Emma Thompson keeps her Oscars in the lavatory and her Globes on a shelf so high she can't see them. It's not false modesty — it's a very British instinct to refuse to let trophies define the room.
Where this was said
At 8:00 · chapter starts 6:40
From her North London office, Emma Thompson takes in each host's video setup: Sean Hayes surrounded by statues and awards, Jason Bateman framed by sky, and Will Arnett in 'deep darkness' with a 'vampire voice'. When Jason notes that she has no awards visible despite having won more than any of them, Emma delivers one of the episode's standout lines: her Oscars are in the lavatory because 'that just keeps them in their place' [1] — Emma Thompson "Emma Thompson keeps her Oscars in the lavatory and her Globes on a shelf so high she can't see them. It's not false modesty — it's a very B…" 08:00 , with her Globes and BAFTAs on a shelf so high she cannot see them. She calls it very British. Will's counter-proposal — a spotlight table in the foyer so visitors know exactly what they're dealing with — delights her, and the group riffs on gradually placing awards in every room until guests simply want to leave.
Emma Thompson keeps her Academy Awards in the lavatory to keep them 'in their place', and stores her Globes and BAFTAs on a shelf so high she can't see them.
Robby Hoffman isn't fearless — she's terrified all the time. The difference is she does it anyway, because not doing it feels worse than the fear itself.
John Mulaney texted Robby Hoffman out of nowhere saying he'd been a fan for a while and wanted to make a Netflix special with her. Robby called it 'shocking, horrifying, anxiety-inducing, surreal and thrilling' — and said yes.
Mulaney is buttoned-up, suit-wearing, classy. Robby is gritty, raw, and undefined. Together they made the collab nobody expected. Batman and Robin. Eminem and Dido.
Music had Pope Gregory forcing notation. Comedy has had 'magical thinking' — he's just got funny bones. But jokes work through discoverable, teachable mechanics. Writing down the rules doesn't kill the magic; it gives more people access to it.
Howard Ashman had one insight nobody else had: animated Disney films should be Broadway musicals. The third song of every great musical is the character sitting alone explaining what they want. That's 'Part of Your World.' That structure — combined with Alan Menken's compositions — generated Beauty and the Beast, Aladdin, and The Lion King, and turned Disney Animation into the most profitable creative engine in entertainment history.
The Lion King musical has been running for 30 years across Broadway, London's West End, and global touring companies. It has grossed over $11 billion in total revenue — more than Avatar, more than Avengers: Endgame, more than any album, more than any video game. It generates an average of $350 million in revenue every single year. Disney owns it outright.
The anonymous French artist Invader has hidden 1,500 pixelated mosaic artworks across Paris alone, with thousands more scattered across 80+ cities — affixed to the Eiffel Tower, the Hollywood sign, and even sent to the International Space Station. He might be even busier than Banksy.
The Flash Invaders app turns city streets into a treasure hunt, letting players scan Invader's hidden mosaics for points. Players have collectively logged over 47 million flashes. Unlike most mobile games that glue you to a screen, this one forces you to look up and engage with your surroundings.
New York draws thousands of young, talented performers every year chasing Broadway stardom — but the hard truth is that most of them never make it. Zelig Williams was one of the rare exceptions.
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