Hello, welcome along to this week's podcast. Should we have got some podcast correspondence?

Okay. Additional correspondence, Robbie. It's Robbie Knight in for Simon and Mark again this week.

But these people don't seem to know Andrew Sharman, he says, whoever's driving the boat this week.

But do you know what? If there's one thing that we've established over the time that we've

been covering this programme during the summer, it's that we've got from the mouth of

Luke Best on himself. The answer to that question. No, no, no, who was driving the boat? We do, we do know.

In fact, we should get Simon and Mark to replay that clip on next week's show. We all know, this is

from Andrew. Cars 3 has received a new review over here. But there is a major element to this film

that UK audiences and critics just don't understand. Cars 3 is a vanity project. The result of

whoever it picks are is a major fan of NASCAR racing. Most people know that the original Cars

movie was inspired by NASCAR, which is America's most popular form of motorsport by a long way.

Cars 3 takes the theme to a whole new level. The main storyline of older cars being replaced by

the next gen is direct take from what is actually happening in NASCAR for real. And there are

countless NASCAR references in the movie that will only make sense to those involved in or major

fans of the sport. Cars 3 is a NASCAR film and so fans of NASCAR in the UK, there are more of us,

than you might think, love it. You can easily spot us in screenings with the ones

chuckling at points where no one else does. Tinky Tonk and all that stuff regards Andrew.

You NASCAR fan? No. But I am a Cars 3 fan actually and I think the racing sequences are beautifully

done. I love the thing that picks are driving out now where the backgrounds are becoming more

and more photoreal in their films or in some of their films. The animations are unbelievable.

But then the characters on those backgrounds are becoming more and more cartoony. So it's almost

like you have this incredible clash between photorealism and really sort of almost free hand

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