six million of that was from the overnight nine million was from iPlayer That's, I think, one thing that people haven't quite caught up on.

21:41That's the fact with all channels now. It's just one of those things that has just happened. The audience just watches things in very, very different ways. And you see the misreporting of it all the time, which is like it's down, it's down. And you think, no, no, no, on catch up, if anything, it's... Yeah, and it's because people still are quite hung up on overnights. But for us, we wouldn't recommission a show until we looked at the 28-day picture. And I play a Dan McGulp and his teams who run that, I think, do a brilliant job of sort of pushing things on iPlayer and pushing people to them. And with a young audience as well, I think 80 % of all comedy and drama viewing is now on iPlayer for that age group.

22:18So you're seeing those trends, definitely. Can I ask you a question about Traitors from Rainer, which I thought was an interesting one, because I think people sometimes don't get this. Firstly, Rainer says, congratulations, what a triumph Celebrity Traitors was. Big fan of Traitors and the celebrity version was a tweet. She says, how does the BBC make money from productions like this without commercial advertising i wonder how you make that much deserved return on investment in these situations well for the bbc we we we don't really it's our return investment is seeing the audience are getting value from their license fee and they're loving the show um the independent production company and the format holders are the ones that make the money from it but not the bbc actually unless it's a bbc own format yeah if it's a show from bbc studios like strip become dancing which um you know has sold all over the world in like 60 different countries yes the bbc gets money from that the same but with shows like top gear so and that money goes straight back into other programming yeah so it absolutely comes back into the bbc to support the bbc and means we can spend money on more programs absolutely so speaking of top gear will you bring it back that's what that's what giles asks okay that's we are i mean top gear we still see it does huge numbers and I play with the shows and everything so yeah never say never it's not due back in the immediate future but it is a really important show for us so many people have asked a question which I'm not going to ask you which is who's going to be the next host of Strictly but so what I will ask you instead in the spirit of that when a job like that comes up when a when an opportunity comes up what happens what's the process who is emailing you what's happening inside the BBC when you've got a slot to fill or two slots to fill there what's the process by which those slots are filled I want to believe there's a situation room like the one where they all went in when they killed Osama bin Laden and they're all watching like that is there is there a BBC situation room where you would handle this where you'd handle that when it came not really I mean we that was I mean that was very much Tess and Claudia's decision and and they did ring me to sort of tell me what they were thinking but I think they were worried it was going to leak so which we often have, so they wanted to very much announce it on their own terms.

24:26But, you know, they are brilliant, brilliant hosts of that show and they have sparkly high heels that are going to be hard to fill, definitely. But in terms of the process next, well, the production team, BBC Studios, and Sarah James and her team and Susie Lamb and all these great people who make it, they are now concentrating on getting two shows out a week. So we haven't got time at the moment to start doing any screen test or chemistry testing. So we've got time. So I don't think we'll really be looking at it until the new year because we want to make sure that we deliver a great Strictly series.

25:02Having said that, yes, my inbox has been inundated. I mean, I can't say names, obviously, yes, but it is one of the best gigs in television. so we have had so many people. It's two of the best gigs. Two best gigs, exactly. So we've had so many people who are keen to be considered, which is great and we'll think carefully about next steps on it. But yes, there's no sort of room where we all go. They literally told me and then it's a series of… It's not a panic room at the BBC. There's not a panic room. In the circumstances. Of any organisation that should have a panic room. But then it's about the press teams linking up with Studio's press team, with Claude and Tessa's teams and making sure that we're all sort of aligned on how it's being announced and everything.

25:45But it's interesting. So with something like Strictly, the names who are going to do it will be big names so the people you know what it is that they can do. Will you do... Is that something where you would do chemistry tests with people? Is it something where you would do pilots? Or is it something where if everyone agrees... Everyone just goes, we know that Person X would be able to do this show. Lots of us have worked with her or him. We know exactly what they can do. Or is it something that's such a big thing for the BBC? You would have to sort of put people through their paces a bit. Yeah, is anyone offer only on that?

26:14You know how they say in acting roles where it's just like, no, I'm not doing a test. I'm not doing a read with anyone. Either offer it to me or don't offer it to me. I think because it's two roles and because Claudia and Tess have had such a strong relationship, I think it would be hard just to sort of hire someone cold without seeing how they are with the other person. So I think that is a really important part of it. I don't think it's necessary about having a really big name. I think with shows like Strictly, Format is King, and no one is bigger than that show. And when Bruce, you went, when Len went, we've had amazing people come through it, but it survives because it's such a good format.

26:48But yes, I think it's very important about the relationship between the future hosts. But I mean, we were talking strictly before we started today. And it's just, if anyone wants to, there's a quick plug, but on the result show, 17 minutes in, there was a collaboration between diversity. Oh my God, it was so good. It was one of the best things I have ever seen. watching it not me marina yeah i mean that show is such a thing of itself yeah where you think actually in some ways it's got what that's such a lesson in how to make amazing television out of essentially a one fact thing who's going to go and stay and then it's just an amazing hour it is and it and it's i mean people talk about the teens you see it backstage but they're amazing the costume the hair and makeup jason oversees the choreography you know we've got the bbc sort of Countner and Joe that look after it and Sarah and Susie, Nikki, there's Jack, there's so many amazing people who care so much about that show and make and every year it's like how are we going to raise the bar?

27:47How are we going to? And that's one of the challenges with shows. You know this, it's not just about making sure new shows land and grow but how do you keep the big brands at the top of their game? How do you keep those big shows fresh? You know, House of Games, I'm sure you must think about that and how do you keep it fresh? Yeah, exactly that. And I absolutely won't put words in your mouth. But I do think that Claudia and Tess understand that actually, it's probably a good thing to have somebody new doing it. They've done such an incredible job on that show. But actually, you want it to still be on in 15 years' time.

28:20And, you know, sometimes it's useful and it's lovely when it comes from the people themselves, when they've gone, do you know what, we've done our time. Well, I'm very excited to see who it's going to be. and again So you and Marina aren't throwing your hat in the rain Can you imagine? Can you imagine? That is an anxiety dream Would you like to anchor that much? I must get more messages about who's going to be the next Strictly host than anything else I do have an opinion that's for sure I fear that It could just be the traitors podcast This is not public service I'm afraid we are now going to have to go This is not the BBC we are now going to have to go for a break Kate if that's alright This episode is brought to you by Sky Cinema are the go-to destination for film lovers this Christmas.

29:04Every year Christmas sneaks up like a sequel you get to star in. The tree goes up, advent calendar doors open and the TV starts reciting familiar lines from our favourite festive films. Christmas films do what the weather never quite manages. They actually make it feel like Christmas. This year Sky Cinema's serving up the favourites plus a new contender for the festive crown. Tinseltown, a new Sky original comedy starring Kiefer Sutherland and Rebel Wilson about a Hollywood star who ends up in a small town panto and rediscovers the joy, chaos and glitter of Christmas. It is not Christmas without a good pantomime.

29:36Oh yes, it is. Sky Cinema has all the latest blockbusters like Mission Impossible The Final Reckoning and a Minecraft movie alongside festive favourites like Elf and Love Actually. Watch Tinseltown, a Sky original, on Sky Cinema from the 5th of December. Customers also get two free view tickets every month and Paramount Plus at no extra cost. Upgrade to Sky Cinema this Christmas to enjoy festive favourites, more of the latest blockbusters, and the new Sky original Christmas film, Tinseltown. This podcast is brought to you by Carvana. Carvana lets you buy your next car on your terms. Explore a massive inventory online, filter for what matters, and find your perfect match.