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Episode 146: Christopher Wren's side hustle
Published 25th July, 2025
Transcription by Caption+
Tom:
In Kentucky, what is a moist county?
The answer to that at the end of the show. My name's Tom Scott, and this is Lateral.
It's a special episode of Lateral today, which I will now prove with maths.
We normally do seven questions in every show. This is the 143rd Lateral to be recorded.
That means at some point during this episode, I will have asked our 1,000th question!
Luke:
Whoa!
Hannah:
Oh my goodness.
Corry:
What​?!
Luke:
What an honour!
Tom:
My script says, "waits for rapturous applause from guests". I'll take it.
Luke:
(applauds)
Tom:
That is of course,
Corry:
(wheezes, then applauds)
Tom:
assumi​ng that you don't count the shiny bonus questions. And of course, there was the pilot run that we did before the podcast that we didn't really... do much with.
Anyway, let's celebrate question 1,000, which probably happened about two months ago. At least our guests have arrived right on schedule.
First we have, returning to the show: Wine critic for The Guardian, Hannah Crosbie. Welcome back.
Hannah:
Hel​lo! I'm so gassed to be invited back. I can't believe it. Did I really do that well, first time?
Tom:
Well, thank you very much for coming back on the show. Last time we talked to you, you were in South Africa, having sampled just a huge number of sparkling wines in one day. How are you feeling? What are you doing today?
Hannah:
Tod​ay, I am in Walthamstow, sampling the best that the local Tescos has to offer.
Tom:
(laughs)
Luke:
(snickers)
Hannah:
I'm​ currently in a bit of a housing crisis. So I'm in my friend's garden. Live and direct to you today. So, bit of a vibe switch from South Africa, but happy to be here.
Tom:
(wheezes) Thank you very much for taking the time. I always sort of ask guests, what are they working on at the minute? But I assume the answer is wine.
Hannah:
Oh yeah, it's always wine. You don't need to ask any more questions.
Tom:
Joinin​g you on the show today, we have both halves of the Sci Guys podcast. And...
SFX:
(group cracks up)
Tom:
Which one do we wanna go to first? Corry, we're gonna go to you. Corry Will, welcome back to the show.
Corry:
Than​k you for having us back, L— Oh my god. (laughs) I almost called you Luke. Let me do that again.
SFX:
(guests giggling)
Hannah:
No,​ that works great.
Tom:
No, that's fine. You know what? Here's the thing.
I was going to call Luke on this, because I appreciate, Luke, that... as the other half of the Sci Guys podcast, you have put a giant Lateral logo behind you on your screen. There is purple lighting in your room. But you do look like you're the host now.
Luke:
Hey, you know, dress for the job you want, Tom. You know, like...
SFX:
(others laughing)
Luke:
You'r​e gonna retire one day.
SFX:
(group laughing)
Tom:
Yeah, well what will happen is we'll have a string of guest hosts, and then one of those will start appearing. We're like every other panel show there is.
Luke:
And then slowly your guest hosts will start mysteriously disappearing, and I'll be the only one left.
Tom:
Oh, murder mystery panel show. There's a format that I'm now copyrighting.
SFX:
(guests chuckling)
Tom:
Corry,​ I was talking to you, but... (laughs) tell us about the podcast. What have you been working on lately?
Corry:
Yeah​, so, Sci Guys podcast. It's a comedy science thing. And we're coming back to do more comedy than science in the next few weeks. Isn't that right, Luke? Luke?
Sorry, I'm hosting now. I'm the captain.
Tom:
Everyo​ne's the host but me today!
SFX:
(Corry and Luke giggling)
Luke:
Yeah,​ we're just trying to mix the show up a little bit and just bring loads of the fun back and just make it so much more about just us having a good time, with a science basis, as opposed to us trying to deliver you a lecture.
Tom:
Well, very best of luck both with the new format and with the show today.
We are already fashionably late with question 1,000, so let's not dwell any further as we trudge towards question one.
Thank you to Peter Scandrett for this question. In 2013, the credits for the BBC's discussion show Question Time included the name of Sir Christopher Wren. Why?
I'll say that again.
In 2013, the credits for the BBC's discussion show Question Time included the name of Sir Christopher Wren. Why?
Corry:
Beca​use he worked on the show.
SFX:
(group laughing)
Luke:
(applauds)
Tom:
Route one.
Hannah:
We did it.
Tom:
Straig​ht down the middle.
Corry:
The show is called 'Direct', right? He was direct thinking.
Tom:
(laughs heartily)
SFX:
(guests snickering)
Tom:
Just once. This is actually question 1,000. Just to break tradition, I just go, "Yes, correct." And we move on.
Corry:
(cackles)
Luke:
(laughs)
Hannah:
Nic​e, easy one.
Corry:
Shou​ld we perhaps explain what Question Time is, for anyone who isn't from the UK? (laughs)
Hannah:
Rig​ht.
Luke:
Yeah.
Corry:
Okay​, so— Wait, Question Time. That's the one where you go and ask questions of people.
Luke:
Do you want me to do this, Corry?
SFX:
(group laughing)
Corry:
Ofte​n... often...
Tom:
Oh yeah, no. Corry, you started this. We keep going!
SFX:
(scattered giggling)
Corry:
Ofte​n politicians. And others.
Hannah:
Yea​h. They ask questions for a period of time.
Luke:
Yeah,​ so Question Time travels around the country to different locations. So it was once hosted in my school that I went to actually, interestingly.
Hannah:
Oh.
Tom:
Oh.
Luke:
And they basically pick a city, and they say, we're gonna be in this location next week. So if you're in that location, come and be in the audience and submit a question.
And basically the format is: pick members of the public, stand up, ask a question, and there's a bunch of usually politicians and then maybe political-adjacent people.
Like so for example, Tommy Robinson was on it once.
Corry:
(cracks up)
Luke:
Yeah.
Hannah:
Gre​at example.
Luke:
Reall​y the only person I can remember.
Tom:
This is one of those half-politics, half-entertainment shows, depending on who's on the panel that week and how much they're blurring the lines on it.
Hannah:
Mhm​.
So I think it would be quite helpful if I knew who Sir Christopher Wren was. It's a name that sounds really familiar, but I might need reminding. Anyone can help me?
Corry:
Does​ sound familiar, yes. I agree. Luke?
Tom:
Depend​ing on your history knowledge and what you were taught in what years in school, I think this is a name I'd have recognised. I think if you're a little younger, this is probably dropped from the syllabus now.
This is a famous English architect from history.
Hannah:
Oka​y.
Corry:
I'm Scottish, so... No clue yet.
Hannah:
(laughs sardonically)
Luke:
Oh, did he design the Royal Albert Hall or something?
Corry:
Oh!
Hannah:
Yea​h, where was it recorded? Yeah.
Luke:
Well,​ did he? Did he design the Royal Albert Hall?
Tom:
He— Well, he designed many things, yes.
Luke:
But was one of them the Royal Albert Hall? Come on, Tom.
SFX:
(others laughing)
Luke:
Come on, sneaky boy. (laughs)
Corry:
So Question Time was filmed in a building that he designed?
Tom:
Yes. And I don't think we're gonna get much more outta that question if you don't know that Sir Christopher Wren famously was the designer of St Paul's Cathedral.
Luke:
Ahh!
Corry:
Ohh!
Hannah:
Ahh​.
Tom:
So talk me through it. What's going on? Why is he in the credits?
Luke:
Speci​al thanks section? Thanks for the building?
Corry:
Oh.
Luke:
I guess?
Tom:
There'​s a very specific credit. He was actually after the executive editor, the director, the executive producer. He was the very last credit in there.
Hannah:
Was​ he sponsoring the 1,000th episode of Question Time?
SFX:
(Tom and Corry laugh)
Hannah:
His​ last will and testament.
Luke:
Okay,​ so, let me go out on a limb here. Was this specific episode of Question Time filmed in St Paul's Cathedral?
Tom:
Yes, it was, yes. They went to the biggest, most famous place you could probably film something like this. So why... yeah.
Luke:
It sounds like there's more to it than that.
Corry:
Is this some quirk of... the sort of film and TV industry, where... they needed to credit something?
Tom:
Not in this case. It's not a legal requirement.
Hannah:
Is there a statue or a painting of him? So, 'cause he was technically in it, he had to be thanked?
SFX:
(group giggling)
Luke:
Well,​ it sounds like, from what Tom said earlier about being later in the credits than even the exec producers, that they are thanking him or crediting him for something that is so fundamental to this production.
I'm wondering, was the first ever Question Time in St Paul's Cathedral? And then this is some kind of anniversary episode?
Tom:
No, but it— How might he have contributed to the show?
Corry:
He had the idea, and he had it inscribed somewhere in St Paul's Cathedral.
SFX:
(group laughing)
Luke:
On the roof! Someone's looking up and went, "That'd be a really good idea for a show, actually."
SFX:
(laughter intensifies)
Luke:
Yeah.
Tom:
There is a specific credit that you might give someone that they decided to give to Sir Christopher Wren for this one.
Luke:
Assoc​iate producer. That's— Sorry, that's a very niche—
Corry:
Yeah​, Luke, just read off. Luke, you're the film man. Read off every single— (laughs heartily)
Tom:
It's very literal. It's what he did.
Luke:
Archi​tect.
Corry:
Oh my gosh, is it... production designer, set designer, or something?
Tom:
That's​ it, that's it. Spot on, Corry.
SFX:
(Corry and Hannah laugh)
Tom:
The very last credit on that episode of Question Time, after the producers, after the directors:
"Set Design: Sir Christopher Wren". Just 'cause they wanted to show off!
Luke:
The only set designer ever to be credited with higher billing than the exec producer.
Tom:
Right?​ Yes.
Hannah:
Mhm​.
SFX:
(group giggling)
Corry:
Yeah​, no amount of sort of nepotism, nepo baby stuff is gonna get you that.
Hannah:
Yea​h.
Luke:
I think we need to go to Sir Christopher Wren's Wikipedia page. You know when you have an actor who also writes a book and also sings two songs? And it's like, actor, musician, and...
Tom:
Yeah.
Luke:
I think we need to go to his Wikipedia page and write, "Sir Christopher Wren was an architect and set designer for the BBC."
Tom:
Yes, yes.
Corry:
(snickers)
Tom:
Luke, we're gonna take the next question from you. Whenever you're ready.
Luke:
Yes, my question has been sent in by Michaela Wheeler. It is:
Why is a tape measure travelling at around 7.5 kilometres per second?
I'll ask that question again.
Why is a tape measure travelling at around 7.5 kilometres per second?
Corry:
I wish I knew off the top of my head orbital speeds. I feel like I should. That's something I should know.
Tom:
That's​ what I was thinking. That feels like orbital speed.
Hannah:
Tha​t's where my head went, yeah.
Corry:
But would they need a tape measure in a space station? 'Cause you know how long everything is anyway. 'Cause it's all been built to spec.
Luke:
How do you think they know how far up they are, Corry?
SFX:
(group laughing)
Tom:
Oh yeah, we don't have a space elevator. We just have a space tape measure that just gets dropped down.
Luke:
Yeah,​ just whizzes past you in the entire— You have to glance really closely and go, "Aah, 100 kilometres!"
Hannah:
God​, imagine that catching your fingers on the way back up.
Tom:
That's​ what I was thinking, Hannah, yeah. At some point, someone flicks it accidentally. That's when it's 7.5 kilometres— It's coming back in!
Luke:
(groans)
Hannah:
(snickers)
Tom:
Althou​gh... I do like the idea that you have a tape measure in space in kind of microgravity. And you flick it, and then not only does it come back in, it then starts the whole thing just rotating very quickly.
Luke:
(snickers) Yeah. Yeah!
Hannah:
Yea​h!
Luke:
It would though, wouldn't it?
Corry:
It would, yeah. Oh! This is unrelated... Or maybe it's not unrelated. Maybe this is the lateral part.
Luke:
(snorts)
Corry:
I'm being very meta here.
SFX:
(group laughing)
Corry:
Mayb​e... Do you know those snap bands from... Are they from the '90s or...
Hannah:
Oh yeah. The ones that, they're straight, and then you put it around your wrist, and it bends 'round.
Corry:
Yeah​.
Hannah:
Yea​h.
Corry:
I think I cut one open once, and it was literally just a tape measure.
Tom:
Yeah, it's a bit of old tape measure they'd put stuff around.
Luke:
Recyc​ling, we love it.
Corry:
Okay​, Luke being surprised tells me that it's not to do with snap bands.
SFX:
(guessers laugh in turn)
Luke:
Okay,​ it's nothing to do with the snap bands.
Corry:
Okay​.
Luke:
But I will say that you are on the right track with where you started to begin with. It's very impressive how far you got in literally one second.
Corry:
I'm like the tape measure. I'm just travelling really far.
SFX:
(group laughing)
Tom:
It's gotta be somewhere outside the atmosphere, presumably. Or it's gotta be not relative to the speeds you expect. 'Cause 7.5 kilometres per second, a tape measure going through air is just gonna burn up at that speed.
Luke:
Yes, you are correct there, Tom.
Corry:
Did someone accidentally leave their tape measure? Because I've done something like this before. Did someone accidentally leave their tape measure in something heading to Mars?
Hannah:
Yea​h.
Corry:
Is that what happened?
Hannah:
I'v​e got my keys. I've got my wallet. I feel like there's something I'm missing. My tape measure! Oh, man!
Tom:
Follow​-up question to that, Corry. No, hold on, hold on, hold on, hold on.
Corry:
(cackles uproariously)
Tom:
You've​ done something like that before?!
Corry:
Yeah​, yeah.
Luke:
We've​ all been there. We've all been there.
Corry:
You know when— Do you know how you— when you just shoot something into space every now and then? Say, a tape measure or... garlic bread. You know, that's a normal thing that we all do.
Luke:
Yeah,​ Tom. The only person on this podcast, as far as I know, who has sent something to space.
Hannah:
(snickers)
Luke:
I think, yeah.
Tom:
Edge of space. I sent something to the edge of space. And it wasn't travelling that fast.
Luke:
Okay.
Corry:
Look​, I just think if you're gonna come at me for sending a tape measure to space, you really gotta think about where you're coming from.
Tom:
That's​ fair.
Hannah:
So is it the tape measure is extending at that speed? Or is it just like a tape measure, and it's moving itself quite fast?
Luke:
The tape measure is not extending. The tape measure has already been extended. But not at that speed. At a very normal speed for a tape measure.
Corry:
I'm just full of ideas like... that aren't good ones.
SFX:
(Tom and Luke crack up)
Corry:
Like​ going on a spacewalk. And, you know, you're Sandra Bullock. You're on a spacewalk. What happens? Oh, your line gets cut. But George Clooney has the other end of the tape measure. (chuckles)
Hannah:
(snickers)
Luke:
Okay,​ let me— Let me just slice these possibilities in half for you slightly, and tell you that the tape measure is not there accidentally.
Corry:
Yeah​, I— My brain is going, is this an actual tape measure, or is this sort of like—
Luke:
It's an actual tape measure.
Corry:
A physics tape measure that's perfectly spherical, in a frictionless plane.
Tom:
Becaus​e the answer to a Lateral question can't be "because someone needed a tape measure on the ISS." That's a bit...
Luke:
Yes, that's it. We've done it. Congratulations.
SFX:
(group laughing)
Corry:
Yeah​, the 1,000th question is just gonna be easy, I think.
SFX:
(Tom and Luke chuckle)
Corry:
You know, we gotta find it.
Luke:
No, it is a natural tape measure. It— You are correct that it is in space.
I want you to think about – and you've already touched on this – what are the other things that tape measures do that aren't measuring?
Hannah:
The​y snap around your wrist. Yeah. We've been through this.
Corry:
Yeah​. Is it— So it's— is it the entire tape measure that's moving? Or is it just part of the tape measure that's moving?
Luke:
The entire thing is mov— The tape measure is moving. It's not extending, or, it's just...
Corry:
Okay​.
Luke:
As an object, it is moving.
Tom:
It will... It's kind of held under tension, isn't it? 'Cause if you don't lock it into place, it will just spring back to where it came from. So, is there some way that you need to have a long metal strip held under tension like that... in space?
Hannah:
Is it a crossover? Crossover something?
Luke:
You'r​e getting pretty close, Tom. You're getting pretty close.
Corry:
Is it conductive? Is that maybe something...
Luke:
That is getting closer.
Hannah:
Ooh​!
Luke:
Not conductive, but think about the material properties of a tape measure. Specifically we are talking, to be clear, 'cause you've already got it, and you've actually assumed it, interestingly:
It's not a fabric tape measure. It's not a floppy tape measure.
It is one of those metal tape measures that can curl up in a little circle, which you've been assuming the whole time, which is correct.
Corry:
Oh my— Hold on. You're using it as a... Are you using it as some kind of like motor or electromagnet? Because it's coiled. If you run a current through a coil like... coiled wire. Would that...
Luke:
No.
Corry:
Woul​d that work? No.
Luke:
You'r​e getting colder now. But think about that coiling mechanism.
Tom:
Someon​e on the ISS needed an emergency antenna.
Luke:
Tom, you are closer than you think with that joke.
Tom:
Okay, okay.
Luke:
It's not on the ISS, but you're so close!
Tom:
Whatâ€â€‹”
Corry:
A satellite then?
Luke:
Yes! (applauds)
Hannah:
Ahh​!
SFX:
(guys laughing)
Luke:
As an antenna for a satellite.
Tom:
Of course. I don't know why I got stuck on the ISS. I think it's 'cause it's a— I was like, it's a physical thing that people would take up. But no, you can just—
Luke:
And it's also something that we talk about the ISS moving at X number of kilometres per second quite often as well, yeah.
Hannah:
Mm.
Luke:
So yes, you've got it.
This is a satellite called BisonSat. It is one of many amateur nanosatellites that utilises a tape measure as an antenna for the device. It has a— It's, they take this springy material, and it's coiled up during the launch. And then it's released once the satellite has reached space.
A string keeps this little tape measure coiled up, and then a resistor burns the string when it's time to release the antenna.
And as you know from, if you've ever used a tape measure, it springs out. Well, when we use them on Earth, it springs in, but they use that same springing mechanism to spring it out, and that is then an antenna for your satellite.
Hannah:
Oh,​ wonderful.
Luke:
At the time of us recording, BisonSat is travelling at 26,800 km/hr, is a one kilogram cube, 10cm by 10cm by 10cm.
Tom:
There are so many of those CubeSats up there. If you have a university department with a good budget, or even maybe a school with a very good budget, you might be able to get one of those, or even a tiny, smaller one up there. And they just get sent out on some rocket launch with 100 of them all getting launched.
Luke:
Yeah,​ it's so interesting. They often use a phone as the processor and even the camera. And also, in this case, a tape measure as the antenna.
It's kind of like, yeah, you're just cobbling this thing together. It's very cool.
Tom:
Thank you to both Matthew Yong and Arthur Reis for sending this question in.
Some models of airplane – such as the B-52 Stratofortress, the A-4 Skyhawk, and the F-111 Aardvark – were equipped with blinds in the cockpit. Why?
I'll say that again.
Some models of airplane – such as the B-52 Stratofortress, the A-4 Skyhawk, and the F-111 Aardvark – were equipped with blinds in the cockpit. Why?
Hannah:
Now​ I've just got The B-52s in my head.
SFX:
(Tom and Hannah snicker)
Corry:
(laughs profusely)
Luke:
Okay,​ so I know why we have blinds on a normal aeroplane. So when you're asked, can you put the blinds up or blinds down, or whatever, that's because— as far as I remember, it's because you want your eyes to already be adjusted to the outside light... just in case you basically crash, and you need to be able to see pretty quickly. So that's...
Tom:
Yeah.
Luke:
I suppose that's not why we have blinds on an aeroplane, but it's why we have to lift our blinds, and that might be some way relevant.
Tom:
And it's also the reason that they will dim the cabin lights for landing or takeoff at night, so that your eyes are adjusted just in case you need to evacuate.
Luke:
It's quite bleak often when you're on an aeroplane, just how many things they're doing just in case you crash.
SFX:
(group chuckling)
Luke:
Quite​ a lot of stuff. I read once that the— I dunno if this is true, but I've read once that the brace position is actually nothing to do with your safety. It's to make it easier to identify your body if they crash. I don't know if that's true, but that is what I heard.
Hannah:
Cov​er up that pretty face of yours. We're gonna need that later.
SFX:
(guys laugh uproariously)
Tom:
Teeth,​ I think mostly.
Hannah:
Oh!
Luke:
Yeah,​ yeah.
Tom:
But also, if you really cared about safety on planes, you would fit the seats backwards.
Luke:
Right​.
Tom:
You are much less likely to have a serious injury in a collision or something like that if you are facing backwards, 'cause you just kind of get pushed into your seat.
Corry:
Like​...
Luke:
Yeah.
Corry:
Like​ sort of baby car seats.
Tom:
Yeah.
Corry:
Real​ly young ones.
Tom:
Yeah.
Corry:
All facing— They have to be facing back.
Luke:
That would feel so much cooler on takeoff as well.
Tom:
(laughs heartily)
Luke:
Whooa​aa! It's like a backwards rollercoaster.
SFX:
(group laughing)
Luke:
And then you'd be pointing towards the ground as you went up. Like, what?
Hannah:
Oh my... Oh, no, no, no. You're gonna gimme nightmares.
Tom:
You have correctly identified the reason that didn't happen.
SFX:
(guests laugh uproariously)
Luke:
They should all be on little motors, and as soon as you're up in the air, they go (dzhoop) and turn around.
Corry:
Kind​a like The Voice, you know?
Tom:
Yeah.
Corry:
Just​...
Hannah:
Yes​!
Luke:
(laughs uproariously) I just feel like will.i.am as I crash into the sea.
Hannah:
(chuckles sardonically)
Corry:
(laughs heartily)
Luke:
Okay,​ we should probably get back to the question.
Corry:
So, blinds. And is it— I want to make sure. It is not in case your copilot wants to have a little snooze, right?
Tom:
It's not, no.
Corry:
Beca​use these are probably single person.
Tom:
No, not the Stratofortress. It's very difficult to say that, but the Stratofortress is a big plane. It's kind of in the name.
Corry:
Mhm.
Luke:
Obvio​usly, Corry. Come on. We all know the Stratofortress. Come on.
Hannah:
(chuckles snidely)
Corry:
Well​, Luke, that's assuming that I actually remembered the names of any of those planes.
Luke:
Yeah,​ as he saying the prompt, I was like, there's... I knew there was a reason I brought a notepad last time.
Hannah:
Yea​h. There's a Hawk. There's an Aardvark. Or did I mishear 'Aardvark', and it's actually 'adnovik' or something?
Tom:
No, no, you got it. Stratofortress, Skyhawk, and Aardvark.
Luke:
So I'm gonna say, is this— Okay. So remember from history in primary school? I think the reason, yeah, the reason we turned off all of our lights during the Blitz was so that German bombers couldn't find us.
So is this like, you've got all your cockpit lights and things on your dashboard lights? Are you putting the blinds down, so that you can't be detected by other aircraft? Like from the little lights shining out the window?
Tom:
That's​ not the reason.
Luke:
Mhm.
Tom:
But you have identified that these are military planes.
Luke:
Okay.​ So there are those weird military planes, where they're all weird shapes, so that radar bounces off them in different angles, and they can't be detected. Is that anything to do with it?
Tom:
I'm gonna let y'all talk about this for a while.
Luke:
Oh, okay. So no.
SFX:
(group chuckling)
Luke:
Okay,​ so... Let's have a think about what things blinds do, other than they keep heat in or out. They block light coming out and light coming in.
Corry:
I mean, that's the same thing.
Luke:
Is it like, oh, are these planes flying above the level where you'd get sunburned if you didn't have blinds?
Tom:
A lot of planes do that anyway. But in that case, you would use a filter or just something to cut UV in the windscreen. You wouldn't need to put the blinds down for that.
Luke:
Yeah,​ that's fair.
Hannah:
Is it about not being— Is it about not being detected or not being seen?
Tom:
No, not this time.
Corry:
Is it maybe for when they're not in use? Because I know we're thinking, you know, oh, how would you use it when they're— But when they're not in use, there might be some reason that you have blinds. Hmm.
Luke:
Okay,​ well, I have a pilot friend, and he told me this absolutely terrifying, but also very reassuring thing, which is that in order to pass his pilot's license, he has to be able to land a plane without seeing out the windows at all.
He has to be able to just look at the dashboard... the sort of instruments from that dashboard, and be able to perfectly safely land the plane, assuming it's full fog, or the windows are cracked, or you've randomly... Yeah, you've got no way of seeing out the windows at all.
So is it for training maybe? Or is there some circumstance under which you actually want to not see outside... and you just want to see the interior of a cockpit?
Tom:
That last bit, Luke, is absolutely right. There is a reason why folks in the plane would not want to see outside.
Luke:
Too scary.
Hannah:
Too​ scary.
Luke:
Too high up.
Corry:
(wheezes)
Luke:
Don't​ wanna look.
Tom:
I mean, mm!
SFX:
(Corry and Luke laugh profusely)
Tom:
We are talking about military planes here.
Luke:
Laser​s! Laser beams! Coming through the windows.
Corry:
Curr​ent military planes, I assume. Not future space military planes.
Tom:
Yeah. Oh, Cold War military planes is another thing.
Luke:
Oh?
Hannah:
Col​d War. Nuclear something? Something nuclear?
Tom:
(widens eyes)
Luke:
Ohhh!
Hannah:
Ahh​h!
Corry:
Ohhh​.
Hannah:
So you're not completely blinded by a possible atomic blast or...
Tom:
That is the correct answer. Yes.
Hannah:
Oh!​ There we go.
Tom:
That is absolutely right. These are planes that carry nuclear ordnance.
This is quite a dark question.
These blinds are designed to protect the pilots from the flash of a nuclear bomb detonation.
And Luke, you were right. It's not just the light. It's the heat as well.
Luke:
Oh gosh.
Tom:
So on the B-52, these were curtains with a reflective layer and a stiffener and a rubberised vinyl cloth just to cut everything out.
SFX:
(Luke and Hannah exhale sharply)
Tom:
These days, they'd use fast-tinting goggles. But back in the Cold War, the answer was... if something big's gonna go off, you close the blinds and you keep flying.
Corry:
I reckon if you're gonna drop a nuclear bomb, you should have the blinds open. You know what I mean?
Hannah:
Yea​h.
Corry:
If you're gonna do that... you take a little bit of it yourself.
SFX:
(Tom and Luke crack up)
Luke:
Solid​arity.
Corry:
Yeah​. No, no.
Tom:
Yes, these were Cold War nuclear bombers, and the instructions to the pilots were: if something's gonna go off, close the blinds.
Hannah, your question.
Hannah:
Sur​e.
This question has been sent in by Pascal de Vries.
A farmer sells the eggs, meat, and fat from the birds he breeds. He also sells the feathers, but only from their left wings. Why?
I'll read that again.
The farmer sells the eggs, meat, and fat from the birds he breeds. He also sells the feathers, but only from their left wings. Why?
Luke:
All of his customers are communists.
Tom:
(laughs) Yeah.
Hannah:
(laughs)
Corry:
He wouldn't be— They wouldn't be buying them then, Luke, would they? (wheezes)
Luke:
Sure,​ yeah, sorry. Sells, buys. What does that even mean?
SFX:
(Tom and Luke laugh) (Corry and Hannah snicker)
Corry:
Ooh.​ (giggles)
Luke:
Exclu​sively sells to Jeremy Corbyn.
Tom:
There we go. That's it. We'll workshop this one.
Hannah:
The​re we go.
SFX:
(Corry and Luke laugh)
Corry:
Well​, what kind of bird first? I think, because... that might help, right? Is it an ostrich, maybe?
Tom:
Why were we both thinking ostrich? Why—
Corry:
I feel— I feel like it's the least... It's the sort of most out of left field edible bird.
Luke:
Bird,​ yeah, yeah.
Tom:
There was the ostrich scam, I think, in the late '90s, I wanna say.
There were a couple of companies that were set up to do ostrich farming, and they got investors to buy in. It was the poultry of the future.
Didn't end well for the investors or for the ostriches.
Hannah:
Yea​h.
Tom:
But...
SFX:
(group laughing)
Tom:
I think it's doubtful whether there were any ostriches in the first place. I'm vaguely remembering something from years ago. But certainly ostrich farming... There was an attempt to do it. It didn't go well.
Luke:
Wow, scammers are really running out of ideas, aren't they?
Tom:
(laughs)
SFX:
(Corry and Luke giggle)
Tom:
Ah, no, they just kept putting their heads in the sand. There it is!
Hannah:
Ahh​!
Corry:
Eyy!
Luke:
Ahh!
Hannah:
Ver​y good.
Luke:
Sorry​, Hannah. Could you repeat the bit before the bit about the left wing? What are the other bits they produce?
Hannah:
Of course, so... The bits of the produce are, yeah: eggs, meat, and fat from the birds he breeds.
Tom:
That's​ specific.
Corry:
I'm thinking this might be from maybe a video game or something.
Hannah:
It'​s not, unfortunately. Before you go down that rabbit hole.
SFX:
(Corry and Tom laugh)
Luke:
Farming Simulator.
Hannah:
And​ something tells me you will. We're gonna keep out. It's not video games, I'm afraid. (chuckles)
Luke:
Out of interest, is there some reason why— Is the left wing much bigger for some reason? Or they've selectively bred these left wings, or they're making them work out, but just on one side?
Tom:
It could be some horrible factory farming thing, couldn't it?
Hannah:
Wel​l, they've on— The birds have only been born with left wings.
Tom:
(chuckles briefly)
Corry:
(chuckles)
Luke:
Yeah,​ I mean, I wouldn't be that surprised.
Tom:
Yeah. I seem to remember you're vegan, Luke.
Luke:
Yes, yes, yes.
Tom:
Yeah.
Luke:
Speci​fically because of this fact actually. If only I can remember it.
SFX:
(others laughing)
Luke:
Yeah,​ what is— Is there something wrong with the right wing? Or is it in some way deficient or...
Hannah:
It'​s not that there's something wrong or deficient with the right wing. It's just that the left wing is specifically... The feathers of the left wing can be specifically used for something. Keep going down...
Luke:
Oh?
Hannah:
Yea​h, keep trying to guess what kind of bird it is.
Tom:
Fat is very specific. The only birds I know where you can buy their fat are ducks and geese. You can buy duck fat and goose fat for cooking.
Hannah:
Mhm​, mhm. Keep going.
Tom:
Okay.
Corry:
The feathers. Is it down feathers?
Luke:
(gasps)
Corry:
I'm thinking of down feathers for pillows or something. Luke, you've got an idea.
Luke:
I'm thinking—
Tom:
But—​ I love the idea that you— that the most expensive pillows are just left-handed feathers.
SFX:
(guests laughing)
Corry:
Woul​d you buy at a left-handed shop? Obviously.
Tom:
Yes.
Hannah:
Of course.
Luke:
Or if you sleep on your left side, maybe? You can only have left feathers?
Corry:
(wheezes)
Tom:
All the feathers have to go the same way to provide the correct comfort on your... on your expensive pillow, yeah.
Luke:
Yeah.​ I'm thinking maybe like the feathers are used for something like... Don't we use feathers for archery? Because that would mean that they would be pointing in one direction, and that might make the... make the thing fly correctly?
Corry:
Yeah​.
Hannah:
Oh,​ Luke, you're so nearly there.
Luke:
Aagh!
Hannah:
It'​s not archery. It's not archery.
Tom:
But it's for aerodynamics. Because they will grow in different directions on each wing, won't they?
Luke:
Mhm, mhm.
Hannah:
Mhm​.
Corry:
Yeah​.
Tom:
So what else needs to get rifled with feathers?
Luke:
Oh, shuttlecocks!
Hannah:
Yes​!
Corry:
Oh!
Luke:
Yes!
Hannah:
Yay​! Well done, well done.
Luke:
Ah, yes!
Hannah:
You​ were so close. You just got the sport wrong. You just needed the sport.
Luke:
Yeah.​ (growls)
Hannah:
Yes​. So goose feathers are used to produce professional-quality​ badminton shuttlecocks.
By standardising the feathers to the left wing only, the shuttlecock will always spin clockwise, which is more predictable for professional badminton players.
Using the right wing feathers makes the shuttlecock spin the wrong way. And then interestingly, using a mixture of left and right feathers will cause it to wobble.
Tom:
Thank you to Yakir Forman for this next question.
In the late 19th century, some carpets at a San Francisco facility got gradually more valuable over time. The managers of the facility ordered for the carpets to be burned every few years. Why?
And one more time.
In the late 19th century, some carpets at a San Francisco facility got gradually more valuable over time. The managers of the facility ordered for the carpets to be burned every few years. Why?
Luke:
This must be like that thing where fashion labels destroy excess stock in order to keep the price up, so they can't be sold at TK Maxx or something.
Hannah:
Yea​h, or maybe they're getting stolen? And you know, it is just too kind of dangerous to have these carpets continue to be stolen. So instead, they publicly burned them? Because of how valuable they are?
Corry:
A public burning. I love that
Hannah:
A public burning.
Corry:
we'v​e gone to public burning!
Luke:
This is the bonfire night.
Corry:
In front of the whole town!
Luke:
Equiv​alent.
Corry:
You going to the public burning today?
SFX:
(guests laughing)
Hannah:
Won​dering what this facility is. I feel like that might be the...
Luke:
The only other possibility I can think of is if it's a material that attracts some kind of bug or vermin, that you have to destroy. So you burn it in order to kill the bedbugs or something.
Corry:
But why would that make it more valuable?
Hannah:
Or maybe they're silkworms or something.
Corry:
My mind is going to... this facility produces something. And... excess bits of that something... somehow get trapped into a carpet. But I can't imagine a facility that produces anything having a carpet. Because that just seems unsanitary. And it's a pain to rip it up and burn it.
Luke:
Tom, can I ask: is the burning of the carpets an entirely separate thing from the fact that the carpets go up in price?
Tom:
No, very much connected.
Luke:
So it's a form of... Well, the most obvious thing would be like, it's a form of demand-supply control like you have in fancy labels.
Corry:
Yeah​. Is the burning of the carpets... for the purpose of destruction? Or... is there some other... Is there some other reason that they might burn the carpets, like...
Hannah:
Lik​e a festival or something?
Corry:
Yeah​.
Hannah:
Yea​h.
Luke:
Or like when you go to a restaurant, and they set your drink on fire on the top of it.
SFX:
(Tom and Corry crack up)
Luke:
But they do that with your carpet, like... put loads of ethanol on it...
Corry:
(wheezes)
Luke:
And then it's done? Or is it the production process? Is it, the production process has to be burned?
Hannah:
Are​ they maybe more valuable because they have been the carpets that a celebrity or someone has walked on, and then... But I mean maybe was celebrity like that enormous of thing?
Corry:
Red carpets.
Hannah:
Red​ carpets.
Luke:
(gasps loudly)
Corry:
Yeah​, red carpets.
Luke:
Yes, there is a thing about Cannes Film Festival. They have the red carpets, and they destroy them every year. And remake a new one from scratch. They never reuse them, and they do destroy them.
I dunno if they destroy them by burning them, but they do destroy them.
Corry:
But Luke, the film industry is not very wasteful at all. Why would they do that?
Hannah:
(chuckles snidely)
Luke:
(sputters)
Corry:
(laughs)
Luke:
They'​ll just AI the carpet in later.
SFX:
(group laughing)
Corry:
No, no, they'll film a carpet there, and then they'll CG it out, and then they'll AI it in again.
Tom:
Yeah.
Corry:
Just​ so you get that real carpet look, yeah.
Hannah:
It'​s all green spray—
Luke:
(sputters)
Hannah:
It'​s all green spray paint, yeah.
Corry:
(giggles)
Tom:
Of the theories being thrown out so far, Corry, yours was closest. You were talking about things being... trodden into the carpets isn't quite right, but certainly there was a production process, and there was some... waste is the wrong term, but some inefficiencies there.
Hannah:
Ine​fficiencies. What are these carpets made from?
Luke:
Is the fire burning something off, or is it getting something in? Is it sealing something in to the carpet, imbuing the carpet with something?
Tom:
Neithe​r of those things, Luke. There is a third possible option for why you might wanna burn those carpets.
Luke:
What?​ Why you wanna burn— might wanna burn those carpets?
Corry:
Are we thinking of the wrong kind of burning? Like something burning, going up in flames, or burning—
Tom:
No, literal burning. Literal burning.
Luke:
The only other option of burning something off or imbuing something in. To me, that's, the carpets are on fire. That's the thing.
SFX:
(Tom and Luke laugh)
Tom:
You're​ saying burning something off there.
Luke:
Yeah.
Tom:
That's​ not the right term. It's close. But that would entail something getting—
Luke:
Oh, transforming it in some way. So you put something on it, and then when you burn it, it becomes a different chemical material, that kind of thing.
Tom:
This is one of very few substances where that would not happen.
Luke:
Okay,​ okay, so what substances don't change when you burn it?
Corry:
Wher​e you burn it, and it doesn't change?
Luke:
Gold.
Tom:
Gold.
Luke:
Gold?
Hannah:
Gol​d?
Corry:
Oh, is it jewelry companies don't want their employees taking gold from the carpets, and so they burn them?
Hannah:
Ahh​h.
Luke:
Or they burn away the carpet to get the leftover gold.
Corry:
To get the gold, yeah!
Tom:
That's​ it! That's the mysterious third option there, Luke. Yes.
Luke:
Whoa!
Hannah:
Oh,​ well done.
Luke:
So the carpet is somewhere where people drop loads of gold.
Hannah:
Or is it just a filament from sanding and...
Luke:
Oh, they recycle gold.
Hannah:
pro​duction, right?
Corry:
Mhm.
Tom:
Yep. You're right. This is gold dust trapped in the carpets that is being recovered.
Luke:
Is this a silly, rich people thing where the gold doesn't actually do anything, but the fact that it is a gold carpet is just like, yay, exciting?
SFX:
(Tom and Corry laugh)
Hannah:
Is this some joke I'm too poor to understand?
SFX:
(Corry and Luke giggle)
Tom:
No, no. This was one of several facilities across America. You're right. Production process that includes gold in the late 19th century. If you happened to be in America in the late 19th century, you would almost certainly have dealt with this facility's... output in some way or another.
Corry:
So, Luke, you're old.
Tom:
(laughs uproariously)
Hannah:
(laughs)
Corry:
What​ was America like in the late— (giggles)
Tom:
One of several facilities operated by the US government.
Corry:
Oh, it was the US Mint then, wasn't it?
Tom:
There it is!
Hannah:
Ahh​!
Corry:
Yeah​.
Tom:
Yes.
Luke:
Ahh.
Corry:
Yeah​. So they burned— Oh.
Hannah:
Ver​y good, well done.
Corry:
Do you know when you— Do you know— I've heard that before.
SFX:
(Tom and Corry laugh)
Corry:
I did know this prior to this.
Luke:
So was this in a time when there was actual gold in coins?
Tom:
Yes.
Luke:
Right​.
Tom:
These are the carpets in the adjusting room at the US Mint in San Francisco.
They collected gold and silver dust from mint operations. And so burning the carpet meant that you could recover all those precious metals. They were much more valuable than the carpet.
And according to a newspaper article from 1893, one carpet burning session released $3,200 worth of metal, which in 1893 is a lot of money.
Hannah:
Tha​t's a fair whack. That's so funny. When you first asked the question, I was like, maybe the carpets are made of gold. I was like, no. Stupid, stupid.
Tom:
Well..​.
SFX:
(guests laughing)
Tom:
Yeah. There's a report from 1886 that says 171 ounces of gold and 44 ounces of silver were reclaimed from a batch of carpets that had been used for several years.
So that is a lot of metal.
Hannah:
It'​s like finding some loose change in the back of the sofa.
SFX:
(group laughing)
Tom:
Corry,​ it is over to you.
Corry:
So this question has been sent in by Steve Dee.
In the 1970s, third-party companion products for Dungeons & Dragons explained in detail how likely it was for a dragon to be untruthful. They swiftly stopped doing so, and have never done since. What happened?
In the 1970s, third-party companion products for Dungeons & Dragons explained in detail how likely it was for a dragon to be untruthful. They swiftly stopped doing so, and never have since. What happened?
And can I just say, this is a really, really apt question for me right now. Because I am so, so into Dungeons & Dragons as of the past few weeks.
Tom:
(laughs)
Hannah:
Oh,​ really?
Corry:
It's​ been my whole life.
Luke:
(wheezes)
Tom:
Is anyone else here... a D&D player? 'Cause I'm not.
Luke:
No, my wife is, but not me.
Hannah:
Cou​ple of times, ages and ages and ages ago.
Luke:
I can shout down to her if you want.
SFX:
(group laughing)
Tom:
I have a friend who goes to a place that has professional games masters. Somewhere in London, there's a little tavern where, you know, because it's a big operation to run a game of D&D, you have to do a load of storytelling, do a load of research...
That is now a service for hire at one place in London. You can just turn up with your adventurers and just have a professional deal with the paperwork for you.
Hannah:
Oh,​ brilliant.
Luke:
Wow.
Corry:
Does​ anyone understand sort of the basics? I guess you need to understand the basics of how D&D works as a game.
Tom:
It's communal storytelling, right? With rules?
Corry:
Yeah​, and specifically, you sort of roll dice to determine some things. There's numbers and whatnot in there as well.
Hannah:
Alr​ight. I'm thinking of these third... What was the phrase? Third-party...
Tom:
Yeah, right?
Hannah:
com​panion pieces. Is that like a rule book, or maybe it's an additional dice? But the dice had a stupid amount of sides, so it just only landed on one number ever?
Corry:
(laughs)
Luke:
That'​s really funny that you say this dice had a stupid amount of sides as opposed to a normal dice.
Hannah:
As opposed to all the others.
SFX:
(group laughing)
Luke:
Doesn​'t have the same amount of sides.
Corry:
I literally found a dice with 100 sides
Luke:
(laughs uproariously)
Corry:
the other day. So...
Luke:
What'​s that shape even called?
SFX:
(both laugh)
Corry:
That​ is not out of the realm of possibility. But no, yeah, you're so spot on. The fact that it's a third-party book is very important.
Tom:
So that means it's published by someone who is not the official manufacturer. It is a tie in, it's an ex— It's an extra thing that someone else has made, going, we're gonna play in your world for a bit. Which means that—
Hannah:
And​ it's about dragons. Was it written by a dragon, and dragons are like, "Oh my god, we tell the truth all the time."
SFX:
(guys laugh profusely)
Hannah:
"Wh​at's the big deal?"
Tom:
There was a slander and libel lawsuit from dragons. From the actual concept of dragons.
Corry:
And you're lucky that it was a lawsuit as well. 'Cause usually they would just eat you.
Tom:
Yes, yes.
Corry:
So the fact they've gone down the legal route is fantastic.
Luke:
It's really very civil of the dragons, isn't it?
Hannah:
Mhm​.
Luke:
I'm wondering, so you said that it had— they had a score for how trustworthy they were. And I'm wondering like, is there a mechanism for— to determine trustworthiness in non-third-party D&D? Is it like, is that actually a thing that you normally would roll the dice for, to determine trustworthiness? And having it sort of set, especially by a third-party, interrupted the game? Or did— Or upset some people?
Corry:
So it's third-party books. So it is to do with a statistic that is measured in-game. You're right on that, Luke.
And there is sort of a mismatch between what's in these third-party books and what is actually supposed to happen in the game.
Tom:
That's​ often a thing when you have kind of that external content, even if it's officially licensed.
Like, Star Wars basically wrote off decades of novels and extra stuff because Disney bought them and wanted to put new movies out. So presumably whatever was in the third-party book kind of got overruled later, either accidentally or deliberately by the officials.
Corry:
So it wasn't so much that it was overruled later... in—
Luke:
It was wrong to begin with.
Corry:
It was wrong to begin with. Yeah, exactly.
Tom:
Huh. 'Cause dragons can't talk.
Luke:
Of course! But they can still be dishonest, even if they don't talk.
Corry:
Drag​ons can talk Common and Draconic actually, yeah.
Tom:
Yeah, yeah.
Luke:
So I'm guessing that maybe you— while you don't directly roll for something like trustworthiness, you do roll for something like truth or something that would have an effect on trustworthiness, even if it's not directly trustworthiness.
Corry:
No, so it's actually a statistic for whether or not the dragon would be at home. So you roll to determine whether the dragon would be at home.
Luke:
And if he's told you he's not, he's untrustworthy.
Corry:
(laughs)
Luke:
If he says that he is, but he says he's not. Don't trust—
Tom:
It was whether the dragon is untruthful, right?
Corry:
Yes,​ so that was— So these books explained in detail how likely a dragon it was for a dragon to be truthful. And this statistic is about whether or not the dragon is going to be at home when you arrive there.
Luke:
Drago​ns don't have homes.
Corry:
They​ do have homes, but where would you often— Where would you often find a dragon?
Tom:
They have lairs!
Corry:
Yeah​, they do.
Luke:
In a lair, okay.
Hannah:
A lair, okay.
Luke:
With a bunch of gold coins that he got from melting loads of carpets.
Tom:
Meltin​g carpets, yes. With the fire breath. That's actually, yeah.
Luke:
Oh, perfect!
Corry:
Yeah​.
Hannah:
Is the book just an enormous list of individual dragons, and they're... Instead of kind of choosing it in the game, it's actually just lots of dragons to pick from, but they're also unlicensed dragons for the game.
Corry:
No, so the— It's not so much to do with the dragons as it is to do just with a statistic and this sort of mix-up between the statistic of whether it's gonna be at home and how trustworthy it is, is... all to do with a production error.
Tom:
It's really going to affect your storytelling if you're building up a big fight with a dragon... and then you get to the cave, having— This is gonna be the big, evil boss at the end. And you roll the dice, saying, ah, he's not home. Sorry.
SFX:
(Corry and Hannah giggle)
Tom:
Soz, he's just popped out for some milk and some... some burnination of peasants.
Luke:
Okay,​ so imagine you're playing D&D, right?
Corry:
Mhm.
Luke:
You'r​e doing your quest. You get to a cave. You ask the DM, "Is the dragon home?" And the DM's like, "Well, you better roll for it." So you roll for it.
Corry:
Mhm.
Luke:
Drago​n is home. But then you check your book, and it says, "Dragon's trustworthy." So you're still gonna go into the cave?
Corry:
Not exactly, no. So there's... It's to do with the production error. And remember... What would a dragon's home be called?
Tom:
A lai— Oh, for god's sake!
Luke:
(groans)
Corry:
(laughs heartily)
Luke:
(groans off-mic)
Corry:
Go ahead, Tom. (giggles)
Tom:
(sighs) It was talking about "the dragon's liar".
Corry:
Yep,​ yep.
Hannah:
Oh!
Corry:
So..​. *\(laughs)
Hannah:
(wheezes)
Luke:
(sighs)
Tom:
Aarrgh​! You kept picking up on it being 'lair', not 'cave'. Damn it!
Corry:
Mhm.​ So in early versions, 'lair' was printed as 'liar'.
And then obviously, sort of third-party books would've taken that, run with it, not really understood the rules, and so invented all of this extra information for dragons being truthful or untruthful, when actually it was just to do with whether you're walking through a lair.
Is there gonna be a dragon there or not? Roll and find out.
Luke:
This is basically the Dungeons & Dragons equivalent of cartographers copying each other's maps.
Tom:
Yep.
Luke:
And exposing themselves as liars. Sorry, lairs.
Corry:
As lairs. Yeah, absolutely.
Tom:
Which means there is one thing left to do. At the top of the show, I asked:
In Kentucky, what is a moist county?
Does anyone want to take a shot at that before I give the answer for the audience?
Hannah:
I'm​ immediately thinking of dry and wet states as put for— about alcohol consumption. 'Cause it's what I do.
Tom:
Yes.
Hannah:
Is a moist state people that, you know, only drink on weekends?
Tom:
Moist county.
Hannah:
Moi​st county. Sorry. A moist county somewhere that only drinks on the weekends?
Tom:
Very close. You've basically got it. It's not about time.
Corry:
Oh, does it have a lot of speakeasies? Is that it? They're dry, but... you can get some if you want.
Hannah:
You​ can get a little moist.
Luke:
Is it to do with licensing laws about where can and can't sell alcohol in different counties?
Tom:
Yes, that's right.
Hannah, you're right that a dry county or a dry parish or a dry borough is one where alcohol sales are banned. A wet county is somewhere where it is.
And a moist county has a few areas – a little few cities or precincts – where you can buy alcohol. Absolutely right.
Thank you very much to all of our players.
What's going in your lives? Where can people find you?
We will start with Corry.
Corry:
What​'s going on in my life? I'm still doing Sci Guys. Still truckin' away.
You can find me at any of the Sci Guys places, at @SciGuysPod, or on my personals at @NotCorry everywhere.
Tom:
Luke.
Luke:
I also continue to be trapped in the Sci Guys universe. So you can find me at @SciGuysPod and various places.
And you can also find me on my personal socials at @LukeCutforth.
Tom:
And Hannah.
Hannah:
And​ I am still doing my column at The Guardian. So if you could read that every week, I would be incredibly grateful.
And you can find me on social media at @HannahCrosB. That's C-R-O-S-B.
Tom:
And if you wanna know more about this show, you can do that at lateralcast.com, where you can also send in your own ideas for questions. We are at @lateralcast basically everywhere, there are regular video highlights at youtube.com/lateralc​ast, and the full show is available in video on Spotify.
Thank you very much to Hannah Crosbie.
Hannah:
Tha​nk you very much.
Tom:
Luke Cutforth.
Luke:
Merci​ beaucoup.
Tom:
Corry Will.
Corry:
Than​king you.
Tom:
I've been Tom Scott, and that's been Lateral.
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