Browse content similar to 12/12/2016. Check below for episodes and series from the same categories and more!
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Hello and welcome to our freshly decorated festive One Show | :00:17. | :00:19. | |
Have a look. Do you like this? CHEERING | :00:20. | :00:35. | |
We have the fire, the window, and some lovely trees. Only thing we | :00:36. | :00:44. | |
don't have, is a talking tree. Maybe something like this? | :00:45. | :00:55. | |
Break the windows. Windows. Break them yourself. APPLAUSE | :00:56. | :01:10. | |
There is only one man who has the voice to make a tree truly | :01:11. | :01:14. | |
terrifying, please welcome Liam Neeson and his young co-star Lewis | :01:15. | :01:17. | |
McGugan. you have been together now for two | :01:18. | :01:39. | |
weeks, has Liam been giving you any advice? I guess I was a bit nervous, | :01:40. | :01:47. | |
and he was telling me to enjoy it, and just don't get too nervous. Have | :01:48. | :01:52. | |
you ever done an interview from the inside of an Advent calendar? | :01:53. | :02:00. | |
LAUGHTER Also tonight, Angela Scanlon will | :02:01. | :02:03. | |
take us backstage at the BBC Music Awards. | :02:04. | :02:07. | |
She'll be chatting with the likes of Craig David, John Legend, | :02:08. | :02:10. | |
Emeli Sande and the one and only Robbie Williams, before they perform | :02:11. | :02:13. | |
We will include some pictures of the old red carpets and you always have | :02:14. | :02:26. | |
this pose. It is these films, these Taken, movies, and I'm trying to be | :02:27. | :02:37. | |
tough. I do it automatically now. It is kind of your thing. But with | :02:38. | :02:43. | |
Lois, we notice you have taken it to a new level -- Lewis. What is going | :02:44. | :02:53. | |
on? You see, I can't stop. Unlocking forward to -- I'm looking forward to | :02:54. | :02:59. | |
talking to you about A Monster Calls. Alex has seen it. I was in | :03:00. | :03:02. | |
bits. Liam is of course so famous he's | :03:03. | :03:07. | |
recognised wherever he goes, and after this movie Lewis' face | :03:08. | :03:10. | |
will be everywhere too. But thanks to controversial | :03:11. | :03:12. | |
new technology that seems to be straight out of a Liam Neeson action | :03:13. | :03:14. | |
movie, we could all soon Just how easy is it to pick out a | :03:15. | :03:29. | |
face in a crowd? When you have 9 million visitors a year like | :03:30. | :03:32. | |
Manchester's Christmas market, it is like a needle in a haystack. We are | :03:33. | :03:37. | |
going to give it a go using the latest facial recognition | :03:38. | :03:42. | |
technology, Inc tested by security services and the police across the | :03:43. | :03:45. | |
world and it is claimed that it can spot known criminals in an instant | :03:46. | :03:50. | |
-- it is being tested. We are going to put this to the test. Chris and | :03:51. | :03:54. | |
his team works for one of the companies at the forefront of the | :03:55. | :03:57. | |
technology and they are setting up the cameras in two of the market's | :03:58. | :04:01. | |
busiest sections, each one is connected to a laptop, and can | :04:02. | :04:05. | |
search for faces of wanted individuals. How does it know what | :04:06. | :04:13. | |
it is looking for? Certain characteristics, relative positions | :04:14. | :04:15. | |
of different landmarks on your face, and the shading of your face. You | :04:16. | :04:20. | |
have a few people setting up. Look at that. You can see that we'll is | :04:21. | :04:30. | |
in the database, but Adam isn't. If I go in front of will, his name | :04:31. | :04:35. | |
disappears. When it has enough information, it has checked and then | :04:36. | :04:41. | |
says it is him. This is happening in real time? Yes. We have a group of | :04:42. | :04:47. | |
Christmas shoppers and they have provided a photograph of the | :04:48. | :04:51. | |
database and to make it a bit trickier they have brought along | :04:52. | :04:56. | |
disguises. Will the camera picked them up and identify them? Very | :04:57. | :05:01. | |
unlikely. It depends how good the technology is. Will the camera | :05:02. | :05:07. | |
picked you up? I hope not, I want to win this. It will be clever if it | :05:08. | :05:13. | |
does. We can find out how clever it is and activate the cameras. Bill | :05:14. | :05:18. | |
and Alicia are the first to walk by. Look at that. It has picked up Bill | :05:19. | :05:28. | |
with a bid. Both of them. -- beard. The first two volunteers have been | :05:29. | :05:33. | |
picked up just like that. Similar technology is in use at passport | :05:34. | :05:37. | |
control areas in airports. It is also found in some smartphones, | :05:38. | :05:41. | |
automatically grouping friends and family into albums, but those can | :05:42. | :05:45. | |
only work on a still image and they won't work on a moving person. Back | :05:46. | :05:51. | |
at the Christmas market, two more shoppers are approaching the | :05:52. | :05:58. | |
cameras. She has a bolder blonde wig on, should that make any difference? | :05:59. | :06:04. | |
The blonde nurse will not make a difference, but it could obscure a | :06:05. | :06:10. | |
number of her facial features -- the blonde quality will not make a | :06:11. | :06:13. | |
difference. This is looking quite promising, they are coming very | :06:14. | :06:20. | |
close. It has failed to recognise either of them. You have to see a | :06:21. | :06:25. | |
face and you have to see another the face to be able to measure those | :06:26. | :06:30. | |
characteristics. We had a shot and we processed him, but that did not | :06:31. | :06:34. | |
find a match was his younger photograph has fooled the system. It | :06:35. | :06:39. | |
may not be full proof, but technology is being trialled in | :06:40. | :06:43. | |
London and Leicestershire by police forces. Journalist Alastair | :06:44. | :06:48. | |
specialises in privacy issues and he's worried by lack of legislation | :06:49. | :06:53. | |
governing its use. It is the way we balance police powers and public | :06:54. | :06:59. | |
privacy in the 21st-century, when it comes to DNA and fingerprints they | :07:00. | :07:03. | |
are established laws in place which cover how long biometric information | :07:04. | :07:06. | |
might be kept, but with facial images at the moment they are not | :07:07. | :07:10. | |
included in the legislation. What is the problem with that? On the place | :07:11. | :07:16. | |
national database there are 16.5 million mugshot images but according | :07:17. | :07:20. | |
to the Di Commissioner hundreds of thousands of these will never have | :07:21. | :07:29. | |
been charged and never have been convicted -- biometric Commissioner. | :07:30. | :07:32. | |
So should they be holding onto the information? The government 's | :07:33. | :07:37. | |
investigation has not yet been published will stop what does Chris | :07:38. | :07:42. | |
make of the privacy concerns? I do not think this is a bad tool, but it | :07:43. | :07:48. | |
is there to help find bad people and stop them from doing bad things. In | :07:49. | :07:53. | |
our test five of the eight shoppers were successfully spotted and the | :07:54. | :07:55. | |
other three managed to go undetected. Looking at faces is not | :07:56. | :08:01. | |
a 100% perfect science and I'm happy with the way it went. The debate | :08:02. | :08:08. | |
over facial recce missions soft -- facial recognition software will | :08:09. | :08:13. | |
rumble on, and we have seen this is a very powerful tool in the right | :08:14. | :08:18. | |
hands. STUDIO: The mind boggles at what they can do. Some of the weeks | :08:19. | :08:29. | |
work. And the beards. Lewis, you are on film posters, when we first | :08:30. | :08:34. | |
recognised? I've not been recognised yet. My friends went to the cinema | :08:35. | :08:39. | |
once and they weren't expecting to see me back then they saw the | :08:40. | :08:44. | |
trailer for A Monster Calls and they told me that. I've been getting | :08:45. | :08:50. | |
messages and love from people. It is about to get a lot more. You are in | :08:51. | :08:57. | |
this movie, an enormous amount. Liam, what happens in the film? It | :08:58. | :09:03. | |
is based on an extraordinary little book by Patrick Ness. It is about a | :09:04. | :09:12. | |
boy who is going through a very difficult period in his life and he | :09:13. | :09:17. | |
has no one to relate to or talk to. He is bullied at school. In his | :09:18. | :09:24. | |
troubles mind he conjures this monster -- troubled mind. Which is | :09:25. | :09:31. | |
this tree which tells him these tales and tries to guide him through | :09:32. | :09:36. | |
this terrible period he is going through. And give him advice. That | :09:37. | :09:41. | |
is kind of essentially what it is about. We can have a look at a bit | :09:42. | :09:48. | |
more of the film. I'm not afraid. Of course you are afraid. But you will | :09:49. | :09:56. | |
make it through. For this is why you called me. | :09:57. | :09:59. | |
I suppose, from watching that segment, people could think it was a | :10:00. | :10:15. | |
family fantasy film, but it does deal with some very deep rooted | :10:16. | :10:20. | |
issues and very hard issues. Very emotional film. Who would you say | :10:21. | :10:29. | |
the film is targeted at? Like the book, it is targeted at young | :10:30. | :10:35. | |
adults, but anybody can watch it, I think. The lessons that Connor | :10:36. | :10:43. | |
learns can benefit anyone and the great thing about the film is that | :10:44. | :10:47. | |
anyone can relate to it because many people suffered a loss or treatment. | :10:48. | :10:54. | |
By the way, this young actor here... He goes to an emotional range which | :10:55. | :10:58. | |
would embarrass Shakespeare's hammered. It is phenomenal -- | :10:59. | :11:06. | |
Hamlet. It was two years ago when you started filming and you were 12? | :11:07. | :11:13. | |
Yes. How did you cope with that? When I was told I got the part, I | :11:14. | :11:17. | |
was excited but also nervous. It is a big role to undertake. I was lucky | :11:18. | :11:24. | |
enough, when I started, everyone was really comforting and welcoming. | :11:25. | :11:30. | |
They helped. You are in every scene. It is an amazing performance. You | :11:31. | :11:34. | |
hold the entire thing together. Yeah. You are making a real name for | :11:35. | :11:40. | |
yourself and rightly so because you are fantastic in this film, what did | :11:41. | :11:44. | |
you want to do when you were around at the age of Lewis? Take apples | :11:45. | :11:54. | |
from trees. Rebel without a clue. I was very in sconce in school and | :11:55. | :12:00. | |
amateur boxing. That is where that comes from, that post. In those days | :12:01. | :12:06. | |
it was more like this. You are very aware of the Hollywood world which | :12:07. | :12:11. | |
Lewis is entering and now a part of, what have you been saying to him to | :12:12. | :12:18. | |
be wary of? Or not as the case may be forced up my advice, keep doing | :12:19. | :12:26. | |
what you are doing, stay grounded, stay close to friends and family, | :12:27. | :12:31. | |
they are very important. That is essentially it. Stay real to | :12:32. | :12:36. | |
yourself. That can be hard, by the way. Very hard. People telling you | :12:37. | :12:43. | |
you're brilliant and you are great. When you start believing that it can | :12:44. | :12:48. | |
affect you for the sometimes not for the best. How did that relationship | :12:49. | :12:57. | |
affect you on set? It was CGI, but you were there and having a | :12:58. | :13:03. | |
dialogue. How did that work? Liam was not on set when we were doing | :13:04. | :13:08. | |
the film but we had ten days motion capture, which is when we are | :13:09. | :13:15. | |
putting the suits on, these sensors. Like ping-pong balls. That gave me | :13:16. | :13:20. | |
an opportunity to rehearse, but on set, they made a monster 's head | :13:21. | :13:27. | |
kind of thing, full size, spectacular animal tonics will stop | :13:28. | :13:32. | |
the mouth good move. You are acting to that? Yes, it was helpful, | :13:33. | :13:41. | |
definitely. A Monster Calls is out on New Year's Day, take some | :13:42. | :13:42. | |
tissues. Over at the Excel in London | :13:43. | :13:46. | |
there's a very busy red carpet at the moment, | :13:47. | :13:48. | |
because everyone is arriving It's a night celebrating | :13:49. | :13:50. | |
the best music of 2016, and we've given Angela the task | :13:51. | :13:55. | |
of tracking down some Who have you got? We are here at the | :13:56. | :14:07. | |
ExCel Centre and the glittering stars on the carpet, but I'm | :14:08. | :14:10. | |
interested in what is happening here. It is a bit gritty. We have so | :14:11. | :14:19. | |
many 14 performances. Starting with Emeli Sande, I'm very excited -- | :14:20. | :14:23. | |
many wonderful performances. You are back with your second album, app, | :14:24. | :14:30. | |
how terrifying is that, the all-important second album? -- | :14:31. | :14:36. | |
second album, Long Live The Angels. I was nervous as to how people would | :14:37. | :14:40. | |
receive these songs, but I wanted to approach it with honesty and as much | :14:41. | :14:43. | |
salt as possible and I hope people enjoy the music. -- as much soul. | :14:44. | :14:49. | |
What are you going to do this evening? It will be a nice Christmas | :14:50. | :14:55. | |
special, much of the album has a gospel choir and they are here with | :14:56. | :15:01. | |
me tonight. We wanted to stay true to the song, breathing underwater, | :15:02. | :15:04. | |
and the rehearsals have been very special. It is Christmas, so we | :15:05. | :15:10. | |
thought we would get you a beautiful gift. You have done stuff for | :15:11. | :15:16. | |
charity and I hope this comes in handy. Thank you very much. We are | :15:17. | :15:21. | |
going to go off and see if we can find Robbie Williams. I'm hoping... | :15:22. | :15:28. | |
He is a busy man, but let's see how we go. There's a lot happening here, | :15:29. | :15:36. | |
very bustling. Claudia Winkleman, straight off Strictly, and here is | :15:37. | :15:40. | |
the man himself. You can see the heavies outside. Can we go in? | :15:41. | :15:44. | |
Hello. How are you? Nice to see you. Lovely to see U2. | :15:45. | :16:00. | |
This live? Hello, live, Britain. Have you got a microphone? Yes. Are | :16:01. | :16:05. | |
talking to this and people can hear me. You a sharp as well as talented. | :16:06. | :16:11. | |
This is quite' room. You call this blush? No, no. Do you have an | :16:12. | :16:19. | |
intense rider? Know, I've never picked one out for myself but I | :16:20. | :16:23. | |
notice it is getting less and less, the older I get and the road thins | :16:24. | :16:28. | |
as I get older because I can't eat sugar any more, or drink alcohol any | :16:29. | :16:34. | |
more. It is just like, three pieces of pineapple, some arm and in some | :16:35. | :16:38. | |
coconut water that never gets drunk. -- some almonds. I am closing the | :16:39. | :16:46. | |
sunken eyed with a song called Sensational from my new album. Why | :16:47. | :16:51. | |
this song? I imagine it's difficult to pick a song for an event of this | :16:52. | :16:57. | |
scale. It was written as a show close, actually. I was with my | :16:58. | :17:02. | |
songwriting partner, Mr Guy Chambers, come in, quick! There he | :17:03. | :17:06. | |
is. I was saying, wouldn't it be great if we had an old-fashioned | :17:07. | :17:10. | |
show close like Sammy Davis Junior used to do or Dean Martin? So we | :17:11. | :17:15. | |
wrote one and the song has reached its destination because we are using | :17:16. | :17:19. | |
it to close the show this evening, that we are doing right now. | :17:20. | :17:23. | |
Beautiful and you are also quite busy over Christmas and the New | :17:24. | :17:29. | |
Year, I believe? Yes, I am, on New Year's Eve I'm doing a big show on | :17:30. | :17:35. | |
the television, for the BBC. Beautiful. New Year's Eve is taken. | :17:36. | :17:41. | |
My dance card is full and I have got to go and sing at people but I'm | :17:42. | :17:44. | |
really looking forward to it. You will be backstage a lot so we got | :17:45. | :17:49. | |
you a little game. I wanted to get you reindeer pants but I was | :17:50. | :17:51. | |
overruled so instead, a football game. Figure out how to play it. You | :17:52. | :17:59. | |
open it. Thank you very much. Thank you for chatting. Pleasure. Thank | :18:00. | :18:03. | |
you, darling. See you later. Goodbye. APPLAUSE | :18:04. | :18:10. | |
I hope we get home in time for the finale because I love a bit of | :18:11. | :18:14. | |
Robbie. Who has the biggest rider that you know of? In the world of | :18:15. | :18:20. | |
Hollywood. What does it mean? When you say what drinks you what, what | :18:21. | :18:24. | |
suites you want, popcorn, probably more high-end, in the dressing. You | :18:25. | :18:29. | |
have never heard of a rider? I swear I've never heard that word! How do | :18:30. | :18:41. | |
you spell it? Rider. I have never had one either. | :18:42. | :18:44. | |
There's only 12 sleeps left until Christmas Eve, | :18:45. | :18:46. | |
which means reindeer like Dasher, Dancer, Prancer, Vixen, Comet, | :18:47. | :18:48. | |
Cupid and Rudolph are getting ready for a long night ahead. | :18:49. | :18:57. | |
But have you ever wondered how they can see where they're | :18:58. | :19:02. | |
They gallop across the night sky, pulling Father Christmas on a | :19:03. | :19:17. | |
sleigh, packed with presents. But they don't just fly. Reindeer have | :19:18. | :19:21. | |
another special ability and I'm going to attempt to prove it, with | :19:22. | :19:27. | |
this Christmas star. With very little daylight, living in the | :19:28. | :19:32. | |
Arctic tundra is tough. Fortunately, reindeer have an unusual adaptation | :19:33. | :19:35. | |
that makes life a little easier. They are able to see UV, the | :19:36. | :19:41. | |
ultraviolet spectrum of light. The human eye can see what is called | :19:42. | :19:45. | |
visible light, the colours red down to Violet. But reindeer can see | :19:46. | :19:51. | |
beyond that. Professor Glenn Jeffrey from University College London | :19:52. | :19:53. | |
discovered reindeer can see ultraviolet light. The animal adapts | :19:54. | :20:00. | |
and is evolved to its environment. By actually being able to go down | :20:01. | :20:04. | |
deeper into the UV, they get a lot more light in the eye and if you do | :20:05. | :20:07. | |
that, you are in a much better position to find food, to see your | :20:08. | :20:12. | |
predator when he is stalking you. The reindeer has one key predator, | :20:13. | :20:17. | |
the wolf. We can see a white dwarf on a snowy background. But the | :20:18. | :20:22. | |
reindeer sees, because there is no UV being reflected back from it, it | :20:23. | :20:26. | |
sees a much darker image, so it sees a very dark animal on a white | :20:27. | :20:30. | |
background. These animals have evolved that mechanism in 10,000 | :20:31. | :20:35. | |
years. That is impressive. Luckily, we don't have to go all the way to | :20:36. | :20:39. | |
the Arctic to catch up with these cleverly adapted creatures. Here at | :20:40. | :20:45. | |
home farm, near market harbour in Leicestershire, and she keeps a herd | :20:46. | :20:49. | |
of reindeer. We are going to use two other animals in a special Christmas | :20:50. | :20:56. | |
ultraviolet experiment. -- to of her animals. I got two to start off with | :20:57. | :21:01. | |
from Sweden and over 10-12 years, we have got 47. Who are we using in the | :21:02. | :21:13. | |
experiment? A male and female, Sven and Sven who is full of character to | :21:14. | :21:17. | |
a month ago, we rate the stars over the feeding troughs, the reindeer | :21:18. | :21:20. | |
were fed here every day but only the start over the trough that had the | :21:21. | :21:24. | |
food in was switched on. The UV stars in the stable's Tim Wright | :21:25. | :21:29. | |
might not be visible to us but the reindeer should associate an | :21:30. | :21:32. | |
illuminated star with a tasty snack. One month on and we are putting it | :21:33. | :21:36. | |
to the test. We are moving one of the stars and putting it on top of | :21:37. | :21:40. | |
what else but a Christmas tree, to see if the reindeer will follow the | :21:41. | :21:43. | |
star, even when there's no food at the bottom. Using a special | :21:44. | :21:50. | |
ultraviolet camera, we should be able to show what we see and what | :21:51. | :21:57. | |
the reindeer sees. They should now associate UV light with food. It is | :21:58. | :22:02. | |
time to release the first reindeer. He's walking in the right direction. | :22:03. | :22:09. | |
As he noticed the star? Oh, look at this. He's going towards... | :22:10. | :22:15. | |
Definitely spotted it! Look at that! He has gone straight to the tree. He | :22:16. | :22:20. | |
has followed the UV star. He's pawing the tree because he has | :22:21. | :22:25. | |
equated the star with food. He's expecting food there. Brilliant. | :22:26. | :22:29. | |
Astonishing. Shall we released the second reindeer? Absolutely. Here | :22:30. | :22:34. | |
comes second reindeer. What is she going to do? Would you believe it? | :22:35. | :22:43. | |
Straight over as well! Angela, I have to say that is a result. Back | :22:44. | :22:48. | |
of the net. I never thought it would work but the reindeer, as soon as | :22:49. | :22:51. | |
they became acclimatised to the field, straight to the tree and the | :22:52. | :22:57. | |
star. Brilliant. Well done, you. Thank you very much. It seems our | :22:58. | :23:01. | |
reindeer definitely associate UV light with survival. It is amazing | :23:02. | :23:05. | |
to think there are still things to discover about animals that we | :23:06. | :23:12. | |
thought we knew pretty well. So while Santa's reindeer only use | :23:13. | :23:14. | |
their magic flying abilities once each year, it is astonishing that | :23:15. | :23:17. | |
their special UV vision is used right throughout the winter to help | :23:18. | :23:22. | |
keep them fed and safe from predators. Follow that star. | :23:23. | :23:29. | |
Reindeer moss, that is what they like to eat. Lichen, like a mossy | :23:30. | :23:38. | |
thing. I would have gone with a mince pie myself! It is a bit like a | :23:39. | :23:47. | |
rider. We want to talk to you about Unicef and the work you do as a | :23:48. | :23:51. | |
goodwill ambassador. One recent trip you did, you went to Jordan, didn't | :23:52. | :23:55. | |
you come meet some Syrian refugees? What impact did it have on you? | :23:56. | :23:59. | |
Myself and my son went out there, we just got back a couple of weeks ago. | :24:00. | :24:05. | |
It is a huge refugee camp, 80,000 people, ten miles from the Jordanian | :24:06. | :24:11. | |
border. It is called Zatari and the work Unicef are doing is amazing, | :24:12. | :24:14. | |
especially educating the children. Half of the 80,000 are children. I | :24:15. | :24:20. | |
was so impressed with these Muslim girls, 14, 15, 16, you talk about | :24:21. | :24:25. | |
girls being empowered with education, and they wanted to be | :24:26. | :24:30. | |
mathematicians, police inspectors, engineers and teachers. Very | :24:31. | :24:35. | |
impressed with what Unicef are doing. And by the way, this time of | :24:36. | :24:39. | |
the year, I know all the charities are looking for money and stuff but | :24:40. | :24:44. | |
I just wanted to say, you know, Unicef, for every ?1 that goes | :24:45. | :24:50. | |
there, 75p goes where it is supposed to go, to the children. I just | :24:51. | :24:54. | |
wanted to say that. There's a documentary about Zatari on BBC One | :24:55. | :25:02. | |
awhile ago. Lots of causes to give two and the public are generous. The | :25:03. | :25:06. | |
British people are extraordinarily generous. Absolutely. | :25:07. | :25:10. | |
Angela has found some more big names backstage at the BBC Music Awards. | :25:11. | :25:14. | |
We think you have found John Legend. Has he got a rider? Yes, we are | :25:15. | :25:23. | |
going to chat to John Legend. I'm going to doorstep him so let's see | :25:24. | :25:33. | |
how that goes. This is him. John? Hello. How are you? Angela, nice to | :25:34. | :25:38. | |
meet you. Welcome to my dressing room. It is quite plush, I like the | :25:39. | :25:43. | |
Moroccan rug. It's quite lonely in here, I needed a friend, thanks for | :25:44. | :25:49. | |
coming, Angela. Happy to be here. All set for tonight? I'm ready to | :25:50. | :25:53. | |
perform my new single, from my new album. Is there a little medley? I | :25:54. | :25:59. | |
might sneak something else in there. I heard your sound check and it made | :26:00. | :26:03. | |
me weep in a good way. It was quite wonderful. We have heard rumours | :26:04. | :26:07. | |
that may be... You're in a big movie which is not a rumour. La La Land. | :26:08. | :26:13. | |
Will we lose you do it? Are you going to go all Hollywood honours | :26:14. | :26:17. | |
are not sing any more? I'm going to be singing, trust me, it's never | :26:18. | :26:24. | |
going away. Good to know. What do we have here? You have the most | :26:25. | :26:28. | |
beautiful daughter. Is she musical? I can't tell yet but she makes a lot | :26:29. | :26:34. | |
of noise. That is a start. We got terrible gift. It is a Luna. For my | :26:35. | :26:41. | |
baby girl, Luna. I hope she likes it. Thank you. If you don't get time | :26:42. | :26:47. | |
to stop at duty free, that is the gift. Merry Christmas, Luna. This is | :26:48. | :26:52. | |
it for you this year. Lovely to see you, chill out and rest before your | :26:53. | :26:56. | |
performance. Craig David. Adam Lambert, remember him? Craig David, | :26:57. | :27:07. | |
all the way. Great? Hello! Hello! How are you? Good, how are you? | :27:08. | :27:13. | |
Comment. Another Moroccan rug, I like how each of you has slightly | :27:14. | :27:16. | |
different decoration in your dressing room. Is it different in | :27:17. | :27:21. | |
the others? Yes but equally plush. I like the lemons. Is this | :27:22. | :27:27. | |
preparation? A bit of water, kettle, the simple things. And brownies in a | :27:28. | :27:33. | |
little pot? They came in, just the little chestnut, you have do have a | :27:34. | :27:37. | |
couple, just in case. Things all right with you? Yes but let's talk | :27:38. | :27:41. | |
about you, you are back with a bang and there's a lot of excitement and | :27:42. | :27:44. | |
a lot of love for Craig David. It's going to wicked. When we did the | :27:45. | :27:49. | |
rehearsal today, playing a bit of a throwback track going into Ain't | :27:50. | :27:54. | |
Giving Up, which we are performing tonight, people were getting lively | :27:55. | :27:56. | |
and everyone was getting ready for the rehearsal. With an arena tour in | :27:57. | :28:02. | |
the line-up, it is wicked. Well, we have got a little present for you. | :28:03. | :28:07. | |
It is a calendar, a Countryfile calendar with lots of delightful | :28:08. | :28:11. | |
animals and I have put my birthday in there, 29th of December, all the | :28:12. | :28:15. | |
important dates. Another little chestnut. Happy Christmas. Nothing | :28:16. | :28:20. | |
has changed, that is the thing. Work hard, play hard, chill on Sunday. | :28:21. | :28:26. | |
Chill on Sunday and have a wonderful performance. The show is on at | :28:27. | :28:31. | |
8:30pm. Enjoy it. Thank you so much. APPLAUSE | :28:32. | :28:36. | |
I'm so pleased he got the calendar! He's genuinely chuffed. He will know | :28:37. | :28:41. | |
what he's doing every day. Perfect. That is all we have got time for the | :28:42. | :28:43. | |
night. Thanks to Lee and to Lewis. Tomorrow Jamie Oliver will be | :28:44. | :28:47. | |
here, along with a live Have a lovely evening. Good night. | :28:48. | :28:59. | |
I'm going to put a lock on the fire! | :29:00. | :29:00. |