Browse content similar to 25/07/2016. Check below for episodes and series from the same categories and more!
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Good evening and welcome to the One Show. | :00:15. | :00:24. | |
I'm Matt Baker and Angela Scanlon is here fresh from the debut of Robot | :00:25. | :00:29. | |
Wars. Razor, what the hero from the last series 13 years ago. In the pit | :00:30. | :00:33. | |
this seconds. First episode gone, goodness me. But | :00:34. | :00:36. | |
nice to have you here. Let's start with a question. What's better than | :00:37. | :00:40. | |
a Knight out on the town? Two Knights out on the town! | :00:41. | :00:46. | |
Particularly when they are as close as these two Knights! | :00:47. | :00:52. | |
Here they are at the fair. Still at the fair! And here they are | :00:53. | :00:56. | |
just chilling by the rubbish, having a little sit down. Here they are | :00:57. | :01:01. | |
telling Santa if they have been naughty or nice. Let's find out what | :01:02. | :01:06. | |
mood they are in tonight, Ian McKellen and Patrick Stewart! | :01:07. | :01:17. | |
They were fabulous! We went to see Father Christmas and they had a | :01:18. | :01:21. | |
black Father Christmas for the black kids. That doesn't get much | :01:22. | :01:26. | |
publicity, does it? It doesn't! And it was a much shorter queue. | :01:27. | :01:31. | |
Delighted to get a mention on the One Show. Your friendship started in | :01:32. | :01:37. | |
the '70s. Shh... You don't look a day over 30. Thank you. What | :01:38. | :01:42. | |
situation did this all blossom in then? We were in the same company, | :01:43. | :01:47. | |
the Royal Shakespeare company doing bits and bobs and we eyed each other | :01:48. | :01:52. | |
from afar, Yorkshireman Lancashireman. We didn't become | :01:53. | :01:55. | |
close friends until much later, did we? Much later. The main reason, I | :01:56. | :02:02. | |
probably could have attempted a friendship, but I... | :02:03. | :02:07. | |
LAUGHTER. I was so intimidated by my friend at that time. That's all gone | :02:08. | :02:15. | |
now! You would have done better if you'd have been gay, you know. | :02:16. | :02:20. | |
Listen, we've got some photos. You can say that about my entire career! | :02:21. | :02:27. | |
We went on a little hunt and found some rather fetching pictures. Now, | :02:28. | :02:33. | |
why are we seeing so much flesh? I can't believe that. This is like | :02:34. | :02:38. | |
contouring before it became mainstream. I tell you, it doesn't | :02:39. | :02:42. | |
change much and I know because I shared a dressing room with Patrick. | :02:43. | :02:51. | |
Show us? That is me lying back. Visiting the witches as Macbeth. | :02:52. | :02:57. | |
Your chest is also fabulous. I'm wearing drowse. The Letts boots are | :02:58. | :03:03. | |
a bit risque. What was your workout regime like back then, Patrick? It | :03:04. | :03:09. | |
was fairly extreme. It goes from role-to-role. I've just played a | :03:10. | :03:15. | |
role where I needed to look gaunt and at death's door so I lost 20 | :03:16. | :03:20. | |
pounds and it worked. Then, you know, I now eat whatever I like, in | :03:21. | :03:25. | |
the odd green room, glass of wine and potato chips. He is remarkable, | :03:26. | :03:38. | |
he's as fit as he looks! Listen, you cannot be accused of blending into | :03:39. | :03:42. | |
the background of those photographs unlike our dog in our favourite | :03:43. | :03:48. | |
photo of the day. Oh, my goodness. Deb and Pete in Wigan, this is their | :03:49. | :03:53. | |
dog. We are going to draw an outline, because for those who can't | :03:54. | :03:58. | |
see it, there it is lying on their rug. It's phenomenal. I can look at | :03:59. | :04:03. | |
that all day long, mesmerizing. If you have any pets that blend into | :04:04. | :04:08. | |
the background at home, send us a photo and we'll see if we can spot | :04:09. | :04:12. | |
it. Do you think the dog know it's vanished? | :04:13. | :04:14. | |
LAUGHTER. I don't know. The mind boggles. | :04:15. | :04:20. | |
Now, imagine life throwing so many problems at you that you feel your | :04:21. | :04:24. | |
only option is to walk away from everything and everyone that you | :04:25. | :04:30. | |
know. Kevin Duala's been to find out what it takes to make that decision | :04:31. | :04:34. | |
and how it affects those left behind. Every two minutes, someone's | :04:35. | :04:41. | |
reported missing in the UK. Most are found quickly, within 48-hours. But | :04:42. | :04:46. | |
others, several hundred a year, disappear without a trace. I had to | :04:47. | :04:52. | |
run there and then. It's very hard to switch off. You're living with a | :04:53. | :04:57. | |
lot of mystery all the time. So what happens to people who... Just | :04:58. | :05:02. | |
vanish? I want to know what it takes to walk out on your own life. It was | :05:03. | :05:07. | |
like something in my mind had switched. Nothing else mattered. | :05:08. | :05:13. | |
Instantly I thought, I've got to go. Shelly ran away after wrapping up | :05:14. | :05:19. | |
?150,000 in credit card debt and losing her job. What makes somebody | :05:20. | :05:25. | |
leave their family and home? The devil on my shoulder said you should | :05:26. | :05:28. | |
leave, you should go. It was louder than any other voice, it was louder | :05:29. | :05:34. | |
than Shelly stay around and fix things and what about your family, | :05:35. | :05:38. | |
it was louder than anything else. She disappeared with just ?40 in her | :05:39. | :05:42. | |
pocket. I went to the coach station and asked for the next ticket | :05:43. | :05:46. | |
leaving and the lady said to me, where do you want to go and I said | :05:47. | :05:50. | |
anywhere. She said the next coach going out is Birmingham and I said | :05:51. | :05:54. | |
fine, I'll take that one then. When I arrived in Birmingham, I needed | :05:55. | :05:58. | |
somewhere to stay, so I came out of the coach station and found a | :05:59. | :06:01. | |
bed-and-breakfast straight across the road. | :06:02. | :06:04. | |
Because I'd given up on my old life it was like I could be anyone, I | :06:05. | :06:08. | |
could choose any identity, I could be anything I wanted to be. That | :06:09. | :06:12. | |
night was probably the first night I had a proper sleep in about a year. | :06:13. | :06:18. | |
Academics are now talking to people like Shelly to find out why and how | :06:19. | :06:24. | |
they disappear. Many said they deliberately went off | :06:25. | :06:28. | |
grid, avoiding anything that could trace them, mobiles, bank cards, | :06:29. | :06:32. | |
CCTV, and contact with the authorities like the police. I | :06:33. | :06:36. | |
didn't get in contact with my family after I left because it was just the | :06:37. | :06:40. | |
fear, the sheer fear of having to face the enormity of what I'd done. | :06:41. | :06:45. | |
Shelly lived on her wits for 18 months. I done a lot of things I | :06:46. | :06:50. | |
wasn't proud of, I lied, cheated, stole. I conned men into thinking | :06:51. | :06:55. | |
they were on a promise and I'd get them to take me out to dinner and | :06:56. | :07:00. | |
would make my excuses and leave. It was anything just to be able to get | :07:01. | :07:05. | |
food, money for the next day. Researchers hope their work will | :07:06. | :07:08. | |
also help anxious friends and family left behind. | :07:09. | :07:13. | |
Last month, Robbie Gibson disappeared. He'd been at the heart | :07:14. | :07:17. | |
of a bitter four-year fight to save libraries in South London from | :07:18. | :07:22. | |
closure. I think it's shameful. It's an essential part of our community | :07:23. | :07:29. | |
hub. But after taking part in a ten-day sit-in, he'd been feeling | :07:30. | :07:32. | |
low with some libraries facing the axe. Friend Joe Duggan says he | :07:33. | :07:37. | |
changed. I think that had an impact on him. I bumped into him and asked | :07:38. | :07:42. | |
him how he was. He used words like panicky and anxious and | :07:43. | :07:48. | |
vulnerable-looking. Two days later he was missing. The community | :07:49. | :07:52. | |
response has been absolutely amazing and has been really moving, I'd have | :07:53. | :07:58. | |
to say. We have generated leafments quickly, Facebook went into | :07:59. | :08:01. | |
meltdown. There was excitement because there was a belief that we'd | :08:02. | :08:07. | |
find him. CCTV image of Robbie on the Isle of Wight the day he went | :08:08. | :08:12. | |
missing. A keen walker, it had been a favourite holiday destination. | :08:13. | :08:17. | |
We have been wanting to put a story on what's happened but in reality we | :08:18. | :08:23. | |
genuinely don't know anything apart from the last confirmed CCTV footage | :08:24. | :08:28. | |
so you are constantly having your mind in overdrive trying to live | :08:29. | :08:33. | |
with all the possibilities. In Birmingham, Shelly became pregnant | :08:34. | :08:40. | |
with her daughter, now 12. It was time to let her old life back in. | :08:41. | :08:44. | |
After I had my daughter, I felt strong enough to be able to contact | :08:45. | :08:48. | |
my family again. I called them and it took all my courage and I'm | :08:49. | :08:54. | |
scared they'd have a go at me. My nan answered the phone and she was | :08:55. | :08:58. | |
so happy. I was so shocked that she didn't hate me. She was just happy | :08:59. | :09:05. | |
to know I was alive. No longer one of the disappeared, Shelly and her | :09:06. | :09:10. | |
daughter have settled in Birmingham. For Joe, not knowing his friend's | :09:11. | :09:16. | |
whereabouts is a constant worry. It's really almost impossible to get | :09:17. | :09:20. | |
on with the rest of your life. You're living with that limbo. I | :09:21. | :09:24. | |
really hope he knows how much people care about him. | :09:25. | :09:34. | |
Shelly that we saw in the film, she's been part of that study into | :09:35. | :09:40. | |
those that have gone missing, Kevin, so what are the main reasons that | :09:41. | :09:43. | |
people feel the need to leave everything they know in life behind | :09:44. | :09:49. | |
and go missing? We have been asking a Professor from the University of | :09:50. | :09:54. | |
Glasgow and the ESRC who's conducted extensive research on this, we are | :09:55. | :09:58. | |
talking about people who're feeling under pressure in an intolerable | :09:59. | :10:03. | |
situation, it can range from anything from financial situations | :10:04. | :10:08. | |
or whatever. However, the most prominent issue is mental health. | :10:09. | :10:15. | |
80% will have mental health issues, whether diagnosed or undiagnosed, it | :10:16. | :10:17. | |
can range from depression, anxiety or stress. Is there any way that | :10:18. | :10:27. | |
friends or family might be able to identify somebody's triggers who | :10:28. | :10:30. | |
might consider going missing? It's hard to point at one specific thing. | :10:31. | :10:35. | |
If people are feeling under pressure, if they are behaving in an | :10:36. | :10:38. | |
unusual way, it's really important to speak toe them. If their | :10:39. | :10:43. | |
behaviour is changing, ask the right questions. A key significant factor | :10:44. | :10:46. | |
is, if somebody's gone missing before, speak to them because 40% | :10:47. | :10:52. | |
who go missing are likely to go missing again. Sit down, ask them | :10:53. | :10:55. | |
about their journey, what happened, what was going on in their mind, why | :10:56. | :10:59. | |
did they want to leave, they're the people that will significantly need | :11:00. | :11:03. | |
the help. Is it down to family and friends then or is there kind of a | :11:04. | :11:07. | |
support network set up so people don't leave again? Matt, it's more | :11:08. | :11:11. | |
down to family and friends. The police's job is to find them. Once | :11:12. | :11:16. | |
they've found them, they've done their job. If the police worked | :11:17. | :11:20. | |
closely with the mental Health Services, that is the key. Once | :11:21. | :11:23. | |
people go missing and then they return, if they work together, the | :11:24. | :11:28. | |
local police are conducting interviews and pointing vulnerable | :11:29. | :11:31. | |
people to the best help they need. If they work in conjunction together | :11:32. | :11:36. | |
and help the missing people get the help they need, that is the key. If | :11:37. | :11:41. | |
anyone out there has anyone information on Robbie, is there | :11:42. | :11:44. | |
anywhere they should contact? The best thing to do is to go to the | :11:45. | :11:48. | |
website, all of the information is on there for you. There is another | :11:49. | :11:51. | |
person we are going to try and find? Yes, I would like to do a call out. | :11:52. | :11:57. | |
We are looking for Rebecca Carr, 23 when she went missing, she's now 35, | :11:58. | :12:04. | |
5'8", mousey brown hair, last seen at Gillingham train station in Kent | :12:05. | :12:09. | |
on 25th November, 2002. You are overriding feeling from | :12:10. | :12:16. | |
this, it's not just people desperately in need of something and | :12:17. | :12:20. | |
that is why they're going but the family left behind as well, it's | :12:21. | :12:24. | |
agony on both sides? Yes. Having spoken to Shelly in great detail | :12:25. | :12:28. | |
when we did the film, she loved her nan to bits and unfortunately, her | :12:29. | :12:32. | |
nan passed away, so she said it was a breath of fresh air, that she went | :12:33. | :12:36. | |
home, met her nan and could say goodbye to her. What the family go | :12:37. | :12:45. | |
through is terrible. Thanks ever so much indeed. If you have anyone on | :12:46. | :12:49. | |
Robbie, Rebecca or have been affected by anything you have seen | :12:50. | :12:53. | |
on here or need somebody to talk to, there's more information on the | :12:54. | :12:56. | |
website. Before we talk about Ian and | :12:57. | :13:00. | |
Patrick's new play, here is a look at another performance, one that | :13:01. | :13:03. | |
helps prevent local voices being lost forever. Carrie has been to see | :13:04. | :13:07. | |
a musical project that takes inspiration from the forgotten women | :13:08. | :13:11. | |
of the factory floor. In the years after the Second World | :13:12. | :13:16. | |
War, South Wales rang with the clamour of the male-dominated coal | :13:17. | :13:26. | |
and steel industries. Meanwhile, an army of women were playing a role in | :13:27. | :13:30. | |
the industrial recovery in Wales. The post-war years saw a consumer | :13:31. | :13:36. | |
revolution when zips and watches, fizzy drinks, were being | :13:37. | :13:38. | |
manufacturered in their thousands and all by women. | :13:39. | :13:43. | |
For many, this taste of communal work was some of the best times of | :13:44. | :13:50. | |
their lives. Marion Jones was 16 when she started working at a | :13:51. | :13:57. | |
lingerie factory in Merthyr did fill in 1951. I was hemming the bottom of | :13:58. | :14:03. | |
the slips. What was the atmosphere like? It was lovely. Everybody knew | :14:04. | :14:10. | |
everyone. -- Merthyr Tydfil. It was different for the men, as heavy | :14:11. | :14:15. | |
industry went into decline. The arrival of factories like Marion's | :14:16. | :14:19. | |
saved many communities from going under, with one brand in particular | :14:20. | :14:22. | |
providing work for thousands of women. Hoover have gone and found | :14:23. | :14:28. | |
the washing machine that means the end of wash days. Wash day? Just | :14:29. | :14:34. | |
forget it. In 1963, Marion switched to manufacturing white goods. Those | :14:35. | :14:40. | |
were the good years of my life. One of the best jobs I've ever had. | :14:41. | :14:44. | |
Today, although many of the factories are long gone, the voices | :14:45. | :14:49. | |
of those who worked in them are not. We had to wear overalls and clocks | :14:50. | :14:57. | |
because of all the broken glass -- clogs. They could hear us coming a | :14:58. | :15:02. | |
mile. Two years ago, 200 women, including Marion, took part in an | :15:03. | :15:07. | |
oral history project, providing their stories to Chronicle Wales's | :15:08. | :15:12. | |
crucial workforce. These machines are going brrrrr... | :15:13. | :15:19. | |
They decided to put me on to black bras. It wasn't easy to sew black on | :15:20. | :15:26. | |
black, so there was a lot of mistakes. Magical, if I want to use | :15:27. | :15:34. | |
a word. These memories have been | :15:35. | :15:37. | |
incorporated into a new musical composition. Musician ingoo Thompson | :15:38. | :15:41. | |
has been commissioned by the Cardiff Festival of Voice to create a unique | :15:42. | :15:45. | |
arrangement using the women's recordings. When she heard the ash | :15:46. | :15:52. | |
cave, she was captivated -- Inga. Can you play me some examples? I | :15:53. | :15:55. | |
can. It is just lovely and the accent is | :15:56. | :16:07. | |
beautiful. I've not long worked at the factory and I was immediately | :16:08. | :16:11. | |
attracted to her because initially, the name of the factory because it | :16:12. | :16:18. | |
is such a cool name. What is that? Her phone number? The numbers of the | :16:19. | :16:26. | |
zip, the colours, white and black. Isn't it fascinating, even with the | :16:27. | :16:29. | |
spoken voice, how you can feel someone's character from that? I | :16:30. | :16:34. | |
think she would be proper strong, no-nonsense. Marion and Avril are | :16:35. | :16:38. | |
coming to hear the work's Premier and it is time to take our seats. -- | :16:39. | :16:50. | |
premiere. It was heated to a super heat and it was forced through... It | :16:51. | :16:58. | |
was like a shower head... You wonder how on earth she put all that | :16:59. | :17:03. | |
together, to come out as good as it is. I never thought it had anything | :17:04. | :17:10. | |
to do with history but the more I am listening to things now, I do think, | :17:11. | :17:13. | |
oh, yes, you did play a little part in it. A lot of things I have | :17:14. | :17:23. | |
forgotten but it has brought a lot of memories back, you know. | :17:24. | :17:29. | |
# This is your song. # And thanks to the women's archive of | :17:30. | :17:36. | |
Wales, these memories have been preserved for generations to come. | :17:37. | :17:39. | |
One way of keeping the memory arrived. You were both watching that | :17:40. | :17:45. | |
very intently. A similar background, your mother worked in a textile | :17:46. | :17:49. | |
factory? She did, she worked in the mill all her life, during the war | :17:50. | :17:54. | |
and afterwards, when I was a teenager. She loved it. She would | :17:55. | :17:58. | |
not give it up, even though I think she was paid ?3 and five shillings a | :17:59. | :18:04. | |
week for the work she did and the conditions were horrible. But she | :18:05. | :18:11. | |
would not turn her back on her workmates and the place and the | :18:12. | :18:17. | |
companionship she felt. It was a community. Hearing about the words | :18:18. | :18:20. | |
and the dialect and everything, do you miss that part of your life? | :18:21. | :18:27. | |
Patrick, they would be weaving, wouldn't they? Everyone and weaving, | :18:28. | :18:32. | |
spinning cotton. I remember going past the biggest factor in Europe | :18:33. | :18:36. | |
every day, walking to school. It took about 20 minutes to walk down | :18:37. | :18:40. | |
one side of it. And you could hear it all going on inside, voices | :18:41. | :18:43. | |
raised above the rattle of the machinery. I never went inside. And | :18:44. | :18:49. | |
Harold Pinter's No Man's Land is what you are here to chat about and | :18:50. | :18:53. | |
the language and the use of language and how elegant and lyrical it | :18:54. | :18:57. | |
almost is on is that the massive part of the attraction? It is. He's | :18:58. | :19:03. | |
a great master of words and a wonderful wordsmith. He began his | :19:04. | :19:10. | |
life writing reviews, sketches to be done in variety shows. You can tell | :19:11. | :19:16. | |
because he has an eye for a gag. A little routine that we love doing | :19:17. | :19:21. | |
all that stuff, as well as the serious stuff. Patrick I was reading | :19:22. | :19:24. | |
that this play has been a real passion of yours since you first saw | :19:25. | :19:31. | |
it in 19... 75. We both saw it, not together, not at the same time | :19:32. | :19:34. | |
because we did not know one another then, I think. I went on a Monday | :19:35. | :19:39. | |
night. I was so dazzled by the performances but also by the script, | :19:40. | :19:46. | |
the text. Much of which I could not fully understand. So I bought a | :19:47. | :19:50. | |
ticket for the next night and then for the birthday as well! I saw it | :19:51. | :19:57. | |
three times. -- for the Thursday. I would have gone on a Saturday night | :19:58. | :20:02. | |
but I could not afford it. So it affected you straightaway? I had | :20:03. | :20:05. | |
been in two Harold Pinter plays already when I saw it but there was | :20:06. | :20:09. | |
something about this play, the fact that they are very clever people who | :20:10. | :20:14. | |
are speaking the language, it is actually, I think one of his plays | :20:15. | :20:17. | |
that comes closest to Tom Stoppard's work in that dextrous, brilliant use | :20:18. | :20:25. | |
of language. It is very complex. Even the chatter between you, but it | :20:26. | :20:29. | |
does not seem like you are likely to tribute other up at any point or do | :20:30. | :20:34. | |
you, just for kicks? We have very long speeches so we have do play, | :20:35. | :20:38. | |
not doing the long speeches ourselves but sitting back and | :20:39. | :20:41. | |
listening to the other one. It's a pain but you have to be so alert | :20:42. | :20:45. | |
when you are listening and Patrick is a brilliant listener. Every so | :20:46. | :20:49. | |
often, his eyes glanced up at me and there the whole world going on | :20:50. | :20:52. | |
inside, unspoken. That is part of the fun of the play. But how could | :20:53. | :20:58. | |
you recommend this play? It's one of the great plays of the last | :20:59. | :21:01. | |
centuries and one of the great base for two actors of the same age. | :21:02. | :21:05. | |
There aren't many like that. People ask why we are doing it again having | :21:06. | :21:08. | |
done it in New York? No one has written anything for us since! | :21:09. | :21:12. | |
LAUGHTER We are back with the old material. | :21:13. | :21:17. | |
From Broadway, you are going on tour, starting in Sheffield... Next | :21:18. | :21:21. | |
week. You are so well known you could do the West End but it is | :21:22. | :21:25. | |
really important for you. This man will tell you why taking a show into | :21:26. | :21:30. | |
the regions and the provinces is so important. Go! In the 16th century | :21:31. | :21:38. | |
when young William Shakespeare was living in Stratford, how did he get | :21:39. | :21:43. | |
to know anything about the theatre? Because the actors would tour. And | :21:44. | :21:47. | |
he saw them and he fell another with the double stop how did you fall in | :21:48. | :21:51. | |
the theatre? Same as me, I saw the actors, they arrived, they were in | :21:52. | :21:55. | |
the weekly company and they toured to Manchester and Liverpool, big | :21:56. | :22:00. | |
actors of my youth. I was so grateful to them and I sort of | :22:01. | :22:05. | |
expected that that is what actors did, rogues and vagabonds. So it is | :22:06. | :22:11. | |
with a joyful heart that we are off to... Sheffield the start! | :22:12. | :22:20. | |
Newcastle. Then Cardiff and London. Lovely, but it is not just age, you | :22:21. | :22:24. | |
are both very busy, you are going to be playing a clock soon as Jim yes, | :22:25. | :22:34. | |
Cogsworth in Beauty And The Beast. Wonderful movie. Can you tell the | :22:35. | :22:40. | |
time? I can't answer that but I have written one," my name is Cogsworth | :22:41. | :22:49. | |
and I'm a clock, tick-tock... " but it did not get into the film. We | :22:50. | :22:52. | |
have do ask why we'll -- while we are on the movies... Wolverine. I | :22:53. | :23:03. | |
have reprised my role. I don't understand it, or is it about | :23:04. | :23:08. | |
Professor X that he has to appear in every subsequent film? We wanted to | :23:09. | :23:13. | |
give you the opportunity. It was a sensible answer. I would have given | :23:14. | :23:17. | |
anything to have walked on in Lord of the rings! But not call, not an | :23:18. | :23:23. | |
e-mail, nothing! Given that into Gestede you should not do Star Trek, | :23:24. | :23:28. | |
I think his career advice is best kept to himself. -- given that Ian | :23:29. | :23:32. | |
suggested you should not do. I would have been a dreadful agent. No Man's | :23:33. | :23:38. | |
Land begins its UK tour next Wednesday in Sheffield. I'm no! And | :23:39. | :23:43. | |
then it goes to the Wyndham 's Theatre which is where you both saw | :23:44. | :23:46. | |
it in London before on the 8th of September. | :23:47. | :23:51. | |
Time to talk to housemate and girlfriends. Asda has been to | :23:52. | :23:54. | |
Southampton to see if she can get an answer about one of your tricky | :23:55. | :23:56. | |
problems. This should be interesting. This week's dilemma | :23:57. | :24:03. | |
comes from Lucy in London who says, "My housemate has a new girlfriend | :24:04. | :24:07. | |
who he always has round the house but I don't like. How do I confront | :24:08. | :24:14. | |
this issue?" Good question. Let's see what the people of Southampton | :24:15. | :24:22. | |
have to say. What does she do? It depends how long they have been | :24:23. | :24:26. | |
together. If it is like a month, you could be like, "We are good flatmate | :24:27. | :24:29. | |
and I don't like this girl friend of yours, maybe have a think about it". | :24:30. | :24:35. | |
Just tell him not to bring her over any more. I'm him, "Hello community | :24:36. | :24:41. | |
is though you have something on your mind?" Either she goes and you goes. | :24:42. | :24:46. | |
Whoever was in the flat first, may be the best thing to do is for the | :24:47. | :24:56. | |
other one to move out. I don't want you to tell me that but it's very | :24:57. | :25:01. | |
kind. It's a fantastic game, it gets you talking to people. Know, | :25:02. | :25:05. | |
different question. What is the question? Hello, both, this is the | :25:06. | :25:14. | |
dilemma. If you don't say it as it is, how is he going to know and how | :25:15. | :25:17. | |
are you going to work around it? It will just be awkward at all time. | :25:18. | :25:22. | |
Definitely but always stay polite because you never know when you | :25:23. | :25:25. | |
might see her again. And be nice because you won't come off like a | :25:26. | :25:32. | |
bad person. I've always wanted to do that, sorry! It's fine because you | :25:33. | :25:37. | |
appreciate the flatmate and you want to learn to get on with people that | :25:38. | :25:42. | |
you did not originally like. Have you ever had a flatmate? Yes. Was it | :25:43. | :25:48. | |
annoying? Not really but I did fall out in the end. What about? My | :25:49. | :25:54. | |
boyfriend. She did not think much of him but I've now been married to | :25:55. | :25:57. | |
infinitely 40 years so she was wrong. She was totally wrong. You | :25:58. | :26:01. | |
have do have valid reasons for not wanting a person coming in. That's | :26:02. | :26:05. | |
the thing, and if the valid reason is that you don't get on... You need | :26:06. | :26:11. | |
to back off and allow your friend to have their friend. It is supposed to | :26:12. | :26:15. | |
be tolerant but it is only when it starts to impede on your life | :26:16. | :26:21. | |
significantly. Do you live together? Yes. Do you get an all right? Yes. | :26:22. | :26:28. | |
Does he have any bad habits? You just get on my nerves, don't you? I | :26:29. | :26:34. | |
hope that makes light of it. As we have got you both here, we thought | :26:35. | :26:39. | |
we would play a little game, asking a few questions about what using | :26:40. | :26:41. | |
about each other or who the question may refer to. We have a paddle each | :26:42. | :26:50. | |
and all you have to do it and it around. We did this with Rod Stewart | :26:51. | :26:53. | |
and his wife and it worked ready well. They are still married? Yes, | :26:54. | :27:01. | |
there is hope! The tension! Who the funniest? Who is the snappiest | :27:02. | :27:06. | |
dresser? Who is the most punctual when you | :27:07. | :27:12. | |
meet up? Who secretly enjoys being a knight | :27:13. | :27:29. | |
the most. A knight of old? View know what I mean. Who most enjoys being | :27:30. | :27:37. | |
served? I don't know. Who's most likely to lose the knighthood for | :27:38. | :27:44. | |
bad behaviour? I suspect both of you together. Who generally makes the | :27:45. | :27:45. | |
most demands. Who makes the best looking woman? My | :27:46. | :28:04. | |
word! Never mind. We will finish on that. Extraordinary. Look at you... | :28:05. | :28:13. | |
From those lovely photos to the once you have been sending into night of | :28:14. | :28:16. | |
your camouflaged pets. Go one, Angela, start us off with this one | :28:17. | :28:22. | |
which is beautiful. I think it's a cat. Read the back. This is Nicky's, | :28:23. | :28:29. | |
sorry, it is a dog, not a cat, in Dorset, quite feline. Desmond from | :28:30. | :28:34. | |
Manchester on his favourite throw. This was sent from Cronje of her | :28:35. | :28:45. | |
dog. And we have to say goodbye now. A big bangs to you, Angela. I will | :28:46. | :28:49. | |
be back tomorrow with duathlete who famously clashed in the 1984 | :28:50. | :28:53. | |
Olympics, Zola Budd and Mary Decker. We will leave you with Lulu on her | :28:54. | :28:56. | |
blanket. There we are. | :28:57. | :28:59. |