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Episode 163: Lightning in a bottle
21st November, 2025 • Evan & Katelyn Heling and Hannah Crosbie face questions about ceramic coins, cartoon cravats and commercial careers.
Transcription by Caption+
Tom:
In 2020, why was there a sudden surge in adverts for jobs based in a small town in Coos County, Oregon?
The answer to that at the end of the show. My name's Tom Scott, and this is Lateral.
Thank you for calling Lateral. We are currently experiencing high levels of confusion. All our staff are busy pretending that things are going smoothly.
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Tom:
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Tom:
You are in queue position one. Which sounds impressive, but you are the only one who somehow found our phone number.
Our guests today are jamming at their number keypad in frustration, but it is no use because you are still here, and you will still unfortunately only get me.
First of all, welcome back to the show, wine critic for The Guardian, among many other wine-related things, Hannah Crosbie.
Hannah:
Hello, hello. Thank you so much. I think this is my.... 1-2-3-4, fifth time?
Tom:
Fifth show, yes.
Hannah:
Whoa! That has flown fast. Oh my gosh.
Tom:
We have regular guests here. It's a lovely little community we're sort of steadily building. Welcome back. I am always slightly wary of asking what are you working on. Because the answer may well be wine, but what are you working on?
Hannah:
Yeah, wine. I think that's totally fair. Wine, wine-related things. Funnily enough, today I just got a haircut. So I'm gonna pretend it's for the purposes of Lateral.
SFX:
(others laughing)
Hannah:
So yeah, for those listening along at home, you might not be able to see. And if ever there was a reason to switch to YouTube, that would be it.
Tom:
(whispering) Spotify. It's Spotify.
Hannah:
Sorry! Sorry. Shall I— Shall I—
Katelyn:
Bleep it!
SFX:
(group laughing)
Tom:
How are you finding it being back here after a little while away? 'Cause the questions seem to steadily be getting harder.
Hannah:
They do, don't they? I feel like you were kind of easing me in, 'cause I remember the first episode that I was on, I did really well.
Tom:
You did.
Hannah:
I was like, "Wow, I'm really good at this." And then the last time I was on, I didn't get anything. So I think that it's a real ego shave, this thing.
Tom:
Let's try and thread the needle on this one. Let's do about as well as our other two players today.
Joining us again: Evan and Katelyn, welcome back to the show.
Katelyn:
Hello.
Evan:
Yay. Thanks for having us.
Tom:
We met at Open Sauce in California just a few weeks ago as we record this. What was the coolest thing you saw there? This was a maker convention and like a big old adult science fair. What did you see there that you really liked?
Evan:
The coolest thing we saw was our friends.
Tom:
Eyyy!
Hannah:
Awwh.
Evan:
(laughs)
Katelyn:
Very wholesome. Actually we had a hard time getting out onto the floor very far. So most of the cool stuff we saw was videos that our friends took.
Evan:
(chuckles)
Katelyn:
There was a really neat Titanic door simulator.
Tom:
Yes!
Katelyn:
Where people could get on the door, and try to balance and see like, would you survive, or would you succumb to hypothermia because you can't stay up on the door?
Evan:
Was there really room for two on that door?
Tom:
It had a banner on it that said, "Would you survive the Titanic?" And I feel like, no, would you survive the movie Titanic? But it was a really good gag.
Evan:
(chuckles)
Katelyn:
Yeah.
Tom:
What are you working on at the minute?
Evan:
We are working on an ambitious project. A dress made out of resin.
Katelyn:
Yeah.
Tom:
Oh my god. How?
Katelyn:
Yeah. Well, we're still figuring that out.
Evan:
(cackles)
Tom:
Stupid question. You're still figuring that out. Well—
Katelyn:
(laughs)
Evan:
But we are gonna be walking it in a fashion show. Katelyn's gonna be on the raised walk.
Katelyn:
The runway, yes.
Evan:
The runway.
Tom:
Wow.
Katelyn:
You can see how experienced we are with things like fashion.
SFX:
(Tom and Evan laugh)
Katelyn:
Yeah, so wish us luck.
Tom:
Well, good luck to all of you today.
It is time to put your number keypads down. Who will be the star, and who will make a hash of it? Let's patch you through to question one.
Thank you to Neville Fogarty for this question.
Why does Huckleberry Hound wear a bow tie? I'll give you that again. Why does Huckleberry Hound wear a bow tie?
Hannah:
Great start. I've got no idea who that man is. Or dog.
SFX:
(Tom and Hannah laugh)
Evan:
Same here.
Katelyn:
No, I know. He's a cartoon dog.
Tom:
Yes.
Evan:
Yeah.
Katelyn:
He's a cartoon character.
Evan:
I was guessing that from context.
Katelyn:
And he talks. Like he is... He's not just like a dog, dog. He's like a anthropomorphic... Well, not really anthropomorphic. He looks like a dog, but he talks.
Evan:
But like not Tom and Jerry who just communicate through bonking and stuff, right?
Hannah:
(chuckles)
Katelyn:
Correct. I'm pretty sure he talks.
SFX:
(group laughing)
Katelyn:
That's all I got.
Hannah:
Is he on a particular TV show, comic strip?
Katelyn:
I think it's a TV show, but that's not—
Evan:
And I'm guessing its older, right?
Katelyn:
It's old. That's not to say that it didn't originate as a comic strip or something, but he's a TV cartoon character.
Evan:
I wonder if it's due to some animation trick. Like, the bow tie separates the body from the head, and it lets them animate it in a more... streamlined way or something?
Katelyn:
Mm.
Hannah:
Oh, is it because bow ties are really cool?
SFX:
(Tom and Evan laugh)
Katelyn:
It could also be that.
Hannah:
Is that it?
Tom:
Of those two suggestions, yes, Evan... you have pretty much nailed it there. In fact, I'm gonna ask you to drill down a little bit more here.
Huckleberry Hound, for younger listeners, is currently on Jellystone, which is a modern animation series, but he is much, much older than that. Can anyone kinda guess what era we're talking about here?
Katelyn:
I feel like he was— he came aro— about in... the '50s or something. It's an old cartoon.
Tom:
Yes. Yep.
Hannah:
Yeah, what's the name of... Mickey when he's on the steamboat? And he's kind of got like that, that's sort of like the era that I'm thinking, or is it not as old as that?
Tom:
A little later than that.
Hannah:
A little bit later.
Tom:
He was Hanna-Barbera in the '50s and '60s.
Evan:
Oh, I love Hanna-Barbera. So I wonder...
SFX:
(Katelyn and Evan crack up)
Evan:
Were they hand-drawn back then?
Tom:
Yes.
Evan:
So I wonder if they had a common set of bodies, and they match the bodies to the head in two different sheets so that you can mix bodies and heads differently.
Tom:
Absolutely right. You've nailed it.
The technical term is cels, animation cels. 'Cause they were on cellulose transparencies. And this meant that they only had to draw a new head for each position and talking, and the body could just stay the same from shot to shot or even get reused. They did not have to draw the entire character every single time the mouth moved.
Hannah:
Oh, well done Evan.
Evan:
Oh, thank you.
Katelyn:
Yeah, you did really good. Now I'm picturing so many cartoon characters, and I'm like, "Do they have a collar or something right there?"
Tom:
Well, have a think about other characters from that era and from that studio. We are talking Hanna-Barbera in the '50s and '60s.
Katelyn:
Flintstones.
Hannah:
Scooby-Doo.
Tom:
Flintstones.
Katelyn:
Jetsons.
Tom:
Scooby-Doo. Yeah. Have a think about all those characters. What do they have in common?
Hannah:
Fred's got his neck tie.
Tom:
Fred's got a neck—
Hannah:
Velma's got a jumper.
Tom:
Yep.
Hannah:
Scooby's got his collar.
Tom:
Yes.
Hannah:
Oh my gosh. (imitates mind blow)
Katelyn:
(gasps)
Evan:
They all have separate heads. It's all a lie.
Tom:
Loads and loads of the Hanna-Barbera characters all have some form of neck wear or some kind of disconnect. Fred from Scooby-Doo has a little thing tied around his neck.
Hannah:
The ascot, yes.
Tom:
It is all there so they could separate the head from the body on the animation cels.
Evan:
Wow.
Katelyn:
Smart.
Tom:
Evan, after that spectacular solve, it's your question.
Evan:
This one's wild.
In 1921, a 14-year-old boy was plowing a potato field in Utah. He suddenly had an idea he later called "capturing lightning in a bottle". What was his bright idea?
In 1921, a 14-year-old boy was plowing a potato field in Utah. He suddenly had an idea he later called "capturing lightning in a bottle". What was his bright idea?
Hannah:
Wow, that is wild.
Tom:
"Bright idea" is doing some work in there, isn't it?
Katelyn:
Yeah.
Tom:
Yeah.
Hannah:
It's like... I guess inventions that are helping, maybe he's doing his potato farming at night. Best time to do potato farming. And he is frustrated about the fact that you can't see anything.
So maybe he decided to invent something that would make his life a bit easier using potatoes.
Tom:
Fireflies!
Hannah:
Fireflies, yes!
Tom:
Fireflies. Which I— Which are not a thing in Britain. I'm sure they exist in some rural bit. I was... I say, on the trip to Open Sauce, I've headed to a few other places. I'm just walking through and seeing little flashes of light, and I thought there was something wrong with my eyes.
SFX:
(guests laughing)
Tom:
It's not, there's just fireflies flashing in sync. I've not seen that in years and years.
Katelyn:
(chuckles)
Tom:
Anyway, my though is, has he somehow lured fireflies into a bottle? Like lightning bugs or something like that? Which is lit— I mean, it's very literal for a show called Lateral, but like it's lightning bugs in a bottle, and that's how he's illuminating the work at night.
Katelyn:
I'm also wondering, because when I hear potatoes and light, I think of like, potatoes can be used as a battery, right? Can't you turn a potato into a battery?
Tom:
Oh?
Hannah:
Yeah. Yeah. 'Cause of the... I mean, you can— yeah, I've seen those videos. You can plug things in and make an alarm clock out of them.
Tom:
I mean, that, you can make one LED light maybe if you're lucky. And that was not a thing in 1921.
Evan:
(laughs)
Katelyn:
Oh, 1921.
Tom:
1921, you use a candle!
Katelyn:
Yeah.
Hannah:
I'm kind of thinking whether to work backwards, like what the invention is. So whether it's like a glow stick or a lantern, and like how that could have been inspired or... Like, 1921?
Tom:
Mhm.
Katelyn:
Yeah.
Evan:
I'm gonna step in with a few little clues to help guide in a certain direction. Perhaps. This is gonna be a tough one, I think. He used horses to plow the field. The horses would pull a mechanical plow, and they went back and forth across the field.
Tom:
Huh.
Evan:
And that's what he was doing when he kind of had this idea. They were plowing straight lines in the field.
Tom:
Okay.
Evan:
Back and forth.
Hannah:
So it's not necessarily to do with light?
Evan:
It does have something to do with light.
Hannah:
Okay.
Tom:
I mean, that certainly helps the mental picture.
Katelyn:
This is really tricky.
Tom:
(chuckles)
Hannah:
Yeah.
Katelyn:
I'm like, what does the... the horses plowing the field and the fact that they're going back and forth in straight lines have to do with light?
Hannah:
Is it something for the horses to aim for so that they can go in a straight line at night?
Katelyn:
Mm.
Tom:
Oh, that's true. You're not gonna be able to see where you're going, but I dunno, the horses... Horses generally know where they're going, right?
Hannah:
Yeah.
Tom:
The old joke about putting the cowboy back on his horse when he's drunk, and just giving the horse a push. And it'll find its way home. It's fine.
SFX:
(Hannah and Katelyn chuckle sardonically)
Hannah:
Horses know what's up.
Tom:
Also, 14-year-old! I recognise this is the 1920s, but 14-year-old!
Evan:
This is an incredibly smart 14-year-old.
Tom:
Okay.
Hannah:
Okay.
Evan:
And Katelyn, he had like a... Evan-level jump from one thing to another thing. Much, much bigger than you might think.
Katelyn:
So it's a 14-year-old with ADHD.
Evan:
(laughs) Perhaps, yeah. Very, very smart 14-year-old.
Hannah:
It's automatic in terms of... 'Cause what is he using? He's using an automatic plow. What does that look like? 'Cause if, even if it's being drawn by a horse, surely that's manual.
Tom:
it's gonna be blades digging into the ground. Like maybe there's some rotating system there to churn the earth.
Katelyn:
I'm wondering if he was looking at like the process of the plow. And he was like, mechanically this could do something that would... power light.
Tom:
Well, I mean, it could. It's, you could... Well, no. You could put a dynamo on it. But again, 1921, that is well past that being invented. The hydroelectric plant was well before then. The principle was known.
But how are you gonna put an electric light on there, when again, you could just have a candle?
Hannah:
Oh, could it be one of those wind-up lights? I dunno.
Katelyn:
It's hard 'cause I'm trying to figure out what technology existed.
Tom:
Right, yeah.
Katelyn:
In 1920, and what did not.
Evan:
That's a good path to go on. Keep on going down that path. What didn't exist in 1921 that someone might invent, that is revolutionary, will change the world? Not just farming. It's bigger than farming.
Hannah:
It's bigger than farming. And it's to do with light. Is it a different kind of source of light? So maybe like a chemical source of light, or...
Katelyn:
Or like, I mean, there's different types of... Like...
Tom:
(giggles)
Katelyn:
Bulbs.
Tom:
He invented the word 'horsepower'.
Hannah:
That was what I was thinking.
SFX:
(guests laughing)
Hannah:
I was like, come on now.
Evan:
So remember, he is drawing straight lines in the ground.
Katelyn:
So is it something about the pattern of the... lines going back and forth? Does that have anything to do with light in any way? That I'm just not understanding 'cause I'm not smart enough? (chuckles)
Tom:
Hold on. That is sometimes what a light bulb looks like on the inside. Like you have a resistive wire that gets coiled back and forth.
Hannah:
What, like crop circles but for a light bulb filament?
Tom:
Yeah.
Hannah:
(chuckles)
Tom:
Oh, we're going back and forth, but... Does he take that design and apply it to something else? Like he realised, oh, this... this back and forth, back and forth... can also be used for... physics, for heating, for lighting, for something.
Evan:
So this 14-year-old boy was an electronics prodigy.
Hannah:
Oh, well, there we go.
Tom:
Okay. Right, yep. Alright, good.
Hannah:
It's not just some 14-year-old. (laughs) Electronics. Because, yeah. 'Cause it's not— When you're plowing, it's not just a straight line. It's, you're looping 'round.
Tom:
Oh, is this late enough for television?
Television didn't become mainstream until much later. But is this like Logie Baird or someone like that?
'Cause I'm thinking you're drawing a line. And that's what old CRT televisions do. They draw a line across the screen, and then they go back, and they draw a line, and they go back, and they draw a line. That's how they do the picture.
So was this the guy who went on to invent television?
Evan:
Ding, ding, ding! Tom got it!
Tom:
Eyyy!
Hannah:
Well done, Tom.
SFX:
(Tom and Evan laugh)
Tom:
I mean, I needed drawing lines back and forth and electronics prodigy. I'll take some of the credit there, but really not much.
SFX:
(guests laughing)
Evan:
I was really wondering how I was gonna get you guys to guess this with minimal clues as much as possible. I was like, how much do I let them wander?
Tom:
You really put the emphasis on back and forth there. That helped.
Evan:
Back and forth, straight lines. Okay, okay. I'm glad you got it.
Tom:
Who was this?
Evan:
Philo Farnsworth took inspiration from straight rows in the fields he was plowing. As a self-taught electronics prodigy, he realized it might be possible to transmit a television signal by line and reconstruct it somewhere else in the world.
That's a huge jump for a 14-year-old plowing a farm, which is crazy!
So... Farnsworth patented his idea in 1927. One year after, John Logie Baird demonstrated his more mechanical system in the UK. Farnsworth used the cathode ray tube to display images. Was a major step towards modern television.
After a series of legal [battles] with RCA, Radio Corporation of America, Farnsworth successfully defended his patent rights. He gave the first public demonstration of his electronic system in 1934.
Tom:
Thank you to an anonymous listener for this next question.
Research from 2024 reported that 12% of US adults under 30 were licensed to operate a class SSGN submarine. Who would find this useful to know, and why?
And one more time.
Research from 2024 reported that 12% of US adults under 30 were licensed to operate a class SSGN submarine. Who would find this useful to know, and why?
Evan:
I'm gonna refrain.
Tom:
Ohhh?
Katelyn:
Do you know?
Tom:
Okay. It's on Katelyn and Hannah.
Katelyn:
Oh boy.
Hannah:
Okay, alright. Let's do this, Katelyn. Let's do this.
Katelyn:
Okay. So 2024. This is recent.
Hannah:
Mhm.
Katelyn:
12% of US adults are licensed to... use a... some class of submarine.
Tom:
Yes.
Katelyn:
Why is this useful?
Tom:
Yeah. An SSGN submarine is a guided missile type submarine. It's the big US Navy ones.
Katelyn:
Oh.
Hannah:
Of course.
Tom:
Yeah.
Hannah:
Of course. My bad.
Katelyn:
Yes, yes.
SFX:
(both chuckle)
Katelyn:
Of course. I knew that.
Hannah:
I'm wondering whether it's through some kind of freak technicality, as these things sometimes are. 'Cause I can't imagine that 12% of Americans have accidentally taken a submarine test.
Katelyn:
Yeah. And the question, just to clarify, is like, who would be interested in this, and why?
Tom:
Yeah, yeah.
Katelyn:
Okay.
Hannah:
I'm wondering whether there is a... other form of transport that 12% of Americans are licensed to drive that have very similar controls to a submarine. I've never been inside a submarine. I dunno what they're like. But maybe it's slightly similar to... a certain kind of truck or something else. But I don't know who would be interested in that kind of information apart from all of us, obviously.
Evan:
(snickers)
Katelyn:
Yeah. 'Cause it definitely, it sounds like it is bundled with something else. So like you take some sort of... you know, a course to get licensed to operate some other type of vehicle, and there's just some sort of technical bundle.
Hannah:
Mm.
Tom:
I'm going to steer you to the path you said right at the start, Katelyn. That 12% figure doesn't make any sense.
Katelyn:
Yeeaaah.
Tom:
And you're right. It doesn't make any sense.
Katelyn:
Huh.
Evan:
Now I'm questioning if I am on the wrong path.
Tom:
Ohhh.
Hannah:
(laughs)
Katelyn:
(cackles)
Hannah:
Oh, come on, Evan.
Tom:
Okay.
Hannah:
Come play. Come play, Evan.
Evan:
Okay, okay.
Hannah:
(chuckles)
Evan:
I'm just gonna throw this out there. Does it have anything to do with video games?
Tom:
No, it doesn't.
Evan:
Oh, okay, okay.
Katelyn:
Oh, okay.
Evan:
Because—
Katelyn:
You can play.
Tom:
What were you thinking?
Evan:
Well, 'cause I know that... This is a little random fact I have in my head.
The US Navy used to design and manufacture their own custom controllers to operate submarine parts. And it cost thousands, like hundreds of thousands of dollars. It was a wild expense, and then they just switched to Xbox controllers made by Microsoft to save a ton of money, and then they have spares, and it works really well. I figured—
Tom:
And it also turns out that most of their recruits already know how to use them.
Evan:
Yes! So I was thinking, like in my head, okay, there's a portion of people that are already familiar with it. I'm thinking video game players might have the skills, but I think when it comes to—
Tom:
That's about the right number. But yeah, no, in this case, the figure is nonsense.
Hannah:
Nonsense?
Evan:
The figure is nonsense.
Hannah:
You keep on putting emphasis on the fact that it doesn't make sense and it's nonsense.
Tom:
Yeah.
Hannah:
Was this a typo?
Tom:
(inhales softly)
Hannah:
Was this not— Was this inaccurate data that was put out?
Tom:
Inaccurate data, definitely.
Evan:
Ooh.
Hannah:
Okay.
Katelyn:
Okay. Maybe a decimal point was in the wrong spot. Maybe it's supposed to be 1.2% instead of 12.
Tom:
Yeah, this was very carefully phrased. Research from 2024 reported that.
Katelyn:
Reported. Okay.
Hannah:
Okay.
Evan:
Reported, oh. Reporting doesn't mean truth.
Katelyn:
Yeah.
SFX:
(group snickering)
Katelyn:
Eheh.
Evan:
Hu-huh.
Katelyn:
Okay.
Hannah:
So yeah. So maybe, yeah, maybe you're right, Katelyn. It's a shift of a decimal point, or it was just completely omitted entirely. But then who would be interested? The editor of the submarine magazine
SFX:
(Evan and Katelyn laugh)
Hannah:
...that reported it?
Evan:
The Navy? Was the Navy like, "Wait, what?"
Tom:
Hannah, you are closer than you might think there. But they weren't studying anything to do with submarines.
Hannah:
Oh?
Evan:
I'm guessing it might have to do with, you said the editor of a magazine. Are they worried about getting sued? Are they worried about legal issues?
Katelyn:
Maybe it's the lawyer for whoever published it.
Tom:
Now, not the editor or lawyer, but again, getting closer there.
Hannah:
The journalist that wrote it?
Tom:
The way they phrased it, they wouldn't be worried about this. But they'd want to know. It would definitely be useful.
Hannah:
It would be useful to know about an incorrect statistic.
Tom:
Oh yeah. Really useful.
Katelyn:
The submarine manufacturing company.
Tom:
No, nothing to do with submarines, remember.
Katelyn:
(sighs)
Evan:
Okay, okay.
Hannah:
Is it the... Did they not put the decimal place in, because their— the full stop was not working on their keyboard? So the keyboard manufacturer, it was of interest to know?
SFX:
(group laughing)
Tom:
Well, even that – 12%? 0.12%? No, that's nowhere near the number. There's a few thousand of people in America.
Hannah:
Oh. So...
Katelyn:
Oh.
Evan:
So, does it have to do with the database they were using or something that might cause other errors besides just this one report?
Tom:
Yes. Yes. And I think I'll give you that for like halfway towards the question there.
Evan:
Okay, half a point.
Tom:
You're trying to find other errors with this.
Evan:
Okay, so since this was a very obvious error, they're like, "Wait, 12%? This can't be right." That means that they need to look back at their system and find, were there other reports and research that they put out that might also have erroneous data?
Tom:
Yes.
Evan:
This is like the herring in the coal mine, right?
Katelyn:
Well, I wonder if the whole... total population was... There was a typo or something on that, and that caused all the percentages to be off.
Tom:
So... Evan, when you say canary in the coal mine?
Evan:
Yes.
Tom:
That. Absolutely right. That's the first half of the question sorted.
Evan:
Okay.
Katelyn:
Okay.
Tom:
But there's something more specific they're trying to find with this. You're right, it's all sorts of data that's wrong. But the category isn't just this whole report or that it's— There's a certain category here.
Katelyn:
Okay.
Tom:
Why might you get that answer? Why might 12% of US adults under 30 licensed to operate a submarine come outta your data?
Katelyn:
I mean... poor questioning, poor survey. Something wrong with the survey.
Tom:
Keep thinking, Katelyn. That's it.
Katelyn:
Where people answered "Yes", so... The question was misleading in some way.
Tom:
Oh no, the question wasn't misleading.
Katelyn:
Oh? People are dumb.
Tom:
Yes...?
SFX:
(Evan and Hannah laugh)
Tom:
Not— I mean, that's not necessarily... the, I mean... That might not be quite the right word, but you're really close.
Evan:
(guffaws)
Katelyn:
Okay. Okay.
Evan:
Okay, so, there was a survey.
Tom:
Yes.
Evan:
And people filled it out incorrectly?
Tom:
Yes.
Katelyn:
More on the fault of the people than... whoever produced the survey, it seems.
Tom:
Yes.
Hannah:
Is it like people thinking that they could ride a submarine? Like how people think that they could take on Serena Williams at a game of tennis?
Tom:
(laughs heartily)
Katelyn:
(laughs)
Tom:
It could partly be that. There are other reasons that someone's gonna tick a box to say they're licensed to operate a submarine.
Evan:
Are you licensed to operate a submarine?
Tom:
You are overthinking this, I promise you.
Katelyn:
Is it that the question was like... split between two pages? Like the first half was on the first—
Tom:
No, no. It really— Literally just imagine a big screen that says, "Are you licensed to operate a submarine? Yes/No." Why are 12% of people clicking yes?
Evan:
Are you licensed to operate a submarine?
Tom:
The question could have been any number of other things.
Katelyn:
Just people like clicking "Yes".
Tom:
People like clicking "Yes".
Hannah:
(laughs)
Evan:
What?! What?! What?
Katelyn:
What?
Hannah:
That's so funny.
Tom:
There are a few other reasons. You're right. It might just be incompetence. it might be positivity bias. People like clicking "Yes". That's one of the reasons. And also lying to qualify for more surveys. And also... not caring! If you are being paid to take this survey...
Evan:
Wow! Yeah.
Tom:
You may just go through going click, click, click, click, click. Or you may just not really speak English well, and, "Oh yeah, I'll get $2 if I fill this online survey. I'll just click some buttons at random."
Evan:
So that's such a canary in a coal mine. 'Cause like—
Tom:
Yeah!
Evan:
They should include a question like that in every survey
Tom:
They do!
Evan:
as the canary in the— Ohhh!
Katelyn:
Ohhh!
Hannah:
Ohhh.
Tom:
That's the key! Yes.
Evan:
Wow.
Tom:
12% of people in the 18–29 age bracket said yes. 5% for those age 30–60. 1% for 61+.
Evan:
Wow.
Tom:
17% of adults under 30 also said that they had recently purchased a private jet, climbed the Karakoram Mountains, learned to cook halusky – which is an East European noodle dish – or played jai alai.
Hannah:
Wow.
Evan:
I don't even know what that is.
Tom:
No!
SFX:
(group giggling)
Tom:
Neither do they.
SFX:
(Evan and Katelyn laugh)
Evan:
Wow. So surveys are... of... You always gotta question them.
Tom:
You've always gotta have the canary in the coal mine.
Hannah, whenever you're ready, you've got the question.
Hannah:
Let's go.
Pamela owns a large ceramic coin – about 2 inches in diameter – with a pronounced edge. Why does she sometimes put it in water?
I'll say it again.
Pamela owns a large ceramic coin – about 2 inches in diameter – with a pronounced edge. Why does she sometimes put it in water?
Katelyn:
Hmm, I'm trying to picture what it means to have a coin with a pronounced edge.
Evan:
So just like a raised lip?
Tom:
Yeah.
Katelyn:
A raised lip?
Tom:
So, in front of me, I have one of the little silicone coasters that I put my mug on.
Evan:
Yeah.
Tom:
Which is, yeah, it is a little bit larger than that, but it's circular with just a rim to stop the mug falling off if you knocked it or something like that. I'm guessing that's what it looks like.
Katelyn:
Okay.
Evan:
So I'm guessing this ceramic coin has some function to it.
Tom:
About 5 cm across... and ceramic. You two are the makers, Evan and Katelyn. What's special about ceramic?
Evan:
Ceramic absorbs water.
Tom:
Oh?
Evan:
Well, it depends on how it's finished.
Katelyn:
Yeah. If it has a glaze on it.
Evan:
'Cause ceramic is just the base material, it can be finished in all sorts of ways. But I'm guessing if she... Does she get the whole thing wet?
Hannah:
The whole thing does get wet. I'll say that much of this early on. The whole thing does get wet. It's in the water.
Evan:
Ceramic would slowly evaporate that, and it would get cool.
Katelyn:
Like once you take it out of the water?
Evan:
Yeah, once you take it outta the water. Ceramic... is... pretty fragile to impacts, but water wouldn't really change that.
Katelyn:
I wonder if it's like... You know how there's self-watering planter things?
Evan:
Yeah, yeah.
Tom:
There's what?
Katelyn:
Self-watering planters.
Evan:
So it's like planters that absorb or slowly give water to the plant via some method.
Tom:
Huh.
Katelyn:
And so I wonder if it's like, you take this little coin, disc, and you put it in water, and then you put it on top of your planter, and it releases the water at a more slow and controlled rate, so you don't overwater your plant.
Hannah:
I will say that you're in the— Well, I dunno where— what room of the house that you keep plants in, but I will say that the room that she uses this little ceramic coin in is the kitchen.
Katelyn:
The kitchen.
Evan:
The kitchen.
Tom:
Okay.
Katelyn:
Okay.
Tom:
There is... No, that's completely different. I was thinking of the lucky fish. There is a fish made of iron. And in areas with iron deficiencies, you put it in the cooking water, and that gives people enough iron. But... it doesn't work with ceramic, that. You don't have ceramic levels.
SFX:
(guests snickering)
Evan:
You get the ceramic coin wet on purpose. Or is it just an incidental thing that it gets wet? As a result of something else?
Hannah:
It's on purpose. This coin serves a function.
Evan:
On purpose.
Tom:
Has to be immersed. Okay. I'm still stuck on, like, it goes in boiling water for some reason, like for a cooking thing.
Hannah:
Mm?
Katelyn:
Hm. Yeah, would... Would something ceramic... if you're cooking pasta or cooking rice... would that do anything?
Evan:
I'm trying to think. Like ceramic—
Katelyn:
Or would it help your... your pan... hold up over time?
Evan:
I don't think so.
Tom:
Also, it's only, what, 2 inches, 5 centimetres. So like... that big?
Katelyn:
Yeah.
Evan:
It's really small.
Tom:
It's really small.
Evan:
It's very, really small. Are there more than one that they use, or is it just that one?
Hannah:
She only needs one.
Evan:
She only needs one. Okay.
Tom:
Coin shaped with a ridge or a lip around the end.
Katelyn:
Yeah, 'cause if you're just putting it in water just to float, why does it have the lip? It almost feels like—
Evan:
It wouldn't float. I think it would sink.
Katelyn:
Well, no, sorry. No, what I'm saying is if you're just putting it in water...
Evan:
Yeah.
Katelyn:
It doesn't need a lip. Like why would the lip be added if it's just... If you're just putting it in the water?
Evan:
I was thinking it's like a spoon rest, but... There's no brain twistiness around that.
Katelyn:
Well, and then why would you put it in water?
Evan:
Maybe I'm too Lateral-pilled.
SFX:
(others laughing)
Evan:
It needs to have a twist. What's the twist?
Tom:
Could this be an accessibility thing?
Hannah:
It is.
Tom:
Okay. 'Cause there are a load of kitchen gadgets that are like, As Seen on TV, like those infomercials.
The story is – I don't know if this is true – The story is that a lot of those As Seen on TV gadgets that seem, "Well, why would anyone want this?" are designed because someone might have limited motor skills or limited strength.
And the market is made bigger by also selling them as convenience stuff for home shopping.
Evan:
Hmm.
Tom:
So what is a 2-inch ceramic disc with a lip gonna let you do... if you have limited motion, mobility, something like that?
Hannah:
Yep. So you're right. You're walking down the right path. Pamela does have an impairment. But that doesn't have to do with motor skills.
Tom:
Okay.
Katelyn:
I wonder. Is it like if you put it in boiling water, like by the time— or in water, cold water, by the time it's boiling... is the ceramic doing something else? Like, do the bubbles knock it around the pan, and then you can like— Well, I guess you could hear the water boiling.
Tom:
Then you can hear the water boiling.
Hannah:
That's it. Well done.
Katelyn:
That's it? Oh!
Tom:
Yes!
Hannah:
Well done, Katelyn!
Katelyn:
Eyyy!
Evan:
Wow! Boiling water assistive device.
Katelyn:
So it makes it more audible.
Hannah:
Yeah, so Pamela is visually impaired.
The Pot Minder, also called a 'boil alert disk', is used by visually impaired people to know when their pan of water is boiling. When the water boils, the air bubbles cause the ceramic coin to move slightly, creating a distinctive rattling sound.
So, yeah, that's why you need the lip, so that the air bubbles can pool underneath.
Evan:
Oh, so I wonder, so it's probably lipped on both ends, symmetrically.
Tom:
Yeah, and it sits on the bottom, the air bubbles form, and it just lift, lift, lift...
SFX:
(Evan and Tom imitate jingling)
Tom:
Ah, that's so clever!
Evan:
Yeah. And I'm guessing it's probably not metal because metal would be too heavy.
Tom:
And it might scratch your pan.
Evan:
Yeah.
Katelyn:
Yeah, yeah.
Evan:
And the ceramic's lighter. Now, ceramic is very hard also.
Tom:
Okay.
Evan:
It probably wouldn't work for a non-stick pan.
Hannah:
Mm. I think it's also probably a more pleasant sound. Like if your pasta's ready, you don't wanna be like, hear like a clank. You're like, oh god.
Tom:
Pasta's ready. Here's some nails on the chalkboard!
SFX:
(guests laughing)
Evan:
Exactly. Well, that's really cool! I'm glad that exists.
Katelyn:
So interesting.
Tom:
Thank you to Thomas Bellekens for this next question.
One winter, Jackson is bored and decides to join the 300 Club. This involves getting naked and walking around a pole. Vladimir hears about this and plans to join the 200 Club, which is even more extreme. What do the numbers mean?
And one more time.
One winter, Jackson is bored and decides to join the 300 Club. This involves getting naked and walking around a pole. Vladimir hears about this and plans to join the 200 Club, which is even more extreme. What do the numbers mean?
Katelyn:
So it's interesting that the numbers descend as it gets more extreme, which makes me think, maybe it's like related to... like, oh, only 300 people have done this. Or like, then when you get more extreme, only 200 people have done this.
Hannah:
Mm.
Katelyn:
That doesn't make sense. If people can just join on their own and— 'Cause then the number would change, but... It is interesting to note that the numbers descend.
Hannah:
Hmm. Did you say the poll or a poll, Tom?
Tom:
I said "a poll".
Hannah:
A poll? I thought you said "the poll" the first time.
Tom:
Why would you think that?
Hannah:
Just because you said "the poll", I was like, oh, they... maybe it's kind of like, as you were saying, Katelyn, sort of like a deadly, arduous task. Maybe they're kind of going around like one of the poles on the Earth.
Evan:
Like North or South Pole.
Hannah:
Mhm. Oh?
Tom:
(nods roughly) Keep thinking that.
Hannah:
Keep going?
Tom:
Keep going.
Hannah:
Is it some kind of horrible Christmas hazing ritual?
Tom:
(laughs)
Hannah:
Where... in order to open your presents, you need to go around the... In order to get your presents, you need to go 'round one of the poles? The North Pole?
Tom:
So... Not a hazing ritual, but you're most of the way there already. Yeah.
Hannah:
Is it Christmassy?
Tom:
Well, it's winter time, certainly.
Evan:
Yeah.
Katelyn:
Winter time. Okay. So it's not hazing per se, but it does seem like maybe something people do to impress others.
Evan:
It's kinda like the polar plunge, right? Is what I'm thinking.
Tom:
Yeah.
Katelyn:
Yeah.
Evan:
You know what I mean? It's like...
Katelyn:
It's like a challenge.
Evan:
It's like, oh, yeah. Can you do this? But yeah, why would the... more extreme be lower? That's kind of what I've been—
Katelyn:
A lower number?
Tom:
Yeah.
Evan:
It's like... Is it 300... Kelvin... vs 200 Kelvin? No, that'd be— That still doesn't make sense. No.
Hannah:
Is it how many degrees it is from the pole? So however many metres or kind of like latitude... degrees of latitude it is from the pole?
Tom:
If you were to combine... what Hannah said and what Evan just said, you've basically got it. It's not Kelvin.
Evan:
Yeah. Is it another unit of...
Katelyn:
Temperature?
Evan:
Temperature?
Tom:
Jackson is in the 300 Club, and Vladimir is in the 200 Club.
Hannah:
Two different areas of the... world.
Tom:
Yep.
Hannah:
Obviously, I don't think Jackson... if we're kind of going off names alone, maybe they're living in two different space— places.
Tom:
Yes, they are. They're about 800 miles away from each other.
Evan:
800 miles away.
Tom:
But they're both on the same continent. And you're right, Hannah. It's the South Pole. Jackson is at the South Pole.
Katelyn:
So Jackson is... if we're going based on what you were saying earlier, about it being like the angle of... degrees, like...
Tom:
No, no.
Katelyn:
From the pole.
Tom:
Evan's right. It's not Kelvin though.
Evan:
Oh, yeah. I was thinking... I know that there are lots of different ways to measure temperature.
Tom:
Mhm.
Evan:
And I'm trying to rack my brain for like, I'm trying to—
Tom:
You don't need to.
Evan:
Rustle it up. Okay.
Katelyn:
Don't need to.
Hannah:
Are we talking about Celsius and Fahrenheit?
Tom:
Yes.
Hannah:
Yes!
Tom:
Yes, we are. It's 300° Fahrenheit and 200° Celsius. So, why is the 200 one more extreme? And what are they doing that has numbers that big?
Evan:
Wow.
Katelyn:
Yeah, 'cause—
Evan:
200 Celsius. I was thinking like negative temperatures.
Katelyn:
Yeah, I was thinking cold temperatures.
Evan:
Yeah, like 200 Celsius is be hot-hot.
Katelyn:
So maybe it's something that... with... since the temperature is so high, you can only do it at a place that's really, really cold.
Tom:
Spot on. Yep.
Hannah:
What fun hot things can you do in a cold place? Putting a very hot piece of metal through some ice? Which always looks really fun when I see it online.
Tom:
(chuckles)
Katelyn:
It has something to do with— He went around the pole.
Tom:
Yes. It involves getting naked and walking around a pole. There's one other step as well.
Evan:
Oh, oh, oh.
Katelyn:
Is it like walking on coals?
Tom:
No, ah, you're not walking on them.
Katelyn:
You're laying on them?
Tom:
You're very near them.
Evan:
You're naked. There's coals. There's a pole. You're spinning around it.
Tom:
(laughs)
Evan:
This is— It sounds like a party.
Tom:
Well, I mean, I wouldn't associate this with the Antarctic. I'd associate it more with Scandinavia?
Evan:
Oh, is it like a— Is it a sauna?
Tom:
Yes!
Hannah:
Yay!
Evan:
Ohhh!
Katelyn:
Ohhh!
Tom:
So what is the 300 Club and the 200 Club? What's the temperature there?
Hannah:
Is that kind of the upper end of how hot a sauna can get and how much people can handle?
Tom:
I mean, sort of. You've basically got all the bits.
Evan:
Okay. So—
Tom:
And there's— There's a sauna.
Evan:
So it involves a sauna, then running outside and running around a pole, then probably going back into the sauna.
Tom:
Yes.
Evan:
But the temperatures. Is it the temperature differential?
Tom:
It's the temperature differential. The 300 Club is having a sauna at the South Pole and then running around outside and experiencing a temperature differential of 300° Fahrenheit.
Evan:
Yes!
Tom:
The oth— Russia's Vostok Station, which is also in Antarctica, the equivalent is the 200 Club: a steam bath at 120° Celsius...
Evan:
Whoa!
Tom:
Followed by a spell outside where the temperature regularly goes as low as -80° Celsius.
Evan:
That sounds horrible!
Tom:
Yes, it does!
Hannah:
People need hobbies! I need a different hobby.
SFX:
(group laughing)
Evan:
Well, it's very boring out there, isolated. You know, people go a little crazy.
SFX:
(group laughing)
Evan:
That's wild.
Tom:
Katelyn, whenever you're ready, over to you.
Katelyn:
This question has been sent in by Peter Gould.
In 2024, the city of Nagoya employed people to stand still for around 30 seconds at a time while wearing a giant, yellow foam hand on their back. What was this for, and what was written on the hand?
In 2024, the city of Nagoya employed people to stand still for around 30 seconds at a time while wearing a giant, yellow foam hand on their bag. What was this for, and what was written on the hand?
Evan:
Were they like stop guard crossing people? But like crosswalk people?
Tom:
I know from time in Japan, a while back, that there are a lot of Japanese jobs that simply do not exist or have been automated away in the UK and the US.
Like, there were some roadworks that involved pedestrians having to step out briefly into the traffic line, and it's all signed off, and it's all barriered off. There's no way— But there is still someone parked at each end of this 20, 30 metre diversion with a little hi-vis vest, flashing lights, pole, just telling everyone, "Watch your step, watch your step, watch your step." That's the entire job.
Hannah:
The human touch.
Tom:
So I'm wondering if it's... some sort of information service reminder thing like that.
Katelyn:
It is like a public information reminder kind of thing.
Evan:
So this place is in Japan?
Katelyn:
It's in Japan.
Evan:
Okay. Okay.
Katelyn:
Yeah.
Evan:
Well we should just go and find out.
SFX:
(group laughing)
Evan:
I guess we have to go to Japan. Oh no.
Katelyn:
Guess we all have to go to Japan now.
Evan:
(laughs)
Tom:
Okay. "Stand still for 30 seconds at a time" implies they are moving between these times.
Evan:
Mhm.
Tom:
Stand still for 30 seconds, then you've gotta do... something. Move somewhere else. Cross the street. I'm obsessed with like road safety at this point for some reason.
Evan:
(laughs)
Tom:
And then for 30 seconds, you stand still. So where are you moving?
Evan:
I think the fact that it is 30 seconds at a time does kinda make me think traffic.
Tom:
Yeah.
Evan:
To some degree. Or construction, you know?
Hannah:
And why do they have to kind of keep swapping? Is it something that only happens a few times a day? Is it not something that's constantly happening? Is it something that only happens for 30 seconds out of a day? And why is the foam finger on the back?
Evan:
For 30 seconds at a time?
Katelyn:
Yeah, 30 seconds at a time. Not necessarily 30 seconds. It's not just 30 seconds of a day.
Hannah:
And why is the foam finger on the back? Why not just on their hand?
Tom:
I'm envisioning one of those things at sports games where you've got the giant foam hand with one finger raised, but it doesn't necessarily have to be that. It could just be a giant anatomically correct model of a finger!
Katelyn:
So...
Evan:
I think there's an entire hand, right?
Katelyn:
Yeah, it's a—
Evan:
Each person wears an entire hand.
Tom:
Okay.
Katelyn:
A yellow foam hand.
Tom:
Yellow foam. I forgot yellow foam. Yep, okay.
Katelyn:
You're not exactly on the right track with construction and stuff. But it does happen in a busy area, like a train station.
Hannah:
(muttering) Busy area like a train station.
Evan:
Is it like people management? I know sometimes it gets really crowded in Japan. It might be for the flow of people and everything like that.
Katelyn:
I would say you're on the right track.
Evan:
Like people management.
Katelyn:
With that.
Evan:
Yeah. Foot traffic management.
Hannah:
Yeah, you need to keep your distance at the length of this hand. So you can't be going up behind someone unless— without bumping into the hand?
Tom:
Or a follow-me thing. Follow the giant yellow finger to lead you somewhere.
Katelyn:
(snickers) So, just because you are getting hung up on it being a finger...
Tom:
Oh?
Katelyn:
I'll describe the shape that the hand is in. All five digits are extended.
Evan:
Like this.
Tom:
Oh, okay. Oh, okay. So that's a stop. That's a stop.
Hannah:
And is it on their back, stuck out like a fin? Or is it on their back, flat?
Katelyn:
It's flat against their back.
Evan:
I think it's probably to prevent people from crossing a road or from crossing... something dangerous. And I think that they must hold people back behind them for 60 seconds.
Katelyn:
30. 30 seconds.
Evan:
Oh sorry, 30 seconds. And then they turn or move or whatever. But like, I think that Katelyn was receptive to the fact that it's like... people... movement management.
Tom:
Now I've seen something like this leaving a concert at Wembley Stadium. It is not a giant foam hand. It's the mounted police on horses. And it's the most effective crowd control. When the tube station is full, and no one can go any further, the police officers just turn their horses to block traffic, like they're some sort of rotating gate. And then when it is safe to continue, they move the horses around so they're facing the crowd, and there's gaps to go through.
Is this something like, this is a giant— this is a row of people with giant foam hands on the back, all going, "Stop, stop, stop, stop, stop." And then when it's safe, they can turn to the side and let people by.
Katelyn:
I like your idea. That is not it.
Tom:
Aw!
Hannah:
Aw!
Evan:
(laughs)
Tom:
I thought I'd got it.
Evan:
I was like...
Katelyn:
That's so creative.
Evan:
"This gonna be it. This is gonna be great."
Katelyn:
That's so creative.
Tom:
Oh, are we right with stop and go though?
Katelyn:
You're right that it does mean stop.
Tom:
Okay.
Katelyn:
There's not necessarily a 'go' option. There's not a movement or something that indicates 'go'.
Evan:
So for 30 seconds at a time, It's indicating 'stop'. And I'm guessing that's towards people. Where would it be a situation where every 30— or for 30 seconds, people need to stop... in Japan?
Hannah:
For some reason I've still— I'm kind of hung up about it being a train station. But...
Katelyn:
It would definitely be at a train station. That's...
Evan:
One of the places...
Katelyn:
That's an example.
Evan:
that could be used. Okay, so there's a whole bunch of people in a whole bunch of areas that have 'stop' on their back that are stopping some amount of people for 30 seconds. It's interesting that it's 30 seconds.
Katelyn:
Yeah, what's a 30-second activity? Or scenario?
Hannah:
A train stopping. Doors opening.
Katelyn:
Okay.
Hannah:
What do you need to stop for?
Katelyn:
So while the clue doesn't... outright say other places, this could happen based on context clues. This could happen in a busy area, like a mall. As well.
Evan:
Oh, a mall.
Katelyn:
Yeah, maybe airports. Perhaps like a large convention center.
Evan:
Is it like people fainting and... the vests stop to give people space or something like that?
Katelyn:
People don't faint for 30 seconds.
SFX:
(group chuckling)
Hannah:
It's fine, guys. I'm okay.
SFX:
(guests chuckling)
Katelyn:
Although the people with the foam hands on their backs were standing still, they were moving.
Evan:
(gasps) (snaps fingers) Ah-ah-ah! It's... the conveyor belts. No, no, escalators. People, you know, you don't want 'em running up the escalators. They're like, "Don't rush past me." Oh, and it's an escalator. Takes about 30 seconds.
Hannah:
Yes!
Katelyn:
Yeah. I was—
Hannah:
Well done.
Katelyn:
I was holding off on that clue for so long because it's like, y'all were so close. You were so close. And I knew that that would give it away.
Tom:
I would never have got to that! I'm in London. If you block an escalator that people want to walk up, you will get elbowed out of the way!
Katelyn:
(cackles)
Evan:
That's why it didn't cross my mind too! Normally in America, it's like, you stand on the right, you go on the left.
Tom:
Yeah.
Evan:
Right?
Hannah:
Mhm.
Katelyn:
Yes. So...
The purpose of the hands on the backs were to stop people from walking on escalators, and they said, "Stop."
Nagoya's authorities felt that standing on escalators would reduce accidents and improve the overall capacity. So they had a "Stand and Stop Corps" of people paid up to 18,000 yen per day, which is 110 US dollars, to ride the escalators and discourage people from walking on them.
So they had giant yellow foam hands on the backs— on their backs with the word 'Stop' in English and in Japanese.
Evan:
Wow!
Tom:
They've tried a— Not with the giant foam hands, but in London... the tube network tried a pilot at one station where they're just like, "We're changing the rules here. You should stand on both sides, and more people will get through."
And they are right. If both sides of the escalator are standing, the crowd will get through faster.
And no one followed it!
SFX:
(group laughing)
Evan:
You know what's so funny?
Tom:
Everyone was angry!
SFX:
(Evan and Katelyn laugh)
Evan:
That concept of doing it that way is so foreign to all of us that none of us even...
Tom:
Yep!
Evan:
imagined a scenario of, "Yeah, that's what they're going for."
SFX:
(Evan and Katelyn laugh)
Katelyn:
We're all walking on escalators here.
Evan:
You know, it depends on the energy levels, but like... yeah.
Tom:
Which means we are back to the question from the start. Thank you to Ray Nothnagel for sending this in. In 2020, why was there a sudden surge in adverts for jobs based in a small town in Coos County, Oregon? Anyone want to take a shot?
Evan:
COVID.
Tom:
You are right. But I'm gonna need a bit more detail than that.
Evan:
Remote work was possible. This was a town with a low cost of living, and they're like, and they had an excess of housing for some reason, and they're like, "Come stay with us. We got good internet. Escape the city."
Tom:
I thought you'd got it in the first sentence there, Evan. You haven't, but I thought you had.
Evan:
Ah.
Katelyn:
Okay. So it does maybe have to do with remote work. That was the beginning of your sentence.
Tom:
Yeah, absolutely.
Evan:
Alright, COVID and remote work.
Tom:
Yep.
Katelyn:
And remote work.
Tom:
Yep.
Katelyn:
Ah, but it doesn't have to do with cost of living per se.
Tom:
No, no. Definitely to do with remote work.
Hannah:
Is the place important?
Tom:
Yes, yes. Small town in Coos County, Oregon.
Hannah:
Is there a town called Remote Work?
Tom:
Yes, there is a town called Remote.
SFX:
(guests laughing)
Tom:
It's not Remote Work, Oregon, but it is Remote in Coos County, Oregon.
So when adverts were being posted online, the location would be advertised as 'Remote', and automated systems did the rest.
Hannah:
Yeah.
Katelyn:
Oh my god.
Evan:
Wow!
Hannah:
Oh, that's great. I finally got one!
SFX:
(group laughing)
Hannah:
That was the dumbest question of the show.
Tom:
Thank you very much to all our players.
Where can people find you? What are you up to?
We will start with Evan and/or Katelyn, whoever wants to do it.
Katelyn:
You can find us on YouTube at @EvanAndKatelyn. And everywhere else at @EvanAndKatelyn.
Tom:
And what sorts of stuff's there, Evan?
Evan:
We do DIY projects, but we also do gaming projects, we do cooking. We have a lot of channels. So just search Evan and Katelyn and see what comes up.
Tom:
And Hannah.
Hannah:
You can find me on Instagram at hannahcrosb, C-R-O-S-B, and every week at The Guardian.
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, and there are full video episodes every week on Spotify!
Thank you very much to Hannah Crosbie!
Hannah:
Thank you very much.
Tom:
To Evan and Katelyn!
Evan:
Thanks for having us!
Katelyn:
Woo, thank you!
Tom:
I've been Tom Scott, and that's been Lateral.
Episode Credits
| HOST | Tom Scott |
| QUESTION PRODUCER | David Bodycombe |
| EDITED BY | Julie Hassett at The Podcast Studios, Dublin |
| MUSIC | Karl-Ola Kjellholm ('Private Detective'/'Agrumes', courtesy of epidemicsound.com) |
| ADDITIONAL QUESTIONS | Peter Gould, Ray Nothnagel, Neville Fogarty, Thomas Bellekens |
| FORMAT | Pad 26 Limited/Labyrinth Games Ltd |
| EXECUTIVE PRODUCERS | David Bodycombe and Tom Scott |