Browse content similar to 02/02/2017. Check below for episodes and series from the same categories and more!
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Well, hello, and welcome to The One Show with Angela Scanlon. And Matt | :00:22. | :00:28. | |
Baker. Can we turn the lights on? We're trying to save money. It's | :00:29. | :00:34. | |
freezing, where's my cappuccino? It's expensive, there's water in the | :00:35. | :00:39. | |
tap. Why are you being so stingy, seriously? Well, this is all to do | :00:40. | :00:44. | |
with tonight's guest. He is playing a money pinching miser on stage. | :00:45. | :00:51. | |
Does he know we live? I'm hereI'm Chris Rhys Jones. | :00:52. | :00:56. | |
CHEERING -- Griff Rhys Jones. Wellcome, | :00:57. | :01:07. | |
Griff. You have a moustache. What do you think? Nothing miserly about my | :01:08. | :01:10. | |
moustache. Don't break it, that's the most important thing. It's so | :01:11. | :01:18. | |
big. When it came out, I was surprised myself. This is the genius | :01:19. | :01:23. | |
of wax bust years ago, I used to grow them when I was in a ie you | :01:24. | :01:27. | |
like having my own moustache. Nothing more embarrassing than you | :01:28. | :01:32. | |
gesture and you asked stuck on moustache flies off. Ever since | :01:33. | :01:37. | |
then, I've grown my own moustache. Getting hold of the right wax was a | :01:38. | :01:43. | |
problem, but with the hipster beard, everybody, they sell it on every | :01:44. | :01:48. | |
street corner, moustache wax. We are talking about macro. That's how | :01:49. | :01:55. | |
stingy are you, on a scale of one to ten? Asked we're talking about The | :01:56. | :02:03. | |
Miser. I'm stingy as the next man. One-man's miser is another man's | :02:04. | :02:08. | |
astute saver. Tonight, we want to name and shame and celebrate anybody | :02:09. | :02:12. | |
you know who is obsessed with saving money. Perhaps you've got a stingy | :02:13. | :02:18. | |
sister, or penny wise pal, the type of person who makes their own | :02:19. | :02:22. | |
popcorn and takes into the cinema to take Webber save money. How did you | :02:23. | :02:29. | |
know I did that? We've heard all your secrets. Send us a photo and | :02:30. | :02:32. | |
the reason they are such a skinflint and we'll show some of them later | :02:33. | :02:39. | |
on. Griff, you can judge it, miser of the week. Can I keep this torch? | :02:40. | :02:46. | |
On a scale of one to ten, we are up there. Any miser out Blair will | :02:47. | :02:50. | |
enjoy this film, it's all about this, money, specifically the ?1 | :02:51. | :02:57. | |
coin. One in every 30 is actually fake, did you know? In an effort to | :02:58. | :03:00. | |
combat this the Royal Mint is producing what they claim will be | :03:01. | :03:03. | |
the most secure coin in the world. We sent Raphael Rowe to find out | :03:04. | :03:08. | |
more. Next month, our familiar round ?1 | :03:09. | :03:14. | |
coins are being replaced by a new, edgier version. Right now they are | :03:15. | :03:19. | |
turning out 2000 coins a minute ready to go into circulation in | :03:20. | :03:26. | |
March. And The One Show has been granted exclusive behind-the-scenes | :03:27. | :03:28. | |
access to film here, at the Royal Mint. In total, they are producing | :03:29. | :03:32. | |
over 1.5 billion coins, with each one intricately designed. This | :03:33. | :03:38. | |
brand-new ?1 coin is being billed as the most secure in the world. But | :03:39. | :03:46. | |
why don't to all this effort now? Adam Lawrence is CEO at the Royal | :03:47. | :03:53. | |
Mint. The primary reason we are introducing new ?1 coins is to | :03:54. | :03:57. | |
tackle counterfeiting. We have over 45 million counterfeit in regulation | :03:58. | :04:02. | |
and we can't avoid a loss in confidence in the currency, so this | :04:03. | :04:08. | |
is an issue we must grasp. The chief engraver is responsible for the | :04:09. | :04:13. | |
features. It's made of two colours. Unlike the previous ?1 coins, it | :04:14. | :04:17. | |
shapes, it has 12 sides. On the edges we have milling, lines down | :04:18. | :04:22. | |
one face, and the next phase is plain. We have a hologram, so you | :04:23. | :04:29. | |
can see a ?1 fine in one direction and the number one in another | :04:30. | :04:33. | |
direction. The features we are bringing to the table has never been | :04:34. | :04:36. | |
done before, so I don't think it's going to be possible to counterfeit | :04:37. | :04:41. | |
this coin. We have a coin for the 20 firsts and it, we are ahead of the | :04:42. | :04:45. | |
game now. It's an impressive new coin but the changeover will come at | :04:46. | :04:49. | |
a cost. Some councils say they are forking out as much as ?30,000 of | :04:50. | :04:55. | |
taxpayers' money to adapt parking and vending machines. If counterfeit | :04:56. | :04:58. | |
coins are such a problem, how likely are ideal to have one in your | :04:59. | :05:03. | |
wallet? To find out, we've withdrawn ?1000 worth of ?1 coins from the | :05:04. | :05:09. | |
bank. In 30 are estimated to be fake, we should get at least 33 | :05:10. | :05:13. | |
coins from this case but not real. We've come here, where they've got a | :05:14. | :05:18. | |
special machine to test out coins. Andy Brown runs a company where they | :05:19. | :05:23. | |
test and fix machines designed to accept pound coins. They've already | :05:24. | :05:27. | |
adapted over 10,000 parking meters to fit the new coin. But today, he's | :05:28. | :05:33. | |
going to analyse our ?1000 and find out how many are fake. Show me how | :05:34. | :05:38. | |
this machines works. Let me take some of your coins. What we need to | :05:39. | :05:45. | |
do is pile them into the top of the hopper. It will spin round. Put the | :05:46. | :05:50. | |
coins through, and we will see if they are counterfeit or not. And we | :05:51. | :05:56. | |
don't have to wait for long. There you go. We have a fake. Let me look | :05:57. | :06:04. | |
at this. So how does this coin differ from this coin? Compare the | :06:05. | :06:08. | |
designs. On the front, they look identical. If you turn them on the | :06:09. | :06:12. | |
back and look at the picture of the Queen's head, it's totally | :06:13. | :06:17. | |
different. This has come from a bank, so a bank could be giving | :06:18. | :06:20. | |
people... There's another one, another one has come out. I'm really | :06:21. | :06:27. | |
excited. ?1000 coins came from the bank, so they could beginning an | :06:28. | :06:31. | |
innocent bystander fake coins. I'm going to let you carry on putting | :06:32. | :06:35. | |
the rest of these coins in and let's see how many we get. Whilst we wait | :06:36. | :06:41. | |
for the results, we go to the local cafe. How many others are | :06:42. | :06:44. | |
unknowingly carrying counterfeit cash? Your money is good. Your first | :06:45. | :06:55. | |
coin was a fake. How does it make you feel? A bit annoyed, someone has | :06:56. | :06:59. | |
made them and given them out for nothing. They are so similar. I | :07:00. | :07:05. | |
understand notes, but how do you make a fake coin? What about our | :07:06. | :07:10. | |
1000 coins? We have run the coins through the machine. We found 19 | :07:11. | :07:16. | |
fake coins. Even the machine can't spot some of the latest, most | :07:17. | :07:20. | |
sophisticated fakes. He also gives every coin a close visual | :07:21. | :07:24. | |
inspection, looking for tell-tale inaccuracies. Two, four, 13, 14... | :07:25. | :07:34. | |
Visually found. So 33, out of 1000, so it kind of hits the mark of one | :07:35. | :07:40. | |
in every 30, in circulation, is fake. Yes. Amazing. I didn't know | :07:41. | :07:48. | |
lots of vending machines and parking meters have those counterfeit | :07:49. | :07:51. | |
checkers in them. It answers that query off when you put coins in and | :07:52. | :07:56. | |
they come out the other end. Griff, would you pick a coin Flores, follow | :07:57. | :08:01. | |
your instincts, don't worry about using too much, we will find out if | :08:02. | :08:06. | |
you have picked a fake one. Any coin, I will say that one is the | :08:07. | :08:12. | |
fakes. You want the real one. You want the real one. Spend it later. A | :08:13. | :08:17. | |
present for you later, hopefully, assuming you've picked the right | :08:18. | :08:22. | |
one. Oh, I see, we're not going to find out? Later on! Let's get down | :08:23. | :08:28. | |
to business. Do you want to find out now? I'm just... I'm kissing it as | :08:29. | :08:36. | |
well! You are like me, with a parking meter, trying to make it | :08:37. | :08:42. | |
work! What are the important dates? The first date is the 28th of March, | :08:43. | :08:47. | |
that's when the new snazzy 12 sided coin comes out. It will be | :08:48. | :08:51. | |
officially in circulation and will be used as legal tender. LB a | :08:52. | :08:55. | |
six-month coast regulation period, where it runs alongside the old | :08:56. | :09:02. | |
coins and on October 16, the old coin will no longer be accepted in | :09:03. | :09:06. | |
shops -- there will be a six-month regulation period where both can be | :09:07. | :09:14. | |
used. Was about the ?5? There's an easy date to remember, the five of | :09:15. | :09:20. | |
the five, the old fivers won't be no more. If you hide all fivers kicking | :09:21. | :09:26. | |
around, you can take them to the bank or post office. In the roll-out | :09:27. | :09:31. | |
of currency, we are used to it running smoothly, but it doesn't | :09:32. | :09:34. | |
always go that way. It has to be controlled. We covered this, in | :09:35. | :09:41. | |
India last year, in November, they said overnight, the Prime Minister | :09:42. | :09:46. | |
announced, no more 501,000 rupee notes. He took them out over one | :09:47. | :09:52. | |
day. Everyone panics. -- no more 500 rupee or 1000 rupee notes. There was | :09:53. | :09:57. | |
1 billion people trying to get their notes changed into smaller notes. | :09:58. | :10:01. | |
That's not been done very well. Subsequently, about one third of | :10:02. | :10:04. | |
those notes have been replaced with smaller notes, but they are still | :10:05. | :10:09. | |
missing so many notes and there's not enough notes in circulation in | :10:10. | :10:11. | |
India because of that. It's a nightmare. But we are doing it | :10:12. | :10:16. | |
properly here, nicely. It's a moment of truth. It's happening right now. | :10:17. | :10:21. | |
This is it. Did you pick the real one, or the fake one? Drop it in. | :10:22. | :10:32. | |
Just there. CHEERING AND APPLAUSE | :10:33. | :10:41. | |
There is showing this! There is showing this! My huge collection of | :10:42. | :10:49. | |
nearly 100 of them... Add it to the jar. If you want any advice on how | :10:50. | :10:53. | |
to spot a fake coin, we will put some tips on the Royal Mint on our | :10:54. | :10:59. | |
website. While Griff Distin -- decides what he will spend his shiny | :11:00. | :11:05. | |
new ?1 on, it's time for Anita Rani to introduce you to a remarkable | :11:06. | :11:09. | |
woman in Belfast, helping to change lives, down to the wonder Ross wig. | :11:10. | :11:17. | |
Hair matters. For men, a full head of hair is seen as a sign of | :11:18. | :11:22. | |
virility, and for women, many see it as an intrinsic part of femininity. | :11:23. | :11:27. | |
That's why for millions of people in the UK facing unwanted hair loss can | :11:28. | :11:34. | |
be a very traumatic experience. Far from being an exclusively male | :11:35. | :11:37. | |
problem, it may come as a surprise that according to the NHS, an | :11:38. | :11:42. | |
estimated 8 million women in Britain are affected by hair loss. It was | :11:43. | :11:47. | |
this high demand and lack of supply that inspired to raise Hughes to get | :11:48. | :11:54. | |
into the wig business. She owns the longest running boutique of its kind | :11:55. | :11:57. | |
in Northern Ireland and over the years she's become a familiar face | :11:58. | :12:02. | |
to countless families. So how do you go from having hairdressing salon to | :12:03. | :12:07. | |
them being this, the Queen of wigs? Women were coming in with thin hair, | :12:08. | :12:11. | |
so thin you couldn't blow dry it and I thought, this needs to be | :12:12. | :12:14. | |
addressed. It's something I can do, I can make a difference. She has | :12:15. | :12:26. | |
travelled the globe learning her craft in order to suit the needs of | :12:27. | :12:29. | |
any client. Her dedication has earned her an MBE. . Clients come | :12:30. | :12:31. | |
with a variety of needs and desires. 19-year-old Jordan has alopecia. It | :12:32. | :12:41. | |
comes and goes. It's not for me. How do you feel when you haven't got the | :12:42. | :12:46. | |
wig on? This is me, I have my outside me, the social me, they are | :12:47. | :12:53. | |
two different things. What's the experience like? Coming into a sweet | :12:54. | :12:56. | |
shop, you see everything you like and pick your favourite one. It's a | :12:57. | :13:01. | |
happy experience, one that makes you feel normal. She's like your fairy | :13:02. | :13:10. | |
hairy godmother! Many of Terese's clients are going through | :13:11. | :13:14. | |
chemotherapy, like 22-year-old Jess, who was diagnosed with Hodgkin's | :13:15. | :13:17. | |
lymphoma. The side-effects of treatment means she would lose hair. | :13:18. | :13:23. | |
Hair is everything. I would always get my friends to let me do their | :13:24. | :13:28. | |
hair, dying cover cutting, everything, and I would always do my | :13:29. | :13:31. | |
own hair, so many different colours. It's always been something I played | :13:32. | :13:35. | |
about with an something that my friends have seen me for. Can I see? | :13:36. | :13:47. | |
Yes. So still have their, but it's not my hair -- there is still hair | :13:48. | :13:53. | |
there. How long was it? What are you looking for? You're blonde wig is | :13:54. | :13:58. | |
gorgeous. Something different, just to switch it up. And in Terese's wig | :13:59. | :14:04. | |
shop, you can become whoever you want to be. Honestly, you look | :14:05. | :14:08. | |
amazing. What do you think? I'm sold. It's amazing what hair can do. | :14:09. | :14:17. | |
I think this is the one. I'm excited to play about with it. I'm | :14:18. | :14:21. | |
concentrating on the people who need me and the people who need me, need | :14:22. | :14:26. | |
me. It's such an important thing, your hair. Externally, we are all | :14:27. | :14:30. | |
external. It's what we see on the outside. That's the bit people see. | :14:31. | :14:36. | |
It's important for them. Terese is working on one of the most loyal | :14:37. | :14:39. | |
customers, who has a very different reason for needing a wig. It's still | :14:40. | :14:47. | |
you, you look like you. How hard has it been for the moment you came out | :14:48. | :14:52. | |
as trams? You don't know what to leave the house, you don't know if | :14:53. | :14:59. | |
you can get a pint of milk or something -- you came out as trans. | :15:00. | :15:03. | |
You stand on your door, you get to the door and run all the way to the | :15:04. | :15:08. | |
house and by the third time you have the confidence to go in and do it | :15:09. | :15:12. | |
because if you don't, you will never have the confidence to do it. | :15:13. | :15:17. | |
Putting on a wig, does it boosts your confidence? It does, it's like | :15:18. | :15:21. | |
getting ready for battle. You can face the world. How do you feel? | :15:22. | :15:28. | |
Beautiful, I'm a fussy woman! Aren't we all! | :15:29. | :15:35. | |
I was really happy that Jess picked the red wig. And Griff, you are no | :15:36. | :15:41. | |
stranger to a wig. We have some pictures here. Also the Fagan wig in | :15:42. | :15:48. | |
Oliver, another spectacular one. You shake your head for this one. And I | :15:49. | :15:54. | |
will shave my head for this one. We are wig plastic all the way through, | :15:55. | :15:59. | |
and it starts with mere using my son -- we are wig =tastic all the way | :16:00. | :16:12. | |
through. I thought I do not want to wear a bald wig and then another | :16:13. | :16:19. | |
one. When will you shave it? As late as possible, surprise myself. What | :16:20. | :16:26. | |
we are talking about is Moliere's The Miser, classic French farce, | :16:27. | :16:32. | |
ludicrously complex. It's sort of like the Marx Brothers meets air | :16:33. | :16:35. | |
plane. Whatever we were expecting about this was just not that it | :16:36. | :16:44. | |
would be such an hilarious play. It has every conceivable form of | :16:45. | :16:49. | |
slapstick, of low jokes, it is real crude comedy. It's tradition | :16:50. | :16:52. | |
stretches back into pantomime. It has been hilarious to do, and great | :16:53. | :16:58. | |
to do it with comedians. We're doing it with Matt and Lee. You are right | :16:59. | :17:04. | |
there, and Lee is discovering jokes all the time. Every time your thing, | :17:05. | :17:10. | |
surely this is the bit, because the miser has money on string which he | :17:11. | :17:14. | |
keeps paying to people, and as they go out the door committee polls the | :17:15. | :17:22. | |
strength and pulls the money back. -- they go out the door, he pulls | :17:23. | :17:29. | |
the strings and pulls the money back. You say it is very relevant to | :17:30. | :17:43. | |
today, that it first started out in 1668. Yes, but the whole story is | :17:44. | :17:46. | |
really about our family split up because dad is extremely rich and | :17:47. | :17:51. | |
has buried his money in the greenhouse under the tomatoes, and | :17:52. | :17:53. | |
the rest of the family are trying to get hold of it, is it is a family | :17:54. | :17:58. | |
comedy. He spends his time Rowling with his son about the money. I felt | :17:59. | :18:04. | |
for the man. When they sent it to me, they said, Griff, it will be | :18:05. | :18:10. | |
difficult to play because he is a really terrible character, this man, | :18:11. | :18:14. | |
and the audience will find it difficult. I read it going, no, I | :18:15. | :18:18. | |
sympathise with him. I see is point of view. The bank is losing his | :18:19. | :18:25. | |
money, he feels that everybody is just trying to get hold of his cash | :18:26. | :18:31. | |
and so he needs to look after it, as we all go. How have rehearsals been | :18:32. | :18:39. | |
with the? Does it feel like chaos? We have had him -- with Lee. We have | :18:40. | :18:50. | |
had them on the show. It is like strictly come dancing. You have to | :18:51. | :18:55. | |
get the moves and get them on cue. Only yesterday, there was a moment | :18:56. | :18:59. | |
where I had fallen over backwards, then we were rehearsing a fight and | :19:00. | :19:06. | |
he opens the door, and I'm running in, and we go like that... I fall in | :19:07. | :19:15. | |
the fire. I leap up and bang into the wall, and a ball's head falls | :19:16. | :19:20. | |
off the wall on my head, then I fall forward, put my hand up to support | :19:21. | :19:31. | |
myself and crash. They said, have you hurt yourself? I said yes, and | :19:32. | :19:39. | |
they said, good. The Miser starts at the Garrick Theatre in London's West | :19:40. | :19:45. | |
End shortly. Our next guest is an expert in | :19:46. | :19:52. | |
capturing Sunrises. He can take those spectacular snaps on his way | :19:53. | :19:57. | |
home from work, he has such a great job. | :19:58. | :20:09. | |
I am a train driver at the depot for a living, and at night, I am a | :20:10. | :20:15. | |
landscape photographer. Last train of the night, Kevin, what is the | :20:16. | :20:21. | |
plan? We will take it through the wash. Ready to proceed? We do an | :20:22. | :20:29. | |
important job here, and to know that a train is leaving in the morning | :20:30. | :20:34. | |
and people will be able to travel safely and -- travel safely and get | :20:35. | :20:36. | |
to their destination on time is a big satisfaction. The hardest part | :20:37. | :20:42. | |
of the job is probably the long-term effect that shift work has on you. I | :20:43. | :20:48. | |
am taking the train through the wash at the moment, ready to go back into | :20:49. | :20:53. | |
service is nice and clean. When the trains come to the depot after being | :20:54. | :20:58. | |
in service, ARN tea and quiet, and it's much like when I am out taking | :20:59. | :21:03. | |
photos on my own. You just hear the slight hum of the air conditioning | :21:04. | :21:10. | |
units, and it is a bit like being out in the wild. The oh -- over | :21:11. | :21:23. | |
time, my colleagues have seen my photos and been impressed, and that | :21:24. | :21:30. | |
spurs me on, in our way. -- in a way. This job allows me to live my | :21:31. | :21:40. | |
life in a more flexible way and to do photography alongside it. With | :21:41. | :21:46. | |
the Sunrise being just after seven, there should be plenty of time. I | :21:47. | :21:54. | |
will have the camera all set up ready for the sunrise this morning. | :21:55. | :22:01. | |
I love photography and I love being able to go out after work and catch | :22:02. | :22:13. | |
the sunrise. I am willing to walk miles to get to the location I want. | :22:14. | :22:19. | |
The foreground is as important as the sky. This castle doesn't | :22:20. | :22:23. | |
disappoint. You have to have a lot of patients to be able to set up | :22:24. | :22:37. | |
your short ready for sunrise. I find it cathartic and it is like my | :22:38. | :22:40. | |
nirvana, being in the wild. The landscape is a blank canvas and it | :22:41. | :22:44. | |
is down to you how you choose to capture it. There is a bank of cloud | :22:45. | :22:50. | |
which is slowly disappearing. I am hopeful the sun will burst through | :22:51. | :22:58. | |
that. It is never the same Sunrise or the same sky. Often, you are the | :22:59. | :23:08. | |
only one to see it. -- sunrise. All the effort to get here, I can go | :23:09. | :23:16. | |
home now. So humble, isn't he? And ever so talented. Which is your | :23:17. | :23:25. | |
favourite? The one where he has got the steam rising off the sea and all | :23:26. | :23:29. | |
those stars, like the Milky Way. I feel for him because I have recently | :23:30. | :23:36. | |
gone on Instagram. Everyone who is on there, we have all become | :23:37. | :23:39. | |
photographers in a way that we want before. That is a real achievement | :23:40. | :23:45. | |
because I know how difficult it is to make a good photograph. I will | :23:46. | :23:49. | |
give you his number and you can call him for tips. Now, if you are not a | :23:50. | :23:54. | |
big fan of mice, bear with us because in our next film, Ben, our | :23:55. | :24:02. | |
biologist, promises to make you see them in a whole new light. | :24:03. | :24:09. | |
Have you ever wondered what makes house mice so elusive? Having | :24:10. | :24:14. | |
managed to squeeze through impossible gaps that are seemingly | :24:15. | :24:23. | |
smaller than the mice themselves. -- how they manage. It is like me being | :24:24. | :24:26. | |
able to fit my entire body through this frisbee. The secret is its | :24:27. | :24:32. | |
unique anatomy. I am meeting with an old colleague of mine, a mammal | :24:33. | :24:39. | |
expert, Doctor Nick. We will see if a house mouse can squeeze through a | :24:40. | :24:42. | |
gap of just one centimetre. Hello, Nick. Who do we have here? Well, | :24:43. | :24:50. | |
this is Ben, the mouse, who will be helping us out today. In this is the | :24:51. | :24:57. | |
challenge you have set him? Yaw yes, this is the apparatus. We will start | :24:58. | :25:03. | |
Ben on one side, leave a little tasty treat on the other and we will | :25:04. | :25:07. | |
see if he can sneak through this gap we have set up. Now, it is a waiting | :25:08. | :25:15. | |
game. He tested it with his head to see if | :25:16. | :25:26. | |
it could fit through. Is it too small? He has got his head through, | :25:27. | :25:33. | |
and just squeezing the rest of his body through. Wow! Let's look at | :25:34. | :25:41. | |
that in slow motion. To start with, he seems so much bigger than the | :25:42. | :25:48. | |
whole. But that won't stop him. When the head goes under, his whole body | :25:49. | :25:54. | |
just seems to squash. Key squeeze through. It is incredible. How does | :25:55. | :26:04. | |
Benji know he won't get stuck? Benji was using his whiskers. Unlike us, | :26:05. | :26:10. | |
his eyesight is quite poor, so they rely a lot on the sense of patch. | :26:11. | :26:15. | |
The amount of their brain that is concerned with receiving signals | :26:16. | :26:17. | |
from their whiskers is actually bigger than the amount concerned | :26:18. | :26:28. | |
with receiving signals from their paws. Which makes sense if you are | :26:29. | :26:31. | |
getting into the world knows first. How does he actually squeeze | :26:32. | :26:35. | |
through? To understand the secret, we need to look inside his body to | :26:36. | :26:40. | |
see how this guy works. Incredibly, that is now possible with this, a | :26:41. | :26:46. | |
flora scope. We have all seen x-ray photographs, but this machine | :26:47. | :26:52. | |
captures x-rays as moving images. You can see here, the head is the | :26:53. | :26:56. | |
biggest part of the anatomy, and when it has squeezed through, the | :26:57. | :27:00. | |
rest goes through seamlessly. Unlike us with our big shoulders and | :27:01. | :27:05. | |
smaller heads, a mouse had their head as the widest part. The | :27:06. | :27:08. | |
shoulder and everything else is narrower, and that is the secret | :27:09. | :27:11. | |
that allows it to squeeze through such tiny gaps. How will the mouse | :27:12. | :27:18. | |
cope with an obstacle course in a confined space. This will really | :27:19. | :27:27. | |
test is agility? No problem. He made it look easy. What's really clear | :27:28. | :27:32. | |
from this video x-ray is the snakelike flexibility of the little | :27:33. | :27:35. | |
mouth's spine Rostock and this is very different from our spines work. | :27:36. | :27:52. | |
-- the little mouse's spine. He has interconnecting vertebrae that allow | :27:53. | :27:58. | |
this movement. It is amazing with this technology to see how the | :27:59. | :28:01. | |
inside of a mouse works. It is not hard to imagine how these animals | :28:02. | :28:05. | |
can find their way into every knock and cranny inside our homes. -- | :28:06. | :28:18. | |
every now and cranny dart-mac we have a little set of stairs coming | :28:19. | :28:22. | |
up to our kitchen. I looked over, and there was a mouse coming up. It | :28:23. | :28:26. | |
just walked across the kitchen casually like this. But the amazing | :28:27. | :28:32. | |
thing was, it came up the stairs. Everything has got to live. That's | :28:33. | :28:41. | |
what your mum says! It is! Julia says a relation of hers only uses | :28:42. | :28:54. | |
the toilet at worked as a paper. John 's wife Boyle is a kettle in | :28:55. | :29:00. | |
the morning and fills a glass with water to keep her in it for the rest | :29:01. | :29:05. | |
of the day. That's all we've got time for tonight. A big thank you to | :29:06. | :29:07. | |
Griff Rhys Jones. The Miser opens on March 1st | :29:08. | :29:11. | |
at the Garrick Theatre in London. I'm back tomorrow at seven | :29:12. | :29:16. | |
with John Richardson. Tracey Ullman is on the sofa, | :29:17. | :29:18. | |
and we have a very special To break someone physically... | :29:19. | :29:23. | |
MAN YELLS But we will see how | :29:24. | :29:26. | |
you are strong psychologically. | :29:27. | :29:32. |