Richard Gadd

I don't necessarily set out to be shocking.

In fact, I definitely don't.

I just think like I'm firm of this belief almost in a way that you sort of don't choose your writing style or what you want to write about it.

It sort of chooses you.

And I suppose because I guess I've grown up with a lot of confusion and inconsistency and identity crises and all these things that I suppose gives birth to work that is innately

I guess, complicated or challenging.

I think as long as you tell a story correctly, you can kind of be as shocking as you want.

But as long as it's not shock for shock's sake, I think that's what actually leads to turn off television more than kind of thoughtful shock, if that makes sense, or building towards something which is shocking in a way that is thoughtful and character developed and all these kinds of things.

I think where shock really falls down is where it's clearly just put in there to shock.

It's a great question.

I mean, I think the sheer level of it surprised me, like the fact that it blew up in the way that it did and the fact that it was so quick and so sudden.

And then and that I went from sort of being able to walk to the shops one day and then it coming with a thousand complications literally the next day.

I mean, it came on the Thursday and by Friday, I felt like everything had changed.

It was incredible.

That sheer level of acceleration took me off guard.

But I never want to kind of sit here and be like, oh, I just didn't know.

I really believed in it.

And I believed in it.

I believed that it was good, that it was different, that it was kind of tonally kind of like something we hadn't seen before.

But I couldn't have anticipated that.