Browse content similar to 12/02/2016. Check below for episodes and series from the same categories and more!
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MUSIC # Here comes your man #. | :00:15. | :00:26. | |
Night-time for The One Show with Alex Jones and tonight's guest | :00:27. | :00:32. | |
presenter... It's Dermot O'Leary. There's no need to shout! Give over. | :00:33. | :00:36. | |
Come on. Well, hello and welcome to The One | :00:37. | :00:48. | |
Show with Alex Jones. And my co-host, Dermot O'Leary. | :00:49. | :00:53. | |
CHEERING AND APPLAUSE We are very excited, we are. Get out | :00:54. | :00:59. | |
of town! I have a slight bone to pick. Last time I saw you was that | :01:00. | :01:04. | |
the National Television Awards and I thought we'd talked about fixing the | :01:05. | :01:07. | |
whole thing so we could win. That was going to happen and you didn't | :01:08. | :01:11. | |
turn up on time. This is what happened, we got there just in time | :01:12. | :01:14. | |
to see the clips of The One Show on the big screen and as we walked into | :01:15. | :01:18. | |
the auditorium, Phil and Harley came out and we backed back down to the | :01:19. | :01:25. | |
gallery. I thought he'd hit the bar early doors, and then you were gone. | :01:26. | :01:31. | |
I did, soon after that. Tonight's show looks like a winner. First, we | :01:32. | :01:37. | |
will meet this lad who plays the piano beautifully and is now | :01:38. | :01:39. | |
mastering a new skill to help him find his way in the world. Birdy | :01:40. | :01:45. | |
will be singing later. Here she is, in bed. And with Valentine's Day on | :01:46. | :01:49. | |
Sunday we are talking first dates with the team from the hip Channel 4 | :01:50. | :01:56. | |
show. There they are. Very excited, our guest is full of love, well, it | :01:57. | :02:01. | |
couldn't be stopped. I just want to... Here we go, the studio, I love | :02:02. | :02:06. | |
you, and Cameron Crowe, and John Crew -- Tom Cruise, I love you, | :02:07. | :02:10. | |
brother, I love you, man! Keith Butler, Regina King, I love you! You | :02:11. | :02:18. | |
did a great job when we made the movie everybody involved with the | :02:19. | :02:24. | |
movie, I love you! It's Cuba Gooding, Jr. | :02:25. | :02:29. | |
CHEERING AND APPLAUSE I love you! What we love is the fact | :02:30. | :02:36. | |
when you start playing the music which is normally the queue to go, | :02:37. | :02:41. | |
OK, you just carried on. The true story is the producer said he | :02:42. | :02:45. | |
thought I said he was a music now, because I have a lot of people do | :02:46. | :02:53. | |
thanks. You would say that? Did you forget anyone? There was a few | :02:54. | :02:56. | |
people I probably forgot, or when I was saying their names as I was | :02:57. | :02:59. | |
jumping around the mike didn't catch! A lovely moment. Dermott | :03:00. | :03:06. | |
hosts a lot of award shows. Would you have said, Cuba, it's time... | :03:07. | :03:14. | |
It's an exciting moment, I would feel awkward and I would get a slap | :03:15. | :03:22. | |
as well. May be hoped. You are here all show, we are pleased to have | :03:23. | :03:25. | |
you. Let's meet ten-year-old pianist Ethan Loch from Bonnybridge in | :03:26. | :03:29. | |
Falkirk. Being able to master the piano be tight -- despite being | :03:30. | :03:34. | |
blind isn't the only reason he is very special. Take a look. | :03:35. | :03:41. | |
Ten-year-old Ethan from Bonnybridge in Scotland contacted bacterial | :03:42. | :03:45. | |
manager writers when he was ten weeks old. At six months old doctors | :03:46. | :03:50. | |
told his mother his illness had taken his side. They couldn't tell | :03:51. | :03:54. | |
me what was wrong with him and what had caused it, we just got on with | :03:55. | :04:03. | |
it. I remember leaving, we could hardly drive the car home. I | :04:04. | :04:09. | |
couldn't see the road because of tears, just feeling quite | :04:10. | :04:17. | |
distressed. His mother believes Ethan's blindness has contributed to | :04:18. | :04:22. | |
him being musically gifted. He would stand at the piano for hours, | :04:23. | :04:28. | |
really. About 16 months, 18 months, just stand and push keys. So I think | :04:29. | :04:35. | |
when other toddlers would have been running around and jumping off the | :04:36. | :04:39. | |
couch and things like that, Ethan wasn't doing those things. He would | :04:40. | :04:46. | |
be standing at the piano. With Ethan's language in the earlier | :04:47. | :04:49. | |
years, he really spoke through the piano. He couldn't answer yes, or | :04:50. | :04:54. | |
no, to questions. I would say, tell mummy you love me and he would play | :04:55. | :04:58. | |
twinkle twinkle Little Star to me. He has never been away from me since | :04:59. | :05:03. | |
the day he was born. But that is all about to change. Ethan has secured a | :05:04. | :05:08. | |
place at Saint Mary's music Academy in Edinburgh. He needs to be | :05:09. | :05:10. | |
independent but the problem is he has a lack of spatial awareness and | :05:11. | :05:16. | |
struggles with unfamiliar environment. But help is at hand. | :05:17. | :05:20. | |
Daniel has come over from America to teach him a special technique. To | :05:21. | :05:24. | |
enable him to see the world around him. Daniel himself has been blind | :05:25. | :05:31. | |
since birth and has two glass eyes but can describe his environment in | :05:32. | :05:34. | |
remarkable detail. When I enter an area I've never been in before, I | :05:35. | :05:40. | |
mean I can tell immediately there is a smallish area because it is | :05:41. | :05:43. | |
bounded by buildings. I can hear the buildings across the road here. | :05:44. | :05:52. | |
Daniel is using echolocation in the same way a Batt-macro navigate. A | :05:53. | :05:56. | |
bit of play equipment here, I cant help it is play equipment because it | :05:57. | :06:02. | |
has got slanting surfaces and it has got open surfaces and it's probably | :06:03. | :06:06. | |
the slide. Yes. Daniel first met Ethan when his | :06:07. | :06:19. | |
family went to Canada. He has kept in touch and regularly meets Daniel | :06:20. | :06:24. | |
to help him improve his echolocation techniques. Today's lesson is one of | :06:25. | :06:29. | |
the biggest yet. Daniel is going to take Ethan on a trip to his new | :06:30. | :06:32. | |
school. It is going to be a lesson of one or two hard knocks. Did I go | :06:33. | :06:40. | |
all the way to platform two? Ethan struggles to navigate particular | :06:41. | :06:44. | |
areas around his school. Even though Daniel is totally blind, he knows | :06:45. | :06:50. | |
exactly where Ethan is at all times. Stop, not there. Ethan doesn't give | :06:51. | :06:56. | |
up. Go ahead and find the corridor, avoiding the open space. Crossed the | :06:57. | :06:58. | |
chamber staying close to the closed space. The clicks are important | :06:59. | :07:06. | |
because if you click, like something was there, you would something | :07:07. | :07:12. | |
coming back to you. And then you know. Closed space, where is the | :07:13. | :07:19. | |
closed space? Good. Finally, success. Exactly, good, Ethan. Easy, | :07:20. | :07:32. | |
easy. The next day it is Ethan's Birthday Honours time for another | :07:33. | :07:35. | |
challenge, a hike in the hills with his family. -- at his birthday. | :07:36. | :07:42. | |
Observing him is the professor who first diagnosed him. Ethan. At | :07:43. | :07:47. | |
obstacles before bumping into them, he knows they are there. His | :07:48. | :07:52. | |
behaviour shows he is echolocating. I don't actually see with my eyes. I | :07:53. | :07:57. | |
just see in a different way, so that's the advantage about being | :07:58. | :08:01. | |
blind. You can read in the dark as well. When you see Daniel do it, for | :08:02. | :08:05. | |
me that makes it believable. It's something to hold onto and its hope | :08:06. | :08:09. | |
and it's something that his whole life benefits from. Happy birthday. | :08:10. | :08:19. | |
Love you. That last bit got me! If you want to hear Ethan's story, tune | :08:20. | :08:25. | |
into Radio Four this Sunday at 1:30pm. The People V OJ Simpson | :08:26. | :08:30. | |
starts next week on BBC Two, you are playing the lead role. The original | :08:31. | :08:34. | |
case was one of the most high profile cases of the 90s, millions | :08:35. | :08:37. | |
of people watched it, streamed live, but what do you remember, Cuba, of | :08:38. | :08:43. | |
the case back then? I will never forget the image of that Bronco and | :08:44. | :08:47. | |
that slow speed chase going down the freeway. You know, we were watching | :08:48. | :08:54. | |
a finals game at the bottom of the screen, the image of the Bronco | :08:55. | :08:57. | |
breaks in and they announced OJ Simpson was in the back seat with a | :08:58. | :09:00. | |
gun to his head. I remembered thinking that at any moment they | :09:01. | :09:04. | |
were going to pull his lifeless body from the Bronco. 100 million people | :09:05. | :09:12. | |
watched. Incredible, in the pre-Internet age, the first kind of | :09:13. | :09:16. | |
worldwide thing like that. For those of you don't remember, OJ Simpson | :09:17. | :09:21. | |
was a footballer turned American actor, accused of the murder of his | :09:22. | :09:27. | |
ex-wife and it amounted to the trial of the Centre full -- the trial of | :09:28. | :09:34. | |
the century. Let's take a look. Is impolite to ask? I don't... ! That's | :09:35. | :09:37. | |
what I'm saying! Now it's all over TV! Why did you left him get | :09:38. | :09:42. | |
interviewed? What have I got to hide? Why in the hell were you in | :09:43. | :09:51. | |
the room? I don't know, man, I don't... These are good questions. I | :09:52. | :09:57. | |
hope we're not giving too much away, it's not a plot spoiler here, OJ was | :09:58. | :10:02. | |
acquitted of the crime, he is now in prison on another charge. Did you | :10:03. | :10:07. | |
get a chance to meet him? I didn't want to meet him. I didn't play him | :10:08. | :10:11. | |
as a broken man that had been incarcerated for years in his 60s. I | :10:12. | :10:16. | |
played him at the height of his popularity. There is this budding | :10:17. | :10:22. | |
nature of the athletes that I had to possess -- bragging nature. I | :10:23. | :10:27. | |
watched a lot of video of him at the time and studied the footage and red | :10:28. | :10:32. | |
documentaries on how the people around him on the support team were | :10:33. | :10:35. | |
and that is what fuelled my psyche. 8.3, a staggering amount of people | :10:36. | :10:39. | |
watched the opening episode, 8.3 million in the States. You haven't | :10:40. | :10:43. | |
seen a single episode, have you? This was the hardest character I had | :10:44. | :10:49. | |
to inhabit for the longest character, we shot this in six | :10:50. | :10:54. | |
months and it was one of those things where I hear actors talk | :10:55. | :10:59. | |
about when Heath Ledger talked about playing the Joker, it was a dark | :11:00. | :11:03. | |
character, and I would laugh, but it really does permeate your soul. It's | :11:04. | :11:11. | |
like when you see an image on the news, somebody getting shot, how it | :11:12. | :11:15. | |
affect you for the rest of the day. It's that, for months at a time. | :11:16. | :11:20. | |
When do you think you will be able to watch it? Maybe when I step away | :11:21. | :11:25. | |
from this time period in my life. What did you learn about him that | :11:26. | :11:29. | |
you didn't know before? So much, so much, like an example was when we | :11:30. | :11:33. | |
shot the scene where he wrote the suicide note, and I was pacing back | :11:34. | :11:39. | |
and forth in the mindset. I looked down at the paper I said somebody | :11:40. | :11:43. | |
give me the suicide note, I mean the real one, it's a smiley face and he | :11:44. | :11:50. | |
goes, he wrote a smiley face in the Bow of his signature. It showed me | :11:51. | :11:56. | |
the psychosis he was in. It was like he was in a bubble, a huge | :11:57. | :12:01. | |
celebrity, the pomp, a case of hubris as well. Did you like him? | :12:02. | :12:05. | |
Because obviously you got under his skin. When? We know so much more | :12:06. | :12:12. | |
about it now, do you like him? Well, it's a hard question because you can | :12:13. | :12:19. | |
never judge your character you play, so if I think of him that way I will | :12:20. | :12:26. | |
lose on the moment signed vice versa, playing the villain, you want | :12:27. | :12:31. | |
just keep that blank mindset on him and it's the director's job to give | :12:32. | :12:36. | |
you directions in which ever take then the director goes into the | :12:37. | :12:39. | |
editing and strings your performance together. A great performance, Cuba. | :12:40. | :12:45. | |
Briefly, I want to start playing music when you answer this question, | :12:46. | :12:50. | |
but if we have to wrap you up, its awards season now, you are doing the | :12:51. | :12:55. | |
BAFTAs and the Oscars, there are talks about boycotts. What is your | :12:56. | :13:02. | |
take on it? The director of the revenant said it best, all awards | :13:03. | :13:06. | |
shows are the end of the chain. If you are going to talk diversity you | :13:07. | :13:09. | |
have to start in the executive decision-making process, when they | :13:10. | :13:15. | |
decide to do a film telling a story that is of one nationality, of one | :13:16. | :13:19. | |
strict thing, then you are going to have an end result that doesn't give | :13:20. | :13:23. | |
you a lot of options. That is where diversity has to start. Great, thank | :13:24. | :13:29. | |
you. The People V OJ Simpson: American Crime Story starts on | :13:30. | :13:40. | |
Sunday. Why later in Wales? One of the most celebrated actors in this | :13:41. | :13:43. | |
country is Simon Callow, he has done everything from Shakespeare to Four | :13:44. | :13:48. | |
Weddings and a Funeral, so when he said he wanted to make a film for as | :13:49. | :13:51. | |
we were honoured. We were, although we hear he made some pretty big | :13:52. | :13:55. | |
demands when it came to costume and make-up. In east London Sunday | :13:56. | :14:01. | |
service at all Saints Church is a little more colourful than usual. | :14:02. | :14:06. | |
Clowns come from all over the British Isles to celebrate the | :14:07. | :14:09. | |
greatest clown of them all. The one, the only... Joe Grimaldi. Born in | :14:10. | :14:17. | |
London, Grimaldi was a 19th-century performer who took the figure of the | :14:18. | :14:20. | |
clown and turned him from a small stage role into a popular main act. | :14:21. | :14:28. | |
He is a hero to many. If it wasn't for Grimaldi, we wouldn't be here. | :14:29. | :14:32. | |
Faxed him, we are doing what we are doing now. I've always been | :14:33. | :14:36. | |
fascinated by clowns. Maybe part of it because Mike great-grandfather | :14:37. | :14:44. | |
was a clown in Denmark, great -- -- my great-grandmother was a bareback | :14:45. | :14:47. | |
horse rider, but I have wanted to delve into the tradition to find out | :14:48. | :14:52. | |
more about them, and Joe Grimaldi. He put clowns in the spotlight. The | :14:53. | :14:57. | |
nearby clown museum is run by clowns and Grimaldi enthusiasts Matty. What | :14:58. | :15:03. | |
was so extraordinary about him? He started changing the way the clown | :15:04. | :15:10. | |
of the day was featured. He perfected the whiteface, and his | :15:11. | :15:15. | |
mouth, a dash of red, this make-up, became the standard make-up for | :15:16. | :15:18. | |
clowns. Grimaldi really invented the British Crown. And also invented the | :15:19. | :15:28. | |
first megastar, in a way. The great Grimaldi's energetic and surreal | :15:29. | :15:30. | |
slapstick enthralled audiences around the country. He was so | :15:31. | :15:34. | |
successful figurines of him were sold in theatres wherever he | :15:35. | :15:40. | |
performed. They did merchandising in the 19th century. In small sizes. | :15:41. | :15:46. | |
His red and white make-up was his trademark. Today, clowns record | :15:47. | :15:48. | |
their unique look on pottery eggs. These are some of our eggs from | :15:49. | :15:58. | |
history. These are present oceans of the clown's character. Will you show | :15:59. | :16:07. | |
me one? It is scary, I would not like to run into one on a dark | :16:08. | :16:13. | |
night. Grimaldi dominated theatres until years of slapstick ruined his | :16:14. | :16:17. | |
health and forced him to leave the stage. His legacy lives on in the | :16:18. | :16:23. | |
annual clown circus established in his honour. This year, with a little | :16:24. | :16:27. | |
help, I am delivering the Grimaldi address. | :16:28. | :16:41. | |
That is it. We are off! We come together today for the desire of | :16:42. | :16:47. | |
many clowns, once a year, for encouragement and worship. We also | :16:48. | :16:51. | |
respect the memory of the most famous of all British clowns, Joey | :16:52. | :16:56. | |
Grimaldi. We are immensely privileged to have with us today | :16:57. | :17:01. | |
Simon Callow. Ladies and gentlemen, there never | :17:02. | :17:05. | |
was a clown again after Grimaldi. Dickens said that. He made a very | :17:06. | :17:12. | |
touching speech that this year I have the privilege of reading it. | :17:13. | :17:15. | |
Except, ladies and gentlemen, my warmest and most grateful thanks, | :17:16. | :17:25. | |
and leave that one and all, Joseph Grimaldi takes a double leave. | :17:26. | :17:30. | |
Farewell on his lips and 80 in his eye. | :17:31. | :17:30. | |
APPLAUSE eye. | :17:31. | :17:42. | |
it? It put a smile on people's faces eye. | :17:43. | :17:46. | |
great genius of eye. | :17:47. | :17:54. | |
the end of it remains to be eye. | :17:55. | :18:01. | |
I am a bit scared of clowns. I love how random this show is. Clown film | :18:02. | :18:11. | |
means clown item? No! Sorry, not tonight! Sorry, Dave! But it is | :18:12. | :18:23. | |
because we want to talk about love. First Dates returns to Channel 4 | :18:24. | :18:26. | |
tonight for a Valentine's Day special. The show sets up singletons | :18:27. | :18:30. | |
in a restaurant staffed by these guys here. We have Merlin, Cici and | :18:31. | :18:37. | |
Sam. Nice to see you. There is something about this, it feels nice | :18:38. | :18:44. | |
but we need some music to set the mood. Cuba, can you tell us who this | :18:45. | :18:56. | |
is? That is my father! Perfect! Cuba's dad is getting | :18:57. | :19:01. | |
is? That is my father! Perfect! mood! Now then, Merlin, we will kick | :19:02. | :19:06. | |
off with you. You are at the bar in First Dates, you must see very | :19:07. | :19:09. | |
quickly if they date is going well or not. What are the signs you are | :19:10. | :19:14. | |
looking out for? When the other person comes in, because I have | :19:15. | :19:18. | |
already served the drinks to the first person, when they meet, you | :19:19. | :19:29. | |
see them engage, the eyes log on -- knock on. What are the faux pas is | :19:30. | :19:37. | |
when you're eavesdropping? Early doors is introduction is surely. Is | :19:38. | :19:42. | |
it like the two kiss? What do you think is the best way? I | :19:43. | :19:50. | |
and a hug. It would be awkward because I am a simple Kiss, Kiss | :19:51. | :19:58. | |
will stop and then it is awkward. Let's have a look at one of the | :19:59. | :20:03. | |
dates you can see on tonight's show. Do you know what you look like? A | :20:04. | :20:12. | |
man. I am. I don't know what I expected. A sexy dude? I did not | :20:13. | :20:23. | |
expect a sexy dude. You didn't? I didn't and bingo! Likewise. | :20:24. | :20:31. | |
Goodness! Here in the restaurant we have some of the show's success | :20:32. | :20:36. | |
stories including Jo and Naomi behind us who we love. And here we | :20:37. | :20:41. | |
have Adam and down. You two, I was gripped. You had been single for 8.5 | :20:42. | :20:47. | |
years, and then, bang, bring us up to speed. What happened? We had a | :20:48. | :20:54. | |
great first date and then by some fluke I had to work near where Adam | :20:55. | :20:58. | |
Lyth in Ipswich so we had four dates in the first week. And now... We are | :20:59. | :21:08. | |
engaged! He put a Ring on it! A summer or winter wedding? Probably | :21:09. | :21:12. | |
winter around Christmas time. I can completely say that is the best time | :21:13. | :21:19. | |
of year to do it. Now, over here, Arunima and Louis. You did not date | :21:20. | :21:22. | |
each other but the show did fill you with confidence, it has been | :21:23. | :21:28. | |
brilliant for you? For me, it was a wonderful experience. My main worry | :21:29. | :21:33. | |
was going on the show, it being a blind date and then not knowing | :21:34. | :21:37. | |
about the wheelchair. The whole process instilled me with | :21:38. | :21:41. | |
confidence. I will go out there and be single and be proud to be who I | :21:42. | :21:47. | |
am. We have run out of time and I am so upset, because Louis, I | :21:48. | :21:49. | |
am. We have run out of time and I am tell you, my mother really likes | :21:50. | :21:54. | |
you. Not in that way, she thinks you are lovely boy. You can watch First | :21:55. | :21:58. | |
Dates tonight at nine o'clock on Channel 4. | :21:59. | :22:07. | |
From Cuba's our to nature's harpoon. Here is Patrick Aryee. | :22:08. | :22:14. | |
Great Britain's dramatic coastline covers thousands of miles of rock | :22:15. | :22:21. | |
and sand. Rocky shores like this have predators hiding here with an | :22:22. | :22:27. | |
array of secret weapons. Dog whelks are synonymous with the British | :22:28. | :22:30. | |
online that these predators are easily passed by at low tide. | :22:31. | :22:36. | |
However, once the sea returns, these unassuming creatures turn into | :22:37. | :22:41. | |
assassins of the shallows. The common dog whelk is found along the | :22:42. | :22:47. | |
UK's coast. Using their modified mouthparts they boring to muscles | :22:48. | :22:53. | |
and limpets. A paralysing chemical and digestive enzyme turns the | :22:54. | :22:57. | |
victims into a soup like consistency, and allowing the dog | :22:58. | :23:01. | |
whelk to suck out its prey. As predators they are incredibly | :23:02. | :23:05. | |
effective but as assassins, they are snail paced. Each attack takes up to | :23:06. | :23:12. | |
four days. Fast Althea assassins do look in our waters. Cuttlefish will | :23:13. | :23:16. | |
eye on colour change to help conceal themselves. They will even form | :23:17. | :23:20. | |
weird shapes allowing them to drift on the current and prevent | :23:21. | :23:25. | |
disturbing the water around pro. But their ultimate weapons are not | :23:26. | :23:28. | |
always on display. To see them up close, I have come to the Marine | :23:29. | :23:32. | |
Biological Association. What makes cuttlefish such | :23:33. | :23:37. | |
successful predators? Aside from things like they're great vision, | :23:38. | :23:41. | |
intelligence and camouflage, they also have these tentacles. As well | :23:42. | :23:46. | |
as the eight tentacles you can see, they have tentacles which are hidden | :23:47. | :23:50. | |
which are longer. On the end are soccer plates which are perfectly | :23:51. | :23:55. | |
adapted for grasping and pulling in their prey. A piece of fish should | :23:56. | :23:59. | |
hopefully reveal their hidden weapons. | :24:00. | :24:10. | |
Striking with lightning fast speed, and using stealth makes them one of | :24:11. | :24:16. | |
the deadliest assassins of our waters. But cuttlefish are not the | :24:17. | :24:20. | |
only predators using tentacles to catch prey. Jellyfish and CNN ease | :24:21. | :24:26. | |
don't appear to be high-speed hunters, but looks can be deceiving | :24:27. | :24:34. | |
-- see an enemys. They look quite different, but they | :24:35. | :24:42. | |
are actually related? That is right, they are in the same body of | :24:43. | :24:49. | |
animals. Their bodies made up of thin layer sandwiched between layers | :24:50. | :24:53. | |
of skin and they have tiny stinging capsules they used to attack their | :24:54. | :24:58. | |
prey. They fire a harpoon at high speed and that injects a strong | :24:59. | :25:04. | |
neurotoxin and that paralyse is the prey. To understand how these | :25:05. | :25:08. | |
microscopic harpoons work, we need to place a tiny bit of tentacle | :25:09. | :25:14. | |
under the microscope. We have taken the tip of a tentacle but they have | :25:15. | :25:18. | |
really impressive powers of regeneration so we will not have | :25:19. | :25:23. | |
damaged it. Vinegar alters the chemical composition inside the | :25:24. | :25:26. | |
tentacle, stimulating the harpoons to fire. Look. Before I could see a | :25:27. | :25:33. | |
few hairs or filament but as soon as that vinegar was put on it, it is | :25:34. | :25:37. | |
covered on those tiny filaments. It is like fur all around the sea | :25:38. | :25:43. | |
anemone. Some deliver the toxin and others grab onto the prey by | :25:44. | :25:47. | |
lassoing around tiny little structures on their outer surface. | :25:48. | :25:53. | |
Looked at and the Anna O microscope, these harpoons are revealed. By | :25:54. | :25:58. | |
triggering thousands of these threads, it jellyfish and sea | :25:59. | :26:06. | |
anemones can engulf their prey. They have evolved into some of the best | :26:07. | :26:12. | |
super assassins of the sea. Now getting ready to perform is the | :26:13. | :26:21. | |
incredible Birdy! Chairing macro -- CHEERING | :26:22. | :26:25. | |
Thank you to Cuba Gooding Junior, the new series starts at nine | :26:26. | :26:31. | |
o'clock on Monday. Dummett, it has been an absolute | :26:32. | :26:39. | |
pleasure. -- Dummett. Now playing us out, it is Birdy! | :26:40. | :26:44. | |
# Times that I've seen you lose your way | :26:45. | :26:47. | |
# You're not in control and you won't be told | :26:48. | :26:50. | |
# All I can do to keep you safe is hold you close | :26:51. | :26:56. | |
# Hold you close till you can breathe on your own | :26:57. | :27:05. | |
# Hold tight, you're slowly coming back to life | :27:06. | :27:17. | |
# I'll be keeping your head up, darling | :27:18. | :27:21. | |
# Let go of all your haunted dreams tonight | :27:22. | :27:25. | |
# I'll be keeping your head up, darling | :27:26. | :27:29. | |
# Hold tight, you're slowly coming back to life | :27:30. | :27:32. | |
# I'll be keeping your head up, darling | :27:33. | :27:37. | |
# Let go of all your haunted dreams tonight | :27:38. | :27:40. | |
# And when you come looking for embrace | :27:41. | :28:03. | |
# I know your soul, I'll be your home | :28:04. | :28:16. | |
# You'll always swim against the tide | :28:17. | :28:20. | |
# And I would die a thousand times to ease your mind | :28:21. | :28:25. | |
# Hold tight, you're slowly coming back to life | :28:26. | :28:33. | |
# I'll be keeping your head up, darling | :28:34. | :28:38. | |
# Let go of all your haunted dreams tonight | :28:39. | :28:41. | |
# I'll be keeping your head up, darling | :28:42. | :28:46. | |
# Hold tight, you're slowly coming back to life | :28:47. | :28:49. | |
# I'll be keeping your head up, darling | :28:50. | :28:53. | |
# Let go of all your haunted dreams tonight | :28:54. | :28:57. | |
# I'll be keeping your head up I'll be keeping your head up | :28:58. | :29:04. |