Joy to the World

[0:00]

Hello, dear listener, and welcome back to the 2nd great and bountiful human Empire, the only Doctor Who flash cast that won't be ending this episode by inadvertently creating a major world religion with all the concomitant problems that that inevitably entails.

I'm Nathan.

I'm Brendan.

I'm Todd.

And I'm Simon.

So it's mere days after the broadcast of Doctor Who's 2024 Christmas Special Joy to the World by Stephen Moffatt and directed by Alex Pilli, and we are here to deliver our lukewarm takes on the episode.

So I want to start by just asking the panel how they felt about the episode generally, and let's start with Brendan.

Uh, generally, I enjoyed it.

I had a bit of a weird feeling at the end and I thought, I want to watch this again. and I enjoyed it even more the 2nd time, so that's my general impression.

[01:00]

Okay, Todd.

Ditto.

Hmm, I have to say that I'm fairly much the same.

I still have reservations about the end.

I wonder if it isn't too overwrought.

We'll definitely get there, but otherwise I had a pretty fun time.

Simon.

I didn't have a very fun time.

I'm sorry to say, I think that there's lots of really interesting and great ideas and things and funny lines and that, but I kind of was never engaged by it.

It just sort of was stuff happening and and more stuff happening and as I said, there were things which I think were really interesting, but for some reason I wasn't interested by them.

So I'm, I'm kind of less than lukewarm on it, I'm afraid.

It is a bit of a funny one, isn't it?

Because it doesn't really read like a Doctor Who story.

It is more like like a short story by a Stephen Moffat in an annual or something like that.

And he's taken that approach before, I think, and maybe it works at Christmas, but certainly I felt myself wondering whether I'd actually seen the last Doctor Who episode that involved men in rubber suits invading the home counties, and I think perhaps I have.

[02:09]

Well, let's talk about some of those ideas that interested but also failed to interest Simon.

And in particular, I want to talk about the time hotel and the various other sort of bits of moffetry that were happening, and perhaps Simon, you might want to start.

There's lots of great Moffatry in at the Time Hotel was a fantastic idea.

The fact that, you know, he has to feed himself the code to the suitcase, the briefcase after spending a year in that in the other hotel with that woman is an interesting idea and a great idea.

I think the fact that you integrate different time zones by having, you know, Edmund Hillary's rope being, you know, thrown off the back of the Orange Express in order to pull the thing open in, you know, ancient Samaria, wherever the hell it is.

That's all a great idea.

But for whatever reason, I just never cared about what was going on in the way that I really did care, in other mofferty type things, most particularly the Christmas carol, I think it's almost like he was wanting to, he knows.

I mean, he's connected with Phantom.

He knows what fans have loved about his stuff.

[03:12]

And it's almost like he's decided to do all of that stuff.

And yet, it hasn't quite glued together right.

And so you're not really left with an episode.

I mean, it's interesting to anything that you mentioned, it's like a short story that he's written for an annual.

I'd actually almost argued that it's like several short stories that he's written for an annual that have kind of been schmooshed together that slightly overlap a bit on the assumption that it's all going to be terribly clever.

And at the end of the day, it's all just not as interesting as it should be.

And I think it should be interesting.

So I can't pinpoint.

I been thinking about it since watching it.

I can't pinpoint where the failure point is, like what, where in the, in the process has it all kind of slightly fallen to bits.

And I don't know the answer.

What do you think about the Time Hotel and all those tropes, Todd?

I loved the Time Hotel, but I, as much as I loved it, I did see all the tropes, you know, from the beginning where you got all the different time zones to the whole feeding himself the code to everybody lives at the end.

[04:16]

So I can see all the cogs turning, you know?

But it didn't upset me like it normally does for some reason.

I just, I just went with it.

And what I really loved was the fact that we stuck with Anita in that time zone, whereas normally I would feel like we'd go with joy into, you know, quickly get out of jail free card and just forget about all that.

So I actually really loved going and staying in the one place where he didn't go and have adventures, he just was.

Let's talk about that in a minute.

I do want to talk about that next, but let's stay with the time hotel for a little while.

What did you think, Brendan?

I thought it was super well realised.

Something I haven't seen discussed much online, and I only picked up on it on the 2nd viewing, is that when the doctor is stalking the hotel manager, he passes a door, which is clearly Bilbo and Frodo's door from Hobberton.

If you go back and look at that.

But the thing is, there's a real world explanation for that.

You can say that it is the set that's still there in New Zealand where you can go and visit.

[05:20]

But I also loved how, yes, it's playing with Moffat's usual ideas, but things like when the doctor breaks the link, it creates a brick wall, just like we saw in Girl in the Fireplace.

Yeah.

And I believe that ship was from the 42nd century and we are in the 43rd century, the beginning of the 43rd century because we've just flipped the date around.

Yeah, yeah. 2024 to 4202.

I feel like this is a Christmas variety box of chocolates.

But also, you know, Moffatt is taking some ideas he's done before, like, you know, the doctor dropping in to see Amy and Rory for Christmas dinner at the end of Doctor the Widow in the wardrobe, but instead he's going, okay, but we never actually saw him sitting down for dinner with them that night.

So he's going to do that with the Anita plot line.

And the Anita plotline is beautiful. absolutely beautiful.

But the time hotel itself...

If we look back, say something like Orphan 55 that really feels like we've gone to a building in a place that exists in our world and dressed it up a bit.

[06:27]

And it, look, Orphan 55 looks great.

I'll leave it at that.

But this, I found myself watching this going, I don't think this can be a real building they've adjusted, but it feels like a real place.

And I think from a design point of view, that's great.

I was imagining those same scenes being shot in the temple of peace as usual.

I was kind of delighted that they weren't.

I was just going to say that the Christmas box of chocolates thing is a great analogy, actually, but for me, it's a Christmas box of chocolates where the expiry date has happened on many of the chocolates and someone's lost the catalogue.

So you're not quite sure which chocolate is which, and you're always a bit disappointed when you actually open the chocolate because the wrappings have all been mixed up.

So one of the things, like one of the things, despite the familiarity of a lot of these tropes, it did strike me that Moffat manages to do some new things with them.

One trope that we didn't mention is that what looks like us starting the story in the middle with the doctor doing the room service thing is actually in chronological order, those are the earliest things to happen in the story.

[07:36]

And so that happened before the opening credits, the idea of the door in the hotel that's always locked and giving an explanation for that is classic Moffat.

And then let's lead into the discussion about Anita with the chairs remark, which I just think, you know, this man has now written 9 Doctor Who Christmas specials.

He's written more Doctor Who than anyone else in history, and he still manages to find a new thing to say about the doctor.

So the doctor saying, you know, you live in a big spaceship with no chairs and no one mentions that to you because no one ever comes round to visit. that's why you're so lonely.

Like, we've we've nearly been there, you know, the big TARDIS console room was so large back in the RTD era to emphasise how lonely the doctor was.

He's managed to find a new thing to say about the doctor's character in a new way, and then to address that with that year with Anita, which I think is easily the best thing in the episode.

[08:39]

You think that, do you?

Yeah.

Yeah, I really do.

Yeah, I wanted it to be.

I knew what they were trying to do and it just doesn't have, it was all kind of like, yes, now we have like kind of the Easter scene and we have the summer scene and we have the Halloween scene and it kind of to mark all of the passing of the year.

And I was, as I was watching it, I was thinking, they're going to want me to be upset at the end of this where he says when he says goodbye to her so he can go to the other hotel and find his way back to the time hotel.

And I just wasn't like, like, it just didn't, it just didn't work.

It didn't, it didn't make that leap from stuff happening to, I care about what's happening.

And I don't exactly know what it is.

I mean, all these things have been played with, he's played with before and things like girl in the fireplaces, he've been saying, but there's, there's a much greater sense in that episode of, of, you're just so much more involved in, in, in, in, in the person and and I just don't, I didn't really care about Anita.

I didn't care about why he was there and collecting TARDIS.

[09:41]

Do you know what I mean?

Like it's, it just was all stuff happening.

I think that it did work on me and I'm probably not the only person here.

I did think that that properly worked and I did think him sneaking out and that moment where he says goodbye to is sort of properly good.

And I think one of the things about it is just the difference with this doctor and sort of previous iterations of this, you know, he's not bored, he's not desperate for adventures.

He's just doing a very, very ordinary thing.

And it was nice, I think, seeing the doctor do that.

It worked for me.

I could say I can see where Simon's coming from.

Like, you do feel that it's a bit, at times, I did think it was a bit forced, but I bought into it, and I liked the fact that he wasn't going out and having big adventures, it was just with this, with Anita, and reflecting on his life, and he didn't need to do what he's, you know, he stayed in places before, like, you know, with river or with the perch we era, but he still met aliens and done all that, and that wasn't here, and, and I just enjoyed it because it was, I just felt it was a bit different from that.

[10:46]

And I did by the ending and she said when he was leaving that present, you know.

Also, I mean, perhaps it's the way shooty plays things.

I think he's very intense and at times he's very...

I mean, he's very assured of what he's doing.

And in the moment, he can either be full on or he's not.

I think that's one of the things I found in the episode that he's either full on or he's not the in-betweens.

Perhaps weren't quite there and that sort of took me out of things at times, but I totally bought the Anita thing and I really loved it.

Yeah.

I really loved it as well.

But if I, if I could posit a theory, Simon, I think something Stephen Moffatt does in his writing is he'll, he'll have a character say something and the character says, everyone does this and one of the best examples I can think of because it didn't quite jibe with me is no one says save, do you say, safe in silence in the library.

And now that kind of thing.

It's one line in the episode.

[11:46]

So I can go, that's a bit of a stretch.

But yeah, then when you have a 15 minute scene and if the central concept of that scene from the start, doesn't really land for you, I can totally see how you get to the end of that and go, you know, that was just stuff happening competently.

And I think that is a thing with Stephen Moffat's writing because loads of people love series 6 and I don't.

Loads of people love series 7 and I don't.

There, you know, there are people who are like, um, Capaldi's character should never have softened where I'm, whereas I'm like, hurry up and get to series 10. you know?

And I, I think that, that's the thing with, with Stephen Moffatt is that he's like, this is what I'm writing.

If you're not on board, come along next week, kind of thing, which can be a bit of a problem in a Christmas special.

And I also think that's why Dr. Widow and the Wardrobe, which I love, isn't highly regarded in general because I think a lot of people just aren't on board with the concept set up from the start.

And I don't, I'm not saying that in a pejorative sense.

I think Stephen Robert's just the kind of person where if you're not on board with the concept from the beginning, it's going to be very hard for it to be satisfying.

[12:53]

No, I can agree with that.

I mean, doctor, it's interesting that you say you like the doctor, the widow, and the wardrobe, because that's probably my least favourite Christmas special.

So it makes sense then that I'm not sort of a fan of this one.

I guess it comes back to that thing of what sort of Todd suggested or someone suggested about seeing the workings.

Like, I can kind of see, it's like, it's like doing Dr. Christmas special coloured by my numbers and that's, that's kind of all it is.

One of the things about that bit, though, is that it does take about 10 minutes, and originally, I think, um, uh, it was going to be a more expensive scene where the doctor travelled around the world and stuff, but they said, no, let's just stay in the hotel with Anita.

But what it does do is it moves Nicola Cochlan's guest character sort of off stage for that period of time.

How did people respond to the character of joy?

I really liked her.

I've been aware of Nicola Cochlan's name for a long time and I know that she's in Derry Girls and I know that she's in Bridgerton and big in those.

I haven't seen either of those.

[13:53]

So I kind of came in thinking, I don't know what her performance is going to be like, but I know that she's incredibly popular and obviously very talented.

And I adored her.

I adored her in all the modes, the hypnotised mode, the forced jollity mode, the absolute white hot fury, and where her character goes at the end as well.

Absolute tour de force.

And it's like the same thing as Catherine Tatan, the runaway bride, but totally different.

Like she's not a slapstick character who then has to come back and go, I'm going to do the weekly version of this now.

It's a subtle and nuanced performance, but just barnstorming the way that Catherine was.

What did you think, Tom?

I liked her.

And I can see where Brendan's coming from.

She had a lot to do and she did it very competently.

At times, I felt, and maybe that was with the scenes with Rashudy, that everything was very quick.

You know, by taking 10 minutes away from that character, you suddenly had to go from A to B to Z very, very quickly.

[14:58]

So I perhaps struggled a bit with that, but I thought she did a good job.

I just think the character wasn't perhaps as defined as I needed it to be at times, is my one criticism there.

But what she did I thought she did well.

I'd agree with Todd.

I think that I think she was perfectly good, but I don't think that what's going on is too much of a mishmash for me to I sort of wanted to see more.

I wanted to see what else was happening with that character.

She was there for a plot point rather than anything else, I think.

I mean, part of the problem, I think, is that a lot of her character stuff is just delivered in that speech by Shooty, where he describes her.

And you kind of go, oh, yeah, she is really like that.

That's what the performance is, but we are kind of told, really, more than we get the opportunity to see it.

And because when she's introduced and she's supposed to be this sort of terrible, sad, sack, you know, the hotel room isn't quite dingy and awful enough, you know, because we're making a lovely hotel room.

It's sort of ordinary.

Yeah, yeah.

Yeah, yeah, yeah.

I've stayed in much worse places, Willy.

[15:59]

Exactly.

And because there's so much business going on in that scene where she's introduced, and you know, there's a lizard man and there's Anita and Anita's reaction is funny and there's the Zectron 2000 high security briefcase and all of that sort of thing are all there.

And she's possessed for sort of quite a lot of it.

So it is hard to kind of read her, but it is a great performance.

I guess the thing is, there was deadly danger at the beginning with the briefcase and everybody's dying, right?

And I really love that.

And then it went to her and I went, well, very early on and I thought, well, she's not going to die.

So how are they going to get out of this?

And he's going to have to do certain things.

And I started going, well, he's going to make her angry.

And so I started to sort of predict what he was going to do, like that whole sequence.

So that sort of took me out of that bit a bit if there's, if that's a bit of a criticism that I can throw at it.

But that's what I found.

One thing that has been slightly controversial is the COVID thing.

Um, and I have to say that that was something that I thought perhaps needed to be done, that all of that stuff happened 4 years ago now, but at Christmas, Britain is full of families who said goodbye to their mother or grandmother or grandfather on an iPad and making that real and acknowledging it and having the doctor angry about it.

[17:28]

I think was, well, I personally found it cathartic.

Um, and I think probably, um, it's the sort of engagement with the real world that you're a bit tentative about, I think, Simon, but that I'm really here for, I think.

I can be tentative about it, depending on what the subject matter is.

I think allegory is much a much better way of telling it, but I have only watched this once, I confess.

And my recollection of that whole thing is less about the injustice of the fact that the rules were put in place in such a way that people weren't able to, in Australia, for instance, cross state boundaries to be able to, to see loved ones dying or otherwise, that in, you know, and in hospital, there are all these restrictions as well.

I didn't read anything in that about the fact that that was probably a bad idea and a little bit excessive.

It was just purely for me.

[18:30]

All I saw them about was like the people in charge, you know, taking the piss and having party gates and all that sort of stuff, which is obviously party gates a very big deal in Britain.

You know, we cannot overstate how big a deal party gate is for the British.

Having said that, I don't think it was saying what I think you were wanting it to say, which is that the doctor was outraged about the fact that people weren't able to connect with each other in these moments.

Don't you think?

Well, no, I'm not sure that he did say that.

I do think that, and certainly it has been read that way, and there are a lot of people out there who are sort of a bit cross that the doctor appears to be anti-lockdown at that point.

Um, you know, uh, but I think it was the issue where politics and things where, where rules were made for people and people obediently did the right thing and the people who made those rules didn't do that.

Oh, yeah.

I think that's what I'm saying.

I think that's what they were So talking about, rather than I think, the point that is more relevant, which is the fact that everyone went a little bit overboard with what was the requirements at the time, especially because especially in somewhere like Britain, where you had cases everywhere anyway, it all was kind of a bit stupid, frankly.

[19:41]

I think it's probably impossible to, you know, it was impossible for anyone to really properly know and people were lying blind and having difficulty calibrating what to do and stuff like that and maybe in retrospect.

People went overboard.

Maybe they didn't, you know, about 180,000 people died during the pandemic of COVID in Great Britain.

So it was a sort of big deal.

And so I don't think that that was what was being litigated there.

But I do think that what it was, was the anger around what people had to suffer and that the people who were making the rules weren't participating in that.

In quite the same way.

Yeah, yeah, exactly.

I mean, that's a tale as old as time, you know.

Worth getting angry about.

Something I think it brings up is that Stephen Moffatt, it's kind of weird, right?

We look at Moffatt's past Doctor Who, and it seems to take place in a more fantastical world reality divorced from our own than Russell's does.

[20:44]

But at the same time, Russell creates analogues for political leaders, right?

He does he does kill Tony Blair and makes direct reference to Iraq in the 1st series, but after that, we have Harriet Jones and then we have Harold Saxon.

And then we have Arthur Coleman Winters. you know, we don't have George W.

Bush.

Then Stephen Moffatt comes along and we get direct references to Donald Trump.

You know, we get direct references to real political figures and real political scandals in the Moffat era.

And I found myself thinking, you know, Where does Chris Gibnall fall on this?

And of course, Chris Gibnall doesn't reference the real world very much.

And for once, I actually think Chris Chibnall not telling a story that directly references lockdown was a good thing, because I think at the time, people didn't want stories about lockdown.

And I remember...

[21:46]

Yeah.

I remember reading a tweet at the time of someone saying, in 5 or 6 years, we're going to have lots of stories about 2020, but we are not ready for them right now and right now we need something more fantastical.

So when that came up in the episode.

And I did have the moment of the doctor saying, hold on, is the doctor anti, what is the doctor anti-lockdown?

That's part of the reason I watched it again.

It's like, no, he's making her angry and he's making her angry in the most unfair way possible in order to save her life and he even apologises for it twice.

You know, it's rule one, the doctor lies.

Not everything the doctor says is him saying this is my view of the universe.

But yeah, I think it is an important moment. in Joe. Yeah, I think I think you're right.

I mean, it's interesting and I think, because Nathan, you had a little social media spray yesterday, I think, about this, which was the fact that it's almost like we've all forgotten about the fact that this happened.

And we have, oddly enough.

I don't know whether we'll ever be quite ready for a lockdown thing because it's kind of like, well, it's all a bit tedious or not a little bit tedious, but there were various personal tragedies, but it's almost like everyone sort of remembers their own personal tragedies relating to it, but then at the same time, it's kind of all been forgotten.

[22:58]

And I don't think it's about what I was talking about, well, like the lockdown thing.

I wasn't trying to suggest that they shouldn't have been any.

I'm just trying to suggest that there was this kind of influ- this, this, this, which we certainly experience in Australia, this bizarre inflexibility about it.

And I think that's a thing.

And I think that would have been doing it as kind of just a fragment of an episode is kind of a bit like you're wasting a story there because there's a whole story about how, you know, this kind of thing happens and the way there's this kind of group think in the community, along with the virtue signal, goes with it about who's doing this and who's doing that.

And there's a whole thing there and it has just kind of been frittered away in a moment. don't know.

I just feel that it was good to address it.

And they did it in a way that everybody has their own personal take and you will, and it makes you think about that time and reflect.

And I didn't want it to be too deep per se, and I just thought that it was, it was good to have it referenced.

Mm, I agree.

All right, let's talk about the ending.

[24:00]

So someone, someone on social media, and I think it was a big Finnish writer.

I can't remember who exactly, said that the moment that there was a star growing in the briefcase, he knew that it was going to be the star of Bethlehem by the end of the episode.

I believe that was a friend of the podcast, James Curray Smith.

There we go.

Oh I didn't.

I didn't see that coming.

No, I didn't either.

As soon as they were standing on a cliff top with the night sky in the background, I had that tenant moment of no.

No, no, no, no, no.

Oh, camels.

Yeah.

What did you think, Todd?

I was fine with it, you know?

She said she was going to look after the star and it certainly then thought it.

Or fell into villain guard's plans, you know, to be the religion and or whatever of the future.

You know, they, they've created their own history.

And I was fine with it actually.

[25:00]

I just, I just, I just bought a little wiry smile to my face going, some people are going to be so outraged by this, but it's not going to be me this time.

I still can't get over Russell killing Tylie at Christmas, you know, like I just love...

That's far more of a sin, sure.

Well, yeah.

But this, like, I just find this hard to read.

Like, I know that she ascends into the sky.

All of those people who are miserable in the opening credits are now happy.

Even Millie Gibson's happy now.

You know, there's sort of happiness and joy everywhere.

But I'm still with the doctor, you know, you're going to burn up.

You're a star. you can burn.

You know, so it was hard for me to read that as the triumph that the episode clearly wanted.

And then the music was suggesting it was.

Yeah, well, exactly.

Yeah, yeah, yeah, yeah.

And it was clearly meant to be that.

Like, that was meant to be it, but it just, like, someone goes up and becomes a star with a lizard and that nice guy Trev, like, it just seemed very odd to me and perhaps a little bit overwrought.

[26:07]

I can see where you're coming from.

Totally.

I had long past caring by that point, but I certainly don't have any issue with it being with her being the star of Bethlehem.

And, you know, I don't think it needs to say that need not say anything.

It need not be an endorsement of the Christian religion.

It's just, you know, it just is.

And so it's Christmas, for God's sake.

Yeah exactly.

It's not lampooning the Christian religion.

It is presenting an image, a symbol from the faith in an affirming way.

Exactly to that.

Yeah, in terms of the whole ascending into a starving, I kind of read it like the ending of Star Trek, the motion picture.

Part of the point is, you don't know what happens to Decker and Ilia.

We as humans cannot comprehend what becoming a star means, but I will say that we have encountered a sentient star in the new series of Doctor Who before.

So this is a prequel to 42.

Well there you go.

[27:08]

Okay.

Maybe she is the star in 42. been tired of waiting around so long.

I'd also like to raise a point of physics.

If she goes away and if she goes away and becomes a star in the year one, now presumably she is no closer than Alpha Centuri, ergo, the light from that star would not reach Earth until at least the year five.

So has the doctor been standing around on that hilltop waiting to see that star for 5 years at the end of the episode?

Maybe it's like the kitchen at some 30 minutes ahead in time or something.

Now that was a clever idea.

That was a clever idea.

That was, it was going on.

No, I think it's just the fact that it's a mini star that's somewhere around, you know, where the moon orbits for now and she gets, as she gets bigger and brighter, she disappears off into, well, wherever the 42 star is.

You know what?

I'm, I'm, we're going to carry that.

I'm...

I actually think rather than a sort of image from the Christian religion, it's really an image from Christmas cards and so it is kind of more or less thoroughly secular.

[28:15]

And the episode has come down on the side of the universe appearing out of nothing because you remember that the doctor gets the code literally because he heard himself saying it as has happened so often.

And he actually, this time explains, look, yes, it came from nowhere, but so did the universe and no one complains about that.

So, um, you know, so, and, and it is, it's, um, it's foreshadowed a bit, isn't it?

Because the doctor speculates at the time hotel is the reason that there was no room in the inn.

Oh, right.

The inn was full of time hotel tourists. trying to spot the deep Jesus, yes.

Hilarious.

All right.

Well, that's it for now.

We're obviously going to be back for season 2 next year.

And later in the week, I think on Wednesday, we will be releasing our final episode of this leg of Flight through Entirety.

[29:15]

So that's on New Year's Day.

That's our Capoldi Moffat retrospective.

But don't fear, we will still be podcasting about Doctor Who next year.

So make sure that you follow us on Flightthrough Entirety.com on Blue Sky or on FTE podcast on Mastodon, and you'll hear all of the news about the 2nd great and bountiful Human Empire, which you're listening to now, and about 500 year diary, which will start in the 1st half of next year.

Um, Brendan, do you have anything to plug?

Uh, we have just released our special Christmas episode of the three-handed game on the very Christmassy, too many Christmas trees, and you can find that at um, THG podcast on Blue Sky, or for looking for three-handed game on Facebook.

And I want to mention 2 other podcasts, Maximum Power is back with its coverage of series D and tomorrow, if you're listening to this immediately after its release.

Tomorrow, we'll see the release of episode 2 of Series D, which is the beloved Fan Favourite.

[30:21]

Power by Ben Steed.

And of course, Untitled Star Trek Project continues unabated.

Todd, did you want to plug?

Which I've listened to move along home, which is just glorious.

Glorious.

And I just got one other thing to say. 8 out of 10 for me.

Oh, we needed to hear that.

I can't believe that I did not.

For joy to the world or move along home?

Both.

Excellent.

On the scale of the doctor with the widow in the wardrobe up to a Christmas carol, it is too close to the doctor, the widow in the wardrobe for me, I'm afraid.

This is so much better than that.

The next doctor is right there.

I don't know. is right there.

Oh, yes, no, I wasn't sure which one to rank last.

Funnily enough, Simon.

I'd agree with you, but probably not in the direction you're expecting.

All right, so all that remains is for me to say, until next time, New Year's resolution, get some chairs in.

[31:25]

Thank you very much for listening and good night.

Good night.

See you soon.

Night night.