uh lots of our listeners um and it's been a you know i think everybody would agree it's been a quite a challenging space in the in the last few years um how are you how are you seeing it at the moment what's been happening recently and what's your kind of uh projection outwards on on yeah

it's um it's the perennial conversation on this one I've seen it all so far in the last 17 years in the US, which is how long I've been there now.

And from arriving and nobody wanting to even take a meeting about why would we even look at anything coming out of Europe for drama, apart from Masterpiece Theatre and BBC America at the time, to these unbelievable years from like 2017 to 22. where you'd get six pitches per show at script and probably a couple of offers coming in.

It was heady days, Toby.

You're not there anymore.

But I think, I mean, joking aside, and I'm sort of loathe to sort of jump into the cliche-ridden statements, but there's an element of truth to some of it that, good projects sell and you you keep making shows a level in terms of you know from the writing through to the production values which the uk especially and also australia um on the english language i'm talking has just got better and better and better over the years so that that that premium level of production and just just the uk especially is so good at making drama that there is homes still to be found um in the us it takes a lot longer you're not necessarily getting picked up at script stage you may pick up a rough cut stage or putting a sizzle together stage all the way through to the finished locked episode we approach and everybody's doing this as well so this isn't a unique um piece of work, but you approach buyers at times all the time with a particular show because things can change.

There's an element they want to see something.

See, you know, what's your view on where the kind of international or, you know, kind of global distribution business is going to be in, say, you know, five years time?