Browse content similar to 07/02/2018. Check below for episodes and series from the same categories and more!
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Hello and welcome to the One Show
with Alex Jones. And Matt Baker. In | 0:00:19 | 0:00:24 | |
the week we are celebrating women
getting the vote, we are joined by | 0:00:24 | 0:00:28 | |
somebody we think would have made
the argument wittily and chucked the | 0:00:28 | 0:00:31 | |
odd brick if necessary. Maureen
Lipman! If she did, she would -- | 0:00:31 | 0:00:38 | |
George would have gone gently on
her. The former judge Martin with | 0:00:38 | 0:00:42 | |
us. Today's trailblazer for women,
who left school at 16 to triumph in | 0:00:42 | 0:00:49 | |
the male dominated world of tech, Dr
Sue Black. | 0:00:49 | 0:00:55 | |
Sue Black. Maureen, you might have
bought back this week to what sort | 0:00:57 | 0:01:00 | |
of campaign you might have been back
in the day. What do you think? Would | 0:01:00 | 0:01:03 | |
you have been strapped down, tied to
it? | 0:01:03 | 0:01:12 | |
it? #metoo! I think that I would
have been good on the hustings, but | 0:01:12 | 0:01:19 | |
bad in the jail. Right. The torture
and for speeding, I would have told | 0:01:19 | 0:01:24 | |
them anything and give a vote to the
men. -- the force feeding. It's so | 0:01:24 | 0:01:31 | |
cruel, when you think about what
happened and what they did in our | 0:01:31 | 0:01:35 | |
name, and its political action. Yes,
some of the posters we showed last | 0:01:35 | 0:01:38 | |
night, jaw-dropping. | 0:01:38 | 0:01:45 | |
night, jaw-dropping. Sue, how would
you have reacted? I am active on | 0:01:45 | 0:01:49 | |
social media, and that wasn't here
then, but I would have tried to work | 0:01:49 | 0:01:52 | |
out how to use technology to get the
message across and get everyone | 0:01:52 | 0:01:56 | |
involved. On the same day in 1918,
Martin, working-class men were given | 0:01:56 | 0:02:02 | |
the vote as well. Are you aware of
the first voters in your family? I | 0:02:02 | 0:02:07 | |
don't know whether they voted or not
but my grandparents, I think they | 0:02:07 | 0:02:10 | |
were married by then. My grandfather
was a gunsmith, and my grandmother | 0:02:10 | 0:02:17 | |
was a bit of a goodtime girl. We
like the sound of her! | 0:02:17 | 0:02:22 | |
LAUGHTER
We're going to give you an idea of | 0:02:22 | 0:02:27 | |
what's going to be happening as we
take off for the rest of the show. | 0:02:27 | 0:02:30 | |
Assisting us is Lucy, who will be
gathering little plastic knives and | 0:02:30 | 0:02:34 | |
forks for us. There will be an
entertaining cabin announcement from | 0:02:34 | 0:02:40 | |
Gyles. And Jess Glynne and
Rudimental, whose new single is | 0:02:40 | 0:02:46 | |
heading for the top. Let's start
with a story from Joe which I knew | 0:02:46 | 0:02:50 | |
nothing about, but which is causing
a lot of anxiety among families and | 0:02:50 | 0:02:54 | |
putting real pressure on one of our
biggest companies to change policy. | 0:02:54 | 0:02:59 | |
That's right. Most of us have
Facebook accounts, 2.1 billion | 0:02:59 | 0:03:04 | |
people on earth have one, but what
happens to it when we die? How much | 0:03:04 | 0:03:09 | |
access and our families get to it?
All of that personal content, those | 0:03:09 | 0:03:14 | |
photos and messages, they can be of
comfort to those left behind. | 0:03:14 | 0:03:23 | |
comfort to those left behind. Jenny
was beautiful. She was funny, brave, | 0:03:23 | 0:03:26 | |
she was the light of my life. | 0:03:26 | 0:03:33 | |
she was the light of my life. Toby
was sporty, energetic, but also | 0:03:33 | 0:03:35 | |
very, very kind and generous. Amanda
lost her 19-year-old daughter Jenny | 0:03:35 | 0:03:40 | |
to cancer last year. Christine's
son, Toby, was 17 when he died | 0:03:40 | 0:03:46 | |
suddenly three years ago. Like most
teenagers, both were very active on | 0:03:46 | 0:03:53 | |
Facebook. Jenny had two pages, a
personal one and a business one | 0:03:53 | 0:03:57 | |
showcasing her talent for hair and
make up. She didn't want social | 0:03:57 | 0:04:02 | |
media to be closed. After Toby died,
Christine logged onto his Facebook | 0:04:02 | 0:04:07 | |
to message friends and family and
print old photos. There were times I | 0:04:07 | 0:04:14 | |
wanted to indulge myself in Toby's
world. Both families plan to keep | 0:04:14 | 0:04:20 | |
their late children's Facebook
accounts active but, within weeks of | 0:04:20 | 0:04:23 | |
their deaths, both Amanda and
Christine made the same upsetting | 0:04:23 | 0:04:28 | |
discovery. I logged on and found
this remembering Jenny. Her whole | 0:04:28 | 0:04:35 | |
make up page was raised. Without the
family's knowledge, Facebook had | 0:04:35 | 0:04:42 | |
memorialised the account and hit the
make up page. Both mothers could | 0:04:42 | 0:04:47 | |
still see posts on their profiles
but they couldn't access messenger | 0:04:47 | 0:04:51 | |
or communicate with their children's
friends. That's not what she wanted. | 0:04:51 | 0:04:57 | |
Even though she's dead, I need to
look after her and try and make | 0:04:57 | 0:05:00 | |
things how she wanted. I found it so
comforting and important to remember | 0:05:00 | 0:05:07 | |
him that the thought of having lost
it for ever was really quite scary. | 0:05:07 | 0:05:12 | |
Neither Amanda nor Christine have
any idea who informed Facebook, so | 0:05:12 | 0:05:19 | |
how easy is it for anyone to
memorialised in account without the | 0:05:19 | 0:05:22 | |
family's permission? We've set up a
dummy account and I'm going to try | 0:05:22 | 0:05:27 | |
and memorialised it and, when I
request that, I get three boxes, | 0:05:27 | 0:05:32 | |
one, who passed away, two, when they
passed away, and the third box is | 0:05:32 | 0:05:39 | |
optional, and it's proof of death.
But there isn't a box to say who I | 0:05:39 | 0:05:43 | |
am or what my relationship is with
the deceased. Within hours, I get an | 0:05:43 | 0:05:47 | |
e-mail from Facebook asking for a
scan or photo from evicting, or | 0:05:47 | 0:05:55 | |
other paperwork confirming the
death. But is this thorough enough? | 0:05:55 | 0:06:00 | |
Solicitor Gary Rycroft specialises
in the digital assets of the | 0:06:00 | 0:06:05 | |
deceased. Anybody could get hold of
a death certificate. If we are | 0:06:05 | 0:06:09 | |
talking at financial assets like a
bank account, the bank would be very | 0:06:09 | 0:06:12 | |
strict about who they release the
money is too, but Facebook seem to | 0:06:12 | 0:06:16 | |
be being quite lax about who they
allow to make very important | 0:06:16 | 0:06:21 | |
decisions. If your loved one dies,
if you are the next of kin and you | 0:06:21 | 0:06:28 | |
decide you don't want their Facebook
account to be memorialised, and | 0:06:28 | 0:06:32 | |
Facebook allow somebody else to come
in and override those wishes, can | 0:06:32 | 0:06:37 | |
you imagine how frustrating and
painful that would be? I want to | 0:06:37 | 0:06:40 | |
know why Facebook memorialised
accounts and whether they will | 0:06:40 | 0:06:45 | |
restore Jenny in Toby's. Public
policy manager just even speaks to | 0:06:45 | 0:06:50 | |
meet from California. | 0:06:50 | 0:06:55 | |
meet from California. We memorialise
accounts to secure the security, | 0:06:56 | 0:07:01 | |
legacy and privacy of the person who
passed. What if the family don't | 0:07:01 | 0:07:05 | |
want the account memorialised?
Family or friends request | 0:07:05 | 0:07:13 | |
memorialisation put often we can't
reach the next of kin in the | 0:07:13 | 0:07:18 | |
circumstances. Will you change your
policy to allow the next of kin to | 0:07:18 | 0:07:21 | |
have more say? We think our policies
are in the right place and people | 0:07:21 | 0:07:29 | |
are aware of how we approach this
very sensitive topic. But you can't | 0:07:29 | 0:07:36 | |
offer these families any hope
comfort today? You're not going to | 0:07:36 | 0:07:41 | |
change these accounts? We are not
going to get rid of the | 0:07:41 | 0:07:51 | |
memorialisation of these counts but
we are in touch with the families. | 0:07:51 | 0:07:55 | |
So it's a firm no from Facebook, but
you have some news. She talked about | 0:07:55 | 0:08:02 | |
possible solutions, which relates to
Amanda, who we saw, her request for | 0:08:02 | 0:08:06 | |
them to restore her daughter,
Jenny's make up page. Her daughter | 0:08:06 | 0:08:10 | |
was a make-up artist and she also
had a business page. That was raised | 0:08:10 | 0:08:13 | |
after her death and she is trying to
get it recovered, all of the posts | 0:08:13 | 0:08:19 | |
and photos. They have said they will
make her an advent of the page, | 0:08:19 | 0:08:22 | |
giving her some control, but blimey,
to do that, they sent quite a | 0:08:22 | 0:08:29 | |
complicated e-mail with jargon and
legal terms she has to get signed | 0:08:29 | 0:08:34 | |
off by Notary Public, she has to
give a declaration under penalty of | 0:08:34 | 0:08:37 | |
perjury that it's all true. What
does that even... She looked at that | 0:08:37 | 0:08:43 | |
e-mail, she read it several times
and she was baffled. She sent any | 0:08:43 | 0:08:48 | |
more back saying, please can you
repeat that in plain English. -- she | 0:08:48 | 0:08:53 | |
sent an e-mail back. I think she'd
accuse Facebook a bit insensitive. | 0:08:53 | 0:08:58 | |
It was hard to understand what they
wanted. As yet, the page hasn't been | 0:08:58 | 0:09:03 | |
restored, and I don't think there
was any guarantee that, even if she | 0:09:03 | 0:09:07 | |
becomes an admin on that page, that
all of the material from before | 0:09:07 | 0:09:12 | |
we'll be back there. It's not
particularly satisfying. But there | 0:09:12 | 0:09:16 | |
is something people can do if they
use Facebook, which I'm sure will be | 0:09:16 | 0:09:21 | |
of interest. Yes, Facebook are keen
that everybody knows about this, | 0:09:21 | 0:09:27 | |
because it's quite a recent
development, and that is having a | 0:09:27 | 0:09:30 | |
legacy contact, somebody that will
look after your account or your | 0:09:30 | 0:09:33 | |
memorialised page after death. Do
that, we can show you a video. You | 0:09:33 | 0:09:38 | |
go onto the settings, you go to
general, and you can click at the | 0:09:38 | 0:09:43 | |
bottom of those on legacy contact,
and type in the name of somebody on | 0:09:43 | 0:09:47 | |
Facebook you would like to manage
this account, and a message will pop | 0:09:47 | 0:09:50 | |
up. Or you could have a human
conversation saying what you have | 0:09:50 | 0:09:56 | |
done. That's all very well. A legacy
contact can change the photo or | 0:09:56 | 0:10:01 | |
cover photo on a memorialised
account, they can answer some friend | 0:10:01 | 0:10:05 | |
requests, they might be able to pin
a post at the top of the page | 0:10:05 | 0:10:09 | |
depending on the privacy settings,
and they can apply for an account to | 0:10:09 | 0:10:13 | |
be completely removed. That's
something, but it doesn't help what | 0:10:13 | 0:10:16 | |
the mothers in our film were talking
about, which is that, if you don't | 0:10:16 | 0:10:21 | |
want your account memorialised, or
your loved one's account | 0:10:21 | 0:10:25 | |
memorialised, being a legacy
contact, you can't stop that as a | 0:10:25 | 0:10:29 | |
family member, you will have
arranged the funeral and dumpy | 0:10:29 | 0:10:31 | |
personal things, and you might have
wishes for the account, like not | 0:10:31 | 0:10:37 | |
having it memorialised, and yet
somebody who didn't know the person | 0:10:37 | 0:10:39 | |
who died or who sat next of 15 years
ago can get in touch with Facebook | 0:10:39 | 0:10:44 | |
and they are dead, can you
memorialise it and that is why these | 0:10:44 | 0:10:49 | |
months are saying it is a bit
insensitive and there is not a good | 0:10:49 | 0:10:52 | |
solution. -- these mums are saying.
You are a grandmother and you work | 0:10:52 | 0:11:01 | |
in IT first what do you make of
this? We are in a new situation | 0:11:01 | 0:11:06 | |
because this kind of thing has only
been happening for a few years. When | 0:11:06 | 0:11:09 | |
I was a teenager, we didn't have
Facebook. Technology is bringing up | 0:11:09 | 0:11:17 | |
all of these different situations
that we have got to deal with | 0:11:17 | 0:11:20 | |
on-the-fly. Nobody really knows what
is the best thing to do because we | 0:11:20 | 0:11:24 | |
haven't been there before. Myself,
what I'd like, I've got a massive | 0:11:24 | 0:11:30 | |
presence on social media,
particularly Twitter, which I love, | 0:11:30 | 0:11:33 | |
and the thought that somebody else
would be in control of my account, | 0:11:33 | 0:11:37 | |
even a loved one, how would they
know what they wanted? I think it | 0:11:37 | 0:11:41 | |
would be better if the social media
set up a facility where we can say | 0:11:41 | 0:11:44 | |
what we wanted. I'd happily sit for
half an hour and think about, what I | 0:11:44 | 0:11:50 | |
would happen to Mike Twitter and
Facebook account when I die? Maybe I | 0:11:50 | 0:11:54 | |
would pass it over to somebody else
but maybe something else, but it | 0:11:54 | 0:11:58 | |
would be up to me because it is my
content. Did you say you can get rid | 0:11:58 | 0:12:05 | |
of it yourself? The legacy contact
can apply to have it removed, the | 0:12:05 | 0:12:09 | |
whole page, if they want to. But I
think the point you are making is | 0:12:09 | 0:12:12 | |
good. Ultimately, people who want
different things. It's a sensitive | 0:12:12 | 0:12:17 | |
subject and Facebook admit that, the
scale they are at, it's difficult | 0:12:17 | 0:12:21 | |
for them not have a one size fits
all model, and they are grappling | 0:12:21 | 0:12:26 | |
with that. To be fair to them, they
have to try and protect the privacy | 0:12:26 | 0:12:30 | |
of people who have died. They don't
necessarily want everybody going in | 0:12:30 | 0:12:34 | |
and reading their little children's
account's messages. Thank you. | 0:12:34 | 0:12:41 | |
Maureen and Martin are co-starring
in a play called The Best Man. | 0:12:41 | 0:12:46 | |
Martin, you've been touring around
the country with this. Maureen, it | 0:12:46 | 0:12:51 | |
seems you are stepping in as it
approaches the West End. Are you | 0:12:51 | 0:12:56 | |
taking some of the glory? I like to
try and do that! No, Gemma Jones | 0:12:56 | 0:13:01 | |
played it on the tour, and Gemma has
got a great television role. Isn't | 0:13:01 | 0:13:09 | |
it Gore Vidal who said it isn't
enough to succeed, others must fail? | 0:13:09 | 0:13:15 | |
Anyway...
LAUGHTER | 0:13:15 | 0:13:19 | |
So I have 12 seconds to refers this
play. What you'll make it work, | 0:13:19 | 0:13:24 | |
Mauren. I just like the play. It is
a small cameo but it's really witty | 0:13:24 | 0:13:31 | |
and slightly deadly. It's sort of
political, but very much to do with | 0:13:31 | 0:13:38 | |
the kind of thing that we now read
about all the time. I imagine, in | 0:13:38 | 0:13:43 | |
1960, they didn't bring it here.
They didn't think audience wizard | 0:13:43 | 0:13:50 | |
like it. Or so, America back then
was a different planet. -- audiences | 0:13:50 | 0:13:55 | |
would like it. You have Sky or
Netflix. On the subject of it being | 0:13:55 | 0:14:01 | |
a cameo, Angela Lansbury played it
on Broadway, so it's a very | 0:14:01 | 0:14:05 | |
significant part. For people who
don't know the play, it's called The | 0:14:05 | 0:14:10 | |
Best Man, and there two main
figures, but the pivotal role is to | 0:14:10 | 0:14:13 | |
you, Maureen. No, it's down to the
ex-president. I'm just one of those | 0:14:13 | 0:14:19 | |
women who hang about politicians.
Her husband has kind of died | 0:14:19 | 0:14:23 | |
somewhere where she is out fiddling.
She walks in and says to the wise, | 0:14:23 | 0:14:29 | |
keep your head grey go blonder, do
this. She just thinks she is | 0:14:29 | 0:14:37 | |
speaking for the women. And that's
why she thinks she is power. She is | 0:14:37 | 0:14:45 | |
absolutely vital for the candidates
vying for the nomination, because | 0:14:45 | 0:14:48 | |
they might not take her seriously as
a person, but as a political | 0:14:48 | 0:14:53 | |
objective she is vital because,
without her support and, by | 0:14:53 | 0:14:58 | |
extension, the women's support, they
are in trouble. It's about two | 0:14:58 | 0:15:03 | |
candidates for the Republican
nomination. We think one of them is | 0:15:03 | 0:15:06 | |
dead straight and the other one is
not, but actually it pivots | 0:15:06 | 0:15:13 | |
absolutely on a sixpence, doesn't
it? It does, it raises what I think | 0:15:13 | 0:15:17 | |
is an important question for
everybody interested in politics and | 0:15:17 | 0:15:21 | |
who watches the news, do you want
somebody who has integrity, who is | 0:15:21 | 0:15:27 | |
very, very clever and witty, a
really good man, or do you want | 0:15:27 | 0:15:31 | |
somebody who is none of those things
and is likely to get the job done | 0:15:31 | 0:15:34 | |
western rock I guess, which two
western politicians did that? It's | 0:15:34 | 0:15:40 | |
very easy to dismiss the mendacious
and go for the attractive and | 0:15:40 | 0:15:46 | |
intellectual, but then you have to
ask this question, the real politic | 0:15:46 | 0:15:50 | |
question. Who is going to protect us
and do the job? I know which way I | 0:15:50 | 0:15:54 | |
would go. Which one are you? Take a
wild guess! I think you trusted one. | 0:15:54 | 0:16:03 | |
Check out the hair! | 0:16:03 | 0:16:10 | |
You said that there is a lot of
political dramas on TV. Are you a | 0:16:10 | 0:16:16 | |
fan of things like House Of Cards?
And all of that stuff. I am a big | 0:16:16 | 0:16:26 | |
fan of Veep. Anything with a strong
female lead. We nearly had a strong | 0:16:26 | 0:16:33 | |
female lead in America. Too strong
for 52% of the population in | 0:16:33 | 0:16:38 | |
America. Half of the American public
don't read newspapers, half of the | 0:16:38 | 0:16:46 | |
American public don't even vote for
the presidency, fortunately it's the | 0:16:46 | 0:16:51 | |
same half, he said.
CHUCKLES | 0:16:51 | 0:16:53 | |
There is a lot of those witty
one-liners in the show. It's very | 0:16:53 | 0:16:58 | |
funny. It has some relationship
stuff in it, as well. My character | 0:16:58 | 0:17:09 | |
isn't perfect. He is a bit of a
womaniser. It is a stretch for | 0:17:09 | 0:17:15 | |
Martin. We did a bit of digging,
talking of relationships, we | 0:17:15 | 0:17:20 | |
realised you two have known each
other for a long time, since 1964. | 0:17:20 | 0:17:25 | |
Then we realised, Maureen, you used
to date Martin's flatmate, didn't | 0:17:25 | 0:17:31 | |
you? I'm not sure date is the word.
I wouldn't go that far. | 0:17:31 | 0:17:36 | |
CHUCKLES
What's the story? Martin shared a | 0:17:36 | 0:17:46 | |
flat with Brian Cox, the actor, not
the other one. I went round there | 0:17:46 | 0:17:53 | |
one night for a nice cup of tea.
LAUGHTER | 0:17:53 | 0:18:02 | |
Brian came in. I knew he had a soft
spot for me. A bit? He was wild! | 0:18:02 | 0:18:11 | |
Anyway, I got under the sofa, once I
was there he started to talk about | 0:18:11 | 0:18:14 | |
me, I couldn't get out, and he
hasn't spoken to me for 35 years. I | 0:18:14 | 0:18:21 | |
only just got him talking to me, but
he won't speak to me again now! | 0:18:21 | 0:18:25 | |
Don't worry, he's in New York at the
moment. You can see Maureen and | 0:18:25 | 0:18:29 | |
Martin in The Best Man at the
Playhouse in London from Saturday | 0:18:29 | 0:18:34 | |
the 24th of February.
Last night we asked women to read | 0:18:34 | 0:18:38 | |
the words of politicians who argued
that giving the vote to women would | 0:18:38 | 0:18:42 | |
be a disaster. I particularly loved
this line... Nigellisima the | 0:18:42 | 0:18:46 | |
interests of women are perfectly
safe in the hands of men. | 0:18:46 | 0:18:50 | |
The interests of women up a fairly
safe in the hands of men. Tonight we | 0:18:54 | 0:19:01 | |
can hear the words of the argument
that won the day from 100 years ago. | 0:19:01 | 0:19:13 | |
Women, your country needs you. We
are starting a revolution. We've | 0:19:19 | 0:19:26 | |
waited too long for political
justice. We refuse to wait any | 0:19:26 | 0:19:29 | |
longer. Those that obey the law...
Should have a voice to make them. | 0:19:29 | 0:19:39 | |
There is not a single question in
this country that touches meant that | 0:19:39 | 0:19:46 | |
doesn't also touch women. And here
as a person who -- I am here as a | 0:19:46 | 0:19:52 | |
person who is of no value to the
community at all. Kill me or give me | 0:19:52 | 0:20:00 | |
my freedom, else I'll force you to
make that choice. We belong to every | 0:20:00 | 0:20:04 | |
class. From the highest to the
lowest. Sufferance is the badge of | 0:20:04 | 0:20:10 | |
all of our tribe. I have come to ask
you all to help win this fight. If | 0:20:10 | 0:20:15 | |
we win it this hardest of all
fight... Then in the future it'll | 0:20:15 | 0:20:21 | |
make it easier... For women all over
the world to win fight when their | 0:20:21 | 0:20:25 | |
time comes. You've got to make more
noise than anybody else. We've got | 0:20:25 | 0:20:30 | |
to make ourselves more obtrusive
than anybody else. Let show | 0:20:30 | 0:20:33 | |
ourselves worthy of citizenship. We
will be recognised. Women are human | 0:20:33 | 0:20:42 | |
beings. We are half the human race.
We want to free the other half. | 0:20:42 | 0:20:52 | |
Trust in God, she will provide. I
know that women, once convinced they | 0:20:52 | 0:20:58 | |
are doing what's right... That their
rebellion is just. We'll go on. No | 0:20:58 | 0:21:04 | |
matter what the difficulties. No
matter what the dangers. So long as | 0:21:04 | 0:21:10 | |
there is a woman alive... To hold up
the flag of rebellion... To have | 0:21:10 | 0:21:15 | |
courage everywhere. It is a voice
that cannot be denied. | 0:21:15 | 0:21:20 | |
APPLAUSE | 0:21:20 | 0:21:27 | |
Gives you goose bumps, doesn't it?
Sue, you had an incredible life, and | 0:21:27 | 0:21:33 | |
an inspirational career which we
will talk about in a few moments. | 0:21:33 | 0:21:37 | |
But when you see that little girl in
the film you think back to what you | 0:21:37 | 0:21:40 | |
were like at that age. What were
your dreams then? I've always been a | 0:21:40 | 0:21:45 | |
geek. It has worked well for you, to
be fair. It has now. | 0:21:45 | 0:21:51 | |
CHUCKLES
Are used to save up my pocket money | 0:21:51 | 0:21:56 | |
to buy maths textbooks because that
was the most exciting thing I could | 0:21:56 | 0:21:59 | |
think about spending my money on.
But when I was six I wanted to be a | 0:21:59 | 0:22:03 | |
big London bus driver. That was my
dream. I was always excited to live | 0:22:03 | 0:22:08 | |
in London. It is great that I do
now. I don't know, was excited about | 0:22:08 | 0:22:12 | |
driving. Driving in London bus seems
like the ideal job. It's never too | 0:22:12 | 0:22:17 | |
late to do your bus license.
Alex has got hers. Enough about me. | 0:22:17 | 0:22:22 | |
Let's take you back to the
beginning. Your career path has been | 0:22:22 | 0:22:26 | |
unusual, it is fair to say. Right
back at the start, this is you as a | 0:22:26 | 0:22:31 | |
little baby. Even though you were
obsessed with maths you left school | 0:22:31 | 0:22:37 | |
at 16 and you left home. What was
your situation at the time? | 0:22:37 | 0:22:42 | |
Unfortunately my mum died when was
quite young. My dad remarried. I | 0:22:42 | 0:22:46 | |
wasn't happy in the new family. As
soon as I was 16 I left home. I was | 0:22:46 | 0:22:52 | |
travelling 50 miles to school every
day because I went to the grammar | 0:22:52 | 0:22:56 | |
school. After I left home I had to
work in the week and evenings as a | 0:22:56 | 0:23:01 | |
waitress. Trying to go to school,
start my A-levels, all of the | 0:23:01 | 0:23:05 | |
travelling, work, everything, I just
got too tired. I would fall asleep | 0:23:05 | 0:23:09 | |
at school. My dream of going to
university disappeared them. I left | 0:23:09 | 0:23:15 | |
school, started working, I worked
for several years. I moved to | 0:23:15 | 0:23:18 | |
London, didn't drive a bus, but
moved to London, started a life | 0:23:18 | 0:23:23 | |
here. I got married at 20. I had my
first daughter, Emma, 21, and at 23 | 0:23:23 | 0:23:29 | |
had twins, so ended up with three
small children at the age of 23. It | 0:23:29 | 0:23:34 | |
was great, but it was obviously hard
work for anyone who has had three | 0:23:34 | 0:23:39 | |
under three will know. My marriage
broke down. I ended up in a refuge | 0:23:39 | 0:23:45 | |
with my children. We were there six
months. Then we got a council flat | 0:23:45 | 0:23:50 | |
in Brixton. Started our lives again
when I was 25. I got the twins into | 0:23:50 | 0:23:56 | |
a playgroup, got my daughter into
reception at the local school and I | 0:23:56 | 0:23:59 | |
was thinking what am I going to do
with the rest of my life? I knew if | 0:23:59 | 0:24:03 | |
I went out to try and get a job, I
didn't have many qualifications, so | 0:24:03 | 0:24:09 | |
I would be on minimum wage, and that
would not be enough to even pay for | 0:24:09 | 0:24:13 | |
childcare. I thought back to the
fact I wanted to go to university, | 0:24:13 | 0:24:17 | |
wanted to get an education. I
thought maybe this offers me the | 0:24:17 | 0:24:21 | |
answer. I went along to the local
college, Southwark College, did a | 0:24:21 | 0:24:26 | |
maths course, night school in the
evenings. That went well. I went on | 0:24:26 | 0:24:31 | |
to university, did computer science,
as a degree. Then went on and did a | 0:24:31 | 0:24:36 | |
Ph.D.. Became a lecturer. I've been
in academia for 20 years. You have | 0:24:36 | 0:24:43 | |
to be incredibly strong willed to do
that with three children under | 0:24:43 | 0:24:47 | |
three. You just have to keep going,
really. As I get older... Will you | 0:24:47 | 0:24:55 | |
teach me how to unlock my computer?
I certainly will. You cast the net | 0:24:55 | 0:25:02 | |
in 1998 to help other women as far
as IT was concerned. Tech mums. | 0:25:02 | 0:25:08 | |
Everything has developed from there.
When did you recognise the gap | 0:25:08 | 0:25:11 | |
between mums and IT? And that was
really important, especially then, | 0:25:11 | 0:25:15 | |
and now. I saw that in the media
technology is portrayed as a | 0:25:15 | 0:25:22 | |
negative thing. Lots of negative
stories in the press about bad | 0:25:22 | 0:25:25 | |
things happening to do with
technology. I always loved | 0:25:25 | 0:25:29 | |
technology. I wanted to show the
positive side. Having talked | 0:25:29 | 0:25:34 | |
computing in university for 20
years, wanted everybody to realise | 0:25:34 | 0:25:38 | |
the benefits of technology. Just
from understanding simple things | 0:25:38 | 0:25:42 | |
like basic app design, web design.
Everybody can have a go at it. It | 0:25:42 | 0:25:47 | |
isn't very complicated. But lots of
people think they cannot do it. | 0:25:47 | 0:25:51 | |
Coding is being taught in schools
now. The next generation are sorted. | 0:25:51 | 0:25:55 | |
But you are focusing on that missed
generation. I think it's really | 0:25:55 | 0:26:00 | |
important to get the parents on
board. Specifically mums. When I | 0:26:00 | 0:26:04 | |
started doing things with kids six
years ago I wanted to get kids into | 0:26:04 | 0:26:08 | |
coding, so that's great that is
happening. We ran workshops with | 0:26:08 | 0:26:13 | |
seven-year-olds at my daughter's
school. When I tried to encourage | 0:26:13 | 0:26:17 | |
the parents in at the end of the
session I just noticed that in | 0:26:17 | 0:26:20 | |
general the dads would step in and
have a go and the mums would be, | 0:26:20 | 0:26:25 | |
like, I'm not sure if that is for
me. That sparked something in my | 0:26:25 | 0:26:29 | |
head. You know? Why don't I do
something for mums. Build their | 0:26:29 | 0:26:34 | |
confidence. Get them on board.
Because it won't just affect them, | 0:26:34 | 0:26:37 | |
it'll affect the kids, the home, and
the mums will go out and tell | 0:26:37 | 0:26:42 | |
everybody, so that will affect the
community. For me it is about | 0:26:42 | 0:26:45 | |
changing it. I don't know if you
know the Little Britain sketch, | 0:26:45 | 0:26:51 | |
computer says no, change that from
no to yes. What about old people? I | 0:26:51 | 0:26:58 | |
haven't understood a word! When you
have to keep repeating the same | 0:26:58 | 0:27:03 | |
things. Copy and paste. That is what
we teach. Nobody knows how to do it. | 0:27:03 | 0:27:10 | |
I have a Ph.D. In software
engineering I don't know how to do | 0:27:10 | 0:27:14 | |
everything involved with that.
Nobody does. It is about building | 0:27:14 | 0:27:17 | |
confidence. Doing basic things and
gradually becoming more and more | 0:27:17 | 0:27:21 | |
confident. Realising you can type
things into a search engine now. | 0:27:21 | 0:27:25 | |
Someone else will have tried to
solve the problem you have now. You | 0:27:25 | 0:27:33 | |
two are ideal together. We will have
a session afterwards. That can | 0:27:33 | 0:27:39 | |
continue for the next 45 minutes.
The average household throws £470 | 0:27:39 | 0:27:44 | |
worth of food away every year. At
the same time almost one in four | 0:27:44 | 0:27:48 | |
parents skip meals to make ends meet
according to an anti-poverty | 0:27:48 | 0:27:52 | |
charity.
That has led to the spread of | 0:27:52 | 0:27:54 | |
something called the sharing economy
which allows people with extra food | 0:27:54 | 0:27:57 | |
to pass it on to those going short.
And where do they leave it? Well, in | 0:27:57 | 0:28:02 | |
the People's fridge.
This is the People's fridge. But | 0:28:02 | 0:28:08 | |
what is it? It's a community fridge.
We take surplus food that would | 0:28:08 | 0:28:15 | |
otherwise go to waste and we allow
anyone to come along and take it. It | 0:28:15 | 0:28:21 | |
was unveiled earlier this year after
a successful crowdfunding campaign | 0:28:21 | 0:28:26 | |
raised over £2000. It's one of about
50 community fridge is in the UK. | 0:28:26 | 0:28:32 | |
This one is at Pop Brixton. It is
run entirely by volunteers, such as | 0:28:32 | 0:28:40 | |
Brixton local Benn, the co-founder
of the fridge. If you stand by it | 0:28:40 | 0:28:44 | |
for a length of time you see people
come up, look at it, look in, think, | 0:28:44 | 0:28:49 | |
I could eat that, would that really
go in the bin? Who is using the | 0:28:49 | 0:28:53 | |
fridge? An awful lot of people using
the fridge are what we call the | 0:28:53 | 0:28:58 | |
working poor. They have jobs, but
they are balancing lots of costs, | 0:28:58 | 0:29:03 | |
rising rents, rising prices come
against wages that have not kept | 0:29:03 | 0:29:06 | |
pace with it. They come down. If you
take a few peppers out of here, and | 0:29:06 | 0:29:13 | |
aubergine, you are saving money.
Food thanks to an amazing job. But | 0:29:13 | 0:29:18 | |
they are not open everyday and they
don't have all types of food. -- | 0:29:18 | 0:29:24 | |
banks do an amazing job. This
doesn't solve that problem but it is | 0:29:24 | 0:29:28 | |
part of a group of initiatives that
can help give people food when they | 0:29:28 | 0:29:31 | |
are the mice might be hungry. One of
those who regularly donate is at | 0:29:31 | 0:29:36 | |
frost. Today he is dropping off some
sweet treats. I think bringing cakes | 0:29:36 | 0:29:42 | |
and pastries, you know, as much as
you need your daily nutrients, | 0:29:42 | 0:29:45 | |
sometimes you want a smile on your
face and a bit of sweetness can take | 0:29:45 | 0:29:48 | |
it a long way. The fridge runs on a
judgment free basis. Anyone can | 0:29:48 | 0:29:54 | |
donate, anyone can take, the only
rules are that you cannot donate raw | 0:29:54 | 0:29:58 | |
food, open food, or alcohol. The
fridge is used throughout the day | 0:29:58 | 0:30:02 | |
and people's stories are as varied
as the food they choose. | 0:30:02 | 0:30:09 | |
We run a suit kitchen and we offer
services to less formulas people. | 0:30:09 | 0:30:16 | |
People can come and get a meal, a
hot drink, just be saved for the | 0:30:16 | 0:30:20 | |
day. This food will help people in
need. Ironic boxing club -- I run a | 0:30:20 | 0:30:29 | |
boxing club. I am running a
programme teaching the kids how to | 0:30:29 | 0:30:36 | |
eat healthy foods and showing them
about nutrition and diet. I am a | 0:30:36 | 0:30:42 | |
local resident involved in the
community. When I heard about this | 0:30:42 | 0:30:45 | |
idea to make a French happen in
London, in Brixton, I thought it was | 0:30:45 | 0:30:50 | |
a great idea. This is Bruce. He's
been using the fridge since it | 0:30:50 | 0:30:57 | |
started. I come to the fridge three
or four times a week. I'm going to | 0:30:57 | 0:31:02 | |
take some little satsumas for
snacking on and I've also seen there | 0:31:02 | 0:31:05 | |
is quite a lot of mushrooms. Sell by
date has gone, and if they are there | 0:31:05 | 0:31:11 | |
for too long, they'll be wasted, but
that'll be nice to fry up for a | 0:31:11 | 0:31:14 | |
snack. Semi retired Bruce lives in a
nearby housing co-operative. The | 0:31:14 | 0:31:21 | |
fridge helps with his day-to-day
life. Worked in the NHS for a few | 0:31:21 | 0:31:26 | |
decades. In receipt of a small
pension, about £500 a month. The | 0:31:26 | 0:31:32 | |
fridge is an act of generosity, a
kindness, people giving something | 0:31:32 | 0:31:37 | |
they don't want to go to waste, to
go to landfill, and they give it to | 0:31:37 | 0:31:40 | |
anybody that wants, who is hungry.
Rather than thinking, what shall I | 0:31:40 | 0:31:47 | |
have for lunch, you think, maybe
there will be something in the | 0:31:47 | 0:31:52 | |
fridge? It saves money from it makes
it more sustainable. It seems it's | 0:31:52 | 0:31:58 | |
all about those little acts of
generosity that can have a huge | 0:31:58 | 0:32:01 | |
effect on the local community.
That's amazing. Brilliant. And they | 0:32:01 | 0:32:09 | |
are really taking off. They are,
brilliant idea, and there are 29 now | 0:32:09 | 0:32:15 | |
across the country and a further 18
scheduled for 2018. If you want to | 0:32:15 | 0:32:20 | |
find out where your nearest one is,
we'll have a link on the website to | 0:32:20 | 0:32:24 | |
find that out. Excellent idea. When
you think there is free food and | 0:32:24 | 0:32:30 | |
restaurant industry in the UK throws
away £3 billion of food, so it is | 0:32:30 | 0:32:34 | |
needed. If you do it, let us know
that you have taken the initiative. | 0:32:34 | 0:32:41 | |
And accessible to homeless people?
Yes, anybody that goes in there. Not | 0:32:41 | 0:32:45 | |
to sleep in, Martin. Oh! You can
help yourself. Yes. You are our | 0:32:45 | 0:32:57 | |
plastics queen, and very much in the
news. Yes, such a big story and it | 0:32:57 | 0:33:02 | |
goes on being a big story. Here is a
picture we saw this week of a diver | 0:33:02 | 0:33:07 | |
surrounded by plastic in the Indian
Ocean. That is horrific, a really | 0:33:07 | 0:33:12 | |
horrible image. It's just sad. It
brings it home. It does. I'm | 0:33:12 | 0:33:22 | |
starting the depressing stuff this
week, so an important study on | 0:33:22 | 0:33:26 | |
microplastics, the tiny bits of
plastic that fragment, this week | 0:33:26 | 0:33:29 | |
concludes they are a major threat to
filter feeding animals like whales | 0:33:29 | 0:33:37 | |
and Holly Hampsheir. These get into
plankton, and now this 171 pieces | 0:33:37 | 0:33:43 | |
per day being ingested by those big
ocean mammals. -- filter feeding | 0:33:43 | 0:33:48 | |
animals like whales and rays. By
2050, unless we went out ways, there | 0:33:48 | 0:33:55 | |
will be more plastic in the ocean
Dan Fish. More plastic than fish? | 0:33:55 | 0:34:01 | |
Yes, unless we revolutionise how we
operate with plastic. And we have | 0:34:01 | 0:34:07 | |
some good news. I like to bring
some. Asda the retailer announced a | 0:34:07 | 0:34:11 | |
suite of measures, and they will be
cutting down on plastic packaging. | 0:34:11 | 0:34:17 | |
This includes scrapping the 5p bad
altogether by 2018, so that's gone, | 0:34:17 | 0:34:21 | |
and removing 10% of plastic from its
own brand packaging in the next | 0:34:21 | 0:34:27 | |
year. That's good. Friends of the
Earth don't think it's good enough. | 0:34:27 | 0:34:32 | |
No, it's not, stop it! Iceland the
retailer has pledged to stop it in | 0:34:32 | 0:34:38 | |
five years. To get rid of it
altogether. Friends of the Earth say | 0:34:38 | 0:34:42 | |
Asda should raise the bar. OK. I've
been in Iceland, the retailer, | 0:34:42 | 0:34:50 | |
finding out whether the claims stand
up, and I hope to show you more on | 0:34:50 | 0:34:53 | |
that next week. The viewers have
come with suggestions of how we can | 0:34:53 | 0:35:00 | |
reduce the use of plastic. Every
week, more comes in. Land Rosie make | 0:35:00 | 0:35:08 | |
reusable shopping bags, and this is
Morsbags, created from donated | 0:35:08 | 0:35:13 | |
fabric. -- Claire and Rosie. Even
Prince Charles has donated some used | 0:35:13 | 0:35:19 | |
that and! They will hefty bags!
Good-quality curtains. | 0:35:19 | 0:35:27 | |
Good-quality curtains. So excited
about this, please put it in your | 0:35:27 | 0:35:29 | |
diary, it's a big beach clean week
in April, and we need to get as many | 0:35:29 | 0:35:34 | |
people out there as possible. You
can sign up or even offer to be in | 0:35:34 | 0:35:38 | |
charge of one via surfers against
sewage. Last year, they had 25,000 | 0:35:38 | 0:35:47 | |
people turning out. Next year, let's
double it. There is over 2500 | 0:35:47 | 0:35:51 | |
beaches around the UK and let's get
a team on each one. Brilliant thing | 0:35:51 | 0:35:55 | |
to do, the camaraderie. Yes, it's
fun. Is there a plant in Swindon | 0:35:55 | 0:36:03 | |
where they are going to be cycle all
of it? Isn't that the answer, proper | 0:36:03 | 0:36:10 | |
recycling of everything? It's hard,
because we are using such volume, so | 0:36:10 | 0:36:15 | |
we need a mixture, some recycling,
but we need to phase it out as much | 0:36:15 | 0:36:18 | |
as possible. On that note, Maureen,
keep watching the One Show! I'll | 0:36:18 | 0:36:23 | |
drop you a text before the night. If
you need further reason to take | 0:36:23 | 0:36:30 | |
better care of our waterways, I give
you these extremely clever | 0:36:30 | 0:36:33 | |
creatures.
Over the years, the One Show has | 0:36:33 | 0:36:39 | |
seen just how intelligent animals
can be, with a series of challenging | 0:36:39 | 0:36:45 | |
tasks, from weasels tackling an
obstacle course to goldfish playing | 0:36:45 | 0:36:48 | |
football, and even an octopus
unlocking an underwater camera case. | 0:36:48 | 0:36:54 | |
Today, we are hoping to challenge
this family of otters with this vast | 0:36:54 | 0:36:58 | |
array of puzzles. Scientists have
seen otters in the wild using stones | 0:36:58 | 0:37:02 | |
as tools. Here at Newquay zoo in
Cornwall, a group of researchers | 0:37:02 | 0:37:08 | |
from Exeter has been carrying out a
set of challenges to see how capable | 0:37:08 | 0:37:12 | |
otters can be. As otters are
endangered in the wild, this | 0:37:12 | 0:37:16 | |
research could help when releasing
captive bred otters, as they will be | 0:37:16 | 0:37:20 | |
able to know if they can teach
essential survival skills. This | 0:37:20 | 0:37:24 | |
doctor has been leading the study.
Most people think of otters from the | 0:37:24 | 0:37:29 | |
sea, and they use shells to bash
shell fish and get the boot. This | 0:37:29 | 0:37:36 | |
tool use has been studied in animals
like dolphins and chips and | 0:37:36 | 0:37:40 | |
scientists know the information on
how to use them is passed down to | 0:37:40 | 0:37:44 | |
parents -- offspring. Do baby otters
learn from their parents? They have | 0:37:44 | 0:37:53 | |
13 Asian short clawed otters, three
adults, four juveniles arrived a | 0:37:53 | 0:37:57 | |
year old, and six pups aged three
months. To test them, students | 0:37:57 | 0:38:03 | |
designed several different food
challenges with varying difficulty. | 0:38:03 | 0:38:07 | |
For the last few days, they put
different tasks into the enclosure | 0:38:07 | 0:38:10 | |
and observed. Ellie helped to create
some of the puzzles. This is the | 0:38:10 | 0:38:16 | |
simplest one and you have to pull
out the Hague or put a poor through | 0:38:16 | 0:38:20 | |
it to get a needle inside. This one
is harder, there is a flap on the | 0:38:20 | 0:38:24 | |
front. It opens and closes. This is
cool. We put a meatball in one side | 0:38:24 | 0:38:32 | |
and they have to work out that they
need to twist the dome to access the | 0:38:32 | 0:38:36 | |
meatball. When they realise they can
get their hand in the swipe it, you | 0:38:36 | 0:38:41 | |
get three or more of their hands in
there, all trying to do it at the | 0:38:41 | 0:38:45 | |
same time.
But they saved the toughest | 0:38:45 | 0:38:48 | |
challenge until last. This is the
trickiest. They can see the meatball | 0:38:48 | 0:38:54 | |
but they have to pull the tab so it
drops down before they can reach it. | 0:38:54 | 0:38:59 | |
Once the team have played a number
of puzzles in the enclosure, it's | 0:38:59 | 0:39:03 | |
time to see how the otters get on.
Foxes to play with! -- boxes. That | 0:39:03 | 0:39:11 | |
looks like the mum. They just
followed her down. She is on it! It | 0:39:11 | 0:39:20 | |
looks difficult, they've got to get
their arm right in and their claws | 0:39:20 | 0:39:22 | |
white underneath the tab. It's one
of the most difficult tasks. They | 0:39:22 | 0:39:27 | |
are struggling a bit. In a minute
and 20 seconds, she solves it, | 0:39:27 | 0:39:34 | |
pretty impressive, and it doesn't
take long for the juveniles to work | 0:39:34 | 0:39:37 | |
it out. For some, it's a bit
confusing. The little one is | 0:39:37 | 0:39:40 | |
rambling around going, what's going
on! Is slightly overwhelmed. They | 0:39:40 | 0:39:45 | |
are so inquisitive. Trying to turn
them over and nudge them. After half | 0:39:45 | 0:39:53 | |
an hour, the majority of puzzles are
solved and the meatballs eaten, but | 0:39:53 | 0:39:57 | |
what are learning about the otters?
We've seen what we expected, the | 0:39:57 | 0:40:02 | |
adults solving the most tasks and
the juveniles was closely connected | 0:40:02 | 0:40:07 | |
to the parents have sold the next
amount of tasks. With the pups, | 0:40:07 | 0:40:11 | |
although they haven't sold anything,
we've got good interaction with Ruby | 0:40:11 | 0:40:17 | |
's research suggested this species
of that didn't learn from each other | 0:40:17 | 0:40:20 | |
this is the first time that
youngsters have been put to the | 0:40:20 | 0:40:24 | |
test, and this means that they could
join the ranks of species like | 0:40:24 | 0:40:28 | |
dolphins and chimpanzees in learning
from each other how to tackle new | 0:40:28 | 0:40:31 | |
challenges. The doctor is hoping
their work will help in conservation | 0:40:31 | 0:40:37 | |
around the world, is being able to
teach captive bred otters about new | 0:40:37 | 0:40:40 | |
feeding challenges and potential
dangers like predators could help | 0:40:40 | 0:40:45 | |
them survive if they are released.
We need to know how they learn and | 0:40:45 | 0:40:49 | |
perhaps if we can train individuals
to perform these pages, this would | 0:40:49 | 0:40:55 | |
increase their survival chances.
Teaching these skills as | 0:40:55 | 0:41:01 | |
implications for captive bred otters
worldwide, which is a major | 0:41:01 | 0:41:04 | |
breakthrough for these fascinating
creatures. | 0:41:04 | 0:41:08 | |
That took you right back to Monterey
bay, to the little sea otters. You | 0:41:08 | 0:41:12 | |
were out there as well yes, an
amazing place. We have to ask about | 0:41:12 | 0:41:21 | |
George Gently. You were
instrumental, acting all of the | 0:41:21 | 0:41:24 | |
writers having him killed. Are you
missing him? I will always miss it, | 0:41:24 | 0:41:29 | |
but it was the right decision and we
arrived at it simultaneously. It was | 0:41:29 | 0:41:34 | |
time. It would have been
inappropriate for somebody my age to | 0:41:34 | 0:41:38 | |
be an operational policeman. Dixon
of the green! Kind of proves my | 0:41:38 | 0:41:45 | |
point! And you have gone on to work
with Morris, all turned out well. It | 0:41:45 | 0:41:51 | |
was a wonderful time. I still keep
in touch with Lee. Fantastic. We are | 0:41:51 | 0:42:01 | |
looking forward to some music from
Rudimental and Jess Glynne shortly, | 0:42:01 | 0:42:04 | |
they will be closing the show was
keeping warm outside. With you | 0:42:04 | 0:42:08 | |
shortly! These days it isn't
difficult to create a fake photo and | 0:42:08 | 0:42:13 | |
most people are quick to spot
doctored images online, like this | 0:42:13 | 0:42:17 | |
one. Not real! That is really bad. I
don't know if you saw the news, Elon | 0:42:17 | 0:42:26 | |
Musk with the photo of the space man
driving a car which been released | 0:42:26 | 0:42:30 | |
into space. Claim David Bowie. It is
a mannequin dressed as a spaceman, | 0:42:30 | 0:42:37 | |
but he will be driving around for
goodness knows how long. Remarkable. | 0:42:37 | 0:42:42 | |
In 1964, a Cumbrian firefighter
captured what looked like a spaceman | 0:42:42 | 0:42:47 | |
in his viewfinder, but was it real?
A picture is set to be worth a | 0:42:47 | 0:42:51 | |
thousand words, but what happens
when something in the picture can't | 0:42:51 | 0:42:56 | |
be explained? | 0:42:56 | 0:43:01 | |
be explained? In late May 1964,
amateur photographer Jim Templeton, | 0:43:01 | 0:43:06 | |
his wife and two daughters wore on a
walk across Burgh Marsh overlooking | 0:43:06 | 0:43:09 | |
the Solway Firth in Cumbria. One of
his daughters, Elizabeth, posed for | 0:43:09 | 0:43:14 | |
a picture in her new dress. What
appeared in the background has | 0:43:14 | 0:43:17 | |
remained a mystery for more than 50
years. We went out on a normal | 0:43:17 | 0:43:23 | |
outing. And we picked our spot, sat
down, and I said, no, I'll take some | 0:43:23 | 0:43:33 | |
photographs of you with the new
dress on. Never expected this to | 0:43:33 | 0:43:35 | |
happen. When Jim collected his
photographs from the chemist, in one | 0:43:35 | 0:43:42 | |
of them, a mysterious figure had
appeared, looming behind his | 0:43:42 | 0:43:44 | |
daughter. They were wearing what
appeared to be a silver suit and | 0:43:44 | 0:43:49 | |
helmet. Jim took the photograph to
his local newspaper. The One Show | 0:43:49 | 0:43:55 | |
has tracked down the two
photographers from the Cumberland | 0:43:55 | 0:43:59 | |
news at the time. It was hard to
take it in, because three of us were | 0:43:59 | 0:44:05 | |
looking at it, trying to look at
this print, and we all thought it | 0:44:05 | 0:44:09 | |
looked like a spaceman. So you went
with the Solway Spaceman is the | 0:44:09 | 0:44:14 | |
front page of your paper on Friday
the 12th of June? Yes, after the | 0:44:14 | 0:44:20 | |
negative had been examined by Kodak
and they said the negative was | 0:44:20 | 0:44:23 | |
exactly as it had gone through the
camera, and whatever was on the | 0:44:23 | 0:44:26 | |
negative was there. It wasn't just
the press showing interest. Steve | 0:44:26 | 0:44:35 | |
Matthews was one of Jim Templeton's
friends and he has information that | 0:44:35 | 0:44:38 | |
suggests the government may have
become involved. Jim always told the | 0:44:38 | 0:44:43 | |
story of the men from the ministry.
One day, two men turned up in a | 0:44:43 | 0:44:47 | |
brand-new blackjack you are, dressed
completely in black, and told him to | 0:44:47 | 0:44:52 | |
come with them. They drove out to a
spot on Burgh Marsh, he looked at | 0:44:52 | 0:44:57 | |
it, they asked a question or two,
always referring to each other as | 0:44:57 | 0:45:03 | |
number nine and number 11, and then
they left and drove away and he had | 0:45:03 | 0:45:06 | |
to walk back. He was convinced that
they were the men from the ministry. | 0:45:06 | 0:45:12 | |
They'd stumbled across something
that was a real secret. Could there | 0:45:12 | 0:45:15 | |
be another explanation? That's the
question, who is he, where is he | 0:45:15 | 0:45:22 | |
from? Those are the questions we
want answered. Could the solution be | 0:45:22 | 0:45:28 | |
hidden in plain sight. Another
picture was found on the same roll | 0:45:28 | 0:45:30 | |
of film. In it, Templeton's wife,
Anne, is wearing a light blue dress. | 0:45:30 | 0:45:37 | |
Could she have accidentally walked
into shot, appearing overexposed in | 0:45:37 | 0:45:40 | |
the background? | 0:45:40 | 0:45:45 | |
I'm heading over to investigate.
I've been joined by a couple of | 0:45:45 | 0:45:50 | |
photographers. They will attempt to
recreate the photograph. But first | 0:45:50 | 0:45:54 | |
we need to find the exact spot at
which it was taken. I am just going | 0:45:54 | 0:46:00 | |
to read out what he wrote in the
local newspaper... He says he looked | 0:46:00 | 0:46:04 | |
straight across to Chapelcross
atomic energy Station, which is | 0:46:04 | 0:46:10 | |
there. If you turn your head and
shoulders to the left you look | 0:46:10 | 0:46:14 | |
straight at the BLS station, that's
it, isn't it? 90 degrees from there. | 0:46:14 | 0:46:19 | |
It looks like the horizon is sloping
but it could just be that bank | 0:46:19 | 0:46:24 | |
getting slightly further away from
us. Yes. Whoever is standing behind | 0:46:24 | 0:46:30 | |
the goal is probably looking out
across the water. Spot pinpointed, | 0:46:30 | 0:46:33 | |
we match our camera settings to
Jim's. He said the lens was down to | 0:46:33 | 0:46:43 | |
F 16. What does that mean? It means
there is only a very small hole in | 0:46:43 | 0:46:48 | |
the middle. So it is a bright day
and he closes it. Yes, just to let | 0:46:48 | 0:46:53 | |
enough light in. When you look in
the viewfinder now it is very dark. | 0:46:53 | 0:46:58 | |
Wow. He is focused on the girl's
face and he is not seeing what is | 0:46:58 | 0:47:03 | |
going on in the background. We have
a mother and daughter, Wendy and | 0:47:03 | 0:47:07 | |
Louis, standing in. Can we solve a
50-year-old mystery? -- | 0:47:07 | 0:47:14 | |
Here is our attempt to recreate.
Proof enough? You decide. | 0:47:16 | 0:47:25 | |
You want to believe all sorts of
crazy stuff, don't you? It's great. | 0:47:25 | 0:47:30 | |
Time to meet our very own
International man of mystery who is | 0:47:30 | 0:47:34 | |
out of focus. As we bring it in, you
can see it is Giles Brandreth. | 0:47:34 | 0:47:42 | |
I've been looking at mysterious
photographs. I came across the first | 0:47:42 | 0:47:46 | |
ghost photographs ever taken. Taken
in the 1860s by a man called William | 0:47:46 | 0:47:53 | |
Mahmudullah. He took this photograph
as a self-portrait. In the | 0:47:53 | 0:47:56 | |
background you might see another
figure. That is his dead cousin. | 0:47:56 | 0:48:02 | |
When the picture appeared he made a
fortune because a lot of people said | 0:48:02 | 0:48:05 | |
can you take pictures of us with
your dead relatives? He said, yes I | 0:48:05 | 0:48:09 | |
can. He took lots. Then a circus
owner said I don't believe this man. | 0:48:09 | 0:48:14 | |
There was a court case. He was found
not guilty of fraud, but people | 0:48:14 | 0:48:20 | |
suspected he had gone to people's
houses and robbed pictures of their | 0:48:20 | 0:48:24 | |
late relatives, and he had done it
because in those days you would take | 0:48:24 | 0:48:28 | |
photographs using different plates.
You put the plate of the dead | 0:48:28 | 0:48:32 | |
relative in first, then a second
plate, so they were interim post -- | 0:48:32 | 0:48:38 | |
so they were superimposed. Would you
believe it? No. You might believe | 0:48:38 | 0:48:44 | |
this one because it is more recent.
This was taken in 2015 at Hampton | 0:48:44 | 0:48:50 | |
Court Palace, known for its ghost.
The ghost is a 12-year-old -- the | 0:48:50 | 0:48:56 | |
picture was taken by a 12-year-old,
she was trying to take the picture | 0:48:56 | 0:49:01 | |
of her cousin on the left, but this
figure on the right appeared. They | 0:49:01 | 0:49:08 | |
saw nothing. Do you believe this
12-year-old at Hampton Court Palace, | 0:49:08 | 0:49:11 | |
known for its ghost sightings, do
you think that is credible? I think | 0:49:11 | 0:49:15 | |
so. I would believe at too. But
technology people say... No! If you | 0:49:15 | 0:49:26 | |
take a picture with a smartphone it
takes a longer time to bed with a | 0:49:26 | 0:49:31 | |
normal camera. In that period
somebody could have moved across and | 0:49:31 | 0:49:36 | |
she didn't notice when she was
taking the picture. Just to be in | 0:49:36 | 0:49:40 | |
her photograph? Somebody
accidentally walking through. She | 0:49:40 | 0:49:44 | |
looks like she doesn't have any
hands. Yes, and dressed as a | 0:49:44 | 0:49:49 | |
mysterious, ghostly figure. We have
one minute, can you take us to the | 0:49:49 | 0:49:54 | |
Thames? I can. New Year's Eve, 2014,
a professional for -- professional | 0:49:54 | 0:50:03 | |
photographer took this photograph.
He did not believe there was anybody | 0:50:03 | 0:50:07 | |
there. But as you can see, there are
figures. What were they doing? Do | 0:50:07 | 0:50:13 | |
you believe this photograph? Martin
Shaw, judged that you are, guilty or | 0:50:13 | 0:50:20 | |
not guilty of fraud? I'm going to
say not proven, which is the | 0:50:20 | 0:50:28 | |
Scottish one. Oh my goodness! I'm
going to say that the man was | 0:50:28 | 0:50:33 | |
totally innocent. But scientists
have said that what is possible is | 0:50:33 | 0:50:39 | |
that there was a slow exposure and
somebody walked past. These | 0:50:39 | 0:50:43 | |
scientists take all the fun away.
I know. On that subject of | 0:50:43 | 0:50:47 | |
technology and smartphones, if you
do need to send a message to your | 0:50:47 | 0:50:52 | |
friend instantaneously on the other
side of the world all you need is a | 0:50:52 | 0:50:55 | |
smartphone. Thanks... Oh! He has
gone! I can still see him! | 0:50:55 | 0:51:03 | |
LAUGHTER
But did you know that 200 years ago | 0:51:03 | 0:51:06 | |
you could also send a message at the
near Internet like speeds? Here is | 0:51:06 | 0:51:10 | |
Dan to show us how.
I haven't set a challenge, can I | 0:51:10 | 0:51:16 | |
send a message over a long distance
near Internet speeds using only | 0:51:16 | 0:51:22 | |
200-year-old technology. I said no
problem. | 0:51:22 | 0:51:30 | |
problem. In 1795 long-distance
messaging was a matter of national | 0:51:30 | 0:51:32 | |
security. Britain was at war with
France. This was running the naval | 0:51:32 | 0:51:39 | |
effort in that war. The most famous
sailor at the time, Nelson, he is | 0:51:39 | 0:51:45 | |
looking South, that is because 60
miles in this direction is | 0:51:45 | 0:51:48 | |
Portsmouth, the main naval base.
It's one thing to look wistfully in | 0:51:48 | 0:51:51 | |
the direction of your ships, it's
another thing to get a message to | 0:51:51 | 0:51:55 | |
Portsmouth, because it was very
slow, it could take a man on a horse | 0:51:55 | 0:51:59 | |
around four hours. A vicar heard
about the problem. He said he had an | 0:51:59 | 0:52:06 | |
invention that could send messages
to Portsmouth in minutes. I have | 0:52:06 | 0:52:12 | |
headed to Portsmouth. I've also
asked for a reproduction of the | 0:52:12 | 0:52:19 | |
amazing wooden signalling machine.
Originally 15 of them formed a chain | 0:52:19 | 0:52:24 | |
from London to the coast. Each
machine was visible from the next | 0:52:24 | 0:52:27 | |
one. Messages could be passed
quickly all the way down to the | 0:52:27 | 0:52:30 | |
fleet in Portsmouth Harbour. One end
of my signalling system is right | 0:52:30 | 0:52:36 | |
here in Portsmouth. I have recruited
some Royal Navy signalling | 0:52:36 | 0:52:41 | |
specialist to help. Here it is, the
original Murray system we created | 0:52:41 | 0:52:46 | |
just metres away from where the
original one was. Dan, how are you? | 0:52:46 | 0:52:52 | |
It is really simple, just a frame
with six wooden boards operated by | 0:52:52 | 0:52:57 | |
ropes. By opening and closing
different boards you can send any | 0:52:57 | 0:53:00 | |
letter of the alphabet. This is a
key here. Can you give me a D? Left | 0:53:00 | 0:53:09 | |
middle open. All others closed. A
simple letter a. Right top, all | 0:53:09 | 0:53:16 | |
others closed. The N. That is our
name spelt out in a very traditional | 0:53:16 | 0:53:27 | |
form of technology. Happy days.
Sadly, with 200 years of tall | 0:53:27 | 0:53:32 | |
buildings to content with it is now
impossible to get messages to London | 0:53:32 | 0:53:35 | |
using this visual code. I put our
second machine on the Isle of Wight, | 0:53:35 | 0:53:41 | |
operated by a crack team. We will
attempt to send a message over five | 0:53:41 | 0:53:47 | |
miles of open sea. Even on our very
longest camera lens the machine is | 0:53:47 | 0:53:54 | |
only just visible. Missed, rain, and
fog were serious problems. There | 0:53:54 | 0:54:00 | |
were many days when the system
couldn't work. But when it did it | 0:54:00 | 0:54:03 | |
was fast. | 0:54:03 | 0:54:10 | |
was fast. Stand-by... At the
Portsmouth team since the first. | 0:54:10 | 0:54:16 | |
Papa. This shows that it has
arrived. Send Romeo. They send the | 0:54:16 | 0:54:24 | |
next letter, and they are off. When
the full line was working each | 0:54:24 | 0:54:30 | |
station would repeat the signal.
Until it reached the end of the | 0:54:30 | 0:54:32 | |
line. The signal we are sending is
prawns. Odd, I realise, but we know | 0:54:32 | 0:54:39 | |
it was an actual signal sent in the
1790s. They were probably having a | 0:54:39 | 0:54:45 | |
joke. I'm desperate to know, how
long do you think it would have | 0:54:45 | 0:54:49 | |
taken for a message to get from
London to Portsmouth? They reckon | 0:54:49 | 0:54:55 | |
the fastest time was 92nds. Wow. If
you were sending a complex message, | 0:54:55 | 0:55:01 | |
then you are talking 15, 20 minutes.
Still a very quick time. -- at the | 0:55:01 | 0:55:08 | |
fastest time was 90 seconds. The
main purpose was for invasion, | 0:55:08 | 0:55:15 | |
defence against invasion, getting
the information as quickly as | 0:55:15 | 0:55:20 | |
possible. Eventually there were
Murray telegraph lines from London | 0:55:20 | 0:55:24 | |
to Portsmouth, Plymouth, Yarmouth,
and Deal, Kent. They survived until | 0:55:24 | 0:55:28 | |
the threat from Napoleon was over. I
just want to pay tribute to our | 0:55:28 | 0:55:33 | |
first rapid long-distance
communication network. Built out of | 0:55:33 | 0:55:38 | |
wood. 200 years ago.
Thank you. We are almost done. What | 0:55:38 | 0:55:44 | |
a show it has been.
Have you enjoyed? No. | 0:55:44 | 0:55:49 | |
LAUGHTER
Thanks to all of our guests tonight. | 0:55:49 | 0:55:55 | |
You can see Maureen and Martin in
The Best Man at the Playhouse | 0:55:55 | 0:56:00 | |
Theatre in London from the 24th of
February. | 0:56:00 | 0:56:03 | |
Tomorrow we will be chatting to Max
Beesley. But now we will hear some | 0:56:03 | 0:56:06 | |
music. | 0:56:06 | 0:56:14 | |
# Leaving to find my soul | 0:56:20 | 0:56:22 | |
# Told her I had to go | 0:56:22 | 0:56:23 | |
# And I know it ain't pretty | 0:56:23 | 0:56:25 | |
# When our hearts get broke | 0:56:25 | 0:56:32 | |
# Too young to feel this old | 0:56:32 | 0:56:34 | |
# Watching us both turn cold | 0:56:34 | 0:56:35 | |
# Oh, I know it ain't pretty | 0:56:35 | 0:56:37 | |
# When two hearts get broke | 0:56:37 | 0:56:38 | |
# Yeah, I know it ain't pretty | 0:56:38 | 0:56:40 | |
# When two hearts get broke | 0:56:40 | 0:56:43 | |
# I hope someday | 0:56:43 | 0:56:45 | |
# We'll sit down together | 0:56:45 | 0:56:48 | |
# And laugh with each other | 0:56:48 | 0:56:50 | |
# About these days, these days | 0:56:50 | 0:56:53 | |
# All our troubles | 0:56:53 | 0:56:56 | |
# We'll lay to rest | 0:56:56 | 0:56:58 | |
# And we'll wish we could come back
to these days, these days | 0:56:58 | 0:57:04 | |
# These days, these days | 0:57:04 | 0:57:12 | |
# Oh I know, I know
# Oh I know, I know | 0:57:14 | 0:57:17 | |
# Oh I know, I know
# Oh I know, I know | 0:57:17 | 0:57:22 | |
# Oh I know, I know | 0:57:22 | 0:57:23 | |
# These days, these days | 0:57:23 | 0:57:31 | |
# Three years of ups and downs | 0:57:33 | 0:57:35 | |
# Nothing to show for it now | 0:57:35 | 0:57:36 | |
# And I know it ain't pretty
when the fire burns out | 0:57:36 | 0:57:39 | |
# Calling me when I'm drunk,
remind me of what I've done | 0:57:39 | 0:57:44 | |
# And I know it ain't pretty
when you're trying to move on | 0:57:44 | 0:57:47 | |
# Yeah, I hope someday | 0:57:47 | 0:57:49 | |
# We'll sit down together | 0:57:49 | 0:57:51 | |
# And laugh with each other | 0:57:51 | 0:57:53 | |
# About these days, these days | 0:57:53 | 0:57:57 | |
# All our troubles | 0:57:57 | 0:57:59 | |
# We'll lay to rest | 0:57:59 | 0:58:01 | |
# And we'll wish we could come back
to these days, these days | 0:58:01 | 0:58:06 | |
# Oh I know, I know
# Oh I know, I know | 0:58:06 | 0:58:10 | |
# Oh I know, I know | 0:58:10 | 0:58:13 | |
# These days, these days | 0:58:13 | 0:58:16 | |
# Oh I know, I know
# Oh I know, I know | 0:58:16 | 0:58:19 | |
# Oh I know, I know | 0:58:19 | 0:58:27 | |
# These days, these days | 0:58:27 | 0:58:31 | |
# Yeah, I hope someday | 0:58:31 | 0:58:33 | |
# We'll sit down together | 0:58:33 | 0:58:34 | |
# And laugh with each other | 0:58:34 | 0:58:35 | |
# About these days, these days | 0:58:35 | 0:58:38 | |
# All our troubles | 0:58:38 | 0:58:40 | |
# We'll lay to rest | 0:58:40 | 0:58:44 | |
# And we'll wish we could come back
to these days, these days | 0:58:44 | 0:58:57 | |
these days (these days,
these days, these days) #. | 0:58:57 | 0:59:04 |