How much are Goggleboxers paid & on-screen registration plates

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1:15hello and welcome to the rest is entertainment questions edition i am marina hyde hi i'm richard osmond welcome to our questions and answers edition you've got an apology i have got a self-mandated apology fortunately because it could have been mandated by someone far more serious than myself as i was leaving having recorded this podcast last week i was thinking why did we appeal to people to tell us their stories of if they've been on a jury with a celebrity okay even if they'd done it it would be a contempt of court for us to broadcast it i mean i actually think we might have committed an incitement towards contempt of court last week you know we don't want to go to prison i there's a lot yeah i don't mind i don't yeah if you think prison scares me then you don't know me see i think i justify a lot of things in life by saying oh I'd be fine I went to boarding school but I think the points of difference with boarding school would be the bits I had the problems with but I didn't go to boarding school so I don't for me it would all be new it would all be it would all be a novelty yeah well it'd be a great podcast but also I'd like the I'd like the court case yeah because they're not really going to send us to prison and it'd be really really good publicity there is actually no space in prison so perhaps the podcast too might we might just be out on sort of honestly if we were in prison we'd be doing a podcast like every day yes the rest is prison yeah it would be an interesting listen actually.

2:27But by the way I got a huge amount of messages from people who said they had been on juries with celebrities and now I can't say any of them. You shouldn't actually even allude to them because even that all of those people have committed contempt of court. But the key thing is I'm not frightened. Absolutely. The week's come and get me plea is to the police. Absolutely. This week's come and get me plea is to the police. And also try me in a court of law with the gladiators as the jury. I'm happy to do it and I will name each and every one of them. I bet you are because they'd certainly acquit you after all the publicity you've given it.

2:55All right. Should we do some questions, Richard? Yeah, let's do that. Yeah. By the way, also after last week's one, so many people, we talked about what could crime writers commit the perfect murder. So many crime writers and Agatha Christie's great, great grandson pitching me perfect murders as well. It turns out everyone's thinking about how to commit the perfect murder all the time, but no one's doing it. Thank goodness. Okay. I have a question for you, Marina. It is for, I say, I have a question for you. Alex Svensson. That's a strong name, isn't it? Very strong name. Alex Fenson. You can name a character after Alex Fenson, couldn't you?

3:27You could do. What happened to the Western, asks Alec, once the biggest genre in Hollywood for a decade and now nothing? Why do some genres simply disappear and would it happen to superhero films which seem to be the Western of the past 20 years? I think that's a very good comparison actually between the two genres. And what happened to the Western by sort of popular belief is there was a film, which you'll have heard of, because it became a sort of byword for enormous flops, Heaven's Gate, which is a Michael Cimino film. It's the film he did after The Deer Hunter when he was riding very, very high.

3:57It became a hugely troubled production. It was massively expensive. And what it crucially did was it collapsed not just its studio, United Artists, a storied and amazing sort of Hollywood studio that had a huge pedigree. It collapsed the genre of the Western. Oh, wow. And it basically collapsed what was called the New Hollywood, which was all these kind of young, independent filmmakers kind of who were outside the studio system were making these kind of experimental films. and, you know, obviously everyone from sort of Scorsese, Coppola, in this case, Cimino. And really after that, what it did is it pulled people back.

4:31These auteurs who'd gone off and kind of existed almost without oversight. People thought, right, now we need proper oversight. We're going to be right on top of them. And the people who sort of won in a way were the nerds, the sort of, however brilliant they are, the sort of Spielbergs and the Lucases, who were able to stick to budgets, didn't do kind of crazy things like Francis Ford Coppola did on Apocalypse Now, where he was kind of borrowing helicopters from the Philippine Air Force. And it was just a kind of chaotic, famously chaotic shoot. So that's what happened to the Westerns. And every now and then, you'd have a Western that would come out like Unforgiven.

5:03I don't know, am I calling Young Guns a Western? I guess I am. Pretend to humor. Yeah, I am. And then Django Unchained, I guess, was a sort of version of a kind of subverted version of a Western. In terms of superhero movies, yes, I do think that the same thing will ultimately happen to superhero movies because there's a point at which you can't filter every story through that same prism and Kevin Feige who's the head of Marvel always says you know we've got every genre we've got She-Hulk which is a legal drama it's like no no you've only as we said before on this thing you have one genre which is superhero stories and trying to sort of funnel the entire you know range of human experience through that one kind of sort of way of doing it is it becomes very boring and And people, you know, superhero fatigue is real.

5:47It has set in. And I think the trouble is, is that the studios have committed so completely to this genre. And so many of the big things on their upcoming slates for the next kind of two years are within that genre. And they, for such a long time, thought of it almost less as kind of artistry and more as banking. It was such a reliable, it was the most reliable way to make money ever, really, in the history of Hollywood. Like buying whiskey. Yeah, yeah. And yes. and sequel after sequel made money and they're going to have to come up with something new because eventually people will get bored with these genres and it just doesn't work any longer.

6:22It would be a good time to pitch a Western, in fact. It would be now a real great time. But the Western doesn't speak to us anymore as a genre, really, because we're not so close to that era and we don't see it in that same way. It just doesn't speak to a global world in the same... It's interesting why the superhero genre has been such a big deal in this time. Well, it's interesting. and there was a movie, oh God, it's probably 10 years ago now, that I thought this is the best idea for a movie of all time and did nothing in the end. And I thought, I wonder if that's because Westerns were too far in the past.

6:50And that was Cowboys versus Aliens. Yes. Which is, I mean, is there a better, the moment whoever came up with that just thought, hold on, it's a cowboy movie, but aliens come down and the cowboys fight the aliens. They must've just gone, I mean, this is like Christmas. Every meeting they had on that, every studio must've gone, okay, what have you got for us? And you go, Cowboys versus Aliens. They go, okay, how much? It's a three-word pitch, yeah. And yet, as you see, Richard, I must say I wasn't taken immediately by that pitch. And I don't think it did anything. It did, yeah, it did nothing. Those genre mash-up things, I think, actually work very, very rarely.

7:22And in that case, unsurprisingly, perhaps. You'd be the only meeting in the head in that day. You'd be going, what? Cowboys versus aliens? That doesn't make any sense. Yeah, just keep talking, because at the moment I've got three words, and I don't like any of them, really. I don't mind cowboys. I don't mind aliens. I just don't want them to work together. I don't want them together, exactly. I like steak I like jelly I don't like steak versus jelly there's a show okay this is your one James Scott asks about Gogglebox how much would people on Gogglebox be paid is it the same for all contestants or would their pay be based on screen time I like contestants yeah yeah um gladiators oh no sorry that's the wrong shape let's just mention gladiators again they are it takes them about they film it across two days sort of 12 or 13 hours so they're all paid for loss of earnings, different sums depending on how long they've been there.

8:12Not crazy sums, but not, you know, not nothing. But one of the key things is a few times a year, the Gogglebox universe does adverts for products and some of the longest serving Goggleboxes get to do those adverts. And for adverts, they're paid the absolute kind of going rate, which is a lot of money, exactly. So, you know, people are giving up an awful lot of employment opportunities to do that show and they're not allowed to exploit it outside of it you never see them on on on other shows and of course you can leave the gogglebox universe and go on to other things scarlet moffat being the sort of best example who left and you know now now as a staple uh on tv but yeah i think it's um that's why so many of them have been there so long so many of the the much loved ones um it's back this week do you know what gogglebox constantly amazes me about how brilliant it is every time you will never regret watching an episode of Gogglebox you learn more about Britain from Gogglebox than pretty much any other tv show if ever they do the news you're like oh here we go what have they got you know you just think you know when you watch Liz Truss in America embarrassing herself you think oh god I hope they do that I hope they do it's like a focus group for the whole of culture it's like a live ongoing focus group where you love the people I always almost always love the people in focus groups because I think it's a completely fascinating sort of science but to know the characters in the focus group it's so warm and clever and amazing is the best high concept thing ever and it's an enormous reference point now for for so many tv and film people as well i was in a netflix meeting the other day for a script that this guy's written which is brilliant and it's got like a final scene which is a will he won't he and i was saying but i can just see this scene on gogglebox with the welsh couple going oh no he's not going to is he oh he's going to oh my god oh don't oh he's going to and Netflix was saying we think that all the time with scenes we think how how would this how would this play on Gogglebox it's very rare to have a show that just is all good and I think I think Gogglebox is one of those yeah what a cultural success right across the board fascinating there was a tweet once it said which men in our culture would you be completely comfortable in a room with and someone replied the Siddiquis from goggle box you think yeah yes yeah absolutely exactly that um i have a question for you marina this is from paul thank you we get so many questions and we'll sort of look through them occasionally one leaps out that i kind of think i bet marina will have a view on this so paul asks do you know how real are car registrations in films and dramas i would love it if you could help me to stop fixating on this question every time there's a shot of car registration in a film or drama otherwise i think it's time i sought therapy oh paul i love you and you're not alone by the way this is something that i don't want to i want to say men in particular but men in particular fixate over this okay i talked to someone to do in line of duty and they were like we get so much communication from people saying that range rover that model could not have that registration play okay now this is some we're getting some it's a real esoterica here but the DVLA will issue what they call ghost plates okay to just get rid of this whole problem yeah there's a format yeah they're unissued plates four dead chefs yeah compete against each other anyway listen I just this week on ghost plates okay Fanny Craddock I love that show please can you hold that um okay so unissued plates now I should say that There's also something that this reads across too, which is phone numbers in things.

11:43Now, phone numbers, historically, whenever you see an American show, they always say area code 555 because it doesn't exist. You know, I've got to tell you, if you run a New York number, people will try and call the Ghostbusters. If you say who you're going to call and they will try and call the Ghostbusters, they will try and call any number. A large number of people, many more than you think, will try and call any number that they see on screen ever. Now, Ofcom have got a recommended 01623 code for all British TV. So that's just a bit of a detour on things like that. My friend Tom Blakeson, who now produces The Wheel and lots of other quiz shows, he's the absolute quiz guru.

12:18He did the, when Armandu Unichi was doing the armistice election thing and they put a phone number on screen and he put Tom Blakeson's phone number on there for some reason. Tom said it did not stop ringing for weeks. It's unbelievable. It was actually on screen for like two seconds. And he said everybody rang it. People ring in all the time. Which is why you have to, anyway, but with cars, manufacturers have higher fleets, which they will lend out, which is obviously cheaper. But it's why you sometimes see like quite kind of low down the chain coppers driving a really nice new Audi. And you think, well, how's that happened?

12:52But people really mind about this stuff. They also mind about like people getting out of cars and not locking the doors. They're like, what? I mean, you know, you're trying to tell me this is a scene, it's a rough area. You're going in to talk to this person in this house about something they might have seen. if you've not locked your car. And it really takes them out of the moment. So don't seek therapy, Paul. You're not alone. You can find solace on many talk boards, I will tell you that. The absolute boon now for editors who have that thing of, oh, you haven't locked your car, is the beep-beep sound of an electric lock, which they can just add on in post.

13:22They go, hold on, he didn't lock his car. Oh, God, stick on a beep-beep. And then we'll assume he's just done it with his electric thing. So it's a good question. Not unlocking was a big thing. And then it was like, no, no, no, he's got one of those, you know things yeah so it's all i was talking to an english actor recently he was working with a big name hollywood actor and he had to take a phone call take a phone number on a phone call write it down on a bit of paper for the hollywood actor and the hollywood actor then had to respond so he took down the note he just wrote down just write down some numbers and the big name hollywood actor looks at the bit of paper and just looks up at this action he goes what what is this he goes I just write down that number because the number is supposed to be a New York number.

14:02You've absolutely, I'm out of the scene completely. You've absolutely lost me. And you're like, okay. What a complete dick. Yeah. Unusual in that line of work. Yes. So unusual. Isn't it just? Okay, Richard, I think we should go to a break now. But when we come back, I'm going to ask you a question about discounted books in the daily deals on Amazon and things like that. Whoa. Okay. Why does it make you think of me? Eczema isn't always obvious, but it's real. And so is the relief from EBCLIS. After an initial dosing phase, about 4 in 10 people taking EBCLIS achieved itch relief and clear or almost clear skin at 16 weeks.

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16:24Welcome back. Richard, I have got a question for you. When an author's books are included in the daily deal on Amazon in the Kindle store at a reduced price, are you as the author or your agent involved in the decision or do Amazon determine the reduced price? It's a good question. In general, Amazon will set their own price for a book. So, you know, if I have a new book out and the recommended retail price is£22, Amazon would almost always do it at£11. It makes no difference to me if it's£11 or£22. they have to pay the same amount. It's just so they can get most of the market. Your local bookshops, independent bookshops, cannot match that because they're paying rates, they're paying rents, they're providing service and all that kind of stuff.

17:03So if your local bookshop is selling them for£17,£18, they are not ripping you off. That's the cheapest that they can possibly do it. If you feel it is worth your while paying an extra£6 or£7 just so you've got an amazing shop full of amazing people on your high street, I think it's well worth it. Absolutely. Always support if you can. Exactly. But either way, the author is getting the same amount. When it comes down to paperbacks, again, it'll be a recommended price of about£10. Amazon will do them for£4.50. Your local shop will do them for£8, something like that. And the author gets exactly the same.

17:33If you're talking about these daily deals and discounted things on Kindle, that is different. Amazon have to say to you, we want to make your book available for 99p or whatever it is. and if you want the publicity of that you will do it i've never never ever discounted any of the thursday murder club books on kindle they say uh volume for vanity price for sanity because you know if you if you do sell your book for 99p you can sell a lot of books but the author is not making a penny so the author will make absolutely nothing they will make pretty much nothing if you're charging three pound or or less there's there's nothing there so that's just for the publisher just going this has run out of steam you know it might have been out for a year you know we're not going we're not selling thousands and thousands a week like on the apprentice when you know they start selling cupcakes for two pound right at the end of the task just to get rid of them so it's a good way of finding new authors for authors it can work that someone can try out their work for 99p and then go back into the back catalog and buy the more expensive things but by and large if a book is discounted in a shop the author gets full price those daily deals when it's very, very cheap, the author will get nothing at all.

18:43But I will say again and again and again, that local bookshops do not have that luxury. You know, they work on fine margins, and they provide a service that's above and beyond just sending you a book in a cardboard envelope. And nobody at an independent bookshop is grifting you. You know, they're really, they are literally mortified that you can find this cheaper somewhere else because other people have different business plans and that's why they by and large try and give you the best customer service that they can that's a very good question that was from k by the way i'm sorry that i didn't say her name at the start uh one for you marina from uh oh this is a good name one of these days i'm going to name a character in a book after one of our questioners well this one's a good this one's a good so rico rinaldo writes in hey rico what are your feelings on trigger warnings across all forms of entertainment i get emails from my supermarket to opt out of receiving Mother's Day adverts in case it upsets me, which seems counterintuitive as by asking me to opt out, you have already triggered me by asking me about Mother's Day and bringing it to my attention.

19:44Thank you, Rika. I think that is a very good point. I must say, I don't think that trigger warnings are a good thing. And the chief reason that I don't think they are is because they don't work. All the research suggests that they don't impact people's emotional responses to things. In fact, the forbidden fruit effect, as it were, might be actually causing people to trigger warning is to have the completely opposite effect. And sometimes people call it the nocebo effect, where, you know, you've got a negative expectation of something because you've been told that it's going to be distressing, and therefore it exacerbates distressing outcomes.

20:18There are many, many different studies on this that just say it doesn't work. And I think it's therefore a sort of piece of performative mumbo jumbo that is probably doing more harm than good. But people go along with them and the obligation to do it because they fear that they might be being shamed as mean or perhaps they feel they need to it's a sort of in-group signifier isn't it that you know certain type of people always will do a content warning and make you feel that you know I just want to show that I'm a person who takes other people's feelings into consideration but as it turns out you know scientifically speaking you're not necessarily doing that at all in fact you might be doing quite the opposite but I suppose on a wider philosophical thing you know I know life is hard and awful things happen but I do feel that part of the journey is sort of being confronted by these things and learning to get past them.

21:06You know, as you say, Rico, you've been talked about Mother's Day. The supermarkets had to mention Mother's Day to ask you if you want to opt out of the Mother's Day marketing. I don't think people are particularly upset by Mother's Day marketing, actually. And I think that it's created a sort of weird issue where there needn't be one. And that, I think, is generally what trigger warnings do. The only trigger warnings we used to have back in the 80s were Simon Bates on the beginning of VHSs, telling you it was an 18 and saying, you know, there's a, you know, rude language and stuff like that. Yeah, it's fascinating trigger warnings.

21:36And, you know, books don't really have them because you can sort of hint at things in the blurb anyway. I mean, the television, I guess, given we don't sort of read TV listings anymore and things can just turn up in our living room unannounced and we can watch something because someone we used to see in Coronation Street is in it and then there's something in it that actually is uncomfortable for us. I sort of can understand that you might just, you know, point people in the direction that there's, you know, tricky stuff coming up. But all sorts of, anything can be tricky for anybody. That's the trouble.

22:05You know, the thing that you might think is the tricky thing in the programme might not be. And in fact, there might be other things that provoke people's memories in different ways. But, you know, life is about having our memories provoked. And with the greatest of sympathy, the fact that it makes it worse and that most of the research suggests it either makes it worse or does absolutely nothing. How does it make it worse, by the way? Or is it, if you're not... Because it alerts you to it. And so you're in a heightened emotional state And most people actually, unfortunately, can't quite still stop themselves from watching it, even though they've been given the warnings.

22:35So in that sense, they think it doesn't in any way sort of moderate people's emotional response to it. It can actually heighten people's emotional response to things. And I suppose it sort of puts a ring fence around your experience anyway that says, oh, your experience was so awful. We don't, as a culture, talk about it. This is something that we're not comfortable talking about. You probably should keep it to yourself and keep it locked away. And part of all types of processes, I think, is having to sort of get through things. and some of these things are so traumatic, the events, that, my dear me, you'll be reminded of them all the time and you'll be thinking about them every single day of your life and it doesn't matter whether they're on a television programme or if they're not.

23:07To me, it is an affectation on behalf of the producers, the broadcasters, whatever it is, and it's not to do... This has nothing to do with the victims who, of course, I have utmost sympathy for, but it doesn't work and I think that they should just be dropped. It's not often we give a proper definitive answer, is it? Yes, it's not often I have one. OK, well, this is a good one to sort of follow on from that, I think. Don Palmer says, Brett Easton Ellis recently commented that if American Psycho was written today by a debut novelist, it would never be published. Do you agree that in recent years, publishers have become oversensitive and the author as provocateur is a thing of the past?

23:39That's interesting. I mean, I can give a definitive answer there, which is no, I don't believe that at all. I don't believe that it wouldn't get published. It always sounds good if you're Brett Easton Ellis to go, I tell you what, the thing that I wrote would not get published today, my friend, because I'm a little bit too dangerous for this modern world. I think that books are actually quite a good place to do something iconoclastic and, you know, against the grain and get published still. Would it sell? I do think, just to pause you there, I do think that books are the most, the best place to be iconoclastic and to be, you can do really exciting and difficult and provocative things in a novel that you just could not do on television.

24:19And you can have really complicated and dark characters and nobody's going to give you the note like, oh, I think they need to be more likeable. you can have absolutely monstrous protagonists in novels no one ever gives you any notes in books yeah that's the that's the great news they go listen this is the thing you want to write uh listen i think what he might be saying is it probably wouldn't sell as well maybe it wouldn't maybe culturally we wouldn't take it to our hearts quite as much but even that i don't think is right if you like like a proper anti-hero some horrific you know patrick bateman type then you know there's appetite for that.

24:51I don't see that publishing particularly is shying away from more difficult areas. Yeah, I do. First of all, it should be said that American Psycho was very, very controversial at the time. I mean, I thought it was a fantastic book and I think it's an incredibly moral book and I think it's a very misunderstood book. And there were a lot of protests about it at the time. You're right in saying that a book could never be that big again to some extent, you know, books were like movies then, you know, you wrote a number one New York Times bestseller. And it was like you just, you know, you were on the top of the world.

25:24And it was almost like having a sort of blockbuster opening. And our culture is so much more atomised now. And books just don't, to some extent, create those, those events, that idea of being a bright young thing, the voice of a generation, maybe you'd be in television, something different, anyhow. But I do think that publishing is much more wary, they're wary of their own staff. I oh, we can't possibly publish this book because, you know, many of the people working on this book in the publishing house at various different levels don't agree with what's in it. Well, there have been plenty of examples of that.

25:55And again, these are the sort of things that are affecting liberal workplaces around the world. Many people don't publish things, I think, because they say, oh, we couldn't actually publish that. It's very difficult. It's very difficult for this book to find a publisher. No, I think there are many books that are regarded as too provocative. I have to say in fiction, probably less so. So we're talking about nonfiction titles, I think, that maybe cover things like the sort of trans wars or there have been far, you know, sort of things like Milo, the kind of cultural, you know, the sort of alt-right, all those sort of books.

26:28These books have caused a lot of controversy. But in fiction, I think you can be more, as you say, you can be more provocative and you can do more extraordinary things and you can actually push the envelope a lot more. and that thing that I said is you in television they are constantly telling you yeah I you know I just can can we have a sort of hearts and hearts and hugs pass that we don't we just like this person to be more likable and the things that television people hate being told is that you know everyone has to really be likable and what people sort of love when in something like succession was like all these people are absolutely terrible and you know what it's been a massive show and everyone's loved it so that what they writers often want to say is no they should be able to be dreadful dreadful people or villains of victims you have whose stories haven't been told yet or whatever they say but the idea that they should be likable is much more prevalent in television so i think you could still have a monstrous protagonist and i think you probably do i haven't read any recently but people can write in and tell us what the big sort of monstrous anti-heroes are currently in fiction i'd like to know no there's all sorts of great ones and funnily enough that the book i recommend at the start of the year johnny sweets the kellerby code that's about an anti-hero I think that I've got it now it's my necks on my pile so yes I think that you are absolutely right television is far far far more far more sensitive and far more sensitive and by the way I understand why because television is in the corner of your room and it can be on without you inviting it in or your kids can watch it whereas a book you've been to a shop you've read the back of the book you might have read a review of it you've paid your money you've taken it home so books can be whatever they want to be the same with comedians doing a live tour you say whatever you want because people have gone out, paid money for the ticket, got a babysitter, sat down and said, okay, I want to be entertained by you.