Chris Addison

I mean, it doesn't mean everything's done because there's a load of polishing that you have to do.

But there's a bit where it's called picture lock, which is where all of the shots, you've decided what everything is.

Everybody's had their say and you go, that's it, we're done.

You've got the big thumbs up.

You're the guy saying, this is done.

Yeah, sort of.

I mean, it's like there's a lot of conversations with like the production company and the broadcasters, what these days we call stakeholders.

And then me and the producer and the editor sit in there and go, yeah, sure, yeah, yeah.

You watch it as a viewer would watch it.

And if you've got any tiny final little niggles that you want to deal with, then you deal with them and then you send it off.

So it was a big moment.

So I went in basically to lock that and then we had champagne and cake because it was the end of the months and months and months and months long process.

We've been following him with hidden cameras for the last two years.

Annoyingly, because we've been following you, we've only got shots of your back.

At no point does your face appear across the four seasons that we've already recorded.

It's a sort of flaw, but we're trying to lean into it.

What cake goes with champagne?

These are the questions.

If I were given a choice, I would say what you want is a light sponge.

What you don't want is the kind of cake that you could violently throw at somebody and get taken to court for, which is what we ended up eating yesterday.