 And also in this country, I feel like every time you start to have a conversation about race, people go, what about class? And then you kind of go 100%. Absolutely. That is a really important conversation. And there's no doubt that the one of the things that is being left left behind by representation is class in some way. Now, I would say because of my political bias, that that is the result of 10 years of funding cuts, I've seen in the real world what those funding cuts do. Increased cost of living means that it's harder to exist and subsist as an artist. I would say that there's economic factors for it. But I'm definitely up for a conversation about class. But what you then discover is very quickly, people, when they say working class, they only mean white working class and they don't want to consider. What's interesting to me is that as much as they consider it a rebuke to identity politics, it's pure identity. Yeah, yeah, absolutely. Yeah, like my partner is white and he's working class. He would never in a million years describe himself as white working class because that is a definition which has emerged as a kind of way to delegitimize the language of anti-racism, which is sprung up in that context. Yeah, which is, you know, which is boringly is like, it's kind of necessary for a certain socioeconomic group to remain politically dominant, right? The one thing that they have to continuously do is to smash any class very solidarity. They have to sort of make sure that the white working class believes its interests are in direct competition with all ethnic minorities. Because if those two groups that, you know, that's most people. If working class people and everyone from ethnic minorities starts voting as a bloc, then that is a really that's a dangerous voting bloc, potentially. And the ruling class are fucked. Yeah, they're fucked. Yeah, that's because I don't want to talk about I don't want to talk about the class thing. So I think mean, you've got like very similar educational backgrounds. I went to a grammar school for my sixth form, then I went to UCL, you went to a grammar and then Durham. Yeah. And it seems to me like there is this sort of like you start of like university educated, you know, South Asians with cultural capital who are occupying certain positions within the public eye. And then what's missing from that are people who didn't have that background of the emphasis on education. You know, it was a degree of of social mobility, which was allowed because of the class background that your parents and your grandparents had before they came here. Yeah, totally. That's like one of the. I feel like that's one of the most interesting things that isn't really discussed, you know, it's like what were the circumstances? Because we we've been very good. And I say we I'm blumping all South Asians into one block here. But one of the things we've been very good at is like very carefully inventing the drake myth of starting from the bottom. Now we're here like we very we very quickly been like we came here with nothing. Don't ask any questions about what we were doing before nothing, nothing. So why? Why? Why are you in Kenya? No reason. No reason. Oh, no. Oh, normal reasons. Normal reasons. World of music. We were doing well. Yeah. No exploitation. Yeah, we weren't a manufactured middle class that was inserted by the British into Kenya. No, we know it was one mad. But like I kind of feel like when we talk about because you're having to defend some degree of representation against like the forces of reaction. And you're right about that. I mean, sometimes we do reaffirm this myth of like, well, hang on. We're talking about people. We were middle class there and now we're becoming middle class here again after like a kind of generation of or two of of of interruption. Yeah, yeah. It's yeah, it's definitely. Yeah, I mean, listen, it's an interesting myth that we have told quite successfully. You know, I saw the picture of that Rishi Sunak posted on my god yesterday or the day before where he was like, you know, you know, how can I have imagined that? And I was like, statistically, you could have imagined it quite easily, my friend. You went to Winchester. You went to Winchester. You went to one of the most elite public schools in this country. And now you're telling me, oh, you know, it's no way I could have imagined myself being Chancellor of the Exchequer. Look at his primary school uniform. You don't have a primary school uniform like that, unless you expect to be in the cabinet one day. I'm like, you know, in theory, in theory, stand up comedy is a meritocracy. But in reality, the fact that I went to Durham University meant that there was already like a comedy organization that went to the Edinburgh Fringe every year and the university would part subsidise our trips to Edinburgh. And it was really like particularly in Edinburgh that I first had an idea that like this was something that I potentially could do for a career. But also it laid out in front of me what the vague shape of that career might take. And I was only really able to go there because of what university I went to. And I was only able to go to what university I went to because of what school I went to. And you have to be careful. You have to really guard against telling the myth of yourself to potently, you know, or at least you need to have in the back of your mind a bit of self-awareness when you say things like, I made it on my own, you know, like I feel like, yeah. OK, OK, OK, Mr. Grammar School Durham University, you've made it on your own. You know, and, you know, that you definitely have to like guard against that sort of thing. And then, you know, it's like one of the things that I'm so grateful for is that I got, you know, like I'm really grateful for the fact that I started comedy at the time that I did and lots of the people that I met are my dearest friends. And but also, you know, I started at the same time as someone like Romesh and he and I have been friends for that entire time. And, you know, I really valued the fact that I, you know, you know, when you can send each other text messages saying, well, someone thinks I'm you and I've just had a conversation with them and not told them that that's not the case. You know, you can go back and forth. I have not corrected them because I also stole their wallet. Yeah. It's like that that thing I really valued. And then one of the things that I've really valued was Nikesh Shirkla, who's a novelist and also sort of like, I don't even know what the other title you would give him is like, cultural Godfather. He is an enabler. Yeah. He is a shadowy background figure who is just very quietly supporting loads of artists and writers of colour. Yeah. To smash it. He is. And the thing is, he sort of pulled me because he knows people in comedy as well. We kind of met through that. And he sort of threw this The Good Immigrant, which is a sort of book of essays that this thing is the Japanese edition of it, which is insane. Oh, my God. Yeah. It's the Japanese edition. But he threw that book, pulled me into this like other world of people from people of colour from across a bunch of disciplines. And it's through Nikesh that I, you know, met people like Rene Adolage and Moose Rock, Juan Guar and Vinay Patel and Innu Elms. Like I got brought into this like whole other world and it's really shifted my perspective and watching the amount that Nikesh has done in terms of shifting the conversation about representation and has made me kind of go. It's not enough if we are if our sort of group of people, the kind of children of the upwardly mobile people who are middle class anyway and then work to regain that status in a maximum two generations. But in some cases, even one generation. What is our responsibility then to the next group of people? You know, if we if we kicked out, if we had doors kicked open for us, my first job in television was writing for the relaunched Kuma's at number 42. Oh, my first job in TV was writing for Sanjeevan Mira, who I, you know, grown up idolising. So I feel like for me, the next conversations that I've got, I've got a responsibility to have are how, how do I make it so that somebody who is talented but doesn't have my educational background or privilege? How do how do they get the opportunities that I've got?