right.

Right.

Another one of my Antarctic friends is Rob Mulvaney, who spent his working life looking at ice cores.

And these are drilled down through the ice sheet.

And as you drill, there's layers of year by year, you're drilling back in time.

and you can capture the individual layers of ice going back 800,000 years, almost like tree rings, I guess.

They slice up the ice cores, and there are bubbles of air, and that's the air trapped from millennia ago.

How did you feel when you went back in terms of what you saw and how you felt about it?

How did that blend develop?

So I guess it really started with, for the different parts of the Song of the Ice piece, which is about 15 minutes in the middle of the show, there's really three parts.

The first part of that is around the continental drift, how Antarctica became isolated from all the other continents as they moved away over 180 million years.

So the graphics for that, which I made, uh basically speed up 180 million years of continental drift into about three minutes but showing how the continents move away so that was one simple well it looks like a simple graphic but it took a lot of work to do that and animate it The second part, actually the ice quakes are like, they're from geophysical measurements of the bumps and grinds as the ice sheet moves across the surface of the bedrock.

And that makes little, not really earthquakes, we call them ice quakes and they're smaller than many earthquakes.

But we took them into a recording studio and converted those into sound.

And I remember the day I took them into Castle Sound in Penn, Caitlin, near Edinburgh with Stuart Hamilton.

But beyond the warning, is there a sense of hope in your show as well?