It's in the news today, but it was actually on TV Reload the podcast asleep their line welcome back to TV Reload. My name's Benjamin Norris, and on this podcast I go behind the scenes with the biggest players in television. Each episode you will get a front row seat with content makers like executive producers, writers, directors, editors, and casting agents,
plus the talent we see on our screen. TV Reload reloads the shows you are currently watching and gives you a better insight into our television industry and our streaming services today. On the podcast, I have Brett Slay, the acting head of Drama at the ABC, and Louise Smith, the executive producer of their latest scripted drama Significant Others.
I'm lucky enough to unpack Significant Others with these guys today as I have a huge passion for this style of content and to have people at the top of their game walk us through how this show was made is a real treat for us today in a world where streaming and global content has become highly competitive against our local free toware programming. Is I rate to see ABC still at the top of their game with Significant Others, which is just as well produced as any other show
on offer. The story of Significant Others centers around a family in turmoil as they deal with a sudden disappearance of a family member. The show is highly emotional, carefully written, and beautifully acted. I highly recommend you catch up on the series on iView as the show did premiere last Sunday night and will continue this Sunday night at seven o'clock. We will talk about the series production, the actors' performances, the competitive market for eyeballs on localized content, and what
the ABC looks for in the style of shows they commission. However, let's get started with today's guest. I'd like to welcome Brett Slay and Louise Simpson from I'd like to welcome Brett Slay and Louise Smith from ABC Australia to TV Reload.
There is a great appetite now we know for relationship drama.
The story starts with a family divided.
You know obviously go into it hoping that it's going to have a certain reaction.
It's the many different ways of people dealing with traumatic situations.
Sarah's missing.
She went out for a swim and she's been missing since.
Dawn, so It's been an absolute thrill to come to something that's so developed. I think I'm still looking for the answers for you.
I remember Sally and I when we were going through the casting, we were just like, oh.
Wow, everything about their past seems to be turned on its head.
There is so much humor in this Hi, Brett and Louise, thank you for joining me on the podcast. Great to be You know, once I started watching Significant Others, I just needed to talk to you both, and so I started harassing the people at ABC to do so. But I just want to start off this podcast by saying, thank you so much for such a brilliant series.
Wow, I'm glad you're loving it. That's fantastic, Ben.
I think it's It's interesting though, because you know, for people listening to this podcas Us right now who might not have seen episode one that was on Sunday night.
I actually quite.
Liked how one of the critics applauded and summarized the show. Not sure if you saw this, but it was in the Guardian and they described it as in a sea of missing in a sea of missing person mysteries. This six part series is about a family who comes together when one member seemingly drowns, and the critic described it as engrossing and clever. Have you been happy so far with the reaction from the general public.
Yeah, it's so great. Actually, I was just before we
jumped on this call. I was just talking to Tommy Murphy, the creator of the show, and we were just talking about the feedback that we've had this week from people and what their reactions have been to the first step, because you know, obviously you go into it hoping that it's going to have a certain reaction and it has, and it's also surprised us in other ways as well, particularly the comments and questions around you know, what has happened to Sarah, which has been really great to hear
people's versions and theories, which is really exciting.
Well, I think that's the best thing about say a murder mysteries like Savage River and like this particular series, is that as an audience, we are invested because we're trying to solve what we think has happened. And I think in an era of true crime, that kind of is the right manutia. You know, that's the right thing that audiences want to or they're enjoying. I should say.
Yeah, yeah. And I think what sets this particular show out from those other murder mysteries, as you reference, is that it allows you to sit in the sort of authentic, messy chaos of what that impact is on this family as well. You know, it's about the sort of reactions in a really true and honest way, which has been really fun to sort of play in those two spaces, I guess, have that mystery unraveling, and also the sort of I feel like you can see your own family in these characters.
I guess, Well, you're solving real life issues that I think the everyday Australian may have been in or will be in.
You know.
I think the problem of writing a will and making sure everyone's included the way that they want to has always been a very touchy subject and for anyone that's been through that, and I have you sit there watching it going oh my you know, oh my god, this is so real these reactions and what these characters are saying. I mean, that's me, you know, or that's my sister, So very very real world, I will.
Say, yeah.
And I think that was one of the one things that was so amazing about the Writer's Room because I think everyone in that room brought exactly, like you say, their version of that story. You know, everyone has a story, unfortunately, I guess of wills that haven't gone the way they thought they would, and of siblings that perhaps don't treat you or each other the way that you sometimes hope they would. So I think that that's what's lovely and complex about this family.
I think the currency at the moment with being an audience and you know, watching television is wanting to feel seen and wanting to see ourselves on screen. And I think that's what makes television enjoyable, no matter what the subject matter is, whether it is a drama or whether it is a comedy. You know, and this one is a bit of a drama comedy, even though the subject matter is at times quite bleak.
Yeah, it really is. And I think that was some of the great appeal of the show for us in terms of the commission, was that, you know, there is a there's a sort of TV family that you might expect, and it's all kind of happy families generally, Whereas this came to us and it felt incredibly real and incredibly authentic, and we sort of knew that once we started getting into these scripts that you know, our audience, we're going to recognize these characters for better or worse, and that's
certainly come to pass. Is that a lot of the conversations that I'm having and a lot of the commentary that we're seeing online is just how close to the bone these characters are to being reflective of families out there, and particularly simply rivalries which you know most of us have, and just seeing where those allegiances shift and all those sorts of things. So it's, you know, is that boldness of the family unit that was really appealing?
I think the ABC has been doing such a fantastic job, Brett, I would say, you know, with scripted dramas, I've absolutely loved Savage River and now Significant Others. Is this a change of tone for you and the ABC? Or has this got more to do with maybe me realizing a PC is where it's at?
Do you know, I'd like, Ben, I'd like to think it's the latter. Do you know, I really like to think it's the latter. That you know, you could go back and you could see these qualities in our output over the last decade or more, that you know, we're not new to writing sophisticated dramas and dramas that shine lights on unexpected places in Australia and take you to
unexpected places. So I'm delighted that you are sort of uncovering that, and our remit is really to to find more more unique sort of i'd say, younger audience to come to the ab ser It's a large and loyal audience already, but it's really important for us to get that, you know, and by younger, I mean sort of you know, in the forty five fifty five range, you know, So you know, that's great to hear from you, But I don't I don't think it's it's sort of a change
that we're suddenly doing stuff differently. I mean, we're all informed by what we're seeing globally on the streamers, and certainly our writers, you know, of more recent years, they're all now global citizens, writing for various different platforms and that sort of stuff which is affecting the work and you know, making the work have a more global feel to it. But you know, I think it's certainly always been there.
I kind of feel like this is a really good analogy and it's like, you know, Triple M or is it Triple No, it's Gold. You know, like those older music radio stations that when you're a kid, your parents are playing in the car and then all of a sudden, you're in the car now listening to the Gold radio station because Alanis Morisset's come on, and you just realize that you've fitted into.
That category finally, you know what I mean, Like, it's.
Now okay, I'm I'm at the age now ABC is just going to be my primary channel, you know, And I.
View I love that story, Ben, because I had that exact experience with RN, like Radio National, because I always used to listen to like Triple J. And then yeah, there was just this moment where I just found myself landing on RN, and I was like, wow, yep, I'm definitely at a time in my life, but that is more relevant.
Yeah, Brett as the head of ABC's well as ABC head of Drama, what sort of involvement do you have on a series like Significant Others?
I mean, how do you over see a project like this?
Well, look, my involvement in this one. This has very much been you know the work of Lou who's been sort of overseen this and I should say before Lou that the project has been with the ABC for several years, so I've seen you know, a number of executive producers and development executives working across feeding into the scripts and those sorts of things over a number of years. So you know, in some respects on Johnny cum lately on
this project. So it's been an absolute thrilled to come to something that's so developed and so so beautifully authored, I think is what appeals on this project so much so as a general rule, I sort of, you know, my involvement with this one has been you know, towards the back end of it, towards the production end of it, as it gets, as the casting starts to happen, as the shoot happens, and as yet it's happened, and as we line up that wonderful ABC machine which is getting
all the various other ABC elements together in terms of promoting and marketing and publicity and all those sorts of things and giving its best shot to reach an audience.
Well, I'm just fascinated by the title head of Drama, and I'd love to know sort of what the day in the life of you looks like, not necessarily a day in the life. But more what does your role involve for people who might not understand it.
So a clarification first, At the moment, it is acting head of Drama, So I'm quick to point that out that our wonderful esteem leader Sally Riley is currently I believe, so I'm filling those enormous shoes Albert for a temporary
time at the moment. But what the role looks like is it's just you know, having an oversight predominantly on the stuff for this sort of on air at the moment, so that you're familiar with the slate that's on air, and there's you know, there's consideration of thinking, and this
is very much shared among the team. We've got a fabulous team of incredibly capable people, and we have very robust, engaging conversations about when we get submissions in and we share our scripts on shows oftentimes well we'll share an edit of something. So it's having an oversight of the shows that are on air and a strategy towards what we all collectively think the audiences might be looking for in twelve eighty months time or you know, in some instances,
given the length and gestation of development. You know, I was trying to have a thought about what audiences might be looking for in two or three years.
Yeah, absolutely, Louise.
I think what really captivated me about this project from the get go is how beautiful the project looked from the promo. It looks like a TV series, just as polished as say, Big Little Lies or any other project from around the world.
Is that an interesting thing for me to say to you, Well, I love that, and.
That's fantastic, and I think that you know, what's really interesting about that statement is that I think it reflects definitely the ambition of the team, and you know, you always hope that it will come through on the screen in the same way that you imagine it. But I think as well, what this project had was that Tony
Krowitz directed all six episodes. And you know, I've been following Tony's work since he did the short featured you Boy years ago, and I think he's an incredible director and brings a sort of not only beautiful performances and allows that space for the actors to create, but he also brings a beautiful visual style that I think is it isn't about it's not showy, it's not trying to be like, oh look at me, you know, it's sort of it has a groundedness and an authenticity to the
sort of place and the characters. And I think as well, the other thing I love about this series to your point about the look and feel, is that it's set all around you know, Malabah and Little Bay and that sort of side of Sydney that we don't often see in this way. I guess. I even actually had a text from a friend who lives in Melbourne going where
in Sydney was that shot? You know, it just sort of I think that that's an intriguing element to it as well, because the sea is such a character, and I love that sort of real specificity of place that it delivers.
Yeah, I think that there's something very other world if you've done that walk, and I mean all Sydney Siders will know it, from Kuji through to Bondi, you can't help but feel like the sea is a character. It looks all consuming, it looks dangerous, it looks enticing, it's beautiful, and I think that's kind of a great landing place for where you'd want to set a story like this, because they are some of the themes.
You know, yeah, I agree, and I think that the connection that probably Sydney Siders, but a lot of Australians who live on the coast have is as you say, that thing about the water drawing us to it, but also being really aware that it is you know, it has its own violence and chaos that it can also consume you with. So I mean, I love the way they've shot the series and that character of the ocean.
Well, just following on from that, have we come a long way with Australian projects and is there a need to make sure that the quality of our shows look just as good as say HBO.
I think there is. I think you know, we we with our commissions, we you know well as a general rule, we are working with international partners on them, so there is that expectation that they will have that premium look and feel to them. So I think that's and you know, you certainly look at some of the other shows that we've put out more recently sort of I'm thinking of Mystery Road and The News Reader, and they all tend to have a very you know, a premium drama feel
to them. So I think that's absolutely the case.
Oh, the News reader. I'm just I just loved that series so much, and I know you've got the second series in the Cancer for people listening to this podcast right now. We are so lucky to have Sam back playing in that role and anatol like I just think, especially after Sam Reed had been in interview with a vampire, you know, I think the world's just about to discover him.
So I absolutely agree. Yeah, what sort.
Of scripted drama is the ABC looking at it the moment? Are there any kinds of themes or guides that need to tick a box to excite you? Well?
Look, I think the things that will always work for us are you know the staples of your sort of crime shows. You know, you know we've we've generally always had something that's sat in the crime because we know that our audience, we've got a large and oil audience that gravitates towards crime. So you know, crime is always
a staple for us. But of course it's sort of you know what we're looking for and I guess look, everyone is looking for is same but different, you know, looking for that twist on crime and to pull Mystery
Road out as the example you know that was. You know, it's a crime, it's a proceed it's got procedural elements to it, and it's got an overarching story, but gee whiz, it takes you to an environment that no audiences have been to before, so you know, and it's the lushness of the landscape and actually you know the terror of that landscape as well, the Mystery Road takes you to. So you know, there's an example of a crime show
but with incredibly unique Australian elements that plays internationally. So crime is always a stable for us. I think, you know, where Significant Others has landed has shown that there is a great appetite now we know, for relationship drama, for something that's set within a family where it's you know, we can explore the messiness of contemporary Australian families. So that's that's sort of something that's been of great interest in putting to the market and the market has responded
favorably to that. And then beyond that, I think we're always interested in things that have some sort of sort of factual underginning, so they're about something and this is where Newsreader tapped so very nicely into the nostalgia, but it was also about recognizable news events and it had that heft that it was able to speak to our news audience as well, which is an enormous audience that comes to the ABC for its news and current affairs.
So that was kind of the secret source of the news reader, along with the fantastic team that brought that to us. But that was also an added of that, but was able to speak to various ABC audiences, not specifically our drama audience.
Have we ever thought about why Australia and Australian filmmakers and content creators have been so successful in crime. It's been so successful and we've been telling crime so well for so long, But I wonder why that is.
Yeah, look, I'm not sure. I mean, my background was sort of on Blue Healers, so I was fortunate enough to have three three years in the script department of that, so I've become very very across the procedural and the week in, week out and the serial strands and all that stuff. I think it's sort of you know Australian writers have in the past, or certainly the current batch, that was the training ground, that was where you came. You came through one of the long running serials, your
home and away or your neighbors. So you're really well skilled at being able to write that style of show right relationship stuff, and be very nimble to be able to affect change on those shows, and or you would be sort of writing in the crime procedural. So you know, it's really paying off now in massive dividends and particularly
with you know, even with significant others. We've got that writer's list and you look through the writer's list that was on significant others, and each of them have incredibly unique skills that they all brought to the table. You know, we've got that mystery element, we've got a police investigative element, we've got high end relationships stuff going on, and that all tracks back to I think, you know, our writers having been able to come up through the ranks and work on shows like those.
I'm just going to say that I think that crime as a genre travels so well as well. And you think about the kinds of shows that we you know, have taken on board here from you know, other countries, and you know, you know, I just think it's one of those subject matters that really people love to dive into and get that sort of because you can be
so specific to your place. You know, there's a sort of specificity to the town it's set in, all the city set in, and that that in a way is what also helps it travel because it allows people and you know, around the world to see something and an insight into a community that perhaps they hadn't had access to before.
A great example of that, I guess is Animal Kingdom. You know, you look at that movie that came out, and it's just something that's sat in the Zechist you know, it's sat in a world that could have been in the UK in you know, we still had some flavor there, but ultimately that was then made into a TV series in the US and it's sat well there as well, do you know what I mean?
So yeah, yeah, I agree, And I think the interesting thing about something like that is the you know, the matriarch and that sort of the ind to that family. Again, the specificity of that family and the matriarch of it. I mean, I love that film.
It's great, so good, so good.
You know, Louise, we just heard before from Brett that you know, this has had a few people overseeing it over the years as it's come to the surface. You know what attracted to you to the story of significant others personally.
So I just started at the ABC at the beginning of last year and it was one of the first projects that Sally Riley talked to me about, and I was just like, I am in. I love Tommy Murphy and he's I have been like watching his plays for you know, twenty years, you know, I've just watched him as a writer, develop his craft and just love watching his work. And so I was like, just it would have be an honor to work with him. So it's
been fantastic having that experience. But I also think I love shows that sit in that messy mid ground, as I said earlier, between different genres. So I love that you can have a story about a family that's dealing with this shock news and they are still, you know, pestering each other in sibling ways and you can laugh at the in the moment, you know, so that it
kind of brings you a different take on that. So that's what I loved about this is that just as a story really connected to the kinds of genres that I loved to play in, I guess, and as Brett had referenced, the team that were assembled in Tommy Murphy and Louise Fox and Blake Ashford and Sue Smith and
Nicki Aiken and Von Patiaga. I mean, what a writing team and the fact that they were all able to kind of come together, all experts in their own right and kind of bring together this It was just I mean, yeah, it was just a fantastic experience to be on. So yeah, for me, it was all about the creative team and
the creative voice that they were aspiring to. And I think Tommy's connection to you know, his authentic connection and inspiration to the themes in the series were also something that I just knew would just be really special, just be really special.
And you are firing on all cylinders, I have to say, like Rachel Blake and Alison b Jacqueline mackenzie playing sisters, you know, just I don't know, it's Australian actors at their finest, especially in this series. You know, I think that's one of the selling points that I've been saying to a lot of my friends as well, is the casting and this is top notch. But I want to talk to you a little bit about Todd McKenney because he really was a surprise for me. You know, I
was blown away by his performance. To me, he's kind of stood out up against some of these very recognizable Australian women. You know, I think we've seen him in we've never I should say we've I think we've never seen him in a serious role like this. We've seen him, you know, hold an auditorium of five thousand people, you know, in musicals. We've seen him being in the Nasty Judge on a reality show. But he is just phenomenal in this.
He's amazing, isn't he.
Yes, No, you go, I want to know what you have to say. I've been talking too much. I want to just know what you guys think of this, because well I've just been talking about it for weeks now.
Yeah, he's extraordinary and I think when he was presented to, you know, put forward as the role of Wayne. I remember Sally and I when we were going through the cast and we were just like, oh wow, that what an exciting idea. And then of course we saw his performance and we're like, oh my god, he's totally Wayne, and he just I think he has been a real surprise for a lot of people because you're going with an expectation of what that performance will be and he's
just yeah, he's just been amazing. And it was great talking to him about that because I do agree with you. I think it is his first dramatic scripted role.
I've looked, I can't find it.
And there will be more.
Why't there be more? Now we're going to see him more.
I'm sure this.
Is the Animal Kingdom Jackie Weaver moment for me, Like, I just feel like, you know, for years, I'm like Jackie Weaver, she's kind of an actress, but she was married to Darren Hinch, and then i' watching Animal Kingdom, I was like, she's an OSCAR nominated actress and she can be in everything, you know what I mean. And for me now looking at Todd McKenney with this different lens, it's it's a discovery moment.
You know. It's something that.
I think that whoever took the chance on him to play this role of Wayne, you know, it's going to pay off in a way that I think we're going to be talking about for a very long time. Oh.
I love that.
Yeah, And I just want to ask I don't know if this is something that I'm allowed to ask but did he need to audition for this or did someone who took that chance just assume just to just know it in their mind that he was Wayne.
Oh no, No, he did do a test. But I think that the thing about when you test, I actually was just thinking, then, did we see many others? I don't think we did. I feel like he was always the front runner. And you know when someone nails it, you know, you just go, yep, they're there one. So it was really exciting. I do remember it really clearly actually and just going well, amazing.
So it's great, Brett. I just I think we touched on this a little bit before.
But I'd love to know about the balance of humor in this subject matter and how, you know how, I don't know. Is it very Australian to still have humor when subject matter can be this dark?
I think so on. I think that's a key to the appeal and success of significant others is that you know, on paper, this could be a fairly dry and dour offering. You know, if it was about you know, a missing person case and the family coming together and they're a fractured family, you know that that could lean itself to being you know, quite quite a blique offering. But I think, you know, as Lou's alluded to, you know, the way
that they're putting these characters together. There's there is so much humor in this, and a lot of it is that uncomfortable sort of humor that we all recognize that we just sort of haven't seen that often done on screen. So it's you know, it's an absolutely key to be shot, wouldn't you agree with?
Oh?
Absolutely absolutely, I agree like and I think that it's the humor that makes it. I think it's also just wanting to be truthful to the experience of dealing with a shock, loss in a in a family, and yeah, it is an all grim right, Like the messy stuff of life is often quite you know, you lean into the funny in order to survive it. So I think that that's what's reflected in this, which is beautiful, and they I think it's just done so respectfully as well, which is great.
It's a human aw I don't think it's I think, Sorry, Brett, I just was going to jump in there and say I think it's a human element. And I'll give an example of that. Like my best friend lost her sister to a battle with cancer, and the day that she
passed away, her and her other sister kept laughing. And then later on my best friend said to me, you know, I feel so terrible, you know what was I doing laughing and was really hard on herself, and I was like, no, it's a human element, you know, don't beat yourself up because somehow that's that's how, that's a way of coping, and it's your body helping you. So I think that's what makes it very real world. Sorry, Brett, I'll let you say what.
You're going to say. No, No, you're exactly right, Ben, And it's a part of the DNA of this series is that, you know, we're having a deep dive into an exploration of how we deal with Greek But part of that process is, you know, there is humor. You know there is unexpected humor in the in the darkest of the moments in this series, and of course you know it is you know, central to the idea of the show is that you know, this is actually a
life affirm shore. It's an incredibly life affirming show with incredible positivity that shines through at the most unexpected moments, and some of that is very, very funny.
I have to say episode three because I'm watching it ahead of time, So for viewers out there, yes, I am lucky. I'm not saying people get annoyed when they're like, why do you get to watch it first? But I'm watching it ahead of time.
It is. It gets better and better and better.
Episode three was very bleak for me, but that was because I was relating to it at a different level I think at that point. But episode four was just so fun. Like I don't know if you guys felt that or you guys felt that we needed that after episode three, but episode four had a lot of entertainment in it. Yeah.
And you know what's really interesting though, ben Ip three is probably my favorite and I love it for you know, again, trying not to be any spoilers, but I love the sibling The expression of the sibling relationship in AP three to me is just heartbreaking and joyous at the same time. But I agree with you, f four is just so fun to let loose, right, to let the lid off all of that and have a moment of joy.
Yeah, don't get me wrong, I thought that episode three was amazing, but it was interesting just because it was so well done, and it was tapping into something within me that was so real that it just was I was sitting there with tears in my face, you know.
And I guess that's you know, there's something about us as audiences. There's something very maybe sick and wrong about, you know, our choice of entertainment. And I guess that's what we're there for, is to have a real connection to the content that we're watching. So, you know, and we're getting it and you're getting it on this you know.
Yeah, And I think that again, I know I've said this before, but I think with Tommy Murphy at the center of this idea and him drawing inspiration from his own life and the experiences of grief and loss that he has had across his life, I think that that
shines through. You know, it's not his story, of course, it's not a replica of what's happened to him, but it's yeah, he brings all that into it, and I think that that's what you or personally, I feel like what I feel in the words and the performances is just a truth which is relatable.
Yeah, you definitely get a sense of that. You get a sense of the people that are making this series that they understand it, you know, and they understand it and are coming at it from all the right angles.
Everyone who joins the podcast, I asked this question. So we have two guests being the two of you, So I don't know if one of you wants to take this question, but I always ask, what is something from behind the scenes, something that we did not see that we won't see, kind of like a maybe a behind the scenes secret or you know, a funny anecdote from getting this show made.
Well, I'll take this one. I have been thinking about this because I think, Look, I think the thing about this show that's kind of notable is that it's set in summer in Sydney, right, So when when it was being written, it was like all expected to be those sort of really hot days and you know, muggy but really hot and steamy Sydney Sydney weather. But of course there was flooding. There was rain for not just days,
but weeks and weeks on end. And I think that, you know, the pivot that the team made to making that an asset to the story, it's just been wonderful. I feel like now I can't imagine the series in the bright sunshine of Sibby summer. It's the it's the mood of a really wet summer, and I think that that's been a lovely.
Kind of layer to the you know, definitely, which.
I'm sure that the cast and crew have very different, you know, experience of being on set for weeks and weeks and weeks on end in flooding and rain. But I think what you see on screen is just, you know, it sets the mood and the tone in a way that we hadn't anticipated, which is just gorgeous.
I think we're always in the right place at the right time times.
When you're sitting there, going why isn't the sun there?
You have to remind yourself that this is for a reason, you know, and you have to trust that.
Brett.
I just want to say, acting seems like an appropriate addition to head of drama. Those two go together, right, I think, so, yes, yes, Well, I just think, enjoy what it is that you're doing, and it'll be great to see you know where you go from here, you know. But thank you so much for taking the time to talk to me today, because yeah, I'm enjoying the music of ABC, so to speak.
Pleasure indeed, Ben, and we thank you for your interest in the ABC slates, so and hopefully you'll list the listeners to the podcast. Those who haven't discovered ABC Drama might just switch over and.
To we have go and watch. This is what I'm saying to people. I'm not saying that on the podcast. I'm not just saying that because you're here, But I'm saying that to everyone.
Got to watch this show.
No, I can't wait to talk to you when you finish the series. Ben, let us know what you think.
I've got the last two episodes sitting there. But it's one of those things where it happened with White Lotus for me was that I was given White Loatus all in one go while everyone was watching it week by week, and so I then held on to the last two episodes because I was enjoying. It's kind of like not reading the last you know, trying to slow down when you're reading a good book.
You know what I mean.
Oh great, we're talking six weeks.
I can't wait.
I can't wait. Louise, thank you so much as well for joining me today. Thank you both. Thank you.
It's a really fun chat. And I think for people out there that are enjoying it. They'll they'll really get something out of this.
Great lovely to meet you.
Thank you,