Paul Osborne

But yes, of course, there's things going on that don't make it into the show for many obvious reasons.

You know, it crossed a line.

I mean, it's inherently quite an interesting format without any of those twists, right?

The nomination process, the popularity contest of it all, the fact that they're cut off from the outside world and nobody really knows how they're being perceived by the audience outside.

That in itself does create, you know, great, interesting TV.

The great thing about Big Brother is it is a timeless format, but you can build on top of it without...

ruining the core aspect of it.

Twists were something that were kind of like really introduced on that series with Jade and then that's become part of the format both here and everywhere in the world.

Either there's a twist or there's a theme or there's something that gives that series an identity of its own.

And that one was Rich Poor.

Yes, I do remember.

Good stuff.

Early on, it didn't seem unprecedented that we'd had that kind of bitchiness going on.

And usually those things were dealt with in some way or another via the interior of the house and the housemates themselves or by the public voting in evictions.

And so early on, it felt like bitching that we'd seen quite a few times before and that usually resulted in whoever was orchestrating the bitching being evicted from the house.

And then, of course, when it blew up and when things got a little different after that, it felt hard to watch again.

because it was Jade and we knew her and she was part of the Big Brother history.

And then it became quite overwhelming as things spiraled in the outside world and quite difficult to deal with.

And how do you decide what parts of that to broadcast?

It's a collective decision and, you know, it crosses all sort of editorial and legal boundaries and broadcast guidelines and everything.