the is all aimed at building the children's fitness and confidence after an amputation. and do you plan any more challenges, then, pal? yes. any more challenges, then, pal? yes, i think so. nothing _ any more challenges, then, pal? yes, i think so. nothing sure _ any more challenges, then, pal? 1&1: i think 50. nothing sure yet but any more challenges, then, pal? 1&1: i think so. nothing sure yet but we will be, ben is going up the peak district, climb up there. i will be joining up. then in the team, i will bejoining them to raise joining up. then in the team, i will be joining them to raise awareness. raise more funds and get out. well, a pleasure to speak to you. huge congratulations on a massive effort and raising all of that money for charity. and raising all of that money for chari . . , ., ~ and raising all of that money for chari . ., , ., ~ charity. can i 'ust say thank you very much — charity. can i 'ust say thank you very much to — charity. can i just say thank you very much to everyone - charity. can i just say thank you very much to everyone who - charity. can i just say thank you very much to everyone who hasj very much to everyone who has donated as well?— very much to everyone who has donated as well? absolutely, you can. iwill donated as well? absolutely, you can- i will say _ donated as well? absolutely, you can. i will say thank _ donated as well? absolutely, you can. i will say thank you - donated as well? absolutely, you can. i will say thank you as - donated as well? absolutely, you can. i will say thank you as well l donated as well? absolutely, you | can. i will say thank you as well on your behalf to everyone who donated to paul and his charity. that was an incredible crawl up to the summit of snowdon. thank you.

hurricane ida is likely to hit louisiana this evening. we have got some live pictures to show you. this is in mississippi along that gulf coast. of course, lots of areas beyond louisiana are preparing for the arrival of 21. it is 16 years today since hurricane katrina struck new orleans, bringing so much devastation to the city. —— the arrival of 21. these are the live pictures. the whole gulf coast of the us prepares for the arrival of

21 later today. let's take a look at the weather now. clea rest skies for clearest skies for longer in wales and the south—west, it could be a little chilly here and the cloud will lower. it could be a bit misty and damp and grey across the south—east of scotland and north—east england throughout monday. elsewhere there is a lot of cloud, the best of the sunshine towards west wales, and developing in central areas of scotland. in the sunshine temperatures getting into the low 20s. heading into tuesday and pretty much more of the same really. cloud for many parts of the country. the wind stronger around

eastern and southern parts of the country. the best of the centre and out to the west and top temperature is 20 celsius. now on bbc news, the media show. hello. have you turned on the television recently and thought it all looked a little bit familiar? laurence llewelyn—bowen boisterously doing up people's living rooms, ruby wax looking back at celebrity interviews that she did in the past, and then, look what's coming up — never mind the buzzcocks, blankety blank, sex and the city — it's a very long list. so, welcome to the era of the reboot, an age when tv executives seem to be pouring over dog—eared copies of the radio times, looking for formats that they can bring back to our screens. so, why this trend and why now?

is it because the �*90s and the naughties were the real golden age of tv after all, or is competition for viewers now so fierce that commissioners are too quick to fall back on what they see as trusted hits from yesteryear? well, let me introduce you to my guests. ruby wax, who needs little introduction — actor, comedian, writer, mental health campaigner — and clive tulloh, who worked with ruby as her producer for many years, including on some of those interviews that she did with the likes of donald trump and imelda marcos. i wonder what it's like for both of you to be reunited via zoom. well, usually, i touch clive a lot. there's a lot of interaction between our limbs. luckily, he's burnt. his face is like a beet, so i'm very turned off. clive, she's not in the same room as you, so what was ruby like to work with? erm... laughter she was... talk, clive. she was... she was always exciting to work with, and it was always thrilling. it was thrilling to work with her, and it's been even

more thrilling to reunite after 20 years. yeah. well, you're both very welcome. layla smith is head of objective media group, part of the tv giant all3media and, before that, she was controller of entertainment at itv. i mean, layla, you're looking after a huge selection of programmes at objective. what are your big hits at the moment? well, like what we're talking| about, one of the big things, was bringing the cube| back after many years. so, it was off air for many. years and we bought it back last year in october. it was a £1 million - cube with new gameplay. it's back again this year, i and there are other shows that we are either rebooting formats on from other - territories and our own, - and that, i think, is notable at a time when everybody still tries to innovate, - but actually, you do look back at the things that have been l brilliant and think how - they can be brilliant again. we'll dip into the cube a little bit later for sure. and mark sammon is

the executive producer of changing rooms, now back on our screens. mark, welcome. hello, thank you. why was now the right time to bring back changing rooms? i guess what i... you've touched on it already, julian, the fact that a known title often cuts through, and myjob at the time at shine tv was to find shows that would get commissioned, brand—new shows that were innovating, but also to win business, put plainly. so, changing rooms is something that was available that i was able to pitch and develop. but i suppose i should also say, and it's absolutely true, that i loved it. i was a viewer first time round. i think if you're going to sell anything, new or reboot, you need to go in with some passion, so it was a great show. yes, you've got to believe in it, haven't you? yeah, of course you do. it's a great show, great format. at its heart, you're letting in your neighbours

or yourfriends, with a designer, to come in and make over a room in your home. so, it's a golden format, and why wouldn't we take that back out again after 19—20 years? well, for those who've never seen it — and i'm sure there must be somebody out there who falls into that category — let's have a brief listen to what you've done. there's this big thing happening in design at the moment called maximalism, ok? so, it's anti—minimalism, and it's about being really crazy and party—orientated, quite feminine, fair. yeah. and i just thought that's got claire written all over it. yeah. neat—o. voiceover: but surely not written in pink, - laurence. you know, the colour claire doesn't like? l that was laurence llewelyn—bowen sorting out claire's living room. this is a reboot, mark, clearly. how much did you want to go back to the original and copy

it, or at least come close to copying it? how much did you want to introduce elements that are entirely new? look, i think you want to do both, don't you? the original... you know, i'm old. i've been doing this a long time now. i've been on both sides of the fence. i've seen reboots come and go, and some did incredibly well and somejust fell flat on theirface. so the first thing for us when we looked at changing rooms was looking at what people love about it. you know, actually we don't want to lose all of that. then you look back at the show that it was and you analyse it and you go, "oh, my god, how did that sustain" and "why did you watch that?" actually, we cast shows differently, we cut them differently now. so, the bits that we rebooted or the bits that we changed were actually about how you film it, how you cast it, how you tell that story, how you hold onto that audience that have so much

more choice now. you know, changing rooms went and disappeared because people would come in for the first five minutes, and then come back for the reveal at the end, normally switching over to watch the soaps on itv at the time. actually, so those are the bits that we've really worked on and that we really changed, but it was about preserving the essence of the, you know, that actually... you played a good clip there and you can feel and hear it from laurence, the campness and the playfulness, and it's an entertainment show ultimately. well, it's the clip when he's told she doesn't like pink, so what colour does he go for? pink. yeah, of course, of course! and therein is some drama and some entertainment, and that's hopefully going to keep the viewer hanging around. but, actually, it's really important for us to... you know, to take it seriously, and i know that sounds ridiculous after the clip you've just played. and i'm sure lots of people watched the original and hopefully watch the reboot.

but we could have been quite cynical. we could have gone in and said, "let's always play that trick, "let's always give them pink or green or purple "when they don't want it." but, actually, we didn't. actually i think that's the key, hopefully, to it sustaining an audience. layla, you mentioned the cube coming back later this year and, as you say, it had the £1 million specials aired last year. again, for those who haven't seen it, what does phillip schofield guide the viewer through on a typical episode of the cube? well, the cube, it's . a very simple tag line. you have nine lives to playl seven deceptively difficult — they look simple, they'rej deceptively hard games — try and win a quarter of a million pounds. | and inside the confines of the perspex cube, . simple games- are incredibly hard. so, that's the game. there were nine series on itv over the last, . gosh, however many years, 15

years, and it's been off air. i but we did change it up quite a lot. - we felt like it needed - new elements to come back, and it wasn'tjust £1 million. that was a discussion we had i with itv about creating a stunt week, but we felt like _ a two—player game would make it far more interesting. we introduced a different lifeline as a result of thatj because we felt like it's great| to have something evergreen. it's a format like — - game shows are so hard to get right. if you've got one that actually works, don't change that. - well, except, at some point, somebody must�*ve decided that it didn't work, at least not sufficiently enough to stay on the television. and then, what, five years elapsed and you all come back and decide, actually, now is the moment to revive it. i wonder what the dynamics of all that is. oh, gosh, i won't go - on for ages 'cause i think this stuff is really complicated. i was at itv for many years when the cube was on, - so i obviously wasn't i running objective then.

and i think what you do, . with all shows, is you tend to look at it and think, | "how can we improve? "does it need _ something changing up? "do we change elements of it? "do we freshen up a format?" when it's a game show... it might be different for ruby and clive with celebrity- interview, that's about really brilliant interview, isn't it? l but i don't think that - happened with the cube. so, actually, it's not so much that the format is broken, . but actually, viewers do demand a freshness to their content. - they don't just want the same thing, ad infinitum, _ and that's i think what i happened with the cube. itjust didn't have a fresh- view, and that's what we did. ruby, you've gone back to some of your classic celebrity documentaries from the 90s and the noughties. again, why is now a good moment to revisit those? i didn't realise we were rebooting the show.

the show had been shown for 25 years. i had an interview with someone questioning why that won't be, between clive and me, the show was commissioned just because the commissioner happen to like myself. but i think there were a thousand between them, and either didn't get it or thought why show it? what's so interesting about goldie hawn? i have a life, and it's nice they put it on before i die, because now i get to do my obituary. laughter. when you look at them now, what do you think? she looks like she's having the time of her life. i think they could've been deeper, but i was very young. i think i could've played it more luis—like, don't get in front of the camera, go behind it. but my personality was hogging the screen. we went on for 25 years,

so i could have changed, but didn't know they would keep saying... you know, dance, little woman. so i kept dancing. people either got tired or a man comes along and takes your time slot. again, not upset, got me a new life. but if i didn't have a new life, i'd be quite bitter. laughs. clive, between you, you visited some massive stars of their day. how did you get access to some of these people? it was a combination of... it was also a very distinct time in history, if you want to know, because it was sort ofjust before social media, just before the internet — you'll remember this, julian — you know, when we have a guest, you used to call up the clippings library and you'd get all the photocopies of every article. sadly, i do remember that. so, we used to do masses of research, and i think we would just... and also, a lot of the american

stars, in those days, britain was sort of regarded as, it was like doing an advert injapan, they didn't really care. they were like, it's, you know... nowadays, because as soon as you do an interview, it's on youtube, it's on everywhere, so it would be very, very hard to get kind of the access we did do. and ruby and i would work incredibly hard and explore every avenue. and then ruby as a host, which you sometimes see and sometimes don't, would then be basically almost performing a kind of one—woman show for roseanne or goldie, or stuff like that, and these guests would think, "oh, wow, i've gotta really up my game because this interviewer is really smart." and quite often, we will cut out that, but it was always— and quite often. it was always an audition. it was always an audition, yeah. yeah. and quite often we didn't have...we didn't know, ruby would say — what will they do, what can we do, and i'd say, look, if i ask any more questions, they will shut door.

i said i'll get you through the door, and then the rest is up to you. i would carry a bag full of beards and then ruby would say to sharon stone, "oh, can you go out on the street?" and then sharon would say, "no, i get recognised" and all that, and she said, "well, what if you wore a beard?" and sharon would go, "haha, have you got a beard?" and we'd say, "yes, we've got a beard!" and then they'd think it was funny and then we're walking round the streets... we didn't always carry beards, we'd had instincts, like with pamela, i had a feeling... pamela anderson, yeah. yeah, the interviews were ten minutes, but again, if you keep making them laugh and entertaining them, they tell their pr to go away and they wanna spend some time, and sometimes it lasted for years, with carrie fisher. but i knew something would happen with pamela, if we got on, that i could play her body double. so i said, clive, grab my red bathing suit, but i'd just had a baby, so the gusset was down to my knees, and pamela said yes, i could play her body double, and it was some of the most grotesque television i've ever seen, as i replaced her on the beach. but we had an instinct. yeah, i mean, that kind of approach, it's unimaginable i'iow.

clive, you mentioned the advent of social media. with social media, you just couldn't do that any more, could you. no, ijust think there's so much control and there's so much... you just couldn't get the access. 'cause the reason this series came back was that we started to look into, our commissioning editor, michaeljochnowitz, who's a big ruby fan, was like — "we've gotta get ruby back on." let's do re—meets, so we were gonna try and go back and see some of pamela and roseanne, and a couple of them were interested and then, and the pandemic happened, so we then actually thought about, 0k, let'sjust go back and look at the archive. and then it chimed with the louis podcast and with his good grace, we were off and running. and you use the word audition. ruby, you used it, and i think, clive, there was a sense of even how the camera crew operated. there was a degree of auditioning about how they did theirjobs as well, wasn't there.

yes, ruby would say, and she was right, some cameramenjust aren't listening and can't do it. so we would audition the camera men and women and they would come round to ruby's house, and then we would walk around the house and they would have to film us. and if ruby said "oh, look at that picture up there", if they didn't swing the camera and look at the picture and then come back to see our reaction, they didn't make the squad. you wanted the camera to have a personality, notjust a piece of dead meat. and layla, iwonder, given that celebrities in that kind of format were much more prepared to let their guards down to a good degree, perhaps in a way they hadn't much on british television much before, did that lead us down a route towards programmes like i'm a celebrity get me out of here many years thereafter? yeah. clive, you know this, i'm sure. which isjim allen, whose's- someone we all know very well, watched the joanna lumley- programme that clive produced.

and it came from there. we sat and sort of said, well, what happens if it's notjust l joanna on a desert island? what happens if you take celebrities and really- strip them bare. and so you're absolutely right, it's not necessarily— from the celebrity interview, but it's from that sort - of programming and that- instinct which is about saying — and that is why i think- i'm a celebrity endures today because there is a basic truth to it, it's notjust a reality- concept — there is a basic- truth to saying what happens if you take people and you - think are normally pampered, or they live a slightly - different life and you strip that bare, and then watch what happens as a result. j look i'm a celebrity. is now in its, what... gosh, i can't remember how many seasons it's in — - 15th season or something. so it evolves, but that - still runs through and i think that's why people still watch it, and it is very revealing. l and not always in a bad way — people meet characters -

on i'm a celebrity who are morej rounded, more real, more down to earth than they thought - and then that becomes another part of their career, onwards, and yeah, i think it endures. i and some people don't, some people do reveal. a different side of their selves. but it all stems definitely. from the sort of interviews that ruby's been doing where you really peel i back the layers. let me stay with you on where we began because you've all given us some context to what we're talking about in terms of the specific programmes that you're thinking about or bringing back or working on. leyla, we are in this period where i mentioned some names where there are clearly others that are coming back or are back or are at least being considered. and i slightly suggested there might be lack of ideas as part of the reason for that happening. is that fair? i'm going to say absolutely not. i i thought you might.

because there are, oh gosh, notjust in our companies, . across the whole industry, i there are brilliant individual innovative thinkers, _ constantly thinking of new ways to do it. that is the challenge, - you sit and think there's only so many subject i matters and areas. but what's the new approach, or what's the new way - that we do this. but we are in a, look... there is risk around - everything in broadcasting, because broadcasters always want viewers to watch, - and even if it's a public service broadcaster, i they want the right viewers . to watch if not sheer volume. that i think leads people to understandably — - i was at a broadcaster, - mark was at a broadcaster — it leads people to kind of play the game. - like you have, here's my three new shows, but i also - want to know that i'm going to hit some key demos. - and if someone is going i to bring back an old format that is really attractive.

mark, you are in an interesting position on this, because you have both commissioned and pitched, so you've sat on both sides of the desk on this. yeah, i have. i mean, look, ithink layla said it perfectly. i have worked with layla at itv when we were both in commissioning there. you're playing your odds, aren't you? you're looking for some safe bets and you're looking to innovate. if someone presents something to you that is familiar, that will pr itself in the way that changing rooms has, or that have a ton of celebrities in, they are all shorthand, they are all shortcuts to get an audience to you. that doesn't. .. you've still got to deliver the goods. your mention of money, i mean changing rooms this time around is made in partnership with a paint company, isn't it, which clearly would not be allowed on the bbc the first time around. did that make any difference when you were pitching it? yes, i think it definitely does.

i absolutely don't think it's the only reason. look, i've done a lot of ad—funded programming. i've commissioned it and i've made it for a number of broadcasters. i'm really interested in this area. we took the decision to take changing rooms out and present it to channel it with some money attached. i've pitched other ideas with a tonne of money attached, and broadcasters have still said no. in a way it doesn't matter if it is a good idea, —— isn't a good idea they might be making a saving in that slot, layla knows this from being at itv. the risk you run in terms of your ad revenue and and in terms of not getting an audience to it, the paint brand didn't fund all of it for the channel as well. i think that's true with all ad funded programming now, the channel needs to pay some cash.

clive, looking back to the interviews we were talking about, clearly some of that wasn't cheap — you were jetting off all over the world, often without much advance warning. and you weren't always sure you would get the interview when you got there as well? we were lucky. it was... we had a pretty good budget, it was bbc one prime time. i run an independent company now, but we were making it in—house at the bbc. i sometimes think, would i have taken the risks that idid then? we flew to manila, ten of us, and we'd been offered half an hour with imelda. with imelda marcos, yeah. you didn't tell me that, clive. clive just gets me to the door and kicks me in like someone who says. . . it's just cruel. go ahead. ruby said to me before we leave, "go and get some jewellery. i've got to wear good jewellery

because imelda marcos will clock the jewellery. " we went to see theo fennell, and he lent us £200,000 worth of jewellery. so ruby sort of dripped into the flat, and in that first half hour, imelda clocked the jewellery and we had three or four days. she sang feelings to us while we danced around in herapartment. it wasn't just the jewellery, clivey. but the original deal was for half—an—hour, and you ended up with four days? four days, and sitting on her lap and being fed chocolate cake and her showing us her stash of shoes in the attic. that was really a lot of foreplay. just gushing and loving her and never asking a question that would offend her. but never being a sycophant either. she likes big stars, we tried to create the image that i was. and clive put the hello magazine, i know you did, clive, in her garbage can

with a picture of me on the front. i know you did that, clive. that is too much of a coincidence. so she picked it up and went "oh, she is on the cover of hello!" she thought i was just a journalist. from that moment, she took my hand, she took me to parliament, she covered me in herjewellery. i mean, clive, that was clever. ruby, i was wondering about those like yourself in front of the camera. we've talked about changing trends and particular programmes being reinvented and coming back. how much are you conscious of that need to adapt as fashions change in terms of what you do in front of the camera? well, i wanted to produce after my show finished. 'cause i constantly like to reinvent. and i wouldn't have minded being behind the camera and working for a production company. next time i will present and you produce. everyone will watch that.

clivey will do anything but... that was too much fun. when i went to america they said would i do a show from behind the desk. that's not my skill, i can't get anything five minutes. i need to move in. that doesn't exist any more. so i go, ok, that's not my interest. i suppose what i was getting at was, we've talked about rebooting programmes, but do people in front of the camera have to acknowledge the need to reboot as well to continue their careers? if i was doing more, but i'm not that interested. these were movie stars with skills, and the thrill of spending time with them will never happen again. so, i wouldn't even know... i would invent something else. i would make up another style of show. layla, how much further do you think this rebooting trend has got to go? ithink... i think it will be... so — i don't want to write off the reboots that are comingl because i know you'vel listed them, but i think there was also — and i hate -

this word because i know we're all a bit over it, but there i was also a covid thing here. there were certain shows, i and i think the cube was part of this too, we couldn't do audiences, so actually it's| great to do a show that you know. - and there isn't an audience, l but it's fine because you know the show. if you put a new show that l probably would work better with an audience, that you try out for the very first time - and the audience isn't - there to react, that might affect it doing well, i so you don't want to take that risk. i think that happened i quite a lot during covid, and i don't meanjust with game shows and audiences, _ but there's a sense - of familiarity, of people going back to what they know. i think that's playing out now across our schedules, - and our streamers, and i thinki — maybe i hope, but the reboot will always happen because it's happened forever and people l will always, if there _ is a new way of doing and old, familiar format, why not? but i think we might i see now a switch back

into more originality again. i think that crest might changel now because i think covid made people more risk—averse. that's all we have time for today. thank you to all my guests — ruby wax, broadcaster and writer, clive tulloh, executive producer of when ruby wax met, layla smith, head of objective media group, and mark sammon, executive producer of changing rooms. the media show, back at the same time next week, so thanks very much for watching and goodbye.

this is bbc news. the headlines at ltpm: the united states have carried out an air strike in the afghan capital of kabul. the strike targeted a vehicle linked to islamic state. 20 years after being sent in the last british troops have left afghanistan, the evacuation in the wake of the taliban taking charge is over. the effort has been frankly truly humbling to see the hours worked, the exhaustion painted on people's faces, so we tried our best. this is the scene in new orleans — as the us braces itself for the 'extremely dangerous' hurricane ida. dilemma for doctors — a severe shortage of test tubes in the uk means patients needing urgent blood tests could face delays.

great britain claims a historic first paralympic medal in wheelchair rugby, after storming to gold