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Hi, I'm Justin Crosby and 
welcome to another episode of 

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Telecast. 
And I'm really thrilled this 

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week to have our guest, Roan 
Collinson from Spotify. 

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Roan, how are you doing? 
Hi, Justin. 

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Thanks for having me. 
Great to be here. 

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Not at all. 
It's great to have you here and 

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it's kind of quite nerve nerve 
wracking for me because it's 

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like, you know, we're doing a 
show that's going out on Spotify

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with the audience lead of 
Spotify in the UK. 

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So better be good. 
So welcome and it's great to see

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you and thanks for being on the 
show. 

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So, so obviously we've seen 
Spotify really starting to focus

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on video. 
So we'll we'll talk a little bit

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about that. 
But first of all, just tell us a

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little bit about your role at 
Spotify and what what that 

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entails. 
So I've been at Spotify for 

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about 7 1/2 years now and I've 
been working in and around the 

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kind of push into podcasts, 
which started in the company in 

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2017. 
And really my role has been 

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focused on kind of editorial and
audience growth. 

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So working with creators to help
build audiences on platform and 

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to kind of present our content 
in new and compelling ways to 

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get this to get user to engage 
and kind of watching and 

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listening to that. 
It's been, I mean, it's been an 

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extraordinary explosion, the 
podcast market, which doesn't 

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seem to be showing any sign of 
abating. 

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And it's obviously morphing and 
changing almost into TV in its 

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own right. 
What are the, what do you think 

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the key drivers of that being? 
I mean, obviously Spotify has 

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been one of them, but what, what
do you think about, you know, 

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how the, how this podcasting 
industry has changed over the, 

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the last sort of five or six 
years? 

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And what what, what's the reason
for that do you think? 

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Audio podcasts were fantastic 
because they allowed creators to

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build an audience, see audience 
by kind of intimacy and and 

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routine, and that was really 
fantastic. 

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But discovery was always a real 
problem. 

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Audio has always been really 
hard to kind of market. 

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And you know, there's been many 
attempts over the years to do it

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in different forms. 
So I think obviously people 

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started recording podcasts in 
vision partly so we could have 

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clips to put on social. 
And that journey has gone too 

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well. 
If you're recording clips, why 

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not publish the whole thing? 
And what I do think is that 

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video has really supercharged 
discovery and reach of those 

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creators now. 
And it's allowed your podcast to

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really become the kind of 
centrifugal piece of your kind 

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of ecosystem as a creator. 
You know, it's the living and 

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breathing thing that every week 
can allow you a content funnel 

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of things, which can feed your 
different social channels. 

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And it can also build a 
community which allows you to go

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into live. 
It allows you to go into merch. 

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It can go into newsletters. 
It's a really, really, really 

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kind of flexible asset. 
And for me, that's why kind of 

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video makes so much sense in the
medium now. 

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Well, yeah, that was going to be
my next question actually is is 

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you know why video is such a a 
focus for Spotify in podcasting 

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right now? 
Yeah. 

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I mean, what we've seen is the 
video really deepens user 

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engagement with our platform. 
I mean, our users love video. 

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390 million of them have watched
a video podcast on platform, 70%

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have watched video in the 
foreground. 

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So it really feels like a very 
natural evolution for us. 

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And I mean, one of the reasons I
love working at Spotify is we're

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really focused on making sure 
that our users, when we spend 

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time with us, it's time well 
spent. 

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You know, whether that's kind of
watching a really great 

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interview show, watching a load 
of 80's pop videos like I did 

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last night doing a fitness class
with a palace in video content. 

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We've just on boarded. 
We want our users to come away 

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from a timeless bottle. 
I feel like I've got no regrets.

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So video plays a really kind of 
key part in that. 

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I think for creators, publishers
and producers, it's it's 

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twofold. 
Then it's about reach. 

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And that can be local reach, but
also global reach. 

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And also now revenue with the 
Spotify Partner program we've 

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launched, you know, I think 
chatting to any creator, as I'm 

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sure you do all the time, right?
Reach and revenue are two 

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different things and Spotify are
able to offer that. 

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So you know what's not to like? 
Yeah, absolutely. 

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We'll we'll talk a little bit 
more about the partner program 

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in a little while if we can. 
But I, I think, you know, one of

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the great opportunities now, 
particularly for TV producers 

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who are confronted with this new
digital first reality, this new 

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marketplace that we're looking 
at and the way that the 

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traditional TV industry is 
changing and, and adapting. 

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It gives, it gives creators and 
studios and anybody who's got a 

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great idea the opportunity to 
start to build a real ecosystem,

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like you were saying earlier on 
about, you know, creating the 

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podcast to begin with. 
And then there's, I mean, I, I 

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recently talked about the how to
make money in digital event is 

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about the, the octopus strategy 
where you're putting your, your,

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your IP in the centre. 
And all of these different arms 

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are ways to monetize that. 
So I mean, I think it's, it's an

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amazing opportunity to actually 
create IP, which and IP 

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ownership is obviously really, 
really crucial and and we're 

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seeing so many studios being 
really, really successful in 

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that, in that area. 
Yeah, massively. 

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And I think it's a real step 
change for people who've worked 

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in traditional TV production 
where, you know, you'll spend, 

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you know, some 6 to 12 months 
developing an idea, filming it, 

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shooting it, delivering 6 
episodes to a broadcaster and 

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saying, well, that's that. 
I mean, for Spotify that doesn't

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really work because you know, 
the content which works best on 

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our platform is kind of always 
on shows because audiences with 

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a product like ours, which is 
portable mobile lover routine. 

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And you know, they're also used 
to content which kind of is 

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evolving every week. 
And I think it's really 

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interesting you you look at a 
couple of the biggest shows on 

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our platform. 
So for example, Diary of Aceo or

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the rest is history. 
You know, if you go back kind of

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five years ago to their first 
episodes, they really are 

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radically different to what you 
have now. 

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And I think you know, in both 
those cases for producers that 

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you know, Flight Story and Go 
hanger are really smart in that 

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they really look at their data. 
They take on board the audience 

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feedback through comments and on
social and really feedback into 

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the show and iterate week on 
week. 

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And I think that success is, so 
is, is, is down to that really. 

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And I think having brilliant 
talent as well. 

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And I think that traditional TV 
producers could learn a lot from

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that approach. 
Yeah. 

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Well, let's talk about that a 
little bit about TV producer, 

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because I, I think for TV 
producers moving into the 

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digital first space, the, the 
easiest, the most logical, most 

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cost effective and the most 
likely to succeed with a kernel 

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of an idea is podcasting, isn't 
it? 

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And, and, and as you say, you 
know, it's, it's the idea about 

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iterating and finding your 
audience and, and, and working 

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out what works and what doesn't.
What do you think that perhaps 

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the the key point is for TV 
producers who may be moving into

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the podcasting market might 
consider and maybe what what are

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the common mistakes you think 
that they might make? 

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I think understand the market, 
you know, one look at the 

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Spotify charts in the UK will 
tell you that you know the some 

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of the genres which do really 
well for us, for example, a 

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comedy true crime kind of 
factual. 

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And it's worth looking at the 
kind of areas you're strong in 

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and really thinking well. 
What kind of podcast adjacent to

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be something called them ideas 
do you have and how could that 

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help you kind of come to market?
And I think coming armed with 

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that kind of knowledge is really
helpful. 

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I mean, what's great about 
traditional television 

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production is they have great 
relationship with talent, right?

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And they're used to being able 
to produce things at volume and 

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things at scale. 
So they've got all the bits 

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there. 
It's just a kind of rethinking 

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of how you do it and how your 
production process is. 

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I think the other thing from 
talking to a lot of TV producers

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as well is that in TV you work 
hard to deadline to deliver to a

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commissioner and everything's 
got to look pitch perfect and 

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beautiful and everything's got 
to be spot on for a linearity 

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act. 
I mean, with podcasts, it's a 

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much more forgiving medium. 
You know, you can experiment, 

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you can change your lighting in 
the second episode. 

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You Chan can just say, you know,
if a format point doesn't work, 

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you can move it around like the 
audience. 

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The audience don't really care, 
but if the conversation is good 

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and the content is is compelling
and interesting, but I'll stick 

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around. 
Yeah, that kernel of an idea. 

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If you're serving a need that's 
not met anywhere else, they can 

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you. 
You can iterate around that. 

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Exactly. 
I mean, I think the other thing 

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as well is the availability of 
of data. 

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You know, I think often when you
make telly you're just working 

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in the dark, apart from, you 
know, some barbed figures and 

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some audience insights, which 
might have come out of two years

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ago here. 
You know, with a platform like 

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Spotify and Spotify for 
creators, you've got living, 

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breathing data around what your 
audience are doing and their 

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behaviour, where they are, how 
old they are, when they're 

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listening, whether they're 
foregrounding or backgrounding. 

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You know, it's really powerful 
stuff. 

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And when you combine that with 
the comments on platform, you 

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can get a real sense of your 
audience really quickly and that

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can help you tailor your content
and iterate much faster. 

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Yeah, so, so, well, let's let's 
take the the example of ATV 

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producer who is maybe, maybe 
it's got a great idea now or 

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they might be delving through 
their archives of great TV shows

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that some commissioner turned 
down and they they're like 

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dusting that off and thinking 
actually that was an amazing 

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idea that we had. 
Maybe we can do as a podcast. 

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I mean, what would you say, 
what, what practical advice 

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would you say to would you give 
to ATV producer maybe in the 1st

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30 days of them creating this 
podcast, Say it's a weekly show 

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or should it be a weekly show? 
First of all, what's the what's 

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the sort of cadence perhaps that
you might consider what is, you 

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know, what are the basic steps 
and and practical advice that 

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you would have for them? 
I. 

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Think really to make a 
successful show on Spotify, you 

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need to be always on. 
So you need to be aiming for 

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that kind of magic 50 weeks a 
year mark. 

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You know, we'll give you a 
couple of weeks off over 

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Christmas, all day, but 
regularity and consistency will 

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help you build routine with the 
audience. 

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And that's I've been. 
Really remiss in this area for 

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the last few weeks, but I'm back
on the horse again now. 

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But yeah, but I've, I've been 
really aware of that actually as

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well. 
The fact that, you know, Sam 

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Barcroft once told me it's like,
you know, you have to turn up 

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every week for your audience. 
And it's, it's really important,

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isn't it, to to, to, to maintain
that relationship and build, 

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build that sort of library and 
audience trust as well. 

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And I. 
Think that that's it, right? 

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It's a it is a relationship with
an audience. 

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You know, this isn't a passive 
audience like watching on ATV. 

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This is an audience who who are 
invested in it because of that 

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intimacy that the format brings.
And you know, if you can build 

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that bond with an audience, it 
can really help you, you know, 

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build a community, which in turn
can let you do other more 

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exciting things and create new 
revenue streams. 

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So when I was, when I, if I were
ATV producer, kind of looking at

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the ideas I've got or things I 
might want to reverse. 

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And I'd really think, well, 
what's here that I could do 

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weekly and regularly, which 
would be simple to produce. 

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And also what, what is there 
that people can latch onto in 

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it? 
What's, what's the thing? 

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What, what's the thing that's in
it that, you know, I could 

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potentially spin out into a, 
into a live show, or I could 

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spin into a club, you know, or I
could spin into a newsletter. 

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Really thinking of it as an 
ecosystem rather than just a 

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show, Yeah. 
Yeah, that's really important, 

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isn't it? 
Because it is. 

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It is IP at the end of the day. 
It's not just a show, it's an 

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actual, as we mentioned earlier 
on, it's the, it's the centre of

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a sort of content universe or 
potential content universe. 

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And I mean. 
I, I started my career in 

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independent production, so I've 
sat on both sides of the fence. 

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And, you know, I remember in 
minorities we had real battles 

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with, with commissioners to 
allow us to, you know, we wanted

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to do live shows around shows we
made, you know, and we wanted to

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do, do more with them. 
You know, we wanted to try and 

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get them onto TV over time. 
And it's like, it was, it was 

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00:13:28,720 --> 00:13:32,400
just impossible. 
So owning your own content and 

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owning your own destiny in this 
market is, is fantastic. 

236
00:13:35,240 --> 00:13:38,960
And I think video podcasts and 
video podcasts and Port of Fi 

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00:13:38,960 --> 00:13:40,600
can play a really key role in 
that. 

238
00:13:40,760 --> 00:13:42,520
Yeah. 
And there's some great examples 

239
00:13:42,520 --> 00:13:46,080
of that you mentioned earlier 
on, I think gold gold hanger 

240
00:13:46,080 --> 00:13:50,200
really sort of set the standard.
Haven't been able to create 

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amazing podcast shows that build
audiences. 

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00:13:53,320 --> 00:13:56,440
But also I think they, they've 
got a, they've got a whole 

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00:13:56,440 --> 00:13:59,320
festival happening on the South 
Bank in London this year around 

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those shows and. 
And if you're an Apple Stan for 

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00:14:03,160 --> 00:14:06,640
the Rest is history, you can go 
to Hampton Court this summer and

246
00:14:06,880 --> 00:14:09,680
meet the talent and take part in
all kinds of activities. 

247
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I mean, what what they've built 
is fantastic. 

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And, you know, at Spotify, we're
very lucky to have a close 

249
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relationship with them. 
And it's been been a really, 

250
00:14:16,680 --> 00:14:19,680
really satisfying thing to to 
watch them grow and to work with

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them. 
Yeah. 

252
00:14:20,920 --> 00:14:25,040
No, it's been, I mean, many 
broadcasters I've spoken to over

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00:14:25,040 --> 00:14:28,480
the last few years, we're always
trying to find that fresh look 

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00:14:28,480 --> 00:14:32,600
at history, how to, how they can
bring new, younger, fresher 

255
00:14:32,600 --> 00:14:36,600
audiences to history, which you 
know, and, and they've been able

256
00:14:36,600 --> 00:14:39,320
to do that in a, in a really, 
really effective way, 

257
00:14:39,320 --> 00:14:42,400
definitely. 
So you mentioned data and that's

258
00:14:42,400 --> 00:14:46,200
one of the things that producers
and creators, well, not 

259
00:14:46,200 --> 00:14:49,400
necessarily creators, if you 
like, but TV producers moving 

260
00:14:49,400 --> 00:14:52,520
into going digital first. 
First, there's an enormous 

261
00:14:52,520 --> 00:14:55,360
amounts of data across all the 
different platforms that they're

262
00:14:55,360 --> 00:14:59,360
publishing on. 
When it comes to the data that 

263
00:14:59,360 --> 00:15:03,360
they're seeing in Spotify in 
the, in the back end, what are 

264
00:15:03,360 --> 00:15:07,000
the key sort of points that they
should take notice of? 

265
00:15:07,000 --> 00:15:08,520
What are the key watch outs for 
them? 

266
00:15:08,520 --> 00:15:11,040
What should, what are, what's 
the data they should be looking 

267
00:15:11,040 --> 00:15:12,800
for? 
Because it's not only downloads,

268
00:15:12,800 --> 00:15:14,960
is it? 
It's it's other aspects as well.

269
00:15:15,560 --> 00:15:18,840
Yeah, I mean, the great thing is
that Spotify creators has a 

270
00:15:18,840 --> 00:15:21,840
really comprehensive set of kind
of metrics that you can see 

271
00:15:22,000 --> 00:15:26,760
which update on a daily basis. 
And if I was a producer now, 

272
00:15:26,760 --> 00:15:29,280
really what I'd be concentrating
on is retention. 

273
00:15:29,280 --> 00:15:32,000
You know, how long are people 
listening to my show? 

274
00:15:32,160 --> 00:15:35,120
Where are they dropping off? 
What does that graph look like? 

275
00:15:35,880 --> 00:15:38,880
And you can do that at a show in
an episode level basis. 

276
00:15:38,880 --> 00:15:42,360
And I think for me, that's, 
that's the really key thing 

277
00:15:42,360 --> 00:15:45,720
which will help you kind of grow
your show because the longer 

278
00:15:45,720 --> 00:15:48,280
people are listening to and the 
more they're kind of coming back

279
00:15:48,280 --> 00:15:51,880
to it episode after episode will
help you really kind of build a 

280
00:15:51,880 --> 00:15:56,160
compelling show. 
You know, I, if I, if I'd had 

281
00:15:56,160 --> 00:15:59,720
that when I was a producer 15 
years ago, I would have lapped 

282
00:15:59,720 --> 00:16:00,840
this up. 
Yeah. 

283
00:16:01,240 --> 00:16:04,720
Yeah. 
So as well as obviously that 

284
00:16:04,720 --> 00:16:08,400
data, the key question that 
everybody's always got is how do

285
00:16:08,400 --> 00:16:11,240
you make money? 
How, how does a creator make 

286
00:16:11,240 --> 00:16:16,200
money on Spotify? 
So from a video first 

287
00:16:16,240 --> 00:16:21,160
perspective, you know, why 
should a producer focus on 

288
00:16:21,160 --> 00:16:24,160
Spotify and how can they 
generate revenue and how, how 

289
00:16:24,160 --> 00:16:28,440
does that work? 
So back at the start of 2025, we

290
00:16:28,440 --> 00:16:32,560
launched a Spotify Partner 
program, and the premise is very

291
00:16:32,560 --> 00:16:36,600
simple really. 
You join a program and you 

292
00:16:36,600 --> 00:16:39,440
upload your video to Spotify for
Creators. 

293
00:16:40,520 --> 00:16:46,640
We insert ads into it and those 
ads go out on Spotify on the 

294
00:16:46,640 --> 00:16:51,880
free tier, but in the premium 
tier, we remove those ads from 

295
00:16:51,880 --> 00:16:55,160
the premium subscribers and we 
give you the money. 

296
00:16:55,960 --> 00:17:00,160
So it's a win win really for 
your audience. 

297
00:17:00,160 --> 00:17:03,560
It's a great way of of them 
hearing your content with or 

298
00:17:03,640 --> 00:17:06,040
viewing your content rather with
less interruptions. 

299
00:17:06,040 --> 00:17:11,960
And for us it creates a kind of 
added value to our Remium users.

300
00:17:12,200 --> 00:17:16,480
And for you, it's revenue that 
you can put back into your into 

301
00:17:16,480 --> 00:17:20,280
your show to help grow it. 
So you've got that. 

302
00:17:20,280 --> 00:17:24,040
And what's great about that is 
obviously it doesn't stop you 

303
00:17:24,040 --> 00:17:26,680
from doing other kind of 
sponsorships around that piece, 

304
00:17:26,680 --> 00:17:29,640
whether it's branded cushions on
your sofas, what you're doing an

305
00:17:29,640 --> 00:17:33,280
interview or whether it's doing 
burnt in kind of adverts or 

306
00:17:33,280 --> 00:17:36,520
reads or working with a third 
party sales sales house to do 

307
00:17:36,520 --> 00:17:39,160
that. 
You know, what it does give you 

308
00:17:39,160 --> 00:17:42,360
is a partner program gives you a
kind of consistent revenue 

309
00:17:42,360 --> 00:17:44,800
schemes. 
In fact, one of many tentacles 

310
00:17:44,800 --> 00:17:47,520
of your content octopus that you
talked about earlier in. 

311
00:17:47,520 --> 00:17:50,960
Terms of a lot of TV producers 
and a lot of content creators 

312
00:17:50,960 --> 00:17:54,440
have been looking at YouTube, 
for example, and looking at, you

313
00:17:54,440 --> 00:17:58,720
know, 1,000,000 views will 
deliver, you know, what many 

314
00:17:58,720 --> 00:18:00,640
people might think is not a 
great deal of money. 

315
00:18:00,640 --> 00:18:06,080
It's kind of peanuts really. 
I mean, how does Spotify compare

316
00:18:06,080 --> 00:18:09,760
to that in terms of, you know, I
know there's probably not a 

317
00:18:09,760 --> 00:18:13,240
purview calculation as such, but
can you just give us a bit of a 

318
00:18:13,240 --> 00:18:17,360
sense of how that's different on
on Spotify, I mean? 

319
00:18:17,360 --> 00:18:20,440
It's really hard to compare 
platform to platform as you 

320
00:18:20,440 --> 00:18:25,120
know, but you know, for, for 
certain types of contents we've 

321
00:18:25,120 --> 00:18:30,120
seen, we've never been sick. 
Creators are finding it a really

322
00:18:30,120 --> 00:18:32,400
good place to be. 
For example, we've worked with a

323
00:18:32,400 --> 00:18:34,200
curator of creator called Bella 
Fiore. 

324
00:18:34,200 --> 00:18:37,520
He's a true crime creator. 
He's from Australia, based in 

325
00:18:37,520 --> 00:18:41,040
London, and she's been actively 
telling us that you know her, 

326
00:18:41,160 --> 00:18:43,840
her show is now making more 
money on Spotify than it was on 

327
00:18:43,840 --> 00:18:46,720
YouTube. 
So it's great to hear those kind

328
00:18:46,720 --> 00:18:48,640
of stories to some creators, 
yeah. 

329
00:18:50,320 --> 00:18:53,840
And you talked about, you know, 
the, the, the Spotify charts and

330
00:18:53,840 --> 00:18:56,400
what's really working from a 
content perspective. 

331
00:18:56,800 --> 00:18:58,800
Can you just talk us through 
that in a little bit more 

332
00:18:58,800 --> 00:19:01,600
detail? 
What's, what really works well 

333
00:19:01,600 --> 00:19:04,520
in terms of genres on Spotify? 
Yeah. 

334
00:19:04,520 --> 00:19:06,040
Of course. 
And it's actually been really 

335
00:19:06,040 --> 00:19:09,520
interesting because we've seen 
kind of free genres, I'd say 

336
00:19:09,520 --> 00:19:11,280
really, really pop at the 
moment. 

337
00:19:12,240 --> 00:19:16,560
Firstly, kind of comedy is 
having a real moment for us and 

338
00:19:16,560 --> 00:19:19,720
it's this very kind of young 
alternative kind of comedy. 

339
00:19:20,160 --> 00:19:23,280
One of the breakout creators for
us has been Finn Versus History,

340
00:19:23,280 --> 00:19:27,680
which is Finn Taylor and Horatio
Gould, who are both fantastic. 

341
00:19:28,400 --> 00:19:30,400
Their show. 
They come on in what can I be 

342
00:19:30,400 --> 00:19:34,600
described as kind of 1970s 
university lecturer suits and 

343
00:19:34,880 --> 00:19:38,720
take a historical subject and 
then destroy it in the kind of 

344
00:19:38,720 --> 00:19:40,960
most surreal and vaguely obscene
way. 

345
00:19:41,240 --> 00:19:43,280
And it's it's. 
Pretty it's it's pretty out 

346
00:19:43,280 --> 00:19:45,160
there, isn't? 
It, it's, it's, it's really 

347
00:19:45,160 --> 00:19:47,200
fantastic. 
And you know, it's been an 

348
00:19:47,200 --> 00:19:50,160
absolute delight to see about 
rocket up the charts over the 

349
00:19:50,160 --> 00:19:54,080
last kind of 18 months. 
And they've built a fantastic 

350
00:19:54,080 --> 00:19:56,960
community around that which has 
been able to go live. 

351
00:19:56,960 --> 00:19:59,000
Finn's got a book coming out 
later this year. 

352
00:19:59,360 --> 00:20:04,280
And I think the shows like that,
shows like Ghost Huns, which is 

353
00:20:04,840 --> 00:20:08,160
2 female comics doing a kind of 
paranormal investigation show. 

354
00:20:09,240 --> 00:20:12,960
And Mike Rice and Victoria 
Cialoni, who were two London 

355
00:20:12,960 --> 00:20:15,720
Irish comedians who do a show 
called Miking Victoria's Guide 

356
00:20:15,720 --> 00:20:18,080
to Parenting, which contains no 
parenting. 

357
00:20:19,560 --> 00:20:22,240
Those shows are really great 
examples of shows which have 

358
00:20:22,960 --> 00:20:25,720
done really well in a partner 
program and have built community

359
00:20:25,720 --> 00:20:29,120
and an audience. 
So, you know, young comedians 

360
00:20:29,120 --> 00:20:32,120
experimenting with long form 
visual comedy is definitely an 

361
00:20:32,120 --> 00:20:35,880
area which is pop in interview 
shows. 

362
00:20:35,880 --> 00:20:39,000
I mean, I think you know, 
obviously a core thing for audio

363
00:20:39,000 --> 00:20:43,800
podcasts, but I think naturally 
that has extended to Video 2. 

364
00:20:44,960 --> 00:20:47,080
Spotify in the UK. 
We're very lucky to work with 

365
00:20:47,080 --> 00:20:50,200
Louis Theroux and his team at 
Mind House and he's done a 

366
00:20:50,200 --> 00:20:54,160
really great job of transferring
his unique style into that 

367
00:20:54,160 --> 00:20:57,680
format and that's been been 
really successful for us. 

368
00:20:57,680 --> 00:21:01,800
Well, our team in the UK in the 
US, sorry, have been working our

369
00:21:01,800 --> 00:21:05,040
team in the US have been working
with Amy Poehler on Good Hang. 

370
00:21:05,640 --> 00:21:08,320
I watched her with Billie Eilish
and we're away here today. 

371
00:21:08,320 --> 00:21:11,720
And again, Matt won a Golden 
Globe earlier this year, which 

372
00:21:11,760 --> 00:21:14,360
was was super exciting for 
everything involved. 

373
00:21:14,800 --> 00:21:18,080
And, you know, in the last six 
months, everyone from 

374
00:21:18,080 --> 00:21:21,320
Romeshrankenathan to Olivia 
Outward to Joe Marla have 

375
00:21:21,320 --> 00:21:23,200
launched kind of video interview
shows. 

376
00:21:23,200 --> 00:21:27,160
So, you know, that is a format 
that that audiences really, 

377
00:21:27,240 --> 00:21:31,280
really can't get an offer of. 
And I think it's, it's 

378
00:21:31,280 --> 00:21:34,840
relatively easy to produce and 
giving the opportunities for 

379
00:21:34,840 --> 00:21:38,320
talent to be able to talk in 
depth about things they're 

380
00:21:38,320 --> 00:21:40,880
passionate about, you know, 
that's a real, that's a real 

381
00:21:40,880 --> 00:21:42,200
thing for us. 
Yeah. 

382
00:21:42,200 --> 00:21:45,080
I mean, does does that begs the 
question you talked about, you 

383
00:21:45,080 --> 00:21:48,840
know, lots of great talent who 
are running their own podcast 

384
00:21:48,840 --> 00:21:53,880
shows and and talent are 
approaching the the new 

385
00:21:53,880 --> 00:21:56,400
production economy economy in 
different ways as well. 

386
00:21:56,400 --> 00:22:00,520
Obviously now though, 
particularly those who might 

387
00:22:00,520 --> 00:22:03,560
typically have looked at TV as 
being their main path, you know,

388
00:22:03,560 --> 00:22:06,480
there's still loads and loads of
different opportunities for 

389
00:22:06,480 --> 00:22:09,480
them. 
Two questions, I suppose. 

390
00:22:09,480 --> 00:22:14,440
First of all, does that mean 
that that you know, it's over 

391
00:22:14,440 --> 00:22:19,320
saturated when it comes to a the
talent market and the talent 

392
00:22:19,320 --> 00:22:23,400
podcasts that are out there? 
You know, is are there still 

393
00:22:23,400 --> 00:22:26,320
fresh new opportunities do you 
think for talent LED podcasts? 

394
00:22:26,600 --> 00:22:29,280
And second of all, do you need 
talent? 

395
00:22:29,280 --> 00:22:33,640
Does it, does talent have to be,
you know, is, is that what gets 

396
00:22:33,640 --> 00:22:38,080
you to first base if you like? 
I think there's always 

397
00:22:38,080 --> 00:22:40,760
opportunities in new formats, 
like, you know, there's always 

398
00:22:40,760 --> 00:22:44,840
innovation and you know, and 
you've seen that with Ramesh's 

399
00:22:44,840 --> 00:22:47,720
show, which you know, in the 
last six months has become one 

400
00:22:47,720 --> 00:22:49,960
of the biggest shows of us. 
It's a really fantastic, 

401
00:22:50,080 --> 00:22:52,840
fantastic show in. 
In just a few months, yeah, 

402
00:22:52,840 --> 00:22:54,600
yeah. 
Exactly, you know, and I think 

403
00:22:54,640 --> 00:22:58,440
you know, watching Ramesh and 
Louis Faroux geeking out about 

404
00:22:58,440 --> 00:23:01,720
90s hip hop and both writing to 
hip hop connection under pen 

405
00:23:01,720 --> 00:23:03,760
names, you know, you can really 
see why. 

406
00:23:04,760 --> 00:23:07,600
But I also think there's room 
for genres as well. 

407
00:23:07,600 --> 00:23:12,880
I mean, true crime, for example,
has been a genre which has 

408
00:23:12,880 --> 00:23:15,600
traditionally done very well in 
audio podcasting. 

409
00:23:15,880 --> 00:23:19,280
And it's very been very 
interesting to see creators and 

410
00:23:19,280 --> 00:23:23,320
production companies using their
skills in this area to kind of 

411
00:23:23,320 --> 00:23:26,600
transfer it into kind of a 
visual space. 

412
00:23:26,600 --> 00:23:31,560
So you've got people like Ellen 
and Neil who are really kind of 

413
00:23:31,560 --> 00:23:35,640
popping with a very simple kind 
of visual LED storytelling 

414
00:23:35,640 --> 00:23:38,160
format. 
But you know, other companies 

415
00:23:38,160 --> 00:23:41,640
like Curve Media in the UK, who 
you know, started as a 

416
00:23:41,640 --> 00:23:47,120
traditional factual production 
company, but have been able to 

417
00:23:47,120 --> 00:23:50,520
take the skills they learn in 
that area. 

418
00:23:50,880 --> 00:23:53,760
And led by Naomi Channel, who's 
fantastic there, who's one of 

419
00:23:53,760 --> 00:23:57,520
their creative leads, build up a
show called Totally True Crime, 

420
00:23:57,520 --> 00:24:00,960
which is a weekly always on true
crime show. 

421
00:24:01,040 --> 00:24:06,960
And the visuals are made using 
video source from public domain 

422
00:24:07,080 --> 00:24:10,320
body Cam footage, you know, 
stuff that you would have done 

423
00:24:10,320 --> 00:24:14,240
in traditional TV production, 
but translated into this space. 

424
00:24:14,240 --> 00:24:18,280
And because of that, they've 
been able to make a really a 

425
00:24:18,280 --> 00:24:22,240
really effective, cost 
effective, always on show, 

426
00:24:22,240 --> 00:24:25,800
which, you know, is building 
audience and bringing them in 

427
00:24:25,800 --> 00:24:28,360
revenue, which they're now using
to explore other areas. 

428
00:24:28,800 --> 00:24:31,000
And I think that's a really 
exciting model for people. 

429
00:24:31,600 --> 00:24:34,840
So true crime, comedy and 
interview are probably the three

430
00:24:34,840 --> 00:24:36,800
that you pick out there. 
I mean, do you think there are 

431
00:24:36,840 --> 00:24:41,800
any that are any genres that are
underserved particularly, you 

432
00:24:41,800 --> 00:24:45,320
know, do you see? 
I don't know. 

433
00:24:45,320 --> 00:24:47,120
I mean, I've seen loads of 
football. 

434
00:24:47,120 --> 00:24:49,360
Obviously football's going to be
huge over the World Cup and 

435
00:24:49,360 --> 00:24:51,520
that's that's there's no 
shortage, no shortage. 

436
00:24:51,520 --> 00:24:54,240
Of football podcast of Of. 
Former footballers as well, 

437
00:24:54,240 --> 00:24:55,720
turning podcasters as well. 
Yeah. 

438
00:24:55,720 --> 00:25:01,320
But I mean, do you think what 
are the maybe other areas that 

439
00:25:01,320 --> 00:25:05,440
you see maybe starting to bubble
up and develop that that might 

440
00:25:05,440 --> 00:25:06,880
be interesting to watch? 
We. 

441
00:25:06,960 --> 00:25:08,880
We. 
Definitely love to see more 

442
00:25:08,880 --> 00:25:12,280
longer form content with younger
kind of female Gen. 

443
00:25:12,280 --> 00:25:15,440
Z creators. 
I think that group has been 

444
00:25:15,440 --> 00:25:19,600
served very well by short form 
and vertical video, but I think 

445
00:25:19,600 --> 00:25:23,160
there's a really big space for 
that and you know, shows that 

446
00:25:23,160 --> 00:25:25,680
girls bathroom have done well in
that that area. 

447
00:25:25,680 --> 00:25:28,480
And I think that there's there's
definitely room in that market 

448
00:25:28,480 --> 00:25:32,440
for more voices. 
So, so finally, well, 22 last 

449
00:25:32,440 --> 00:25:35,040
questions, a penultimate 
question is that, you know, for 

450
00:25:35,040 --> 00:25:38,240
TV producers who want to get 
into space, I mean, obviously 

451
00:25:38,240 --> 00:25:39,960
there's no barrier. 
They can just go and do it 

452
00:25:39,960 --> 00:25:42,320
pretty much. 
It's all pretty straightforward 

453
00:25:42,320 --> 00:25:47,760
in terms of starting your first 
podcast, but how how can they 

454
00:25:47,760 --> 00:25:51,040
work with you? 
How you know what what sort of 

455
00:25:51,040 --> 00:25:56,760
scale of podcast do do you 
start, maybe start a 

456
00:25:56,760 --> 00:26:00,160
conversation with when it comes 
to a partnership manager, you 

457
00:26:00,160 --> 00:26:03,240
know, you mentioned Ramesh, you 
mentioned Louis Theroux, for 

458
00:26:03,240 --> 00:26:04,840
example. 
You know, these are these are 

459
00:26:04,840 --> 00:26:07,640
really, really successful. 
How do you work with them in a 

460
00:26:07,640 --> 00:26:09,880
sort of collaborative way? 
We. 

461
00:26:09,880 --> 00:26:13,360
Work with partners of all of all
different shapes and sizes 

462
00:26:13,360 --> 00:26:20,120
really from, you know, big 
established studios like Z55 and

463
00:26:20,120 --> 00:26:23,560
you know, kind of traditional TV
production companies through to 

464
00:26:23,840 --> 00:26:26,960
bigger beasts like gold hanger 
and platform free to solely 

465
00:26:26,960 --> 00:26:29,920
independent creators. 
You know, I mean, a good example

466
00:26:29,920 --> 00:26:32,200
of that is Mike Inventory, who I
mentioned earlier. 

467
00:26:32,200 --> 00:26:36,320
He just came to us. 
You know, the program is anyone 

468
00:26:36,320 --> 00:26:39,120
can join and you know, I just 
advise reaching out to us. 

469
00:26:39,120 --> 00:26:42,760
We're really open, you know, and
if we feel that, you know, the 

470
00:26:42,800 --> 00:26:45,200
content is strong and there's an
opportunity, even then we, you 

471
00:26:45,200 --> 00:26:46,400
know, we'd, we'd love to hear 
from you. 

472
00:26:46,560 --> 00:26:48,200
Yeah. 
It was interesting, I saw that 

473
00:26:48,200 --> 00:26:51,520
you would deal with Channel 4. 
So there's a, there's a whole 

474
00:26:51,520 --> 00:26:55,920
lot of their Channel 4.0 content
that's actually coming out on on

475
00:26:55,960 --> 00:26:58,920
Spotify as well. 
So that's really interesting and

476
00:26:58,960 --> 00:27:00,640
that and. 
That's been really exciting and 

477
00:27:00,640 --> 00:27:04,720
I think credit to Channel 4 for 
being really forward thinking in

478
00:27:04,720 --> 00:27:07,440
this space. 
And you know, I know we've had 

479
00:27:07,440 --> 00:27:10,400
real success with with Channel 
4.0 over the last couple of 

480
00:27:10,400 --> 00:27:12,680
years. 
And you know, from Channel 4's 

481
00:27:12,680 --> 00:27:16,720
perspective, I understand that 
spot EFI is the home of younger,

482
00:27:16,960 --> 00:27:20,800
diverse audiences and therefore 
with a format like Don't Get 

483
00:27:20,800 --> 00:27:23,680
Cashed pack finished with Nella 
Rose, it's an absolute perfect 

484
00:27:23,680 --> 00:27:25,800
fit for us. 
So, so yeah, we're looking 

485
00:27:25,800 --> 00:27:28,400
forward to continuing that 
relationship and deepening it 

486
00:27:28,400 --> 00:27:30,800
with it. 
It's really interesting, I think

487
00:27:30,800 --> 00:27:33,760
as well, just just looking at 
the market, when you've seen, 

488
00:27:34,360 --> 00:27:37,880
you know, really established 
radio companies like Global and 

489
00:27:37,880 --> 00:27:41,800
Bauer and others, they are 
starting to be major players in 

490
00:27:41,800 --> 00:27:44,240
the podcast space, visual 
podcast space. 

491
00:27:44,240 --> 00:27:47,840
So it's almost like radio 
businesses are becoming TV 

492
00:27:47,840 --> 00:27:51,560
businesses or video first 
companies as well. 

493
00:27:51,880 --> 00:27:54,360
And you know, I've seen they're 
acquiring Fellas studios, for 

494
00:27:54,360 --> 00:27:58,840
example, and and and others. 
It's a, it's a really 

495
00:27:58,960 --> 00:28:01,280
interesting and dynamic 
marketplace, isn't it? 

496
00:28:01,360 --> 00:28:03,520
Yeah, it's. 
Really exciting, you know, and, 

497
00:28:03,520 --> 00:28:06,120
and credit for global for our 
ambition and energy in the 

498
00:28:06,120 --> 00:28:08,000
space. 
Really, you know, they're one of

499
00:28:08,000 --> 00:28:10,840
our partners and yeah, I think 
everyone in the industry was 

500
00:28:10,840 --> 00:28:13,400
really impressed by the Fellows 
acquisition. 

501
00:28:13,400 --> 00:28:17,400
You know, they're a fantastic 
studio who really understands 

502
00:28:17,400 --> 00:28:18,680
Gen. 
Z audiences. 

503
00:28:18,680 --> 00:28:22,960
And, you know, if I was, if I 
was wanting to reach young 

504
00:28:22,960 --> 00:28:25,200
audiences, I'd want to be buying
them as well, yeah. 

505
00:28:26,040 --> 00:28:33,040
So finally looking ahead then 
road to the next 2-3 years, I 

506
00:28:33,040 --> 00:28:35,480
mean, I'm really excited because
it's still such a young 

507
00:28:35,840 --> 00:28:37,600
industry. 
It's really sort of 10 years old

508
00:28:37,600 --> 00:28:39,600
or so, really, isn't it? 
You know, something like that. 

509
00:28:39,600 --> 00:28:44,600
It's not not so it's it still 
feels like at a point where it's

510
00:28:44,600 --> 00:28:47,400
developing and it's almost 
almost picking up pace, 

511
00:28:47,600 --> 00:28:50,840
particularly when it comes to 
Spotify and and video as well. 

512
00:28:52,360 --> 00:28:55,680
Over the next 2-3 years. 
What do you what you know? 

513
00:28:55,680 --> 00:29:00,240
How would you advise again ATV 
producer to who's thinking over 

514
00:29:00,240 --> 00:29:04,400
the next 2-3 years and and 
focusing their business around 

515
00:29:04,400 --> 00:29:08,000
Spotify and around podcasting, 
what, what would you advise them

516
00:29:08,000 --> 00:29:10,640
to think about? 
I just think do it. 

517
00:29:10,720 --> 00:29:13,840
I mean, if anything, I think 
people spend too much time kind 

518
00:29:13,840 --> 00:29:17,600
of thinking about things. 
I think if you've got access to 

519
00:29:17,600 --> 00:29:22,240
talent and you've got access to 
exciting ideas or IP that you 

520
00:29:22,240 --> 00:29:25,160
can potentially reverse and then
just go for it. 

521
00:29:25,160 --> 00:29:28,880
You know, the the barrier to 
entry now is so much lower than 

522
00:29:28,880 --> 00:29:34,200
it was even two years ago. 
And, you know, you as TV 

523
00:29:34,200 --> 00:29:38,240
producers, you've got access to 
people who understand the space 

524
00:29:38,240 --> 00:29:40,240
and you've got access to people 
with great talents. 

525
00:29:40,520 --> 00:29:43,480
You've got access to people who 
know how to make something look 

526
00:29:43,480 --> 00:29:45,120
good. 
And you've got access to people 

527
00:29:45,120 --> 00:29:47,440
who understand the pacing of 
visual content. 

528
00:29:48,040 --> 00:29:51,720
And I think when you combine 
that with people who really 

529
00:29:51,720 --> 00:29:55,520
understand the digital landscape
and who understand the kind of 

530
00:29:55,520 --> 00:29:59,280
power of podcasting, that kind 
of intimacy and routine, we talk

531
00:29:59,280 --> 00:30:01,960
about, you know, you can have a 
lot of success there. 

532
00:30:02,160 --> 00:30:04,720
And, you know, for me that 
that's really exciting. 

533
00:30:04,720 --> 00:30:08,600
I mean, the podcast industry, 
you know, we're still building a

534
00:30:08,600 --> 00:30:11,720
plane in flight, essentially. 
And, you know, that's what gets 

535
00:30:11,720 --> 00:30:14,120
me up in the morning. 
And that's why, you know, I'm so

536
00:30:14,120 --> 00:30:18,680
excited to be part of Spotify 
and be part of what we're doing.

537
00:30:18,680 --> 00:30:23,080
And you know, particularly that 
no regret strategy we have, you 

538
00:30:23,080 --> 00:30:26,680
know, how can you make content 
that our audience wants to watch

539
00:30:26,680 --> 00:30:30,680
and makes them feel good? 
So now it's time for Story of 

540
00:30:30,680 --> 00:30:34,960
the Week Robo Regular format 
point on the show. 

541
00:30:36,080 --> 00:30:40,240
What's your story of the week? 
So it's been a bank holiday. 

542
00:30:40,840 --> 00:30:43,680
So it's been a slightly slower 
Newsweek and unusual. 

543
00:30:43,720 --> 00:30:46,920
But one thing which caught my 
eye this week was the 

544
00:30:47,400 --> 00:30:51,200
announcement of a new company 
called Roseberry Studios. 

545
00:30:52,280 --> 00:30:55,760
They are new to the market, and 
they're made-up of various 

546
00:30:55,760 --> 00:30:58,800
people who've worked in TV and 
digital industries globally. 

547
00:30:58,800 --> 00:31:03,320
And they are focused on what 
they call the verticalization of

548
00:31:03,320 --> 00:31:07,760
TV content. 
And they announced this week 

549
00:31:07,760 --> 00:31:11,360
that they've done a bunch of 
pretty chunky deals with people 

550
00:31:11,360 --> 00:31:16,840
at all Free Media and Banerjee 
and various servers to take 

551
00:31:16,840 --> 00:31:20,760
their libraries and to 
essentially reverse them into 

552
00:31:20,760 --> 00:31:25,320
vertical video. 
So I think this is 2 things 

553
00:31:25,320 --> 00:31:28,920
really interesting. 
I mean, firstly, for anyone who 

554
00:31:28,920 --> 00:31:31,720
is doubting the power of 
vertical video, you know, this 

555
00:31:31,720 --> 00:31:33,840
is the format which has really 
come in age. 

556
00:31:33,840 --> 00:31:37,080
And I know you and the telecast 
community have been talking 

557
00:31:37,080 --> 00:31:39,520
about loads. 
I've really enjoyed Matt Campion

558
00:31:39,520 --> 00:31:41,520
talking about it on the show a 
couple of weeks ago. 

559
00:31:42,080 --> 00:31:47,160
And, you know, it's quite clear 
that the vertical video is is 

560
00:31:47,160 --> 00:31:51,400
going to become a really key 
kind of content, content 

561
00:31:51,400 --> 00:31:55,280
deliverable for studios. 
And secondly, I just think it's 

562
00:31:55,280 --> 00:31:59,640
interesting because it shows 
traditional companies really 

563
00:31:59,640 --> 00:32:02,600
thinking about other, other 
revenue streams, right. 

564
00:32:02,600 --> 00:32:05,560
So why wouldn't you reversing 
your content where you've 

565
00:32:05,560 --> 00:32:07,920
already got into vertical format
if it's wherever your audience 

566
00:32:07,920 --> 00:32:08,640
are? 
Yeah. 

567
00:32:08,640 --> 00:32:11,640
I mean, I saw that and I thought
it was really interesting too. 

568
00:32:12,160 --> 00:32:14,520
Two points. 
I mean, first of all, kind of 

569
00:32:14,520 --> 00:32:19,800
flies in the face of the way 
that micro drama has become 

570
00:32:20,360 --> 00:32:23,560
successful up to this point 
because it's obviously shot and 

571
00:32:23,560 --> 00:32:27,560
developed and created for 
vertical as opposed to 

572
00:32:27,560 --> 00:32:31,960
reversioning old content. 
Some of which will work, you 

573
00:32:31,960 --> 00:32:33,640
know, just because of camera 
angles and everything. 

574
00:32:33,640 --> 00:32:38,880
Some some which won't, but I 
thought the other, you know, the

575
00:32:38,880 --> 00:32:42,160
other interesting aspect is, you
know, there's not really much of

576
00:32:42,160 --> 00:32:46,560
A sustainable revenue model 
that's that certainly in the UK 

577
00:32:47,080 --> 00:32:52,480
for producing vertical video 
just yet and it still seems so 

578
00:32:52,480 --> 00:32:54,280
young. 
So I thought that's really 

579
00:32:54,280 --> 00:32:56,360
interesting. 
Maybe it's just a catalog 

580
00:32:56,360 --> 00:32:59,760
reversioning play I. 
Guess it's also about attention,

581
00:32:59,760 --> 00:33:02,800
right? 
I mean, there was a fantastic 

582
00:33:02,840 --> 00:33:07,160
piece in the Atlantic a couple 
of weeks ago about the rise of 

583
00:33:07,160 --> 00:33:09,640
clips, Clips as a form of 
entertainment themselves. 

584
00:33:09,640 --> 00:33:13,240
And obviously everyone who's 
worked in digital over the years

585
00:33:13,240 --> 00:33:16,400
has talked over the last 10 to 
15 years, has talked about clips

586
00:33:16,400 --> 00:33:18,600
as being in a way of content 
discovery. 

587
00:33:18,600 --> 00:33:22,040
And like me, has probably been 
ended up in countless different 

588
00:33:22,040 --> 00:33:24,640
experiments with how to do clips
in different formats. 

589
00:33:24,640 --> 00:33:28,720
But it's quite clear now that 
that clips have become their 

590
00:33:28,720 --> 00:33:31,400
own, their own source of 
entertainment because of the way

591
00:33:31,640 --> 00:33:34,160
platforms are built. 
So I don't think it's any 

592
00:33:34,160 --> 00:33:36,920
surprise that people are coming 
to the space and looking to to 

593
00:33:36,920 --> 00:33:39,760
reversion because it's about 
attention, right. 

594
00:33:39,800 --> 00:33:42,680
And I don't know if if people 
are watching short form vertical

595
00:33:42,680 --> 00:33:45,280
clips of Bridgeton, hopefully 
that will make them go and 

596
00:33:45,280 --> 00:33:46,720
explore the catalog. 
Yeah. 

597
00:33:46,960 --> 00:33:48,640
Yeah, no. 
Interesting. 

598
00:33:48,640 --> 00:33:51,480
Interesting. 
And who? 

599
00:33:51,480 --> 00:33:55,880
How about your Hero of the Week?
This was really easy because 

600
00:33:56,920 --> 00:33:59,920
yesterday they announced that 
Saturday Night Live UK was going

601
00:33:59,920 --> 00:34:03,360
to be recommissioned second 
season. 

602
00:34:04,000 --> 00:34:07,480
Which, OK, I'm going to, I'm 
going to hold, hold my piece for

603
00:34:07,480 --> 00:34:10,199
a second. 
So my hero is, is Phil Edgar 

604
00:34:10,199 --> 00:34:15,920
Jones at the team at Sky for, 
you know, really taking a big 

605
00:34:16,000 --> 00:34:20,320
and, you know, frankly quite 
expensive risk on on new talent,

606
00:34:20,880 --> 00:34:25,440
albeit in a very successful 
existing format and for for 

607
00:34:25,440 --> 00:34:28,480
making a success. 
And it's been been a. 

608
00:34:28,480 --> 00:34:32,760
Has it been a success though? 
I mean, viewing figures are, you

609
00:34:32,760 --> 00:34:36,199
know, have really settled to 
around about 100,000 on on, you 

610
00:34:36,199 --> 00:34:40,159
know, on the on traditional 
network play out. 

611
00:34:40,159 --> 00:34:42,760
But I know socially it's done 
very well, yeah. 

612
00:34:42,760 --> 00:34:45,480
And I think really if you look 
at the kind of profile of people

613
00:34:45,480 --> 00:34:49,800
like Jack Shep and Andy Magliano
and George for Acres, you know 

614
00:34:49,800 --> 00:34:53,040
this, you know what, what 
they've done is really helped 

615
00:34:53,159 --> 00:34:55,400
kind of bring the next 
generation of British talent 

616
00:34:55,400 --> 00:34:57,200
through. 
And I think that has to be 

617
00:34:57,200 --> 00:35:00,960
applauded. 
And you know, in the world that 

618
00:35:00,960 --> 00:35:05,160
we operate in, we, we talk all 
the time about on demand content

619
00:35:05,160 --> 00:35:08,080
and flexibility. 
But sometimes when you watch 

620
00:35:08,080 --> 00:35:11,000
something live, you can't, you 
know, you can't beat that 

621
00:35:11,000 --> 00:35:14,240
excitement and energy. 
And certainly, you know, I, I 

622
00:35:14,240 --> 00:35:17,440
loved watching Amy Lee Wood 
being escorted round by 4 law 

623
00:35:17,440 --> 00:35:19,640
manager from one sketch to 
another last week. 

624
00:35:20,360 --> 00:35:23,440
The only thing I'd ask is could 
you put it on at 9:00 PM rather 

625
00:35:23,440 --> 00:35:26,320
than 10? 
So I keep drifting off just 

626
00:35:26,320 --> 00:35:31,480
after weekend update. 
OK, all right. 

627
00:35:31,480 --> 00:35:36,000
Saturday Night Live been 
recommission for another 12 did 

628
00:35:36,000 --> 00:35:37,920
you say I think? 
Yeah, another 12 episodes in the

629
00:35:37,920 --> 00:35:40,520
autumn, which I think, you know,
it's an exciting time for them. 

630
00:35:41,080 --> 00:35:44,680
And finally, Ron, who or what 
are you telling to get in the 

631
00:35:44,680 --> 00:35:46,480
bin? 
Oh dear. 

632
00:35:46,480 --> 00:35:49,200
Well, you know, I think we're 
recording this the day after the

633
00:35:49,200 --> 00:35:51,840
local elections, so it would be.
There are some obvious names. 

634
00:35:51,840 --> 00:35:56,920
It was very tempting to say, but
sticking in the kind of media, I

635
00:35:56,920 --> 00:36:00,640
don't have anyone massively to 
put in the bin, but I did raise 

636
00:36:00,640 --> 00:36:03,800
eyebrows at the Guardians 
article over the weekend that 

637
00:36:05,040 --> 00:36:08,840
the big BBC cuts for incoming 
would be focused on news and 

638
00:36:08,840 --> 00:36:10,800
maybe we're going to take the 
brunt of them. 

639
00:36:10,800 --> 00:36:13,640
So I think 15 rather than 10% 
now. 

640
00:36:14,000 --> 00:36:17,560
I think everyone who who watches
your show has got an opinion on 

641
00:36:17,560 --> 00:36:19,280
the BBC. 
They've probably all worked for 

642
00:36:19,280 --> 00:36:23,560
them, but I think, you know, 
certainly in my personal view, 

643
00:36:23,560 --> 00:36:26,120
one of the great crown jewels is
BBC News. 

644
00:36:26,120 --> 00:36:29,480
And in an age of, you know, 
disinformation and division, I 

645
00:36:29,480 --> 00:36:32,760
think it's one of the kind of 
things we should be most proud 

646
00:36:32,760 --> 00:36:35,280
of. 
So I I do that should. 

647
00:36:35,280 --> 00:36:38,480
Be maybe be the focus to 
preserve as opposed to. 

648
00:36:38,920 --> 00:36:44,320
So, you know, I, I, I would, I 
would definitely encourage some 

649
00:36:44,320 --> 00:36:46,920
of the managers, they're making 
those decisions and putting that

650
00:36:46,920 --> 00:36:49,840
story out to perhaps go to their
nearest waste disposal, you 

651
00:36:49,840 --> 00:36:52,560
know, yeah. 
Yeah, look at some other areas 

652
00:36:52,560 --> 00:36:57,120
to to trim perhaps. 
Rowan, thank you so much for 

653
00:36:57,120 --> 00:37:00,600
coming on the show. 
Great to great to have you on 

654
00:37:00,600 --> 00:37:03,080
and good luck with everything at
Spotify. 

655
00:37:03,680 --> 00:37:05,920
Of course, we'll be watching 
everything that you guys are 

656
00:37:05,920 --> 00:37:07,760
doing and thanks for coming on 
the show. 

657
00:37:07,920 --> 00:37:08,800
Thank you. 
So much for having me. 

658
00:37:11,320 --> 00:37:13,240
Well, that's about it for 
another week's show. 

659
00:37:13,240 --> 00:37:15,960
I hope you enjoyed it. 
Telecast is produced by Spirit 

660
00:37:15,960 --> 00:37:20,000
Studios and recorded in London. 
We'll be back next week with 

661
00:37:20,000 --> 00:37:20,560
another show.