Hello, and welcome to the Stellar podcast Something to Talk About. I'm Sarah La Marquin, your host, and every week I sit down with some of the biggest names in the country because when Australia's celebrities are ready to talk, they come to Something.
To Talk About.
Claudia Carvin is one of Australia's most acclaimed actors. She's been at it since she was ten years old, producing and creating television series since her early thirties. If you think back to some of Australia's most beloved TV shows and film there's a good chance Claudia was in it. From The Secret Life of Us to Love My Way,
to The Heartbreak Kid, to Spirited and now Bump. Claudia has a lot to talk about, and today on Something to Talk About, she does just that from a wardrobe malfunction on National TV.
And I was like, Oh, that looks like quite a bit of my.
Boob on the TV.
I'm like, oh, dear ooops.
The quote unquote unhappiest job of her career.
It's a tough job.
I felt like I was an adult and I was playing a very adult role, but I was only that nineteen and away from home. And the content was quite There's a lot of intimacy and nudity.
And the real life inspiration for love my way.
I was with Jazz and you know, my stepdaughter was my best friend's daughter. I was the godmother, so there was lots of sort of blurred lines there.
And of course how she's feeling in the lead up to her very final scenes of Bump going to air. Claudia Carvin, Welcome to the Stellar Podcast.
Thanks for having me.
Nice to be here, lovely to have you here.
I'm very excited to talk to you about the final season of Bump, which is premiering on Boxing Day. But before we get to that, I'd actually love to maybe go back a bit and look back on your career.
Take a little bit of a walk.
Down memory lane with you, Claudia, because last year you were made a Member of the Order of Australia for service to the film and television industry. I mean quite the honor. Was that a moment that gave you pause to reflect on your career because it's been for decades that you've been working in this industry.
Now, I know, I know I'm not very I'm not very good at ceremony. My children came with me. That was the best pit about it. My son dressed up in a suit and they.
Were pretty impressed.
And yeah, I wasn't.
Prepared for the sort of the beautiful pomp and ceremony around it, So yeah, I did realize, oh, that was a very important recognition, and the medal itself was very beautiful. The location at a government house was stunning, and all the other people who were being honored, I mean, you know, they were like fighting bush fires and.
Remarkable all feats.
And my children are like, so, wait a minute, you just got this because you.
Want to LOGI.
And then now I'm sort of fighting over it, going well, who's going to get it when you die?
Did that get settled?
I think that because they get you get a small one and an address one.
You get three, so.
You know, there's plenty to go around.
I don't need to fight.
Do you have the proverbial or literal trophy cabinet? Because that's right. There has been a LOGI. There's been a lot of awards and recognition in your career. Now that you have that medal for this honor, is there somewhere where it all sits.
Ah, it just sits in my office, and yeah, I just don't want to turn into one of those people like in thirty or forty you goes And I won all these awards like boring people to tears with all my incredible achievements. I just I actually look at them and I go, hmmm, what rest did I wear? When I want when I won that one? Because it's always it's always about what shoes and what dress did you wear? What hair and makeup did you get done, who did you go with, how much wine did you drink or
not drink? What was the entertainment? So it's sort of a little bit like a photo album, and it's sort of fun or really embarrassing when you have like a wardrobe malfunction, which I once had. So whenever I look at that award, I go, uh huh uh ah.
That was that one?
And what happened there? And was that in the era of social media or was it in a time where maybe you kind of got away with it a little more then a little less than you might today.
Well, I was sitting in the airport lounge and I was you know, it was daytime morning, you know, morning television, and I was like, oh, that looks like quite a bit of my boop on the TV.
I'm like, oh dear, whoops loo.
Could see it happens, doesn't it. You know, it's okay. It doesn't sound like it was justin Timberlake Janet Jackson's you know, super level wardrobe.
It was not too offensive, and all the mums in the playground were very.
Sweet to me.
When I arrived to pick up my daughter that day, They're like, that's fine, you boob look.
Great, well that look this is love. I love I love this about women and look. To be honest, anyone that's been anywhere near that's right, any experience around breastfeeding has for the rest of their life. It's like, who hasn't inadvertently exposed breast.
It is hard once you've been breastfeeding in public to sort of take them seriously anymore. It's like, wait a minute, I was allowed to have them out every five minutes once upon a time.
That's right.
You can't.
You can't just put that genie back in the bottle.
That's right.
You've been acting since you were ten. When you were fourteen, you start alongside Judy Davis in High Tide. You told Stella four years ago, I didn't know who Judy was. I didn't know who Jillian Armstrong was. I certainly didn't do any research. There wasn't the internet. I was just a fourteen year old girl. I love the innocence of that. For one of a better word, what are your memories of that time and do you feel that, like every experience that happens, that that is just such a reflection
of the time. As you say, you couldn't do research because he didn't have access to the Internet, but that also meant that you weren't thinking about a lot of the things that I imagine a fourteen year old girl would go on to set on that experience in twenty twenty four.
Yes, that's right.
Well, it's interesting because at the time I also wasn't aware that very few films are directed by women. I mean, gender was not on my radar at all. I was a fourteen year old girl. So looking back at it now with the wisdom of hindsight and being able to see it in context, I was working with four not one,
not two, not three, but four extraordinary women. So Jillian Armstrong, who had already done my brilliant career, Judy Davis, who'd been in David Lene Films and you know, been nominated for Oscars, and Laura Jones wrote it an extraordinarily beautiful script, and she was on set all the time, and she was in the rehearsals, and she was so humble and so unassuming and so observant. She had such a beautiful spirit about her. I feel like, I to me, she
was a real writer. That's the first time I had anything to do with like what does a.
Writer look like? What is their vibe?
Which again I wasn't very conscious of, but I definitely look back in that and go, wow, writers, writers are beautiful, and there's such an integral part of the whole process, and they're often you know, tucked away like that. They're not praised enough for you know, they're not on the red carpet very often. So she was beautiful. And then Sandra Levy who produced it, so I just thought I
didn't even question that. But I look back on that now and think, wow, what a great entry into the film industry, because you know, from my perspective, it's like, well, there's nothing going wrong here, this is all pretty good.
And then was it a bit of a shock because obviously at the latter part of your career, which I love to talk to a bit later on, especially as a producer, you have worked with and encourage and help foster and partner with a lot of female creatives. But then you would have, I imagine, realized as most actors do, oh, well, most directors are men. Certainly for people working internationally, they may go their entire career on a film that is
only ever directed by a man. So then when did that beautiful sort of innocence I suppose, get a bit punctured of realizing that, yeah, that was a bit of an normally that experience.
Well, actually the run continued because I had Nadia Tass directed me in The Big Steal, Laurie mckinnis directed me in Broken Highway, which I went to cann Film Festival with Megan Simpson. Humorman directed me and Dating the Enemy. So my personal anecdotal experience was there are women everywhere.
So when the stats.
Came out when they did the Gender Matters before they started the Gender Matters initiative at Screen Australia and I was on the board of Screen Australia, I think at that time was it just about to be so they these figures came out and I was looking at them going, I just don't make I don't see evidence of that.
I don't understand that. I can't work that out.
It just wouldn't compute. And so it took a situation like with a beautiful, very very very talented director called Lucy Gaffey who I think she was in maybe her late thirties, and her short film came across my desk and it was.
Brilliant, really like.
Stunning, and I was like, I've got to work with this director, and so we pulled out all stops and gave her a shadow directing role, which meant she got to it's like a sort of talent escalation initiative, and she got to do her one episode and she's never looked back. She was amazing on Doctor Doctor, a Tony McNamara written script who's gone on to win awards for the great and like he's he's extraordined Oscar nomination, Oscar nomination,
like amazingly talented writer. So she directed one of his episodes and she came up to me at the rap party and said, you've You've changed my life, like you've given me a career, and I'm like, no, I haven't. That's ridiculous, what a stupid that's a stupid thing to say, Like, you can't give me credit for that. You are a very talented person and you would have got you would have got a job anyway. And she was like, nah, I have been knocking on doors for years and no
one has given me an opportunity. And I saw her the other day and she said, I've just come from AFTR Rest and I just told that story. I tell that story everywhere I go. Now, the position that I'm in, the very privileged, luxurious position I'm in, is I can do that for a lot of people, men and women are like but it's the best part of my job.
I mean, it's just so amazing. I imagine to get that sort of feedback, because as you say, you were a bit oblivious to it, clearly actually disputed the fact that that was you. But to hear that is got to be talked about. The awards and the accolades. I'm in its moments like that that I have to be the most rewarding. I imagine, that's right.
I often get asked that question.
It's one of the most difficult questions to be asked, is like what does success mean to you?
And my brain always goes blank. Oh god, I don't know.
But that is what it means being able to do something like that. I have to remember that that's going to be my next down.
So when someone says, yes, exactly exactly what does success mean to you? You know what to say. You mentioned dating the enemy there, and so I thought I might actually ask you about some comments that David Stratton made. He was on the Stellar podcast with me a couple of months ago, and I was talking to him about romantic comedies as a genre in Australia and said, it's not something that we as a nation have done an
awful lot of. And I called out Paperback Hero, the film that you did in nineteen ninety nine opposite Hugh Jackman, and David said, you've got to get absolutely the right actors to do rom com well. And Claudia's peerless in that respect. She could have done a lot more. She's a wonderful comedian and a wonderful actor. Lovely praise there from David. But what do you think about that?
I think that it I guess before Bridget Jones Diary, it sort of felt like an American trope maybe, so when we tried to go foray into it as Australians, I think we were sort of carrying a lot of baggage and so both those films actually didn't do very well at the box office Paperback Hero and Dad in the Enemy. But you know, they've I think they've sort of aged reasonably well and people they're pretty good films.
They're solid films, but I think the perception from the Australian audience was none of that's the Americans do that well and it's not an Australian genre and we can't do it. So yeah, it probably was. It didn't do well in the box office, but then we did very well on DVD Dadding the Enemy. People really embraced it, and a lot of people still do come up to me and go, you know, that was one of their
favorite films. I mean, it's totally stupid, but I mean, honestly, it's like surely every actress's dream to be a man pretending that they're just getting their period. The first time, that was one of the most enjoyable scenes to man cry. It was so much fun. I was with Lisa Hensley when I did that scene, and yeah, she was hilarious. She's like, you know that, you know the man crying that they don't cry.
They don't cry when they cry it so it's so true of fascination.
He paid off in that moment. My last question about your work in the nineties would be about working on The Heartbreak Kid, which came out in nineteen ninety three. I know you've been asked about this role over the years. Again, a few years ago you told Stella that you had a few concerns looking back on that. In fact, you said it was the unhappiest job of my career. First of all, you said you felt so embarrassed that you played a Greek girl. Can you imagine how I would
be taken down today? And then, as you said, you were nineteen at the time and your co star Alex Demitriartes was seventeen, there was no such thing as what we would now call an intimacy coordinator on set. And then of course the fact that your character was a teacher and he was a student. So there's a lot going on in that film. I mean, I think sometimes we lack nuance in our conversations about, oh, you just
can't get away with anything today. And then I think there's a really positive conversation about how far we've come with things. Get through the middle somewhere there's just hottering moments that were of their time. Yes, i'd love, like, I say, just to ask you a bit about how you feel about that film now.
Yeah, look, I haven't watched it again. And again it was another sort of rom com, wasn't it. I had a great conversation with someone recently where they're like, didn't the sex didn't bother me? And the fact that you were not great didn't bother me. It was the fact that that boy was pretty much stalking you and like in this day, and I was like, that's really not a turn on. And they thought it had sort of dated, which I thought was really interesting.
No one had brought that up.
Now, that wasn't in my list with it.
It was very interesting, isn't it.
But I think, you know, yes, some people say, oh, are we over apologizing for the things that have done in the past, And I just think I think we can't overcompensate. You know, there's a lot of conversations that should be had and need to be had. I mean, I am sort of being lighthearted about the Greek thing. I'm so everyone I know who's Greek. Look, you are an honorary Greek. We are very proud that you were a Greek. Like no, no one holds it against me.
But as for the you know, the storyline, Now that I am a producer, I feel like, you know, I was hired to play a role. I didn't write it, I didn't direct it, I didn't produce it. So it's that storyline I don't take responsibility for. I was a nineteen year old girl, and you know it. It was a It was a tough job. I felt like I was an adult and I was playing a very adult role.
But I was only in that nineteen and away from home, and the content was quite There's a lot of intimacy and nudity, and yeah, it probably wasn't that equipped to do it. I got through and I did it, but yeah, it wasn't. It was my favorite job. But Alex is great and it was a really great film. Nicolethuris is amazing.
He One of the best things about that job is that Alex Demitritis had never acted before and we had about I think it was maybe three to four weeks, which is unheard of in a rehearsal space, just the two of us with Nicole Thuris, who was the acting coach, doing the Misner technique. He was amazing. Nicola Theuris and I learned a lot. And the Misner technique is really intense, like you've got nowhere to hide.
It's this.
The essence of it is you repeat and you repeat, and you repeat until you've worn that line. Then you move to the next line, and it does embed the scene into this sort of deep, subterranean level. It's very very good. I don't use it anymore because it sort of triggers me. It's really hard, but it's very very good. And Nicole theros was amazing on that, so I really I love that job.
For him.
I was going to say, I mean, at the risk is sounding tweet and like I'm trying to package up that experience with a neat little Christmas bow. It is also sounds as though a affirmation of the fact that even the most challenging parts of your career, and if that was one of the most unhappiest jobs, that it still had these amazing takeaways from it, including that extreme experience of yeah, an acting degree in the course of three or four weeks.
Always as someone introduced me to the word a dialectic experience recently and it's really changed my outlook, which is you can you can feel and experience two things at the same time and they don't invalidate themselves. Like you know, you can be happy and sad at the same time. You can love and hate someone at the same time. And I love that because it just gives you the freedom to feel feel both those things and they yeah, they live alongside each other.
And coming up Claudia on how she fell in love with producing and creating TV and what she's got planned after Bump. I would then now really love to talk a little bit more about the work that you have co created, your work as a producer. I mean it includes all five seasons of Bump. You mentioned Doctor Doctor, and of course I love to talk about love my way And when did that fire first start to burn a little bit in you?
Well?
Did I did a bit of behind the scenes on Secret Life of Us, so I directed one block. So that opened up my world because I was only aware of the on set life. I hadn't envisaged a story room, I hadn't envisaged the writing process. I hadn't envisaged the edit and what happens in post, so you know, as an actor, I was like, well, it's just all about what happens on set, and it's all about the actors.
Of course, you know, quite sort of self focused. So it was really creative to see where the stories start and where they end. And when I went behind the camera, I my curiosity was peaud and then John Edwards sort of recognize the sort of leadership ability in me and suggested that we develop a show together and produce a show together.
Producing was never on my radar. I never even knew what a.
Producer did, and if I did give it some thought, I would have thought, really boring job. You may as well be an accountant or something. I had no idea
that it could be so creative. So when John and I and Jaqueline Persky started developing Love My Way, yeah, I realized, Oh, all these things that I've observed and learned about on set, like what makes a good location or what makes a great you know, support character, or what makes a great costume designer, what makes a great I could funnel all that into building a team.
And I loved it. I loved it.
It was like all of this knowledge that i'd you know, subconsciously developed, I was able to put it into practice. And I know how to talk to Crewe like they're my family. I have grown up on sets with Crewe, So yeah, I suddenly was like wow. And then to be in a story room. I've always been a big reader. I didn't go to university. I studied English at university for about three months and then I went to work.
But I've always loved reading. I did three in an English and I, you know, I really like lent into studying and all the essays and stuff. So I love the psychology of stories and the motivation of character, and the subtext and dialogue and structure.
I love all that.
It's like machinery. So to be in a story room and be a part of those conversations. So I was hooked from the very beginning with Love My Way. But I never would have I never would have gravitated to that if John Edwards hadn't had suggested it to me.
Secret Life of Us Love My Way both not only hugely beloved series, but I really think, certainly to a generation or to would consider them iconic. I mean, I'm gen X and I would definitely consider them to be definitive series. I can remember all of the characters, there's obviously key moments, and I'm sure Claudia approached by people all the time about both of those shows out before Bump came along. Why do you think it is? Yeah?
Look, Secret Life of Us was an anomaly. I mean if you listen to John Edwards take on that, a lot of series were failing and Network ten just took a risk on Secret Life of Us and Judy macross and was a I mean there was four people in that story room. It was Amanda Higgs, Christopher Lee, Judy mcross and John Edwards. Judy Mcrossen's voice is very, very clear,
like she's got no filter. Like, for instance, one of the first scenes my character has with her best friend is like she's like, oh, do you have a tampon? And I give her an applicated tampon and she's like, oh my god, you use applicator. Oh you're so anal Like people didn't talk like that on TV. That is
Judy mcrosson. You know, and the fact that they were given, you know, some license and some freedom to film that and put it on television, Well you know that that was part chance, part you know, someone taking a risk and trusting the team.
So that's sort of established.
Yeah, new Voice, and people were smoking joints on Channel ten Free Away like that was unheard of, sitting on the toilet and doing a Wii like it. Just everything was quite polite and stiff and artificial on TV up until that point majority of the time. And so then with Love My Way, we took that to another degree because it was around the time of HBO and shows like Sopranos and The Wire and shows like that were
being made. So TV was being looked at as like the new form of filmmaking, and you could still shoot things in a cinematic way, you could have nuanced storylines, you could push the envelope and tell stories and sort of radical new ways, or you know, really sit with character. So yeah, it was lucky, very lucky timing, very lucky timing.
And I do think that that departure from some of the artificial nature of what mainstream TV had been in that pre era was groundbreaking, which again is a word that is overused, but I really do think that, you know, Secret Life of Us helped pave the way, and then Love my Way definitely would argue was really pioneering in the genre in this country. And of course Love my Way. I mean, the premise of that show was that there were two characters who had a daughter and then they
had separated and really blended family. And long before Gwyneth Paltrow and Chris Martin brought us to the term conscious uncoupling, that was really what was happening at the heart of Love my Way. Again that we're talking twenty years ago, now.
That's right.
Yeah, And look that did come from my lived experience because I was with Jazz and you know, my stepdaughter was my best friend's daughter. I was the god mother, So there was lots of sort of blurred lines there, and it was very different to my own childhood, which was farm more fractious and there was you know, custody, battles and courts and a lot more a lot of toxicity.
So I really really could see how extraordinary it was the way, you know, Lowen and Jezz and Monica and I were raising a family, and that was, yeah, that was the inspiration behind Love My Way. That's what I brought into the room. And then Jacqueline and John and I then developed it further.
I think anyone that's trying to connect and tell a story often that lived experience, Because if you feel it, and you've experienced, or someone that you know or love or that you've simply met through the course of your work has lived in experience, probably somebody is watching that show, listening to that music, looking at that artwork, reading that story is really going to feel seen and validated and have their lived experience reflected back to them for maybe sometimes the first time.
Yeah, yeah, I.
Think you can't.
You can't fake that authenticity that comes from lived experience, that subjectivity. I mean then, of course, I mean it's called auto auto fiction.
I think there's a term.
You know, you mess it.
Up and it doesn't really look like your life in the end, it's still it gets the layers and layers of fiction get attached to it, but the essence of the idea comes from a really truthful players.
I imagine I was mentioning earlier the generational aspect. Obviously your work has been enjoyed and consumed by people of all ages, but certainly for you, as you're now in your early fifties, that lived experience has been reflected, you know, from your twenties and that sort of era of some of the that we were talking about, and then coming through Secret Life of Us, then Love My Way, and now of course with Bump, which as I said, is the fifth and final season, and your character Angie in
this season will possibly be facing a return of the breast cancer diagnosis. That was a story that resonated with so many people when it first happened. Again, Claudia, I mean, this is one in seven Australian women will be diagnosed with breast cancer in the course of their lifetime. In terms of tackling an experience that is going to resonate with a lot of people, obviously this storyline would be one. Is that part of why you were maybe interested in exploring that and again in this season.
Look, I mean yes there are. That's one of the reasons. And I have lost very, very close friends to cancer. It also came from at the end of series two. I felt the stuff going on in my personal life where I was like, I can't come back to series three and play Angie the way I played her in one and two. Things have changed in my life and I need something in the storyline to reflect something has shifted in me and I I pitched something else and then we arrived at cancer because then we could take
Angie to another place. So and then because.
That was already there.
The reality of cancer is that you know it can come back. So we thought, you know, dove tailing a new birth, a new life on the way, and mortality of your mother, and that often happens too. Actually, surprisingly frequently, you can be a daughter pregnant and your mother has cancer. So you've got these pressures coming from both sides, and that's a lived experience for many people.
So it's it.
Felt very worthwhile to explore and very very bump because it's challenging and it's family. It is what goes on. It brings out the best of us and sometimes the worst. Usually in Bump we go.
For the best. That's that's our sort of brand.
We're life affirming and we always want to be optimistic even if we are going to tough places. So yeah, it just felt right and it was a huge responsibility. I think we've done it very consciously and.
We went through it.
We had we had a lot of consultation with more, particularly an extraordinary woman called Zenith Viago.
You should google her.
Look her up and watch her YouTube videos. She calls herself a death walker, so she, I guess is sort of like a death dueller or a death a grief counselor she works in that space. We talked to our people from the I suppose that industry amazing woman in Tasmania who runs a funeral parlor, but she's also a death dueller and.
It is an emerging sort of role.
It's like a birth douller because we are we don't talk about death much, and when people die, the whole thing happens behind closed doors and it gets sort of contracted out. So we felt like it was an area that we were we felt passionately about, and we should jump into.
When the final episode goes to air, it's received after five seasons of bump, how do you feel or maybe this happens when you signed off on the editing of the final scene that went to print all. I mean, that's a very old school term. I don't know what do they call it these days, course delivered. When it's delivered, what do you do at a moment like that? Do you cry? Do you fall in the heap? Do you crack open the champagne? Do you start thinking about right, what's next?
All of the above, Absolutely all of the above.
A lot of champagne was drunk, a lot of tears were shared, presents given, cards written. Also a lot of time to just sit in my garden and just stare it up at the tree and just watch leaves and just like try to sort of empty yourself and clear bump out to make room for a new thing to come in. Feel a lot of pride, and keep connecting with everyone like we're all good friends still. And then yeah, well, I mean it's yet to happen, isn't it. So you know,
fast forward to boxing day. I'll probably go, what why did we finish?
No?
No, we can be like Johnny farn and we'll come back.
I always think one of the most annoying questions people like me can ask, apart from as you say, you often get asked, so what does success look like to you?
Claudia?
So I often feel someone will have this amazing piece of work, what's next? What are we going to do when we be back key with me in the Stella studio in six months? What are we going to be talking about? But of course that's of course obviously leading exactly that's what I'm going to ask. I'm just trying to pretend that I'm above asking that, but I'm not fair enough.
I have done.
It's really lovely at this stage of my career because I can do lots of different things. So I did Who Do You Think You Are? Which was amazing. So I found out a lot about my ancestry and did some very surprising travel earlier this year, so that'll come out next year. I also did a sort of a travel show hosted with Steph Tisdall, who's a brilliant actress. She was Shawna on Bump and we have a great sort of chemistry. She's really naughty, swears all the time
and she roasts me. It's hilarious. So we just drive around Queensland, New Zealand, New Zealand, New South Wales and South Australia together. I did three episodes of that that'll be out next year as well. There's a couple of series that I'm really in deep with and fully immersed and very passionate about and I love and I'll be pitching them around and see if they get traction. But it's funny I talk about we all know about the
shows that I've produced and have made. There's also a hell of a lot of shows I've developed and pitched and not made, so they don't always get up. But I've got a few that I feel really happy about.
And then I'm researching another little thing that.
Is really exciting that's gonna happen next year. Great, so we'll have you back here in six months.
To talk about that. I can't wait.
I'll be back if you invite me.
Of course, of course. Well my final question then was I know a lot of people that have watched your work would sometimes think about some of the characters and think, you know, where is that character today? I wonder what happened after we said goodbye to those characters? What would Frankie be doing today in real life? Do you ever think about that?
No? No, absolutely not. I don't never.
No.
Well, I suppose it might sound a bit disappointing, but.
I for me, Frankie is she's words on a page. Alex Christensen is Judy mcross and Amanda Higgs in a room whipping up ideas. So you know, they exist for other people, but they don't exist for me. I mean, they are very much facets of my personality like I definitely there's a part of me and every one of those characters. But yeah, they don't live beyond the camera. When the camera stops rolling, they don't exist. They just just vaporize a puff of smoke.
I find that really interesting, And that was the question, by the way, asked with no expectation of what the answer would be. So it's definitely not disappointing. I think it's actually an interesting insight into how when there is something that is created and then it's up to the audience to digest it and relate to it, and it means different things to different people. I mean, that's really just proof of that, isn't it. It might live on
forever in the mind of a viewer. That doesn't mean that it has to for you, clearly doesn't.
No, no, no, yeah, not at all.
Claudia has been such an absolute pleasure to talk to you today. Thank you for coming into the studio. I hope to see you back here very soon. We can talk about that very exciting suspect.
We will meet.
Up again soon and you can see Claudia on Bump's final season, which will premiere on December twenty six only on Stan thank you for your company. I hope you've enjoyed this episode. If you did, let us know in the reviews. We're continuing to publish across the summer break.
We'll be back with the brand new episode on January twelveth, but in the meantime, each day for the next two weeks, we'll be revisiting some of your favorite episodes from the past year, so make sure you're following us to find out who made the top ten episodes of twenty twenty four.