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CHEERING AND APPLAUSE | 0:00:13 | 0:00:15 | |
Hello and welcome to We Love Sitcom. | 0:00:21 | 0:00:25 | |
Tonight, our celebrity guests will be competing in a unique quiz | 0:00:25 | 0:00:29 | |
that celebrates everything we love about British situation comedy. | 0:00:29 | 0:00:33 | |
And what better way to celebrate sitcom, | 0:00:33 | 0:00:37 | |
apart from using the money to make an actual sitcom? | 0:00:37 | 0:00:40 | |
But we're here now, so chin up and let's meet our guests. | 0:00:42 | 0:00:45 | |
CHEERING AND APPLAUSE | 0:00:45 | 0:00:46 | |
Jennifer Saunders and Julia Sawalha. | 0:00:46 | 0:00:49 | |
Steve Mangan and Nina Wadia. | 0:00:49 | 0:00:52 | |
Jessica Hynes and Chris Addison. | 0:00:52 | 0:00:55 | |
And Lee Mack and Nigel Havers. | 0:00:55 | 0:00:57 | |
Hiya! You all right? | 0:01:00 | 0:01:02 | |
Hello! Hiya! | 0:01:02 | 0:01:04 | |
It's already gone mental. | 0:01:06 | 0:01:08 | |
So, over the next hour, we'll be playing | 0:01:08 | 0:01:10 | |
a series of games to test just how much these guys know about | 0:01:10 | 0:01:14 | |
a subject very close to their hearts... | 0:01:14 | 0:01:17 | |
Nazi memorabilia. No... | 0:01:17 | 0:01:19 | |
No, no, sitcom, of course. | 0:01:19 | 0:01:22 | |
Jen, hi. Hiya! | 0:01:22 | 0:01:24 | |
I have a question - how well do you know your sitcoms? | 0:01:24 | 0:01:27 | |
I've watched an awful lot of telly and I know them extremely well. I'm hoping to win. | 0:01:27 | 0:01:31 | |
Fighting talk. Julia, may I ask? Yeah, ditto. I've already won. | 0:01:32 | 0:01:37 | |
You've already won emotionally. We are all winners here! | 0:01:38 | 0:01:41 | |
Let's all agree on that. | 0:01:41 | 0:01:42 | |
Can we not talk from the back row until the front row are finished, please?! | 0:01:42 | 0:01:46 | |
We're struggling to hear. My father's struggling to hear anybody. | 0:01:47 | 0:01:51 | |
AUDIENCE LAUGHTER DROWNS SPEECH | 0:01:51 | 0:01:54 | |
Nigel, have you worked together, or...? | 0:01:54 | 0:01:56 | |
Yes, constantly. Yes. Yeah. | 0:01:56 | 0:01:59 | |
Although I feel like we're not working together, we're stuck in traffic. But we are a sitcom... | 0:01:59 | 0:02:03 | |
We are a sitcom already. | 0:02:03 | 0:02:05 | |
In the '70s, we'd be called Chalk and Cheese. | 0:02:05 | 0:02:08 | |
But, in fact, we're called tonight...Mack and Cheese. | 0:02:08 | 0:02:11 | |
I don't want to do that sitcom with you. Don't you? | 0:02:12 | 0:02:15 | |
Steve... | 0:02:15 | 0:02:16 | |
Is this right, you won Celebrity Mastermind? | 0:02:16 | 0:02:20 | |
I did, I did. I won. | 0:02:20 | 0:02:22 | |
And wasn't sitcoms one of your topics? | 0:02:22 | 0:02:24 | |
It was my topic, sitcoms of 1984. | 0:02:24 | 0:02:28 | |
Specifically that? Specifically... | 0:02:28 | 0:02:31 | |
October 1984 sitcoms. | 0:02:31 | 0:02:33 | |
A fairly broad category. | 0:02:33 | 0:02:35 | |
We have been in training for four years for tonight. | 0:02:35 | 0:02:38 | |
And we've watched every sitcom ever made, | 0:02:38 | 0:02:41 | |
not just in this country, but round the world. Yeah. | 0:02:41 | 0:02:43 | |
So, we're ready. Absolutely. | 0:02:43 | 0:02:45 | |
Which reminds me, Nina, you grew up in Hong Kong. Mm-hm. | 0:02:45 | 0:02:48 | |
Is that right? I know all the Chinese sitcoms. | 0:02:48 | 0:02:51 | |
Every single one of them. There's a lot of that coming up tonight. | 0:02:51 | 0:02:54 | |
Yes, there is. They are hilarious. They're brilliant! | 0:02:54 | 0:02:57 | |
Chris and Jessica... Hi, Ben. | 0:02:58 | 0:03:00 | |
I know you two already know each other, don't you? | 0:03:00 | 0:03:02 | |
Yes, we sang a song once. Is that what you're referring to? | 0:03:02 | 0:03:04 | |
I am referring to that. | 0:03:04 | 0:03:06 | |
In fact, I've got photographic evidence of the event. | 0:03:06 | 0:03:08 | |
Yes, that's Karaoke Circus, where we sang Fairytale Of New York. | 0:03:09 | 0:03:14 | |
Fairytale Of New York. Fairytale Of New York. Yeah. | 0:03:14 | 0:03:17 | |
It was the politest version of Fairytale Of New York you've ever heard. | 0:03:17 | 0:03:20 | |
There was no... Do you want to do a bit now? Not really. | 0:03:20 | 0:03:23 | |
Unfortunately, you don't have the licence. Come on! | 0:03:23 | 0:03:25 | |
How does it go again? It goes... | 0:03:25 | 0:03:27 | |
# We were in New York the time when there were all the fairies | 0:03:27 | 0:03:32 | |
# And the...city... # SHE TRAILS OFF | 0:03:32 | 0:03:36 | |
Uh, that one. And... | 0:03:36 | 0:03:38 | |
# The bells are ringing out... # THEY HUM ALONG BADLY | 0:03:38 | 0:03:40 | |
# ..Easter day! # | 0:03:40 | 0:03:43 | |
CHEERING | 0:03:43 | 0:03:45 | |
Sorry, Ben, was that your...impressed face? | 0:03:47 | 0:03:51 | |
Was that your impressed face? | 0:03:51 | 0:03:53 | |
LEE: # ..Won't find out until we grow... # | 0:03:53 | 0:03:56 | |
Oh, hello! | 0:03:56 | 0:03:57 | |
IN SING-SONG VOICES: I got you, Nige. I got you, Lee. | 0:03:57 | 0:04:00 | |
SHE SINGS IN A SHRILL VOICE | 0:04:04 | 0:04:07 | |
What's that? What's that, looking at us? | 0:04:15 | 0:04:18 | |
Are you going to ask for a song? No! Ain't going to happen. | 0:04:18 | 0:04:21 | |
Let's get on with our first game now. Ooh, yes! | 0:04:24 | 0:04:27 | |
Now, we British love to forget all about a hard day in the office, | 0:04:27 | 0:04:31 | |
factory or ministerial department of Her Majesty's Government by | 0:04:31 | 0:04:34 | |
coming home and watching other people having a hard day in | 0:04:34 | 0:04:37 | |
the office, factory or... You're way ahead of me. Which is why our | 0:04:37 | 0:04:41 | |
first round is all about sitcoms that are set in the workplace. | 0:04:41 | 0:04:45 | |
Come on, trust me, you'll feel... | 0:04:47 | 0:04:48 | |
Ha-ha-ha-ha-ha-ha! | 0:04:48 | 0:04:51 | |
Ho-ho-ho! HE CONTINUES LAUGHING | 0:04:51 | 0:04:53 | |
If TV is about escapism, you wouldn't know it from the | 0:04:55 | 0:04:59 | |
multitude of sitcoms set in mundane, everyday workplaces. | 0:04:59 | 0:05:03 | |
Agh... Agh, agh! | 0:05:03 | 0:05:05 | |
We love them because they make sport of the things that wind us up | 0:05:07 | 0:05:10 | |
about our own jobs. | 0:05:10 | 0:05:12 | |
Those dull training sessions... | 0:05:12 | 0:05:14 | |
the constant banter... | 0:05:14 | 0:05:16 | |
Get off of me. Get off! | 0:05:16 | 0:05:18 | |
..and, of course, the on-message, lexical, | 0:05:18 | 0:05:21 | |
synergy solutions of workplace jargon. | 0:05:21 | 0:05:24 | |
Well, I don't know that I can put it any more... | 0:05:24 | 0:05:27 | |
But nothing shows up more regularly and reliably than the | 0:05:27 | 0:05:31 | |
workplace idiot. | 0:05:31 | 0:05:32 | |
You're not going to believe this! Clint Eastwood has been arrested for a crime he didn't... | 0:05:33 | 0:05:37 | |
Oh, wait, no, it's a film! | 0:05:37 | 0:05:39 | |
You know what they say, | 0:05:39 | 0:05:40 | |
if you look around the room and you can't see the office plonker, | 0:05:40 | 0:05:43 | |
he's probably Sellotaped himself to the stationery cupboard again. | 0:05:43 | 0:05:48 | |
Of course, no workplace can function without respect. | 0:05:48 | 0:05:51 | |
Particularly between the sexes. | 0:05:51 | 0:05:53 | |
This is Geraldine. She's the new vicar. | 0:05:53 | 0:05:57 | |
No, she isn't. She's a woman! | 0:05:57 | 0:05:59 | |
These are such a giveaway, aren't they? | 0:05:59 | 0:06:01 | |
And, at the end of the day, if we can't respect each other, | 0:06:01 | 0:06:04 | |
at least workplace sitcoms remind us | 0:06:04 | 0:06:06 | |
to respect the person that really matters - | 0:06:06 | 0:06:08 | |
the boss. | 0:06:08 | 0:06:10 | |
SHE BLOWS RASPBERRY | 0:06:10 | 0:06:11 | |
Whoo! | 0:06:13 | 0:06:14 | |
CHEERING AND APPLAUSE | 0:06:14 | 0:06:17 | |
Can we have a round of applause for the great David Jason, | 0:06:20 | 0:06:23 | |
our voice of God? | 0:06:23 | 0:06:24 | |
CHEERING | 0:06:24 | 0:06:26 | |
Now, these are all of course jobs | 0:06:29 | 0:06:32 | |
that appear in our best-loved sitcoms. | 0:06:32 | 0:06:36 | |
So each team gets to pick one job from the board and I'll ask them | 0:06:36 | 0:06:39 | |
a question about a related sitcom. | 0:06:39 | 0:06:41 | |
Get a point for each correct answer. OK... Points, points! | 0:06:41 | 0:06:44 | |
Lee and Nigel, you're going to go first. OK. | 0:06:44 | 0:06:48 | |
Please be my guest and pick a job. Can I choose, Nigel? | 0:06:48 | 0:06:51 | |
No, you can choose. I'd like to go for Bus Driver, just so... | 0:06:51 | 0:06:56 | |
I better explain to Nigel what a bus is. Yes... | 0:06:56 | 0:06:58 | |
It's the way poor people travel around. Oh, OK. | 0:06:58 | 0:07:01 | |
It's like a Mercedes but loads of people are on the back. Oh, OK. | 0:07:01 | 0:07:04 | |
The way I got here and the way you didn't. I see. | 0:07:06 | 0:07:10 | |
Should we go for Bus Driver? Let's go for Bus Driver. | 0:07:10 | 0:07:12 | |
Now then, Reg Varney, who played Stan Butler in On The Buses, | 0:07:12 | 0:07:16 | |
was the first person in the world... Was he?! ..to use... | 0:07:16 | 0:07:19 | |
Surely that was Adam! | 0:07:19 | 0:07:20 | |
Imagine that, Reg Varney and Eve. | 0:07:23 | 0:07:24 | |
MIMICS BLAKEY: "You can't eat that apple!" | 0:07:26 | 0:07:28 | |
Reg Varney was the first person in the world to use a what? | 0:07:31 | 0:07:35 | |
I'll give you a clue. It was in 1967. | 0:07:35 | 0:07:38 | |
What do they use on buses? | 0:07:38 | 0:07:40 | |
They use tickets. They use tickets? | 0:07:40 | 0:07:43 | |
Tickets. A ticket machine. To give the ticket out. | 0:07:43 | 0:07:46 | |
OK, I can help you. It was as himself. | 0:07:46 | 0:07:48 | |
Reg Varney, himself, in real life, | 0:07:48 | 0:07:50 | |
was the very first person to use a key piece of technology. | 0:07:50 | 0:07:54 | |
Can you imagine what it was? | 0:07:54 | 0:07:56 | |
A telephone of some sort. 1967?! No, you're right. Erm... | 0:07:56 | 0:08:00 | |
I want to swap sides. | 0:08:00 | 0:08:02 | |
I've got a photo. The photo might reveal it. | 0:08:03 | 0:08:06 | |
Should do, that's how they work. It made the newspapers. | 0:08:06 | 0:08:09 | |
Here he is. | 0:08:09 | 0:08:11 | |
First person to use the "chat up a woman wearing a white hat" routine! | 0:08:11 | 0:08:14 | |
A cash machine. Oh, a cash machine! | 0:08:16 | 0:08:18 | |
It's a cash machine! Very, very good. | 0:08:18 | 0:08:20 | |
Chris and Jessica, would you like to choose a job? | 0:08:24 | 0:08:28 | |
Er, TV Executive. | 0:08:28 | 0:08:30 | |
TV Executive. | 0:08:30 | 0:08:33 | |
So, what sitcom did a BBC script editor say in a memo | 0:08:33 | 0:08:38 | |
was "as dire as its title"? | 0:08:38 | 0:08:40 | |
Fawlty Towers! | 0:08:40 | 0:08:42 | |
Lee has a very unfortunate form of Tourette's. | 0:08:52 | 0:08:56 | |
I can only shout out sitcoms from the '70s and '80s. | 0:08:56 | 0:08:58 | |
Sorry! | 0:08:59 | 0:09:01 | |
Well done. No, you take it, you take it, you have that. | 0:09:02 | 0:09:06 | |
Go on, Jessica. | 0:09:06 | 0:09:08 | |
I mean, I WAS going to say Fawlty Towers, I was going to say... | 0:09:08 | 0:09:11 | |
It was indeed Fawlty Towers. Thank you. | 0:09:11 | 0:09:14 | |
Or Farty Towels, Farty Towels. | 0:09:16 | 0:09:20 | |
Here it is. I thought this one as dire as its title. | 0:09:20 | 0:09:24 | |
A collection of cliches and stock characters which I can't see | 0:09:24 | 0:09:27 | |
being anything but a disaster. | 0:09:27 | 0:09:30 | |
He was right, of course, Fawlty Towers was a disaster | 0:09:30 | 0:09:33 | |
for almost anyone who tried to write anything funny | 0:09:33 | 0:09:36 | |
for the next ten years. | 0:09:36 | 0:09:37 | |
The script editor, of course, went from strength to strength | 0:09:37 | 0:09:41 | |
and is known all over the internet as the man who wrote that memo | 0:09:41 | 0:09:44 | |
about Fawlty Towers and was never heard of again. | 0:09:44 | 0:09:47 | |
Jennifer and Julia, you're next. Would you like to pick a job? | 0:09:49 | 0:09:53 | |
I don't know. Vicar. Oh, yes, vicar. Vicar. | 0:09:53 | 0:09:56 | |
Please let it be. Let it be her. | 0:09:56 | 0:10:00 | |
Come on. I've watched three of those. | 0:10:00 | 0:10:03 | |
Yes, indeed, this question is based | 0:10:05 | 0:10:07 | |
on everyone's favourite white-collar worker, | 0:10:07 | 0:10:10 | |
The Vicar of Dibley's Geraldine Granger. | 0:10:10 | 0:10:12 | |
Geraldine has 15 middle names. | 0:10:12 | 0:10:16 | |
What film are they based on? | 0:10:16 | 0:10:19 | |
You know it, Jen, you know it. | 0:10:23 | 0:10:26 | |
She used to love, as a character, | 0:10:26 | 0:10:28 | |
she used to love... | 0:10:28 | 0:10:29 | |
Yes, she used to love this film. | 0:10:29 | 0:10:30 | |
The Sound Of Music. | 0:10:30 | 0:10:31 | |
Oh, it could have been The Sound Of Music. | 0:10:31 | 0:10:33 | |
Is it a kids' film? | 0:10:33 | 0:10:35 | |
It is a kids' film. | 0:10:35 | 0:10:36 | |
Is it Mary Poppins? Yes. | 0:10:36 | 0:10:37 | |
Fantastic.. | 0:10:37 | 0:10:38 | |
Shall we have a look at the clip? | 0:10:46 | 0:10:48 | |
What is your full name? | 0:10:48 | 0:10:50 | |
Come on, it can't be that bad. | 0:10:50 | 0:10:51 | |
Oh, dear, dear, dear, dear. | 0:10:56 | 0:10:58 | |
It was my mum's favourite book. | 0:10:58 | 0:11:01 | |
And the film came out the year I was born. | 0:11:01 | 0:11:03 | |
Very well. Repeat after me. | 0:11:03 | 0:11:06 | |
I, Geraldine Julie Andrews | 0:11:06 | 0:11:11 | |
Dick Van Dyke | 0:11:11 | 0:11:14 | |
Sue... | 0:11:14 | 0:11:16 | |
percalifragilisticexpialidocious... | 0:11:16 | 0:11:19 | |
I, Geraldine... I think you know I haven't finished. | 0:11:19 | 0:11:22 | |
Chim Chiminey Chim Chiminey Chim Chim Cher-ee Granger. | 0:11:22 | 0:11:26 | |
Oh, lovely! | 0:11:26 | 0:11:28 | |
Steve and Nina, would you please choose a job? | 0:11:35 | 0:11:39 | |
Nina, what are we going to do? Spin doctor. Spin doctor. | 0:11:39 | 0:11:43 | |
Spin doctor. TV's most famous spin doctor, Malcolm Tucker, | 0:11:43 | 0:11:47 | |
is famous for his creative use of the English language. | 0:11:47 | 0:11:52 | |
But what word, invented by him, was named Word Of The Year in 2012? | 0:11:52 | 0:11:58 | |
Invented by him? | 0:11:59 | 0:12:01 | |
Is it...? In the workplace? | 0:12:01 | 0:12:05 | |
Is it omnishambles? | 0:12:05 | 0:12:07 | |
He's good. It is indeed omnishambles! | 0:12:07 | 0:12:10 | |
You know, we had a word added in from Goodness Gracious Me. | 0:12:19 | 0:12:22 | |
Really? And what was that? | 0:12:22 | 0:12:23 | |
Chuddies. Kiss my chuddies. | 0:12:23 | 0:12:25 | |
Kiss my chuddies. Yes. | 0:12:25 | 0:12:28 | |
What are your chuddies? | 0:12:28 | 0:12:30 | |
And we'll move on swiftly to our next category, which takes us | 0:12:34 | 0:12:38 | |
everywhere from Ancient Rome to deep space. | 0:12:38 | 0:12:42 | |
No, it's not places where a Jamie's Italian is opening, | 0:12:42 | 0:12:45 | |
it's sitcoms set in a place in time. | 0:12:45 | 0:12:48 | |
Attention. | 0:12:50 | 0:12:53 | |
For years British sitcoms have proven there's no shame in being stuck in the past. | 0:12:56 | 0:13:01 | |
Hi-de-hi! | 0:13:01 | 0:13:03 | |
Ho-de-ho. | 0:13:03 | 0:13:04 | |
And though whatever the decade, century or even millennium, | 0:13:04 | 0:13:08 | |
nothing can change mankind's major preoccupations. | 0:13:08 | 0:13:12 | |
Sex. | 0:13:12 | 0:13:13 | |
Yes. | 0:13:13 | 0:13:14 | |
Dressing up. | 0:13:14 | 0:13:17 | |
Sex. | 0:13:17 | 0:13:19 | |
And dressing up. | 0:13:19 | 0:13:20 | |
The only thing sillier than the costumes are the voices. | 0:13:23 | 0:13:27 | |
I was pissing by the door... | 0:13:27 | 0:13:30 | |
..when I heard two shats. | 0:13:35 | 0:13:38 | |
The heroes and villains on display are an odd bunch. | 0:13:38 | 0:13:42 | |
Here's my fist, kindly run towards it as fast as you can. | 0:13:42 | 0:13:48 | |
But because we're talking about British sitcom, | 0:13:48 | 0:13:51 | |
the good guys tend to be cowards... | 0:13:51 | 0:13:53 | |
Why would anything on this ship need to be so high? | 0:13:53 | 0:13:55 | |
..and the bad guys tend to be Nazis. | 0:13:55 | 0:13:58 | |
Heil, Hitler. Heil, Hitler. | 0:13:58 | 0:13:59 | |
..tler. | 0:13:59 | 0:14:00 | |
Obviously, that's always going to be the case | 0:14:00 | 0:14:02 | |
when you set it in World War II. | 0:14:02 | 0:14:04 | |
# Whistle while you work | 0:14:04 | 0:14:06 | |
# Hitler is a twerp. # | 0:14:06 | 0:14:08 | |
Your name will also go on the list. | 0:14:08 | 0:14:10 | |
What is it? | 0:14:11 | 0:14:12 | |
Don't tell him, Pike. | 0:14:12 | 0:14:14 | |
In this game, I'm going to name four sitcoms set in the past or future | 0:14:23 | 0:14:28 | |
and our teams have to write down the year | 0:14:28 | 0:14:31 | |
in which they think they were set. | 0:14:31 | 0:14:33 | |
Once they've done that, we'll then add up those four numbers... | 0:14:33 | 0:14:37 | |
Yes, it's maths. The person who is nearest to the actual number wins. | 0:14:37 | 0:14:43 | |
Here's your first one. Hi-de-Hi! | 0:14:43 | 0:14:47 | |
What year was Hi-de-Hi! set in? | 0:14:47 | 0:14:52 | |
Look at their concentrating faces. | 0:14:54 | 0:14:56 | |
Is that big enough? That's good. | 0:14:57 | 0:15:00 | |
THEY CONFER | 0:15:00 | 0:15:02 | |
Lee, you were a Bluecoat, weren't you? At Pontins. | 0:15:02 | 0:15:05 | |
I was a Pontins Bluecoat many moons ago, yes. | 0:15:05 | 0:15:07 | |
And I got sacked for swearing on stage. | 0:15:07 | 0:15:09 | |
I can't really tell this story on prime-time BBC One television. | 0:15:09 | 0:15:13 | |
I can only tell you the start of the story. Which is? | 0:15:13 | 0:15:16 | |
There's an old joke that if you say to somebody | 0:15:16 | 0:15:18 | |
in the audience, "Where are you from?" and they say, "Kent," | 0:15:18 | 0:15:20 | |
you say, "What did you call me?" | 0:15:20 | 0:15:22 | |
LAUGHTER | 0:15:22 | 0:15:24 | |
And I messed it up. | 0:15:24 | 0:15:25 | |
It was a good career stepping stone. It was, yeah. | 0:15:28 | 0:15:30 | |
But, you know, different time, different climate. | 0:15:30 | 0:15:33 | |
Yeah, different days, weren't they? Weren't they, Nigel? Oh, yes. | 0:15:33 | 0:15:36 | |
Next one. What year was Blackadder Goes Forth set in? | 0:15:39 | 0:15:44 | |
I'd say 1944. Yes. | 0:15:44 | 0:15:46 | |
Erm... Don't tell him! Don't tell him, Pike! | 0:15:46 | 0:15:50 | |
Oh! Sorry! | 0:15:50 | 0:15:51 | |
Not sure that's 100% right. | 0:15:51 | 0:15:54 | |
No, it's First World War. 14, 1914. Do you think? | 0:15:54 | 0:15:57 | |
Up Pompeii. | 0:15:57 | 0:15:59 | |
Oh, yeah. | 0:15:59 | 0:16:00 | |
What year was that set? Oh, yeah. OK. | 0:16:00 | 0:16:03 | |
Here's a clue - it was the year Quintus Sertorius | 0:16:03 | 0:16:06 | |
was assassinated by his subordinate, Marcus Perpenna, | 0:16:06 | 0:16:09 | |
who was in turn defeated by Gnaeus Pompeius, | 0:16:09 | 0:16:12 | |
thus ending the Sertorian War in Spain. | 0:16:12 | 0:16:15 | |
Gotcha. Oh, wow. On that basis, I know! | 0:16:15 | 0:16:18 | |
Thank you. You didn't need to go that far. | 0:16:18 | 0:16:21 | |
I'm going to say that. | 0:16:23 | 0:16:24 | |
Sir? Sir? Oh, no. This is a BC answer. Teacher can't help. | 0:16:24 | 0:16:28 | |
Do we have to subtract it from our final sum? Oh, he's good, isn't he? | 0:16:28 | 0:16:33 | |
No, you said add the numbers. | 0:16:33 | 0:16:36 | |
The numbers stay the same, it doesn't matter if they're BC or AD. | 0:16:36 | 0:16:40 | |
That's like a minus number, isn't it? It's a minus number. | 0:16:40 | 0:16:42 | |
If you think it's BC, it would be a minus number in the sum. OK. | 0:16:42 | 0:16:46 | |
We're going to do one more. | 0:16:46 | 0:16:49 | |
This is the final piece of the puzzle. Red Dwarf. | 0:16:49 | 0:16:53 | |
What year was Red Dwarf set in? | 0:16:53 | 0:16:55 | |
OK. Was it actually set in a year? | 0:16:55 | 0:16:57 | |
2080? Let's go 2080. | 0:16:57 | 0:16:59 | |
Nina, you're our Red Dwarf expert. I am. | 0:16:59 | 0:17:02 | |
OK, so you're taking Hi-de-Hi!, | 0:17:02 | 0:17:04 | |
you're adding that to Blackadder Goes Forth, | 0:17:04 | 0:17:07 | |
you're taking away Up Pompeii, and you are adding Red Dwarf. | 0:17:07 | 0:17:13 | |
So what are those two together? Show the working, Jess. | 0:17:13 | 0:17:15 | |
We've got a lot of working. Got a lot of working. | 0:17:16 | 0:17:20 | |
Quite a lot of working. Very good. | 0:17:20 | 0:17:22 | |
2240. | 0:17:22 | 0:17:24 | |
OK, let's see how you all got on. Hi-de-Hi! was set in... | 0:17:24 | 0:17:27 | |
Lee and Nigel, what did you have? We're still doing the maths. | 0:17:27 | 0:17:30 | |
Just give me a minute! This is like when I was at school. Wait! | 0:17:30 | 0:17:33 | |
Just wait. I'll be with you in a minute. | 0:17:33 | 0:17:35 | |
What did you have, Jessica and Chris? 1959. | 0:17:35 | 0:17:39 | |
Jen and Julia have got 1958. | 0:17:39 | 0:17:41 | |
Steve and Nina have got 1962. | 0:17:41 | 0:17:45 | |
Let me tell you now, it was 1959. | 0:17:45 | 0:17:47 | |
Yay! | 0:17:47 | 0:17:49 | |
Blackadder Goes Forth. What did you have, Jen? | 0:17:53 | 0:17:56 | |
Very good. Jessica, good. | 0:17:56 | 0:17:58 | |
Did you just change that, Nigel? No! No. | 0:17:58 | 0:18:00 | |
It's a very suspicious smudge mark! | 0:18:00 | 0:18:02 | |
Am I going to have to ask you to lift the cards? | 0:18:05 | 0:18:07 | |
We've got a much better system than that. | 0:18:07 | 0:18:09 | |
We've written all the years down and we're holding up whatever you say. | 0:18:09 | 0:18:13 | |
Jessica, sit down this instant! She's testing if the ink's wet, sir. | 0:18:13 | 0:18:16 | |
It was dry. What have we got? 17, 16, 18, 17. | 0:18:16 | 0:18:19 | |
It was, in fact, 1917. | 0:18:19 | 0:18:22 | |
APPLAUSE | 0:18:22 | 0:18:25 | |
Yeah. Yeah. | 0:18:25 | 0:18:27 | |
The next one, you have to take away. | 0:18:27 | 0:18:31 | |
This is the year that Up Pompeii! was set. | 0:18:31 | 0:18:33 | |
What do you have, Lee and Nigel? | 0:18:33 | 0:18:37 | |
Oh, good. And minus 62. | 0:18:38 | 0:18:40 | |
100 BC. | 0:18:40 | 0:18:43 | |
40... | 0:18:43 | 0:18:46 | |
We thought that's how you spell BC. Yeah. I think Nina... | 0:18:46 | 0:18:49 | |
I had to point out it's a B and C. 72 BC. Pretty good. | 0:18:49 | 0:18:52 | |
Considering we didn't know at all, quite a good guess. | 0:18:52 | 0:18:56 | |
We're still first. We're still first. | 0:18:56 | 0:18:58 | |
Lastly, Red Dwarf, what did you have for that, Lee? | 0:18:58 | 0:19:00 | |
Let's see your Dwarfs. | 0:19:00 | 0:19:01 | |
1,002,000 AD. | 0:19:01 | 0:19:03 | |
Chris has got three million there. | 0:19:03 | 0:19:05 | |
Steve and Nina? | 0:19:05 | 0:19:07 | |
What's that? 2,240,000,000? Yes. | 0:19:07 | 0:19:11 | |
Two billions. Two billion? You went for two billion? | 0:19:11 | 0:19:13 | |
Red Dwarf was set in the year | 0:19:13 | 0:19:17 | |
3,002,180. | 0:19:17 | 0:19:19 | |
I'm going to have to re-evaluate my final maths answer. | 0:19:19 | 0:19:22 | |
I'm way off! Total those up. | 0:19:23 | 0:19:26 | |
The answer you should have is 3,005,984. | 0:19:26 | 0:19:31 | |
Let me see your final answers, please. | 0:19:31 | 0:19:34 | |
Oh, no. You're kidding. That is unbelievable! | 0:19:34 | 0:19:37 | |
Sir, he's cheating, sir. That is unbelievable. | 0:19:39 | 0:19:41 | |
He's cheating, sir. He is cheating, he is cheating. | 0:19:41 | 0:19:44 | |
I was out with all the answers and they evened themselves up to that. | 0:19:44 | 0:19:47 | |
The thing is, Lee, we know all the numbers that preceded it. | 0:19:47 | 0:19:51 | |
Listen, this audience wouldn't be able to add that up. | 0:19:51 | 0:19:54 | |
Chris and Jessica, what do you have? | 0:19:54 | 0:19:56 | |
There we go. Yours is two billion at least, I know that. | 0:19:56 | 0:20:00 | |
All right, there's that, or there's that. | 0:20:00 | 0:20:03 | |
I think a round of applause is due to Jessica and Chris. | 0:20:04 | 0:20:08 | |
APPLAUSE | 0:20:08 | 0:20:11 | |
Now, sitcoms love an oddball. | 0:20:13 | 0:20:15 | |
And this round is dedicated to the characters that just don't fit in - | 0:20:15 | 0:20:19 | |
A group of people we call the misfits. | 0:20:19 | 0:20:22 | |
Do you know where we are? | 0:20:24 | 0:20:26 | |
Well, I could always call the tower and get our exact position. | 0:20:26 | 0:20:29 | |
Mr Spencer, I don't need our exact position. | 0:20:29 | 0:20:33 | |
We are in the car park. | 0:20:33 | 0:20:34 | |
THEY SCREAM | 0:20:39 | 0:20:40 | |
There is a very special group of people in sitcom | 0:20:40 | 0:20:44 | |
who simply don't seem to get how life works. | 0:20:44 | 0:20:47 | |
They're comedy's loners. | 0:20:48 | 0:20:50 | |
I think we're on a winner here, Trig. | 0:20:50 | 0:20:52 | |
All right, play it nice and cool, son. | 0:20:52 | 0:20:55 | |
Nice and cool, you know what I mean? | 0:20:55 | 0:20:57 | |
For sitcom misfits, every day is a struggle | 0:20:59 | 0:21:01 | |
to prove they're not a danger to themselves... | 0:21:01 | 0:21:05 | |
..or others. | 0:21:07 | 0:21:08 | |
So why do we love them so much? | 0:21:12 | 0:21:14 | |
Maybe it's because we recognise the outsider in ourselves. | 0:21:14 | 0:21:18 | |
Up the nose or not at all! | 0:21:18 | 0:21:20 | |
Or maybe it's because we just like laughing at weirdos. | 0:21:25 | 0:21:28 | |
Eh? | 0:21:28 | 0:21:30 | |
I know I do. | 0:21:30 | 0:21:31 | |
Impressively... I think I'm in the wrong category. | 0:21:44 | 0:21:47 | |
I'm in the category "fit". | 0:21:47 | 0:21:50 | |
Or miss, maybe miss. | 0:21:51 | 0:21:53 | |
But you're a misfit. Well... No, I am a misfit, I suppose. | 0:21:53 | 0:21:57 | |
Yeah, no, I'll go with that. I'll just do anything to be in a clip. | 0:21:57 | 0:22:00 | |
It's autobiographical, right? Absolutely, yeah. | 0:22:01 | 0:22:04 | |
I live with only three walls in my house | 0:22:04 | 0:22:06 | |
and loads of people look at me, laughing. | 0:22:06 | 0:22:08 | |
No, it is fairly autobiographical. | 0:22:09 | 0:22:11 | |
Some of the things that have happened genuinely have happened. | 0:22:11 | 0:22:13 | |
Like, I genuinely am, it turns out, I didn't know this when we cast him, | 0:22:13 | 0:22:16 | |
I am the real son of Bobby Ball. | 0:22:16 | 0:22:18 | |
I always thought it was Tommy Cannon. | 0:22:20 | 0:22:22 | |
You can buzz in. This is open to everyone. | 0:22:25 | 0:22:28 | |
Are your buzzers working? | 0:22:28 | 0:22:30 | |
No. Give us a buzz. BUZZ | 0:22:30 | 0:22:32 | |
There we go. | 0:22:32 | 0:22:33 | |
RINGING Sorry. There we go. | 0:22:35 | 0:22:38 | |
It's very sensitive. There we go. | 0:22:38 | 0:22:40 | |
Ours is just completely dead. Nothing. | 0:22:40 | 0:22:42 | |
RINGING | 0:22:42 | 0:22:44 | |
Let me just explain, it is working. It's just when you... | 0:22:44 | 0:22:47 | |
If somebody presses it, sorry to be a nerd, but if you press it, | 0:22:47 | 0:22:51 | |
then when everybody else presses it, it doesn't work. | 0:22:51 | 0:22:53 | |
It only selects the first person. | 0:22:53 | 0:22:55 | |
So we should just press as soon as you start to ask the question? | 0:22:55 | 0:22:57 | |
If you press now, you've got a chance of... | 0:22:57 | 0:23:01 | |
CLICKING | 0:23:03 | 0:23:05 | |
Chris. | 0:23:05 | 0:23:06 | |
Chris, that's a warning. | 0:23:06 | 0:23:08 | |
CLICKING | 0:23:09 | 0:23:10 | |
No-one would want this job. | 0:23:12 | 0:23:15 | |
OK, here's the question bit. Wait, wait... | 0:23:15 | 0:23:19 | |
What's the... THEY HAMMER BUZZZERS, NONE BUZZ | 0:23:19 | 0:23:22 | |
Oh, my God. After all that! | 0:23:22 | 0:23:24 | |
I've got repetitive injury thing. | 0:23:28 | 0:23:30 | |
It's sitting there saying, "press me". | 0:23:30 | 0:23:33 | |
Rationally now, just... RINGING | 0:23:33 | 0:23:36 | |
That's exactly what you shouldn't do. | 0:23:38 | 0:23:40 | |
We didn't touch anything! | 0:23:40 | 0:23:43 | |
I'm going to invigilate. RINGING | 0:23:43 | 0:23:45 | |
Stop it! | 0:23:45 | 0:23:46 | |
Who's doing it? Who's bloody pressing the buzzer? | 0:23:46 | 0:23:49 | |
It's you, isn't it? I never touched it. | 0:23:49 | 0:23:51 | |
It's not me, cos I've never been able to find the button. | 0:23:51 | 0:23:54 | |
Stop it, all of you. | 0:23:56 | 0:23:57 | |
Is there a light coming on when it's pressed? | 0:23:57 | 0:23:59 | |
Yeah, yeah. Their light comes on. All right, say the question. OK. | 0:23:59 | 0:24:03 | |
I'm going to say the question. | 0:24:03 | 0:24:04 | |
No-one is allowed to press a buzzer until I finish the question. | 0:24:04 | 0:24:10 | |
OK, the buzzers are reset. Sir! Shush. Shush. | 0:24:10 | 0:24:13 | |
But how will we...? No questions! Shush! | 0:24:13 | 0:24:17 | |
Can I just check? Is this still round one? | 0:24:17 | 0:24:20 | |
LAUGHTER | 0:24:20 | 0:24:24 | |
Some of us have got careers to be getting on with, | 0:24:24 | 0:24:27 | |
if you want to get going at any point. | 0:24:27 | 0:24:30 | |
Listen. Which sitcom misfit's surname | 0:24:30 | 0:24:33 | |
started out as White and then was changed to Cabbage and Cauliflower | 0:24:33 | 0:24:38 | |
before they eventually landed on the one we know now? | 0:24:38 | 0:24:42 | |
Nina. | 0:24:42 | 0:24:44 | |
I think it might be Mr Bean. | 0:24:44 | 0:24:45 | |
It was! | 0:24:45 | 0:24:47 | |
APPLAUSE AND CHEERING | 0:24:47 | 0:24:50 | |
It was indeed. Mr Bean is of course played out entirely in mime, | 0:24:51 | 0:24:55 | |
and I'm going to use that as the basis for my next game. | 0:24:55 | 0:24:59 | |
What I'm going to do is I'm going to invite two teams down here | 0:24:59 | 0:25:02 | |
into the playing area. | 0:25:02 | 0:25:03 | |
You've got to mime as many different sitcom characters as you can. | 0:25:03 | 0:25:07 | |
Lee and Nigel, Jessica and Chris, | 0:25:07 | 0:25:10 | |
you will be going head-to-head in this one. | 0:25:10 | 0:25:13 | |
You'll both have 60 seconds | 0:25:13 | 0:25:15 | |
to communicate as many sitcom characters as you can | 0:25:15 | 0:25:18 | |
to your partner through mime alone. | 0:25:18 | 0:25:22 | |
Whichever team guesses the most wins a point. | 0:25:22 | 0:25:25 | |
Lee and Nigel, you're going to be going first, | 0:25:25 | 0:25:28 | |
so come on down, please. Thank you. | 0:25:28 | 0:25:29 | |
First of all, I guess we have to decide who's going to be... | 0:25:43 | 0:25:45 | |
I guess you look like you're going to be miming. I don't mind. | 0:25:45 | 0:25:48 | |
I thought it was going to spin like a lazy Susan. | 0:25:48 | 0:25:50 | |
OK. OK. | 0:25:51 | 0:25:52 | |
So obviously, Lee, you will be miming. Yes. | 0:25:52 | 0:25:55 | |
Nigel, you will do the guessing. | 0:25:55 | 0:25:57 | |
What we're going to do is we're going to put | 0:25:57 | 0:25:59 | |
the names of the sitcom characters up on this board. | 0:25:59 | 0:26:02 | |
Lee, you mime them to Nigel. | 0:26:02 | 0:26:03 | |
You've got to guess as many as you can within the 60 seconds. | 0:26:03 | 0:26:06 | |
Right. I'll dig deep. | 0:26:06 | 0:26:07 | |
Very deep. | 0:26:07 | 0:26:08 | |
Are you ready? Yeah. Yes. Your 60 seconds begins...now. | 0:26:08 | 0:26:13 | |
Only Fools And Horses. | 0:26:17 | 0:26:18 | |
Only Fools And Horses?! Sorry, sorry, sorry, sorry. | 0:26:18 | 0:26:21 | |
Spencer. Spencer. | 0:26:21 | 0:26:24 | |
HE HUMS | 0:26:24 | 0:26:25 | |
Brent. Brent. | 0:26:25 | 0:26:27 | |
Are you all right, Lee? | 0:26:33 | 0:26:34 | |
Little noises. He's not speaking. Mr Bean? Yes! | 0:26:37 | 0:26:40 | |
I only know one of her jokes. | 0:26:42 | 0:26:44 | |
LAUGHTER | 0:26:44 | 0:26:47 | |
Miranda, Miranda, Miranda. | 0:26:49 | 0:26:51 | |
John... Fawlty Towers, John Cleese. Yes! | 0:26:56 | 0:26:59 | |
HE SNORTS | 0:26:59 | 0:27:02 | |
That's good! That's good! | 0:27:02 | 0:27:04 | |
Leonard Rossiter. | 0:27:06 | 0:27:09 | |
He's too old to recognise this talent! Do it again, do it again! | 0:27:09 | 0:27:12 | |
Oh, it's... | 0:27:12 | 0:27:14 | |
Bong! Rik Mayall. | 0:27:14 | 0:27:16 | |
Let's have a round of applause, ladies and gentlemen. | 0:27:17 | 0:27:20 | |
Get off. Get off. | 0:27:22 | 0:27:24 | |
Well done. | 0:27:24 | 0:27:27 | |
Lee and Nigel guessed six correctly. | 0:27:27 | 0:27:29 | |
APPLAUSE | 0:27:29 | 0:27:32 | |
Jessica and Chris, come on down. | 0:27:32 | 0:27:34 | |
OK, so who's miming? I'm miming, dear. | 0:27:42 | 0:27:44 | |
You're miming. So you stand there. | 0:27:44 | 0:27:46 | |
Do we have to do sumo? | 0:27:46 | 0:27:48 | |
There we go. If you'd like to stand here with your back to the board... | 0:27:50 | 0:27:54 | |
There. Chris. I'm not wearing TV shoes, by the way. | 0:27:54 | 0:27:56 | |
If I'd known that the bottom half of my body was going to be on show, | 0:27:56 | 0:28:00 | |
I would have paid a little more attention to my outfit, | 0:28:00 | 0:28:03 | |
so I apologise. | 0:28:03 | 0:28:05 | |
Anyway. At least you're wearing something. Let the torture commence. | 0:28:05 | 0:28:09 | |
Your time begins...now. | 0:28:10 | 0:28:13 | |
Er, Kryten. | 0:28:17 | 0:28:18 | |
Very good, very good. | 0:28:18 | 0:28:20 | |
Is it Windsor Davies in something? | 0:28:22 | 0:28:24 | |
Has anybody got a cat? Mrs Slocombe. | 0:28:26 | 0:28:29 | |
OK. It's Vyvyan, all right. | 0:28:34 | 0:28:36 | |
Is it Mrs Brown? | 0:28:40 | 0:28:42 | |
Del Boy. Yes! | 0:28:46 | 0:28:47 | |
Is it something that Les Dawson was in? | 0:28:52 | 0:28:55 | |
Come on, stop it. | 0:28:57 | 0:28:59 | |
Oh, is it Steptoe? Yes. | 0:28:59 | 0:29:01 | |
Brilliant. | 0:29:01 | 0:29:02 | |
Oh... | 0:29:04 | 0:29:06 | |
Is it...? | 0:29:06 | 0:29:07 | |
I have no idea. Are you having a breakdown? | 0:29:10 | 0:29:13 | |
Wait, let me take... Do it again. Do it again. | 0:29:14 | 0:29:18 | |
Brilliant. | 0:29:18 | 0:29:20 | |
Manuel. Manuel, Manuel. | 0:29:21 | 0:29:24 | |
END-OF-ROUND JINGLE | 0:29:24 | 0:29:26 | |
I'm sorry. | 0:29:28 | 0:29:29 | |
Jessica and Chris, I'm delighted to tell you, | 0:29:34 | 0:29:36 | |
you have won the round with seven points! | 0:29:36 | 0:29:39 | |
Now, Jennifer. Yes? | 0:29:48 | 0:29:50 | |
Is it true that Adrian Edmondson is singing on the Ab Fab theme tune? | 0:29:50 | 0:29:56 | |
Yeah, he is. | 0:29:56 | 0:29:57 | |
He was cheap. | 0:29:57 | 0:29:59 | |
You know, I loved Bad News. Did everyone see that comic strip? | 0:30:01 | 0:30:05 | |
CHEERING | 0:30:05 | 0:30:07 | |
Such a brilliant comic strip. Well, he proved he could sing | 0:30:07 | 0:30:10 | |
and we needed a male voice. | 0:30:10 | 0:30:12 | |
Yeah. But he got to sing it with Julie Driscoll, | 0:30:12 | 0:30:15 | |
with Debbie Harry, with Marianne Faithfull, | 0:30:15 | 0:30:17 | |
so...looks pretty good... | 0:30:17 | 0:30:19 | |
It's not that bad. ..on your CV. | 0:30:19 | 0:30:22 | |
Well, teams, let me introduce you to somebody. | 0:30:22 | 0:30:24 | |
Here is the man behind the theme tunes of loads of sitcoms | 0:30:24 | 0:30:29 | |
including The Thin Blue Line, Blackadder, | 0:30:29 | 0:30:33 | |
The Vicar Of Dibley, Mr Bean, and Red Dwarf. | 0:30:33 | 0:30:36 | |
He is Mr Sitcom Theme Tune. | 0:30:36 | 0:30:38 | |
Would you please welcome Howard Goodall? | 0:30:38 | 0:30:41 | |
CHEERING AND APPLAUSE | 0:30:41 | 0:30:44 | |
Howard. Hi. Lovely to see you. Thank you so much for coming. | 0:30:52 | 0:30:56 | |
May I ask you, what makes a really great sitcom theme tune? | 0:30:56 | 0:31:00 | |
Well, for me, when I'm asked to do it, | 0:31:00 | 0:31:02 | |
it's always about the characters. | 0:31:02 | 0:31:04 | |
Who are these people? What's their music? | 0:31:04 | 0:31:06 | |
That's how I do it. How do you get to do that now? | 0:31:06 | 0:31:08 | |
Because sitcom theme tunes are just getting so short. | 0:31:08 | 0:31:11 | |
I mean, they used to be... When I started, 30 years ago, | 0:31:11 | 0:31:14 | |
you had about 30 seconds at the beginning | 0:31:14 | 0:31:16 | |
and about a minute at the end. | 0:31:16 | 0:31:17 | |
Now you get about ten seconds at the beginning | 0:31:17 | 0:31:20 | |
and someone talks over the end. | 0:31:20 | 0:31:21 | |
So just a little bit of a jingle. You know, like a peepshow... | 0:31:21 | 0:31:25 | |
# Uh-uh-uh, uh-uh! # | 0:31:25 | 0:31:27 | |
That's about all you're allowed, now. | 0:31:27 | 0:31:29 | |
A bastardisation of your art. | 0:31:29 | 0:31:30 | |
So let us bastardise your art even further, | 0:31:30 | 0:31:35 | |
as we ask you to play a medley of sitcom theme tunes. | 0:31:35 | 0:31:41 | |
Teams, as you might have already guessed, | 0:31:41 | 0:31:43 | |
your task is to write down the title of each of the sitcoms | 0:31:43 | 0:31:49 | |
that Howard is about to play the theme tune of. | 0:31:49 | 0:31:53 | |
All right, the team who guesses the most right wins the round, OK? | 0:31:53 | 0:31:57 | |
No way(!) Yeah. | 0:31:57 | 0:31:58 | |
Seriously. Easy! | 0:31:58 | 0:31:59 | |
Wait - who loses the round? | 0:31:59 | 0:32:01 | |
It's pretty out there, but that's what I'm going with. | 0:32:01 | 0:32:05 | |
OK. Wow. Let me write these rules down. Wait. | 0:32:05 | 0:32:09 | |
Howard... | 0:32:09 | 0:32:10 | |
Take it away, Mr Howard Goodall. | 0:32:10 | 0:32:13 | |
APPLAUSE | 0:32:13 | 0:32:14 | |
HE PLAYS MEDLEY OF SITCOM THEMES | 0:32:14 | 0:32:17 | |
CHEERING AND APPLAUSE Ladies and gentlemen. | 0:33:44 | 0:33:47 | |
OK. Now, if you'd like to swap your papers with the team next to you. | 0:33:55 | 0:33:59 | |
Can I just say, that was very, very difficult. | 0:33:59 | 0:34:01 | |
It was difficult. Can we hear it again? | 0:34:01 | 0:34:03 | |
We're ready, sir. We're ready to give our papers in. | 0:34:03 | 0:34:05 | |
Swap your paper, Jessica. | 0:34:05 | 0:34:07 | |
It sounded beautiful. It was. | 0:34:07 | 0:34:09 | |
I thought it might be too easy. | 0:34:09 | 0:34:11 | |
Oh...! Oh, my God. | 0:34:11 | 0:34:13 | |
Oh, they've got a good one. It was just like a lot of...piano. | 0:34:13 | 0:34:18 | |
Would you like to hear the answers? Yes, please. Yes. | 0:34:22 | 0:34:26 | |
Has everyone swapped papers? You're not marking your own paper? | 0:34:26 | 0:34:29 | |
No, sir. Is someone going to win a joint of lamb or something? | 0:34:29 | 0:34:32 | |
It's just got that vibe about it. | 0:34:35 | 0:34:37 | |
No, the prize is not a joint of lamb. Moving on. | 0:34:40 | 0:34:43 | |
Howard, what is our first tune? OK, so the first one | 0:34:43 | 0:34:46 | |
was 'Ello 'Ello. Oh! | 0:34:46 | 0:34:47 | |
HE PLAYS THEME TO 'ELLO 'ELLO | 0:34:47 | 0:34:50 | |
OK. And then what did we have? | 0:34:50 | 0:34:51 | |
Then we went into The Vicar Of Dibley. | 0:34:51 | 0:34:53 | |
HE PLAYS THEME TO THE VICAR OF DIBLEY | 0:34:53 | 0:34:55 | |
I should have known that one. | 0:34:55 | 0:34:56 | |
And then we had a tune from a bit further back | 0:34:56 | 0:34:59 | |
in the style of Beethoven. | 0:34:59 | 0:35:00 | |
It was, in fact, What Became Of The Likely Lads? | 0:35:00 | 0:35:03 | |
# Oh, what happened to you? | 0:35:03 | 0:35:06 | |
# Whatever happened to me...? | 0:35:06 | 0:35:08 | |
Then there was an easy one. | 0:35:09 | 0:35:11 | |
HE PLAYS UPBEAT INTRO | 0:35:11 | 0:35:13 | |
It was Blackadder. | 0:35:13 | 0:35:15 | |
Another generational one. | 0:35:15 | 0:35:16 | |
Steptoe and Son. | 0:35:16 | 0:35:17 | |
HE PLAYS THEME TO STEPTOE AND SON | 0:35:17 | 0:35:20 | |
I wonder if anybody got this one? | 0:35:20 | 0:35:22 | |
HE PLAYS FRANTIC TUNE | 0:35:22 | 0:35:25 | |
That's a beautiful tune. | 0:35:25 | 0:35:27 | |
A great tune. Ronnie Hazlehurst. | 0:35:27 | 0:35:29 | |
That was The Fall And Rise Of Reginald Perrin. | 0:35:29 | 0:35:32 | |
Oh...! Oh...! | 0:35:32 | 0:35:34 | |
Now this was a jointy number - a jaunty one! | 0:35:34 | 0:35:36 | |
HE PLAYS JAUNTY INTRO | 0:35:36 | 0:35:38 | |
Anybody get that? | 0:35:38 | 0:35:39 | |
No, it drove me nuts. Damn. What is it? | 0:35:39 | 0:35:41 | |
That was 2.4 Children. | 0:35:41 | 0:35:42 | |
Is that one of yours? That's one of mine. | 0:35:42 | 0:35:44 | |
And the next one, you must have got this one. | 0:35:45 | 0:35:48 | |
HE PLAYS JOLLY TUNE | 0:35:50 | 0:35:54 | |
That was Dad's Army. Yeah. Yes, quite right. | 0:35:54 | 0:35:56 | |
Bit more up-to-date. | 0:35:56 | 0:35:57 | |
HE PLAYS PUNCHY TUNE | 0:35:57 | 0:36:00 | |
Anybody get that? | 0:36:00 | 0:36:01 | |
IT Crowd. Excellent. | 0:36:01 | 0:36:03 | |
Men Behaving Badly. | 0:36:03 | 0:36:04 | |
HE PLAYS THEME TO MEN BEHAVING BADLY | 0:36:04 | 0:36:05 | |
Oh! | 0:36:05 | 0:36:07 | |
And then Frank Spencer, Some Mothers Do 'Ave 'Em. | 0:36:07 | 0:36:09 | |
HE PLAYS THEME TO SOME MOTHERS DO 'AVE 'EM | 0:36:09 | 0:36:11 | |
And then there was a cheeky little one on the end, | 0:36:11 | 0:36:14 | |
probably the first-ever sitcom theme tune. | 0:36:14 | 0:36:16 | |
HE PLAYS PIANO PHRASE | 0:36:16 | 0:36:18 | |
Hancock's Half Hour. Hancock's Half Hour. | 0:36:18 | 0:36:21 | |
Ladies and gentlemen, Howard Goodall. | 0:36:21 | 0:36:23 | |
APPLAUSE Amazing. Incredible. Extraordinary. | 0:36:23 | 0:36:27 | |
OK. Have you swapped your papers back? | 0:36:30 | 0:36:32 | |
And let's have your scores. | 0:36:32 | 0:36:34 | |
So, Lee and Nigel. Sadly... We got six. | 0:36:34 | 0:36:38 | |
Six. I don't think that's bad at all. | 0:36:38 | 0:36:40 | |
I don't think it's an easy round, by any means. | 0:36:45 | 0:36:47 | |
Jess and Chris, what did you get? Chris, really, you know... | 0:36:47 | 0:36:50 | |
Come on. Tell us. | 0:36:50 | 0:36:51 | |
11. Whoa! | 0:36:51 | 0:36:53 | |
Amazing. | 0:36:53 | 0:36:55 | |
This guy. | 0:36:55 | 0:36:58 | |
No, no... | 0:36:58 | 0:37:00 | |
Jen and Julia. | 0:37:00 | 0:37:01 | |
We got four. Oh! | 0:37:01 | 0:37:03 | |
Not easy, though. Not easy. No. | 0:37:05 | 0:37:07 | |
Steve and Nina. | 0:37:07 | 0:37:09 | |
We got them all right... | 0:37:09 | 0:37:10 | |
..apart from nine of them. | 0:37:12 | 0:37:14 | |
Give them a round of applause. | 0:37:14 | 0:37:16 | |
APPLAUSE | 0:37:16 | 0:37:17 | |
Thank you so much, Howard. What a treat. Thank you. | 0:37:19 | 0:37:24 | |
Howard Goodall, ladies and gentlemen. | 0:37:26 | 0:37:28 | |
Sorry, can I just...? I know one. Yes? I can do one. | 0:37:28 | 0:37:32 | |
Oh, yeah? Come on. Come on. Excellent. | 0:37:32 | 0:37:35 | |
Go on, Lee. Lee Mack! | 0:37:35 | 0:37:37 | |
Not a sitcom, but it's a TV theme. | 0:37:40 | 0:37:42 | |
HE PLAYS A FEW NOTES Just tuning up. Hang on... | 0:37:42 | 0:37:45 | |
Right. Ready? | 0:37:46 | 0:37:47 | |
HE PLAYS INTRO | 0:37:49 | 0:37:51 | |
No, hang on. Hang on. Start again. | 0:37:51 | 0:37:53 | |
HE PLAYS THEME TO DALLAS | 0:37:53 | 0:37:57 | |
HE PLAYS FLAT KEY | 0:38:05 | 0:38:08 | |
CHEERING AND APPLAUSE | 0:38:08 | 0:38:10 | |
Bravo. | 0:38:12 | 0:38:13 | |
THAT...is talent. | 0:38:20 | 0:38:22 | |
Who said variety was dead? | 0:38:22 | 0:38:25 | |
It is now. | 0:38:25 | 0:38:26 | |
So what was it? | 0:38:28 | 0:38:30 | |
Dallas. Dallas. What do you mean, "What was it?" | 0:38:30 | 0:38:33 | |
A bottomless pit of talent. | 0:38:38 | 0:38:40 | |
Now, for as long as sitcoms have existed, | 0:38:42 | 0:38:44 | |
our next category has been coughing up more comedy gold | 0:38:44 | 0:38:47 | |
than a broken comedy fruit machine. | 0:38:47 | 0:38:50 | |
Don't examine that too closely. | 0:38:50 | 0:38:51 | |
I'm talking, of course, about family. | 0:38:51 | 0:38:54 | |
The family. Everyone's got one, | 0:38:55 | 0:38:58 | |
so while we might not immediately connect with a show set in prison | 0:38:58 | 0:39:02 | |
or space, or a prison in space, | 0:39:02 | 0:39:07 | |
a sitcom set in the heart of the family home | 0:39:07 | 0:39:09 | |
connects directly to us. | 0:39:09 | 0:39:11 | |
The Buck-et residence. The lady of the house speaking? | 0:39:11 | 0:39:14 | |
Ow! | 0:39:14 | 0:39:16 | |
Everybody is represented. | 0:39:16 | 0:39:18 | |
And whether you at home are the embarrassing parent... | 0:39:18 | 0:39:20 | |
Oh, hello, bambinos. No top tonight? | 0:39:20 | 0:39:22 | |
He's boiling. I'm boiling. | 0:39:22 | 0:39:24 | |
Look out crime, here I come! | 0:39:24 | 0:39:27 | |
..the layabout teenager... | 0:39:28 | 0:39:30 | |
Do you always go to bed wearing a crash helmet? | 0:39:30 | 0:39:32 | |
Sorry. I can't hear what you're saying. | 0:39:32 | 0:39:35 | |
I'm wearing a crash helmet. | 0:39:35 | 0:39:38 | |
..or the alcoholic grandparent... | 0:39:38 | 0:39:40 | |
This tastes just like rum and raisin chocolate. | 0:39:40 | 0:39:42 | |
..it'll often feel like you're watching a live feed | 0:39:46 | 0:39:49 | |
from your own living room. | 0:39:49 | 0:39:51 | |
We'll have to get Sky, you know, Barb. Oh, Jim. | 0:39:51 | 0:39:53 | |
We don't watch telly enough to get the value. | 0:39:53 | 0:39:55 | |
Comedy is conflict, | 0:39:55 | 0:39:57 | |
and I'll knock the block off the first man who says otherwise, right? | 0:39:57 | 0:40:02 | |
Oh, give it a rest, you leaf-munching sheep shagger! | 0:40:02 | 0:40:04 | |
But as much as these sitcoms like to represent | 0:40:04 | 0:40:07 | |
a good old-fashioned dust-up around the dinner table, | 0:40:07 | 0:40:10 | |
they also remind us how much we can depend on our nearest and dearest. | 0:40:10 | 0:40:15 | |
Agh...! | 0:40:15 | 0:40:16 | |
Don't you die. Don't you bloody die. | 0:40:16 | 0:40:18 | |
I'm not going to die, you plonker. | 0:40:18 | 0:40:20 | |
I just sat on my bacon sandwich. | 0:40:20 | 0:40:22 | |
They remind us that blood is thicker than water. | 0:40:22 | 0:40:25 | |
Though, saying that, tar is thicker than blood. | 0:40:25 | 0:40:29 | |
Which is why some people prefer cigarettes to children, I suppose. | 0:40:29 | 0:40:32 | |
Families can be... They can be, you know... | 0:40:32 | 0:40:36 | |
Goodnight. | 0:40:36 | 0:40:38 | |
Currently, one of the biggest family sitcoms is Mrs Brown's Boys. | 0:40:44 | 0:40:48 | |
Now, I'm going to let you into a little industry secret. | 0:40:48 | 0:40:51 | |
Mrs Brown from Mrs Brown's Boys | 0:40:51 | 0:40:53 | |
is actually played by a man - | 0:40:53 | 0:40:56 | |
Brendan O'Carroll. | 0:40:56 | 0:40:58 | |
But it got me to thinking - | 0:40:58 | 0:40:59 | |
what would other sitcoms look like if the genders were swapped? | 0:40:59 | 0:41:03 | |
Doesn't bear thinking about. Oh, there we are. | 0:41:03 | 0:41:06 | |
That's Gavin and Stacey with all the genders swapped round. Oh, God. | 0:41:06 | 0:41:09 | |
Is anyone else getting Boy George there from the right? | 0:41:09 | 0:41:12 | |
Oh, dear God... | 0:41:12 | 0:41:13 | |
It's awful, isn't it? | 0:41:16 | 0:41:17 | |
I'm going to show two of our teams pictures of various family sitcoms | 0:41:17 | 0:41:23 | |
with the genders swapped facially. | 0:41:23 | 0:41:24 | |
All they have to do is identify the sitcom. | 0:41:24 | 0:41:28 | |
Jennifer and Julia, you are going to play Steve and Nina. | 0:41:28 | 0:41:31 | |
OK, Jennifer and Julia, this one is for you. | 0:41:31 | 0:41:33 | |
Which sitcom is this? | 0:41:33 | 0:41:36 | |
Well, that's weird because I think that's Julia's face | 0:41:36 | 0:41:39 | |
and it looks like Julian Clary. | 0:41:39 | 0:41:41 | |
It's... | 0:41:43 | 0:41:44 | |
Well, it's The Good Life. | 0:41:44 | 0:41:46 | |
And it's very weird. | 0:41:46 | 0:41:48 | |
That's Lee's face. That is indeed. | 0:41:48 | 0:41:51 | |
That's Julia's face there on the left, | 0:41:51 | 0:41:53 | |
Lee's face on the right, | 0:41:53 | 0:41:55 | |
playing Tom and Barbara, absolutely correct, | 0:41:55 | 0:41:57 | |
from The Good Life. | 0:41:57 | 0:41:58 | |
Give them a round of applause. | 0:41:58 | 0:42:00 | |
APPLAUSE | 0:42:00 | 0:42:02 | |
May we have our next still? | 0:42:05 | 0:42:08 | |
Stephen and Nina, this for you. | 0:42:08 | 0:42:10 | |
That is a sexy photo. Wow. | 0:42:12 | 0:42:16 | |
That is Paul Nicholas. Yeah, is that The Two of Us? | 0:42:16 | 0:42:20 | |
Are you getting Paul Nicholas? I'm getting Noel Edmonds. | 0:42:20 | 0:42:23 | |
I've got to say, Steve, you do scrub up really well. I do. | 0:42:23 | 0:42:27 | |
Who do you think it is, again? | 0:42:27 | 0:42:29 | |
I think it's Just Good Friends. | 0:42:29 | 0:42:31 | |
Absolutely right. Let's take a look. | 0:42:31 | 0:42:34 | |
Just Good Friends. | 0:42:34 | 0:42:36 | |
Jennifer and Julia, this one's for you. | 0:42:38 | 0:42:41 | |
Swapped. That's really creepy. | 0:42:42 | 0:42:45 | |
I don't know about you, but I'm getting... | 0:42:45 | 0:42:47 | |
I'm getting just a bit of David Walliams coming through there. | 0:42:47 | 0:42:50 | |
Gary Numan. It's Gary Numan. | 0:42:50 | 0:42:53 | |
Gary Numan? | 0:42:53 | 0:42:55 | |
Oh, my God. That's weird. | 0:42:55 | 0:42:58 | |
Now, is that...? | 0:42:58 | 0:42:59 | |
Obviously, that's Jen and Nina. | 0:42:59 | 0:43:02 | |
Is it Nicholas Lyndhurst and...? Yes, it is. | 0:43:02 | 0:43:05 | |
So the sitcom is? | 0:43:05 | 0:43:07 | |
Only Fools And Horses. Let's take a look. | 0:43:07 | 0:43:09 | |
Absolutely right. | 0:43:10 | 0:43:11 | |
Well done. Brilliant. | 0:43:11 | 0:43:13 | |
That was creepy. That freaked me out. | 0:43:15 | 0:43:17 | |
Last one. Steve and Nina, obviously, this is for you. | 0:43:17 | 0:43:20 | |
Oh, blimey. | 0:43:20 | 0:43:22 | |
LAUGHTER | 0:43:22 | 0:43:24 | |
I do think he was the best doctor, don't you? | 0:43:25 | 0:43:28 | |
Tom Baker, I think he was a class above. | 0:43:29 | 0:43:33 | |
Obviously, that is Nigel there. | 0:43:33 | 0:43:34 | |
Can anyone tell me who it is on the left? You're right. | 0:43:34 | 0:43:37 | |
That's me, isn't it? That's me on the left. | 0:43:37 | 0:43:39 | |
Yeah. Do you know, | 0:43:39 | 0:43:40 | |
I found that so hard to believe, that's your face, but it is. | 0:43:40 | 0:43:42 | |
It is. It is my face. | 0:43:42 | 0:43:44 | |
Is that you on the left? It's me on the left. | 0:43:44 | 0:43:46 | |
Yeah, it's not me on the right, love. Nigel. | 0:43:46 | 0:43:48 | |
That's Nigel. It is Nigel. Of course, it's Nigel. | 0:43:48 | 0:43:51 | |
Steve and Nina, it's your question. | 0:43:51 | 0:43:53 | |
When Nigel was living under a bridge? Yeah. | 0:43:53 | 0:43:56 | |
Nerys Hughes and... | 0:43:56 | 0:43:57 | |
Yeah, Nerys Hughes. | 0:43:57 | 0:43:59 | |
..and a creature from outer space. | 0:43:59 | 0:44:02 | |
LAUGHTER | 0:44:02 | 0:44:04 | |
Oh, gosh. | 0:44:04 | 0:44:05 | |
What was the sitcom that Nerys Hughes was in? | 0:44:05 | 0:44:08 | |
It's Catweazle. | 0:44:08 | 0:44:09 | |
She was in... She was in The Liver Birds. | 0:44:09 | 0:44:11 | |
Wa-hey! Fantastic! | 0:44:11 | 0:44:12 | |
Give them a round of applause. There we go. | 0:44:12 | 0:44:15 | |
So we've celebrated the stars of our favourite sitcoms, | 0:44:19 | 0:44:22 | |
but what about those bit-part players, | 0:44:22 | 0:44:25 | |
the unsung heroes like this? | 0:44:25 | 0:44:29 | |
THE sofa from The Royle Family. | 0:44:30 | 0:44:33 | |
AUDIENCE GASPS | 0:44:33 | 0:44:35 | |
I thought it was. | 0:44:35 | 0:44:36 | |
This humble piece of furniture has seen more Royle flatulence | 0:44:36 | 0:44:41 | |
than baked-bean night at Buckingham Palace. | 0:44:41 | 0:44:43 | |
Isn't it beautiful? | 0:44:43 | 0:44:44 | |
Recognise this, Jessica? I do, yeah. | 0:44:44 | 0:44:46 | |
I will reveal a selection of unsung heroes from British sitcoms - | 0:44:46 | 0:44:52 | |
people who've played significant roles | 0:44:52 | 0:44:55 | |
yet have taken a back seat. | 0:44:55 | 0:44:57 | |
Let's have our first unsung hero. | 0:44:57 | 0:45:02 | |
CHEERING AND APPLAUSE | 0:45:02 | 0:45:05 | |
Hello. Hello. Welcome. | 0:45:11 | 0:45:13 | |
May I? Yes, you may. | 0:45:13 | 0:45:15 | |
You'd probably like to take a seat in your condition. | 0:45:15 | 0:45:19 | |
You are pregnant, aren't you? I am pregnant, yes. | 0:45:19 | 0:45:22 | |
It's not just bloating. | 0:45:22 | 0:45:25 | |
Welcome to We Love Sitcom. Thank you. | 0:45:25 | 0:45:27 | |
Obviously, I'm not going to reveal your name, that's up to our teams. | 0:45:27 | 0:45:30 | |
The rules are simple. | 0:45:30 | 0:45:32 | |
They're going to take it in turns to ask you yes or no questions. | 0:45:32 | 0:45:37 | |
Now, teams, if you get a yes, you can ask another question. | 0:45:37 | 0:45:40 | |
If you get a no, it goes over to the next team. | 0:45:40 | 0:45:43 | |
And, obviously, the idea is to guess our unsung hero's identity. | 0:45:43 | 0:45:49 | |
So Lee and Nigel, would you like to go first, please? Yes. | 0:45:49 | 0:45:52 | |
Is this sitcom still on television now? | 0:45:52 | 0:45:55 | |
Um... | 0:45:55 | 0:45:56 | |
I mean, are they still making it? It's repeated. | 0:45:56 | 0:45:59 | |
They're not still making it... They're not still making it. | 0:45:59 | 0:46:02 | |
..but we'll give you a yes for that | 0:46:02 | 0:46:03 | |
because it is pretty much continuously on TV. Right. | 0:46:03 | 0:46:06 | |
Ooh. Yes. Yes. | 0:46:06 | 0:46:08 | |
I'm out of questions already. | 0:46:08 | 0:46:10 | |
LAUGHTER | 0:46:10 | 0:46:11 | |
Is it a period? Is it a period sitcom? | 0:46:11 | 0:46:14 | |
No. OK. | 0:46:14 | 0:46:15 | |
So you could ask, for example, the decade? | 0:46:15 | 0:46:18 | |
Were you a girl in the sitcom? Were you a child? | 0:46:18 | 0:46:21 | |
Yes. | 0:46:21 | 0:46:23 | |
So you were a child in a family? | 0:46:23 | 0:46:27 | |
Yes. | 0:46:27 | 0:46:29 | |
And... | 0:46:29 | 0:46:31 | |
Like being with a psychic, isn't it? LAUGHTER | 0:46:31 | 0:46:34 | |
Were you wearing a hat? I'm seeing a park, no. | 0:46:34 | 0:46:37 | |
Did you have a catchphrase or, like, a punch-line? | 0:46:38 | 0:46:41 | |
Were you famous for a certain kind of type of...? | 0:46:41 | 0:46:44 | |
Can I just say, she wasn't actually old enough to speak in the sitcom. | 0:46:44 | 0:46:49 | |
You're on the right lines. OK. Right. | 0:46:49 | 0:46:52 | |
Were you the back end of the horse in Rentaghost? | 0:46:52 | 0:46:55 | |
No. | 0:46:55 | 0:46:57 | |
Were you...? Were you a babe in arms? | 0:46:57 | 0:47:00 | |
Um... | 0:47:00 | 0:47:01 | |
I'm afraid I'm going to have to go with the no. | 0:47:01 | 0:47:04 | |
We're over to Steve and Nina. I'm being quite strict. | 0:47:04 | 0:47:06 | |
So if we get a yes, we get another question? Yes. | 0:47:06 | 0:47:09 | |
Are you pregnant? Yes. | 0:47:09 | 0:47:10 | |
LAUGHTER | 0:47:10 | 0:47:12 | |
OK. We've got another question, Nina. OK. Use it wisely. | 0:47:12 | 0:47:16 | |
Was this a sitcom made in the...? | 0:47:17 | 0:47:21 | |
I'll be very careful here. ..in the '80s? | 0:47:21 | 0:47:24 | |
No. | 0:47:24 | 0:47:26 | |
Sorry. OK, move on. Jen and Julia. | 0:47:26 | 0:47:28 | |
We're all slightly panicking which way to go now. | 0:47:28 | 0:47:31 | |
Argh! | 0:47:32 | 0:47:35 | |
Now, did the sitcom... | 0:47:35 | 0:47:37 | |
..begin in the early '90s? | 0:47:38 | 0:47:41 | |
No. Oh, crap. | 0:47:41 | 0:47:43 | |
LAUGHTER | 0:47:43 | 0:47:44 | |
OK. Lee and Nigel. | 0:47:44 | 0:47:45 | |
Were you in Some Mothers Do 'Ave 'Em? | 0:47:45 | 0:47:47 | |
Yes. Yes! | 0:47:47 | 0:47:49 | |
CHEERING AND APPLAUSE | 0:47:49 | 0:47:51 | |
Very good, Nigel. Can I just say that Nigel is so posh, | 0:47:53 | 0:47:55 | |
he's the only man in history to ever put the H before "have" on 'ave 'em. | 0:47:55 | 0:47:58 | |
Some mothers do have 'em. | 0:47:58 | 0:48:00 | |
You could have said some mothers do have them. | 0:48:00 | 0:48:02 | |
I could have done. You could have done. I would like to have done. | 0:48:02 | 0:48:04 | |
Are you Jessica? Can you see the men in the moon? | 0:48:04 | 0:48:07 | |
Let me introduce baby Jessica. Yes! | 0:48:07 | 0:48:10 | |
Bravo. | 0:48:10 | 0:48:11 | |
CHEERING AND APPLAUSE | 0:48:11 | 0:48:13 | |
Wow. | 0:48:13 | 0:48:15 | |
Isn't that amazing? | 0:48:15 | 0:48:17 | |
Incredible. | 0:48:18 | 0:48:19 | |
I'll sing you a little song. | 0:48:19 | 0:48:21 | |
We'll wake Mummy up in the bath. | 0:48:21 | 0:48:23 | |
BABY CRIES | 0:48:23 | 0:48:24 | |
Let me sing you a little song about a cat. Listen. | 0:48:24 | 0:48:28 | |
MELODY PLAYS | 0:48:28 | 0:48:29 | |
# There was a man who bought a cat | 0:48:31 | 0:48:35 | |
# He fed it well | 0:48:35 | 0:48:36 | |
# It got so fat | 0:48:36 | 0:48:38 | |
# He had to stroke it with a broom | 0:48:38 | 0:48:42 | |
# And when it purred, it shook the room | 0:48:42 | 0:48:46 | |
# Eating, eating | 0:48:46 | 0:48:50 | |
# He couldn't stop | 0:48:50 | 0:48:53 | |
# Growing, growing | 0:48:53 | 0:48:57 | |
# Until he went pop. # | 0:48:57 | 0:48:59 | |
LAUGHTER | 0:48:59 | 0:49:02 | |
When I went to see Phantom of the Opera, | 0:49:06 | 0:49:09 | |
and he was in it, obviously, | 0:49:09 | 0:49:10 | |
and I couldn't get over it, because he sounded like... | 0:49:10 | 0:49:13 | |
IMPERSONATING MICHAEL CRAWFORD: Phantom of the Opera. | 0:49:13 | 0:49:15 | |
I never got over it. | 0:49:15 | 0:49:17 | |
How did it come about? | 0:49:17 | 0:49:19 | |
Michael Crawford was absolutely insistent | 0:49:19 | 0:49:21 | |
that the actual toddler baby be called Jessica | 0:49:21 | 0:49:24 | |
so that she'd respond to her name and it makes things easier | 0:49:24 | 0:49:27 | |
and my dad was working on the show and he sort of overheard | 0:49:27 | 0:49:31 | |
that they were having problems finding a toddler called Jessica, | 0:49:31 | 0:49:35 | |
and he was like, "I've got a toddler called Jessica. | 0:49:35 | 0:49:37 | |
"You can use her if you'd like." | 0:49:37 | 0:49:39 | |
Well, you say that. He changed your name. | 0:49:39 | 0:49:42 | |
They didn't have to change my name. | 0:49:42 | 0:49:44 | |
So they moved into our house and filmed me for... | 0:49:44 | 0:49:48 | |
I don't know how long because I can't remember anything. | 0:49:48 | 0:49:51 | |
Well, you've been a huge part of our lives, | 0:49:51 | 0:49:53 | |
because we all love baby Jessica. We do. | 0:49:53 | 0:49:55 | |
Can we have a round of applause for Jessica Forte? | 0:49:55 | 0:49:58 | |
CHEERING AND APPLAUSE | 0:49:58 | 0:50:01 | |
Can we have our next unsung hero, please? | 0:50:05 | 0:50:09 | |
CHEERING AND APPLAUSE | 0:50:09 | 0:50:12 | |
Welcome. Thank you so much. Please take a seat. | 0:50:16 | 0:50:19 | |
Thank you. OK, teams, same rules. | 0:50:19 | 0:50:24 | |
Jessica, would you like to start? | 0:50:24 | 0:50:26 | |
Was your sitcom...? | 0:50:26 | 0:50:29 | |
Was it like a cult sitcom? | 0:50:29 | 0:50:32 | |
Yeah, I would say it was a cult sitcom. | 0:50:32 | 0:50:35 | |
Yeah, but then became quite mainstream, | 0:50:35 | 0:50:38 | |
but, certainly, it started as a cult sitcom. OK. | 0:50:38 | 0:50:41 | |
I have to give you a clue. This is like a foreign... | 0:50:41 | 0:50:44 | |
we're trying to guess the British sitcom | 0:50:44 | 0:50:46 | |
that our guest did a foreign version of. | 0:50:46 | 0:50:49 | |
Oh, OK. | 0:50:49 | 0:50:50 | |
So what you really want to be thinking is | 0:50:50 | 0:50:52 | |
which sitcom character does he maybe resemble or...? | 0:50:52 | 0:50:55 | |
Is it In Sickness and in Health? | 0:50:55 | 0:50:57 | |
LAUGHTER | 0:50:57 | 0:50:59 | |
No. Steve and Nina, over to you. | 0:50:59 | 0:51:03 | |
Was he a family man in the sitcom? | 0:51:03 | 0:51:08 | |
No. No, not really, no. | 0:51:08 | 0:51:10 | |
OK. | 0:51:10 | 0:51:12 | |
Jen and Julia? | 0:51:12 | 0:51:13 | |
Is it the European version? | 0:51:14 | 0:51:16 | |
Nope. It's not a European version. | 0:51:18 | 0:51:20 | |
It's not actually a European version. | 0:51:20 | 0:51:22 | |
They are allowed in Eurovision. Oh! | 0:51:22 | 0:51:24 | |
Some places we can go. | 0:51:24 | 0:51:26 | |
Israel? Yeah. | 0:51:26 | 0:51:28 | |
He's the Israeli version of a sitcom star? | 0:51:28 | 0:51:32 | |
Yeah, still with you. | 0:51:32 | 0:51:33 | |
Ah, he didn't... | 0:51:33 | 0:51:35 | |
You didn't play Nigel Havers, did you? | 0:51:35 | 0:51:37 | |
LAUGHTER | 0:51:37 | 0:51:39 | |
No. Sadly not. | 0:51:39 | 0:51:40 | |
He's got the looks. | 0:51:40 | 0:51:41 | |
You weren't in the Israeli version of Chariots Of Fire, were you? | 0:51:41 | 0:51:44 | |
LAUGHTER No. | 0:51:44 | 0:51:46 | |
Is that a sitcom? | 0:51:46 | 0:51:47 | |
I found it hilarious. | 0:51:47 | 0:51:48 | |
Jessica and Chris? | 0:51:50 | 0:51:51 | |
Were you in the Israeli version of The Office? | 0:51:51 | 0:51:54 | |
Yes. Absolutely right. | 0:51:54 | 0:51:56 | |
Wow. APPLAUSE | 0:51:56 | 0:51:57 | |
That's good. So which character do you think he resembles? | 0:51:57 | 0:52:00 | |
Dawn! No, wait, David Brent. | 0:52:00 | 0:52:03 | |
Yes. Absolutely right. | 0:52:05 | 0:52:07 | |
CHEERING AND APPLAUSE | 0:52:07 | 0:52:09 | |
Yes. May I introduce to you Dvir Benedek? | 0:52:11 | 0:52:14 | |
Yes, that's right. Dvir plays the David Brent character | 0:52:14 | 0:52:18 | |
in the Israeli version of The Office. | 0:52:18 | 0:52:20 | |
Would you like to see him in action? ALL: Yes. | 0:52:20 | 0:52:23 | |
LAUGHTER | 0:52:55 | 0:52:56 | |
MUSIC PLAYS | 0:52:57 | 0:53:00 | |
# Come on, come on, baby | 0:53:00 | 0:53:04 | |
LAUGHTER | 0:53:06 | 0:53:08 | |
Dvir Benedek! | 0:53:13 | 0:53:14 | |
CHEERING AND APPLAUSE | 0:53:14 | 0:53:17 | |
That's SO good! That is so good. | 0:53:20 | 0:53:23 | |
Was it a big hit in Israel? It was. It was. | 0:53:23 | 0:53:25 | |
We had two seasons, we had 15 episodes each, so it was good. | 0:53:25 | 0:53:29 | |
And can I do say, what diet are you on? It's just amazing. | 0:53:29 | 0:53:35 | |
I watched that and stopped eating and then... | 0:53:35 | 0:53:38 | |
No, no. I think you're fantastic in that show. | 0:53:38 | 0:53:42 | |
Thank you so much. Can we have a round of applause for Dvir Benedek? | 0:53:42 | 0:53:45 | |
So lovely to meet you. Thank you so much for coming in. | 0:53:45 | 0:53:48 | |
Time for the final round, | 0:53:53 | 0:53:54 | |
and it's a traditional quickfire inspired by one of the great sitcoms. | 0:53:54 | 0:53:58 | |
Each episode of Fawlty Towers | 0:53:58 | 0:54:00 | |
began with an anagram of the hotel name. | 0:54:00 | 0:54:02 | |
I'm going to show our teams anagrams of other sitcoms | 0:54:02 | 0:54:05 | |
and they've got to tell me what they are. | 0:54:05 | 0:54:08 | |
So here is our first anagram. | 0:54:08 | 0:54:11 | |
Are you ready? You're buzzing in. | 0:54:11 | 0:54:13 | |
BUZZER | 0:54:13 | 0:54:14 | |
Oh, come on. | 0:54:14 | 0:54:16 | |
W1A. | 0:54:16 | 0:54:17 | |
Absolutely right. Are they all going to be this tricky? | 0:54:17 | 0:54:20 | |
APPLAUSE | 0:54:20 | 0:54:22 | |
Next anagram please. | 0:54:23 | 0:54:25 | |
Anybody? BUZZER | 0:54:28 | 0:54:30 | |
Father Ted. Let's have a look. | 0:54:30 | 0:54:32 | |
Very good. There we go. | 0:54:32 | 0:54:34 | |
APPLAUSE | 0:54:34 | 0:54:36 | |
BUZZER | 0:54:38 | 0:54:39 | |
Some Mothers Do 'Ave 'Em. | 0:54:39 | 0:54:41 | |
LAUGHTER | 0:54:41 | 0:54:43 | |
Give you a clue, it stars a woman. | 0:54:43 | 0:54:45 | |
BUZZER | 0:54:45 | 0:54:47 | |
Miranda. Absolutely right. | 0:54:47 | 0:54:49 | |
Let's take a look. | 0:54:49 | 0:54:51 | |
Next anagram, please. | 0:54:53 | 0:54:55 | |
BUZZER | 0:54:57 | 0:54:59 | |
Chris? The IT Crowd. | 0:54:59 | 0:55:01 | |
Absolutely right. | 0:55:01 | 0:55:02 | |
CHEERING | 0:55:02 | 0:55:04 | |
That's very good. | 0:55:04 | 0:55:06 | |
BUZZER | 0:55:09 | 0:55:10 | |
Lee. Is it The Liver Birds? | 0:55:10 | 0:55:13 | |
It is indeed The Liver Birds. | 0:55:13 | 0:55:14 | |
CHEERING AND APPLAUSE | 0:55:14 | 0:55:16 | |
Next anagram, please. | 0:55:17 | 0:55:20 | |
Oh, um, um, um... | 0:55:20 | 0:55:21 | |
Press it, press it. | 0:55:21 | 0:55:23 | |
Do you know it? | 0:55:23 | 0:55:24 | |
BUZZER | 0:55:24 | 0:55:26 | |
Can I just check - how do you spell "bread"? | 0:55:26 | 0:55:28 | |
LAUGHTER | 0:55:28 | 0:55:30 | |
Is it with an M? | 0:55:30 | 0:55:31 | |
A solitary character. | 0:55:33 | 0:55:35 | |
Doesn't speak a lot. | 0:55:35 | 0:55:36 | |
BUZZER | 0:55:36 | 0:55:37 | |
Jessica? Mr Bean. | 0:55:38 | 0:55:40 | |
It is indeed Mr Bean. | 0:55:40 | 0:55:41 | |
CHEERING AND APPLAUSE | 0:55:41 | 0:55:43 | |
Strangely difficult, aren't they? The short ones. | 0:55:45 | 0:55:47 | |
They are, they are really difficult. | 0:55:47 | 0:55:48 | |
Next anagram. | 0:55:48 | 0:55:49 | |
Any offers? BUZZER | 0:55:52 | 0:55:53 | |
Chris? Rising Damp. | 0:55:53 | 0:55:55 | |
Blimey. He's right! | 0:55:56 | 0:55:57 | |
How does he do that?! | 0:55:57 | 0:55:59 | |
What? | 0:55:59 | 0:56:01 | |
It's like playing with Rain Man. Moving on. | 0:56:01 | 0:56:03 | |
LAUGHTER | 0:56:03 | 0:56:05 | |
BUZZER Been in the show already. | 0:56:07 | 0:56:09 | |
BOTH: Up Pompeii. Absolutely. | 0:56:09 | 0:56:11 | |
There we go. | 0:56:11 | 0:56:12 | |
APPLAUSE | 0:56:12 | 0:56:14 | |
Next anagram, please. | 0:56:15 | 0:56:16 | |
LAUGHTER | 0:56:18 | 0:56:19 | |
It's extraordinary what the mind does, isn't it? | 0:56:19 | 0:56:22 | |
Obese hunts. | 0:56:22 | 0:56:24 | |
BUZZER | 0:56:24 | 0:56:25 | |
OK, I'm going to go maverick on this one. Yeah? | 0:56:25 | 0:56:27 | |
There isn't an actual sitcom called obese hunts, is there, | 0:56:27 | 0:56:30 | |
that we don't know about? | 0:56:30 | 0:56:31 | |
I will give you a clue. It is a workplace sitcom. | 0:56:31 | 0:56:34 | |
BUZZER | 0:56:34 | 0:56:35 | |
On The Buses. Yeah. | 0:56:35 | 0:56:37 | |
Let's have a look! | 0:56:37 | 0:56:38 | |
CHEERING AND APPLAUSE | 0:56:38 | 0:56:41 | |
JINGLE PLAYS | 0:56:41 | 0:56:42 | |
And that's the end of our final round. | 0:56:44 | 0:56:48 | |
So let's take a look at our final leaderboard. | 0:56:48 | 0:56:51 | |
What do we have here? | 0:56:52 | 0:56:54 | |
In fourth place, Lee and Nigel. | 0:56:54 | 0:56:57 | |
APPLAUSE | 0:56:57 | 0:57:00 | |
Steve and Nina, Jennifer and Julia | 0:57:00 | 0:57:03 | |
in joint second place. | 0:57:03 | 0:57:06 | |
APPLAUSE | 0:57:06 | 0:57:09 | |
But sitting pretty right up there on top, | 0:57:09 | 0:57:12 | |
it's Jess and Chris. | 0:57:12 | 0:57:14 | |
CHEERING AND APPLAUSE | 0:57:14 | 0:57:18 | |
Well, that's it. | 0:57:23 | 0:57:25 | |
Can we have a big round of applause for all our guests? | 0:57:25 | 0:57:28 | |
CHEERING AND APPLAUSE | 0:57:28 | 0:57:31 | |
I've been Ben Miller and this has been We Love Sitcom. | 0:57:31 | 0:57:34 | |
Goodbye! | 0:57:34 | 0:57:36 | |
CHEERING AND APPLAUSE | 0:57:36 | 0:57:38 |