Browse content similar to 13/01/2012. Check below for episodes and series from the same categories and more!
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Hello, friends, and thanks for tuning in to your first Friday One | 0:00:32 | 0:00:37 | |
Show of the year with Louise Minchin. And Chris Evans. Tonight | 0:00:37 | 0:00:41 | |
we're celebrating a TV phenomenon that ran for over 30 years. It was | 0:00:41 | 0:00:44 | |
the show that launched the careers of Les Dawson, Little and Large, | 0:00:44 | 0:00:49 | |
Pam Ayers, and Frank Carson, to name a few. We're talking about | 0:00:49 | 0:00:51 | |
Opportunity Knocks, folks, and tonight we'll be giving some of the | 0:00:52 | 0:00:55 | |
show's winners the chance to remind the nation why we fell in love with | 0:00:55 | 0:00:58 | |
them, all those years ago in what we're calling Opportunity Knocks | 0:00:58 | 0:01:08 | |
0:01:08 | 0:01:13 | ||
Again. Have they still got it? We shall find out presently. Oh, my | 0:01:13 | 0:01:20 | |
goodness made. It is Martin Freeman and Ray Winstone! How are you? | 0:01:20 | 0:01:27 | |
evening, gentlemen. You have Louise this evening, is that OK? A bit | 0:01:27 | 0:01:32 | |
more than OK! Big fan of Opportunity Knocks? I am old enough | 0:01:32 | 0:01:39 | |
to remember the old ones! It is scary. So can I and I am not that | 0:01:39 | 0:01:45 | |
old. You are that old. Did you ever those on the postcard? I was too | 0:01:45 | 0:01:55 | |
0:01:55 | 0:01:55 | ||
young. Do you remember Bernie Flint? I remember, I know his hit. | 0:01:55 | 0:02:01 | |
You are 40, and you? Never you mind, none of your business! You have the | 0:02:01 | 0:02:08 | |
same birthday as Louise. September? Louise has 43! Thanks, | 0:02:08 | 0:02:18 | |
0:02:18 | 0:02:19 | ||
Chris! Ray is 54! Our director is 63! I am 45. Are you?! You have | 0:02:19 | 0:02:25 | |
done such a lot. You have worked together before. Yes, briefly. | 0:02:25 | 0:02:31 | |
Breaking And Entering. Was it any good? I think it was really good. | 0:02:31 | 0:02:39 | |
Shall we have a look? Why not? I'm just saying, fabulous building, | 0:02:39 | 0:02:43 | |
I think it is brilliant. Thank you. Did you have these great with the | 0:02:43 | 0:02:48 | |
villains? I would not say it was a scrape. I was running late for the | 0:02:48 | 0:02:55 | |
first break in and was not prepared for the second. Did you play a | 0:02:55 | 0:03:00 | |
villain? BELL RINGS, I was a policeman. The | 0:03:00 | 0:03:05 | |
beards looked good! Was that a false beard? That was my own, | 0:03:05 | 0:03:10 | |
three-man's own. I did not think you were able to grow one. I was | 0:03:10 | 0:03:16 | |
able to from 32 onwards. These in the part all evening, we will be | 0:03:16 | 0:03:18 | |
getting or Shylock with Martin and talking to Ray about some fantastic | 0:03:18 | 0:03:24 | |
work he is doing with some men and women from the armed forces. | 0:03:24 | 0:03:27 | |
Talking of those brethren, a Second World War pilot has hit the | 0:03:27 | 0:03:31 | |
headlines after he tried and failed to sit in the cockpit of a Spitfire | 0:03:31 | 0:03:35 | |
for the first time in years after a mix-up at a museum. We couldn't | 0:03:35 | 0:03:39 | |
allow Eric Carter, who survived battles with the enemy of the | 0:03:39 | 0:03:43 | |
frozen skies of Russia, to fail in his latest mission. So we sent Wing | 0:03:43 | 0:03:48 | |
Commander John Sergeant and gave him the Order To Get Carter back in | 0:03:48 | 0:03:58 | |
0:03:58 | 0:04:02 | ||
Eric Carter was trained to fly these aircraft in Wales, and his | 0:04:02 | 0:04:06 | |
first major assignment was to the northern Russian port of Murmansk, | 0:04:06 | 0:04:16 | |
0:04:16 | 0:04:21 | ||
and that mission is still Why did you go to Russia? It was a | 0:04:21 | 0:04:27 | |
hard time for Russia. We were sent to keep Murmansk Open at all costs. | 0:04:27 | 0:04:31 | |
The port of Murmansk allowed a military supplies into Russia, so | 0:04:31 | 0:04:36 | |
protecting it from germ attack was vital. When you were flying the | 0:04:36 | 0:04:40 | |
Hurricane, were you frightened? I cannot say I was ever frightened, | 0:04:40 | 0:04:44 | |
you were so busy looking for Germans on your tail. He did not | 0:04:44 | 0:04:48 | |
have time to be frightened. And you were young, you thought you were | 0:04:48 | 0:04:53 | |
immortal. I was 20, I did not know what frightened was. I do not want | 0:04:53 | 0:04:58 | |
to show off, but these are my medals. Absolutely! What have we | 0:04:58 | 0:05:02 | |
got here? These are Russian metals. And their work has not been | 0:05:02 | 0:05:07 | |
forgotten in Russia. The heroic deeds of the British servicemen and | 0:05:07 | 0:05:12 | |
the help that was delivered to the Red Army during World War II will | 0:05:12 | 0:05:20 | |
always be remembered, and in our hearts and in our minds. Eric also | 0:05:20 | 0:05:24 | |
managed to fit in time to sort out his private life. When you're | 0:05:24 | 0:05:31 | |
training on these Hurricanes, you met your wife, didn't you? I did | 0:05:31 | 0:05:35 | |
indeed, a very beautiful girl. We were married for 62 years. I gather | 0:05:35 | 0:05:41 | |
your honeymoon was truncated. gave me 48 hours to get married. My | 0:05:41 | 0:05:48 | |
honeymoon was at Swindon. The railway shunting yards. I had 24 | 0:05:48 | 0:05:54 | |
hours in a hotel there, that was my honeymoon. After the mission ended, | 0:05:54 | 0:05:58 | |
Eric was sent back to the UK and was trained to fly a different | 0:05:58 | 0:06:04 | |
fighter plane, the Spitfire. If you want to fight, I would prefer the | 0:06:04 | 0:06:08 | |
Spitfire. It is faster, more manoeuvrable. It was a grand | 0:06:08 | 0:06:18 | |
0:06:18 | 0:06:20 | ||
It is more than 60 years since Eric had to be ready to race across an | 0:06:20 | 0:06:24 | |
airfield and jump into the cockpit of one of these marvellous machines. | 0:06:24 | 0:06:28 | |
Now, finally, after all these years, he has got the chance to relive | 0:06:28 | 0:06:34 | |
that moment. Well, there she is. What do I think, seeing the | 0:06:34 | 0:06:40 | |
Spitfire? It is absolutely beautiful. Let me help. OK, now | 0:06:40 | 0:06:49 | |
then, one foot up here. Well done! You are there. Start it up, I will | 0:06:49 | 0:06:54 | |
be all right! It brings back good memories. It brings back sad | 0:06:54 | 0:07:00 | |
memories, yes, it does. I lost a good many of my very close friends, | 0:07:00 | 0:07:07 | |
but it also brings back happy memories when we got the chance to | 0:07:07 | 0:07:11 | |
do a bit of dog fighting between ourselves. Do you reckon you could | 0:07:11 | 0:07:16 | |
fly it if I started the engine? reckon it could, if a German was | 0:07:16 | 0:07:26 | |
0:07:26 | 0:07:29 | ||
And Eric is back in our seat! Well done, Mr Eric Carter. Thank you to | 0:07:29 | 0:07:32 | |
everyone who helped out with the film. Before we talk about your | 0:07:33 | 0:07:38 | |
friends here, you like old planes, don't you? I do, I have been lucky | 0:07:38 | 0:07:45 | |
enough to fly a Spitfire. I have got a great mate Bill is one of the | 0:07:45 | 0:07:49 | |
top aerial photographers in the world. He knows people who know | 0:07:49 | 0:07:54 | |
people, and that that is very close to where I live, so I got a chance | 0:07:54 | 0:08:03 | |
to fly in a Spitfire and a Mustangs. Not literally fly them on my own! | 0:08:03 | 0:08:08 | |
There You are in one. Triumphant on the wing! I just shot three then. | 0:08:08 | 0:08:13 | |
You are ready for action. pilot! You are working with wounded | 0:08:13 | 0:08:19 | |
and injured service personnel. have got involved with it, and from | 0:08:19 | 0:08:23 | |
an a la time, going to Camp Bastion and Selly Oak Hospital, it is the | 0:08:24 | 0:08:28 | |
mentality of the British hospital. You see these kids will have lost | 0:08:28 | 0:08:34 | |
their arms and legs through bombs. The doctors always ask, do not ask | 0:08:34 | 0:08:38 | |
how it happened. But it is the first thing that you want to know. | 0:08:38 | 0:08:42 | |
It keeps you interested when you meet the families, the bravery of | 0:08:42 | 0:08:45 | |
the families being confronted with this. Then you go down to where | 0:08:45 | 0:08:49 | |
they are rehabilitating, someone came up with the idea of putting on | 0:08:49 | 0:08:55 | |
a show. It is that mentality... There's not a lot of difference | 0:08:55 | 0:08:58 | |
between discipline in the army and the discipline in the theatre. It | 0:08:58 | 0:09:04 | |
is more or less the same thing. you have sort of Done It Ain't half | 0:09:04 | 0:09:10 | |
Hot mum for therapy, haven't you? turned up and saw the skies when we | 0:09:10 | 0:09:14 | |
were recruiting, to do a play. You can imagine, these hairy asked | 0:09:14 | 0:09:20 | |
soldiers coming into the theatre. I kind of went along and said, the | 0:09:20 | 0:09:26 | |
equivalent in a way, working-class boy... Device where? Sorry! We will | 0:09:26 | 0:09:31 | |
allow it, it is for a good cause. The fear in their eyes. If you have | 0:09:31 | 0:09:35 | |
been on patrol in Helmand province, I do not think anything else is | 0:09:35 | 0:09:41 | |
going to scare you as much as that. Ask them about it. You SED change | 0:09:41 | 0:09:47 | |
in and now, it is fantastic. -- you can see. You play the lead in the | 0:09:48 | 0:09:52 | |
play, what is it called? It is called The Two Worlds Of Charlie F. | 0:09:52 | 0:09:57 | |
It is about military service? about injuries, realising you have | 0:09:57 | 0:10:03 | |
been injured, and then carrying on from there. What happens to you? | 0:10:04 | 0:10:11 | |
was too close to something which went bang. It took this leg clear | 0:10:11 | 0:10:15 | |
off, and I have a couple of really good scars which women are | 0:10:15 | 0:10:19 | |
attracted to! I am impressed because you make it sound like it | 0:10:19 | 0:10:25 | |
is nothing, but to the rest of us it is a lot more than nothing. | 0:10:25 | 0:10:32 | |
were in the Royal Marines, of course. Where were you? I was | 0:10:33 | 0:10:37 | |
winded in Afghanistan as well, which was good fun. And you like to | 0:10:37 | 0:10:44 | |
chat. It comes from my surname... My mum... You have been through | 0:10:44 | 0:10:49 | |
enough! I went through enough with my name let alone getting blown up. | 0:10:49 | 0:10:55 | |
As working with Ray been therapeutic? Absolutely. Well, | 0:10:55 | 0:11:00 | |
everybody here is in the same boat. You know, you can talk to any of | 0:11:00 | 0:11:05 | |
them, and it doesn't matter. We have gone through, from the very | 0:11:05 | 0:11:08 | |
beginning, all the way through two things that we have not told anyone, | 0:11:08 | 0:11:13 | |
and this is with the writer, Owen Sheers, and we have gone through | 0:11:13 | 0:11:16 | |
everything, and it is good to get it out. It is good to get it out. | 0:11:16 | 0:11:22 | |
This is the first time the MoD has used it. Did they call you? Yes, | 0:11:22 | 0:11:25 | |
they got in touch with me along with the Royal British Legion. They | 0:11:26 | 0:11:29 | |
explained what their ideas were, and I was only too pleased to get | 0:11:29 | 0:11:36 | |
involved. But are they any good? can't tell you! Are they through to | 0:11:36 | 0:11:42 | |
the next round? If I can do it, anyone can! Beyond that, we were | 0:11:42 | 0:11:46 | |
talking about the therapy of it, the change that to see in these | 0:11:46 | 0:11:50 | |
boys, the confidence to walk into a room now. When you are hit with | 0:11:50 | 0:11:54 | |
something like that, I guess your confidence goes off, is that the | 0:11:54 | 0:11:58 | |
first thing that goes? Getting that back, if you can do that through | 0:11:58 | 0:12:02 | |
theatre or anything like it, it should be done more. It is going to | 0:12:02 | 0:12:06 | |
be on in the West End. Can you speak for everybody? Will you be | 0:12:06 | 0:12:11 | |
nervous? There are a couple of words I was taught not to use to | 0:12:11 | 0:12:18 | |
describe... On this show! I am scared. I would rather be storming | 0:12:18 | 0:12:22 | |
compounds! Getting on stage in front of a huge audience and like | 0:12:22 | 0:12:28 | |
that... Let's hope you storm the West End. A round of applause, | 0:12:28 | 0:12:35 | |
please. It is on the Haymarket Theatre stage, tickets are | 0:12:35 | 0:12:38 | |
available, please go along, support the boys, you will have a great | 0:12:38 | 0:12:44 | |
night, uplifting for all the right reasons. We are going to kick off | 0:12:44 | 0:12:49 | |
Opportunity Knocks Again. If have we still got it? It sounds like | 0:12:49 | 0:12:53 | |
they might have! Gyles will be telling us why the programme was | 0:12:53 | 0:12:58 | |
such a phenomenon. But first Carrie Grant conjures up memories of 1971 | 0:12:58 | 0:13:03 | |
with an act which about the entire country. Neil Reid was only 12... | 0:13:03 | 0:13:07 | |
Record always need a bit of luck to become hits, but the story of this | 0:13:07 | 0:13:10 | |
song involved a very fortunate combination of time, television and | 0:13:10 | 0:13:20 | |
talent. This is your Opportunity Knocks winners show! Long before | 0:13:20 | 0:13:24 | |
the X-Factor came along, one of the first talent shows in the UK to use | 0:13:24 | 0:13:28 | |
the power of the audience vote was Opportunity Knocks. You voted for | 0:13:28 | 0:13:35 | |
him, from Bonnie Scotland, Neil Reid! Aged 12, Neil Reid was only a | 0:13:35 | 0:13:41 | |
Vettel star, singing in northern clubs, when opportunity knocked was | 0:13:41 | 0:13:45 | |
every act's ambition. I wrote away and waited for two and a half years | 0:13:45 | 0:13:50 | |
before I got an answer. I did the audition, and on the audition they | 0:13:50 | 0:13:56 | |
said, you on the show, this is the date. Neil won the vote to return | 0:13:56 | 0:14:00 | |
on a show week after week. He was a phenomenon, but his biggest | 0:14:00 | 0:14:04 | |
opportunity came out of the blue thanks to Bill Parkinson, the | 0:14:04 | 0:14:12 | |
guitarist for Tom Jones. He sang a song, do you know it? Afterwards, | 0:14:12 | 0:14:17 | |
it struck me that if I wrote a song about my mother, maybe Tom Woods in | 0:14:18 | 0:14:25 | |
that. It said everything I want to do about my mother. Mother of mine, | 0:14:25 | 0:14:32 | |
you gave to me all of my life to do as I please. I'll everything to you. | 0:14:32 | 0:14:36 | |
Fantastic song. I cannot mean fantastic for me, but fantastic for | 0:14:36 | 0:14:41 | |
me to be able to say that to mother. His mother love the song and she | 0:14:41 | 0:14:46 | |
was not alone. It also reached the ears of Neil Reid's manager, | 0:14:46 | 0:14:55 | |
perfect for the little boy on I sang it in week four and the | 0:14:55 | 0:14:59 | |
single was released that week. shot up the charts, selling 2.5 | 0:14:59 | 0:15:05 | |
million copies worldwide. Describe life after Opportunity Knocks. | 0:15:05 | 0:15:14 | |
could not go out in public because people knew, instantly, who I was. | 0:15:14 | 0:15:17 | |
And after the hit single came an album which made him the youngest | 0:15:17 | 0:15:24 | |
artist ever to top the UK album charts. What I hated was people | 0:15:24 | 0:15:30 | |
trying to keep me 12. That is what I hated. When I was 20 it did not | 0:15:30 | 0:15:34 | |
work. I remember at one point I was doing the summer season and I | 0:15:34 | 0:15:40 | |
thought, this is nuts. I don't want to do this. I am going to get out | 0:15:40 | 0:15:48 | |
before it throws me out. He is now a business consultant. Mother of | 0:15:48 | 0:15:52 | |
mind composer, Bill, is still writing and composing music. And | 0:15:52 | 0:15:56 | |
this is the first time that two of them have met since the song was a | 0:15:56 | 0:16:05 | |
hit. # Mother of mind, you gave to make | 0:16:05 | 0:16:14 | |
# Wall of my life # To do as I pleased | 0:16:14 | 0:16:24 | |
0:16:24 | 0:16:31 | ||
It took me under one hour to write it. It took me four minutes to sing | 0:16:31 | 0:16:37 | |
it, OK. Because we did it in one take. That first one was what went | 0:16:37 | 0:16:43 | |
out. Absolutely great. That is why it has that genuine, authentic feel, | 0:16:43 | 0:16:49 | |
because it is sung from the heart. Looking back, it was just perfect | 0:16:49 | 0:16:55 | |
for the moment. It was just right, the voice, the song, it was a | 0:16:55 | 0:17:03 | |
Christmas and thumb. I also think it was something to last. Even the | 0:17:03 | 0:17:13 | |
0:17:13 | 0:17:25 | ||
hardest of hard men loved their Let's hear it for Neil Reid. | 0:17:25 | 0:17:30 | |
Welcome to Opportunity Knocks again. Have they still got it? Bringing | 0:17:30 | 0:17:34 | |
back the stars who found fame on the show to prove to Martin and Ray | 0:17:34 | 0:17:39 | |
Winstone that they still have what it takes to be a star. Louise is | 0:17:39 | 0:17:46 | |
backstage getting them ready, but first, Gyles Brandreth. Why was | 0:17:46 | 0:17:52 | |
this show is so huge? This was Britain's got talent, 1956 style. | 0:17:52 | 0:17:57 | |
20 million people a week tuned in, hosted for 22 years on ITV by | 0:17:57 | 0:18:03 | |
Hughie Green. He was Canadian and he came to this country and | 0:18:03 | 0:18:06 | |
conquered the entertainment industry and he had this show. It | 0:18:06 | 0:18:10 | |
then moved to the BBC in the late 1980s when it was first hosted by | 0:18:10 | 0:18:17 | |
Bob Monkhouse and then finally by Les Dawson, who had been one of the | 0:18:17 | 0:18:19 | |
great Opportunity Knocks discoveries. What happened was this | 0:18:19 | 0:18:24 | |
- he went along and you had a sponsor. I sponsored somebody in | 0:18:24 | 0:18:29 | |
1972. She is not appearing here tonight. You sponsored somebody and | 0:18:29 | 0:18:33 | |
then the Act came on. If the audience liked it, they clapped. | 0:18:33 | 0:18:40 | |
There was a clapometer. No judges. Just real people clapping and a man | 0:18:40 | 0:18:45 | |
in the background fiddling with the knob. You mean it was not real? | 0:18:45 | 0:18:51 | |
was like the Wizard of Oz behind a curtain. But what was for real, | 0:18:51 | 0:18:54 | |
because Hughie Green always said the clapometer is just for fun, | 0:18:54 | 0:18:58 | |
what was for real was that they had to send in a postcard in their own | 0:18:58 | 0:19:04 | |
handwriting. You could not get anybody else to do it. You sent in | 0:19:04 | 0:19:07 | |
a postcard and the person who got the most votes came back the next | 0:19:07 | 0:19:15 | |
week. Some of these people became huge stars. Sit down and be another | 0:19:15 | 0:19:20 | |
bad guests of honour, Gyles Brandreth. OK, it is time to meet | 0:19:20 | 0:19:24 | |
our first contender, an impressionist from Manchester, | 0:19:24 | 0:19:30 | |
Maxton Beesley, now 66. Let's look at him in 1971. The other day I | 0:19:30 | 0:19:38 | |
opened the door to the Northman and out popped Richard Burton. -- to | 0:19:38 | 0:19:48 | |
0:19:48 | 0:19:48 | ||
the milkman. Two pipes, or not two pints, that is the question. | 0:19:48 | 0:19:53 | |
Fantastic hair back then. It was great. I got to tour the world all | 0:19:53 | 0:19:59 | |
over the place, including Australia. I used to be very big Down Under! | 0:19:59 | 0:20:06 | |
Also America, I did Vegas. Not on stage, at Pizza Hut! It was | 0:20:06 | 0:20:12 | |
exciting and I am just back from LA. We are going to ask you to perform, | 0:20:12 | 0:20:19 | |
but you look a lot like Max Beesley. Do you know him? I do know him and | 0:20:19 | 0:20:27 | |
I am working with him in Cape Town. He is your actual son. He is my son. | 0:20:27 | 0:20:32 | |
We are ready. Ladies and gentlemen, tonight, Opportunity Knocks Again | 0:20:32 | 0:20:40 | |
for Maxton G Beesley, but does he still have it? Thank you very much. | 0:20:40 | 0:20:46 | |
Max, you have 45 seconds to do your impressions. First, in six words, | 0:20:46 | 0:20:55 | |
Tony Curtis. Marilyn and I, we love this show. In five words, Jimmy | 0:20:55 | 0:21:05 | |
0:21:05 | 0:21:09 | ||
Stewart. Now just hold on, Mr Potter. Four words, Burt Lancaster. | 0:21:09 | 0:21:16 | |
I swear to you. Thank you. We have to keep moving. His best friend, | 0:21:16 | 0:21:26 | |
0:21:26 | 0:21:28 | ||
Kirk Douglas, in three words. I'm Spartacus. In two words, Charles | 0:21:28 | 0:21:36 | |
Bronson. Hey, you. And the last one, Richard Burton in one word. | 0:21:36 | 0:21:43 | |
Elizabeth. And you can't go away without doing this one. Maxton | 0:21:43 | 0:21:53 | |
Beesley. Does he still have it? he still has it. He still has it, | 0:21:53 | 0:21:57 | |
Lady Zenden Common. Time for our second contender, an opera singer, | 0:21:57 | 0:22:07 | |
0:22:07 | 0:22:09 | ||
Rozi Morris from Monmouth, now 64. Here she is back in 1989. | 0:22:09 | 0:22:19 | |
0:22:19 | 0:22:22 | ||
# Oh, Danny Boy, the pipes, the You were on twice. Yes, I think I | 0:22:22 | 0:22:27 | |
was the only person who was on twice. 1972 was the first time and | 0:22:27 | 0:22:34 | |
then in 1990 with Bob Monkhouse. The best thing? The flowers. | 0:22:34 | 0:22:44 | |
0:22:44 | 0:22:44 | ||
have to give you a note. Good luck. This is on, excellent. Tonight, | 0:22:44 | 0:22:54 | |
0:22:54 | 0:23:12 | ||
Opportunity Knocks Again for Rozi # And I will hear you soft tread | 0:23:12 | 0:23:22 | |
0:23:22 | 0:23:24 | ||
above me # For you will bend and tell me | 0:23:24 | 0:23:34 | |
0:23:34 | 0:23:39 | ||
that you love me # And I will sleep in peace until | 0:23:39 | 0:23:49 | |
0:23:49 | 0:23:56 | ||
Gentlemen, does she still have it? She has got it in bundles. More | 0:23:56 | 0:24:02 | |
later. But now, Louise is back on the sofa with a story. This is a | 0:24:02 | 0:24:07 | |
story that Dr Watson might find interesting. A real life crime that | 0:24:07 | 0:24:10 | |
could have come out of Sherlock Holmes's' casebook. Ruth Goodman | 0:24:11 | 0:24:15 | |
has been delving into the dastardly deeds of an infamous Victorian | 0:24:15 | 0:24:19 | |
poison a. Victorian Britain had an unhealthy | 0:24:20 | 0:24:26 | |
obsession with murder. In the mid- 1800s the newspapers were full of | 0:24:26 | 0:24:30 | |
tales about women murdering their husbands. But ironically, the | 0:24:30 | 0:24:37 | |
impetus for this murderous killing spree was a financial service. Life | 0:24:37 | 0:24:40 | |
insurance policies were becoming widespread and for the first time, | 0:24:40 | 0:24:46 | |
death could mean a big payout. They were designed to keep middle class | 0:24:46 | 0:24:51 | |
families secured if the wage earner died. This historian has studied | 0:24:51 | 0:24:56 | |
the effects the new policies had. Life insurance is considered to be | 0:24:56 | 0:25:01 | |
one of the crowning achievements of Victorian civilisation. There is an | 0:25:01 | 0:25:05 | |
aggressive expansion of the market. As far as life insurance is | 0:25:05 | 0:25:08 | |
concerned, the typical payout would be thousands, even tens of | 0:25:08 | 0:25:13 | |
thousands. The financial incentive for a husband's death proved too | 0:25:13 | 0:25:17 | |
tempting to women who became known as Black Widows. Committing the | 0:25:17 | 0:25:21 | |
perfect murder in Victorian Britain was not that difficult. Deadly | 0:25:21 | 0:25:26 | |
poisons like arsenic were easily available. It was in the curtains, | 0:25:26 | 0:25:30 | |
the candles in the home, the toys that children played with. There | 0:25:30 | 0:25:36 | |
was an estimation that there were 100 million square miles of arsenic | 0:25:36 | 0:25:39 | |
green wallpaper covering the nation's walls. It was everywhere | 0:25:39 | 0:25:44 | |
and very easy to buy it. Also, its symptoms mimic some of the classic | 0:25:44 | 0:25:49 | |
filth disease's symptoms which were commonplace, gastric conditions, | 0:25:49 | 0:25:54 | |
diarrhoea and the like. Victorian graveyards began to fill with | 0:25:54 | 0:25:58 | |
victims of the black widows and arsenic earned the nickname - | 0:25:58 | 0:26:03 | |
inheritance powder. One woman in County Durham was the poster child | 0:26:03 | 0:26:10 | |
for this lethal cocktail of money and murder. Her name was Mary Ann | 0:26:10 | 0:26:15 | |
Cotton. For over 100 years she has been the Tories as the ultimate | 0:26:15 | 0:26:19 | |
black widow life-insurance killer. She claimed payouts on the deaths | 0:26:19 | 0:26:23 | |
of hunt -- husbands and children. This church was where her murderous | 0:26:23 | 0:26:29 | |
trail finally came unstuck. In early 1872, her stepson, Charles, | 0:26:30 | 0:26:34 | |
was exhumed from this graveyard. Five days before his death he had | 0:26:34 | 0:26:39 | |
been turned away from the workhouse, seemingly fit and healthy. And in | 0:26:39 | 0:26:45 | |
frustration, Mary-Ann Cotton had said to the overseer, he won't be | 0:26:45 | 0:26:51 | |
troubling me long, he will go the way of all the others. Charles was | 0:26:51 | 0:26:54 | |
the 12th of her children to die, as well as three husbands, a lover and | 0:26:54 | 0:26:59 | |
her mother. Before even making burial arrangements, her first port | 0:26:59 | 0:27:03 | |
of call was the insurance office. Like at least 11 of her dead | 0:27:03 | 0:27:10 | |
relatives, Charles' death was insured. Dr Price is from Durham | 0:27:10 | 0:27:14 | |
University and knows the story. How did she get caught? One of the | 0:27:14 | 0:27:17 | |
doctors thought it was gastric fever but saved some of the | 0:27:17 | 0:27:21 | |
internal organs to test. Eventually, he came to the conclusion that | 0:27:21 | 0:27:24 | |
Charles had been poisoned by arsenic. This prompted the | 0:27:24 | 0:27:27 | |
exhumation of some of the other bodies and they found evidence of | 0:27:27 | 0:27:33 | |
arsenic poisoning. Mary Ann Cotton was put on trial, found guilty and | 0:27:33 | 0:27:38 | |
hanged at Durham jail in 1873. After her death, parishioners | 0:27:38 | 0:27:41 | |
raised the money for his stained glass window to recognise the | 0:27:41 | 0:27:45 | |
doctor whose diligence ended her murderous career. How did she get | 0:27:45 | 0:27:51 | |
away with it for so long? Infant mortality rates were high. It also | 0:27:51 | 0:27:54 | |
helped that she moved around so there was no history of suspicion. | 0:27:54 | 0:28:00 | |
She also did a lot of nursing and who would suspect a nurse? Life | 0:28:00 | 0:28:05 | |
insurance was designed to protect bereaved families. In many cases, | 0:28:05 | 0:28:08 | |
however, and spectacularly in this one, it achieved the opposite. | 0:28:08 | 0:28:14 | |
Instead of protecting families, they were destroyed. | 0:28:14 | 0:28:18 | |
We were all gripped by that. Ray Winstone particularly. You are | 0:28:18 | 0:28:23 | |
aware of that lady. I saw that on the Discovery Channel, there was a | 0:28:23 | 0:28:31 | |
story about it. Nasty woman! If you think she's nasty, she must be. | 0:28:31 | 0:28:38 | |
am a saint. Martin, Sherlock, brilliant, back on the BBC. How | 0:28:38 | 0:28:48 | |
0:28:48 | 0:28:52 | ||
would you describe their relationship? Their relationship, | 0:28:52 | 0:28:57 | |
as has been said a lot, it is kind of a love story. It is two men who | 0:28:57 | 0:29:01 | |
love each other and need each other and don't even necessarily want to | 0:29:01 | 0:29:04 | |
need each other. They drive each other up a wall sometimes but they | 0:29:04 | 0:29:10 | |
are absolutely two halves. Sunday, it took him a while, but he | 0:29:10 | 0:29:16 | |
declared you were his only friend. He is a -- he is a lonely man. John | 0:29:16 | 0:29:20 | |
Watson is back from Afghanistan, as in the original books. He comes | 0:29:20 | 0:29:25 | |
back and finds himself with nothing and nobody. And Sherlock is a loner. | 0:29:25 | 0:29:29 | |
They find each other in the middle of this city and they complement | 0:29:29 | 0:29:33 | |
each other very well. They each bring something to the relationship. | 0:29:33 | 0:29:38 | |
How do you get on with Benedict Cumberbatch? What is that | 0:29:38 | 0:29:45 | |
relationship like? It is not great! No, it is good, thank God. Very | 0:29:45 | 0:29:49 | |
good. It was clear from the moment we met and started reading together. | 0:29:49 | 0:29:54 | |
It was good, easy. It is good luck. It is luck whether you have a | 0:29:54 | 0:29:59 | |
chemistry with someone. You can work at it, but it will never be | 0:29:59 | 0:30:04 | |
the way that it is if you have chemistry. Last week was the Hound | 0:30:04 | 0:30:11 | |
Of the Baskervilles. This week? Reichenbach Fall. Moriarty comes | 0:30:11 | 0:30:21 | |
0:30:21 | 0:30:22 | ||
back into the story. Their peers. - - there he is. He is even more | 0:30:22 | 0:30:27 | |
brilliant in this episode than he has been so far. We are going to | 0:30:27 | 0:30:37 | |
0:30:37 | 0:30:37 | ||
show a clip. Is this the bit where they have an argument? OK. You give | 0:30:37 | 0:30:47 | |
0:30:47 | 0:30:48 | ||
This is not a deerstalker, this is a Sherlock Holmes hat. You are is | 0:30:48 | 0:30:52 | |
far from famous! The press will turn, they always turn. They will | 0:30:52 | 0:30:59 | |
turn on you. It really bothers you, what people say about me. Why was | 0:30:59 | 0:31:06 | |
that upset you? Just try to keep a low profile, find yourself a little | 0:31:06 | 0:31:16 | |
0:31:16 | 0:31:16 | ||
case this week. Stay out of the Will there be a third series? They | 0:31:16 | 0:31:20 | |
have only been three. There was three last time and three this time. | 0:31:20 | 0:31:24 | |
At the moment, I don't know. We will have to wait and see what | 0:31:24 | 0:31:28 | |
happens. The hope for me was that there would be, but as you will see, | 0:31:28 | 0:31:33 | |
it is not so clear cut. Would you like somebody to tell you as soon | 0:31:33 | 0:31:39 | |
as they know? Yes. They should be. It is a class these. How would you | 0:31:39 | 0:31:47 | |
play Watson? I couldn't! Not like that. To me, that was fantastic. It | 0:31:47 | 0:31:50 | |
has actually come alive, this show. When it started, it took me a while | 0:31:50 | 0:31:56 | |
to get into it. But I am really into it now. Double acts are great | 0:31:56 | 0:32:01 | |
fun. Two great actors. You are about to be in the Sweeney. I | 0:32:01 | 0:32:05 | |
finished that just before Christmas. So you are the Sherlock in a way. | 0:32:05 | 0:32:11 | |
think it might be the other way around! He is class, is good. | 0:32:11 | 0:32:16 | |
play Jack Regan, don't you? It is difficult, because it is such an | 0:32:16 | 0:32:20 | |
iconic show. I had my reservations about doing it in the first place, | 0:32:20 | 0:32:24 | |
and it has taken a few years to get it together. We just have to start | 0:32:24 | 0:32:30 | |
again and make it our own. Hats off for Great Expectations, absolutely | 0:32:30 | 0:32:35 | |
fantastic. A class bit of work, the BBC does that better than anyone. | 0:32:35 | 0:32:40 | |
This man is already in the biggest film of Christmas 2012, the Hobbit. | 0:32:40 | 0:32:47 | |
Yes, I am! I am the hobbit. With Benedict again. Did you pull a few | 0:32:47 | 0:32:55 | |
strings? How did I get it?! How did he get it? Did he get you into the | 0:32:55 | 0:33:01 | |
hobbit? The idea that he got me in the Hobbit makes me want to kill | 0:33:01 | 0:33:06 | |
everybody in this room! I got me in the Hobbit, and he got himself in | 0:33:06 | 0:33:11 | |
the Hobbit because he is brilliant. You are Bilbo Baggins, we are all | 0:33:11 | 0:33:15 | |
going to go and see it. Happy Christmas, everyone! Is that the | 0:33:15 | 0:33:21 | |
little geezer? I am talking here! Shellac is back on Sunday, the last | 0:33:21 | 0:33:26 | |
one for a while, don't miss it. -- Sherlock. Many names spring to mind | 0:33:26 | 0:33:30 | |
from the 60s, the beetles, JFK, Marilyn Monroe, Martin Luther King, | 0:33:30 | 0:33:36 | |
Edward Craven Walker. Who? He will have heard of the genie of the | 0:33:36 | 0:33:43 | |
lamp? He is the genie are the... Sorry! What is he? He is the genius | 0:33:43 | 0:33:51 | |
In the late 1940s, after serving as a pilot in the war, Edward Craven | 0:33:51 | 0:33:55 | |
Walker went on to have a colourful career, not because he was a | 0:33:55 | 0:33:59 | |
pioneering nudist, but because he invented an object which would | 0:33:59 | 0:34:03 | |
capture the imagination of millions. It came to symbolise one of | 0:34:03 | 0:34:09 | |
Britain's most colourful decades. So what was this object? The lava | 0:34:09 | 0:34:15 | |
lamp. This was the culmination of a 12 year obsession that first began | 0:34:16 | 0:34:20 | |
in 1948 following a chance visit to the Queen's Head in Poole in Dorset. | 0:34:20 | 0:34:24 | |
After he had been propped up the bar for a few minutes, he noticed a | 0:34:24 | 0:34:29 | |
curious contraption. It looked something like this, a clear flask | 0:34:29 | 0:34:32 | |
filled with two very different liquids. After he had been looking | 0:34:32 | 0:34:36 | |
at it for a while, the landlord walked past and 10 daylight on | 0:34:36 | 0:34:41 | |
underneath. As he drank his pint, he became mesmerised by the | 0:34:41 | 0:34:44 | |
swirling drops of liquid. The landlord explained that he got it | 0:34:45 | 0:34:49 | |
from an inventor called Alfred done it. It was supposed to be some kind | 0:34:49 | 0:34:54 | |
of egg-timer, but the landlord was just using it as a curiosity. All | 0:34:54 | 0:34:59 | |
it consisted of was two liquids, oil and water, and no matter how | 0:34:59 | 0:35:03 | |
much you stir them together, they do not mix, but you do get these | 0:35:03 | 0:35:10 | |
amazing blobs and swirls forming. This was still the 1940s, and | 0:35:10 | 0:35:14 | |
novelty lamps were all but unheard of, but Craven Walker realised that | 0:35:14 | 0:35:18 | |
a lamp did not need to simply be a source of light. It could also be a | 0:35:18 | 0:35:22 | |
source of art in its own right, something to stare at and be | 0:35:22 | 0:35:30 | |
admired. And that was his eureka His next problem was to make the | 0:35:30 | 0:35:34 | |
two liquids interact by themselves, and this would be the beginning of | 0:35:34 | 0:35:39 | |
a 12 year obsession. He immediately went home and began experimenting | 0:35:39 | 0:35:44 | |
with all sorts of liquids and bottles and oils and waxes to try | 0:35:44 | 0:35:49 | |
to work out what the perfect combination was. He died in the | 0:35:49 | 0:35:52 | |
year 2000, but I am meeting up with his wife Susan to try to find out | 0:35:52 | 0:35:57 | |
how he came to create such an iconic object. Was he a very | 0:35:57 | 0:36:02 | |
meticulous man? Most of his life he spent trying to perfect it, testing | 0:36:02 | 0:36:10 | |
it and re-testing it. It drove me nuts! And was it an immediate | 0:36:10 | 0:36:16 | |
success? It went straight to the top, straight to the West End. The | 0:36:16 | 0:36:20 | |
lady came in and said, take that beastly thing away, get it out of | 0:36:20 | 0:36:26 | |
here! Every step of the way, he was known to arcane against a brick | 0:36:26 | 0:36:31 | |
wall, but he kept going. -- he was snubbed or came up against a brick | 0:36:31 | 0:36:36 | |
wall. But he was years ahead of his time, and his invention was soon to | 0:36:36 | 0:36:41 | |
strike a chord with the psychedelic revolution of the 1960s. For him, | 0:36:41 | 0:36:47 | |
what was the perfect Al-Alam like? The perfect lava lamp was won with | 0:36:47 | 0:36:53 | |
a serpentine shape. Anyone can make that man, but the perfect shape was | 0:36:53 | 0:37:02 | |
Serpentine. -- glammed. 50 years on, its popularity still endures. They | 0:37:02 | 0:37:04 | |
are pattern Tidd and are still produced here in the UK at this | 0:37:04 | 0:37:12 | |
factory run by Cressida Granger. -- patented. As it rises, there is | 0:37:12 | 0:37:18 | |
less volume of liquid, so it cools more quickly. What is inside? | 0:37:18 | 0:37:25 | |
it is secret. Secret! You can tell me, there is no one watching. | 0:37:25 | 0:37:30 | |
mainly wax, water and other secret things. Every lava lamp produced | 0:37:30 | 0:37:38 | |
here in Britain is still made by Craven Walker's invention helped to | 0:37:38 | 0:37:42 | |
define one of Britain's most colourful decades, and today the | 0:37:42 | 0:37:45 | |
lava lamp is still as intriguing as ever. | 0:37:45 | 0:37:52 | |
Yes! Let's hear it for the lava lamp! Vote now for the lava lamp! | 0:37:52 | 0:37:58 | |
Here we are at Opportunity Knocks Again. Before we meet our next | 0:37:58 | 0:38:03 | |
contender, Sally Carr from Glasgow, aged 66, and Ken Andrew from | 0:38:03 | 0:38:09 | |
Edinburgh, 69, let's have a look at them back in 1971 with a song that | 0:38:09 | 0:38:19 | |
0:38:19 | 0:38:25 | ||
Oh, that is fantastic, you sold millions of those records, didn't | 0:38:25 | 0:38:31 | |
you? Millions and millions. that is not what you won | 0:38:31 | 0:38:36 | |
Opportunity Knocks with. It did not change our lives, but it changed | 0:38:36 | 0:38:40 | |
our name, as you can see, we went into pop-music, so we were nervous | 0:38:40 | 0:38:45 | |
about whether we could do this again. We are going to drive. | 0:38:45 | 0:38:50 | |
be nervous, I think they are ready for you! Tonight Opportunity Knocks | 0:38:50 | 0:39:00 | |
0:39:00 | 0:39:00 | ||
Apology for the loss of subtitles for 47 seconds | 0:39:00 | 0:39:47 | |
Again for Sally Carr and Ken Andrew, Gentlemen of the jury, have they | 0:39:47 | 0:39:52 | |
still got it? They have still got it! Have they got it in bundles? | 0:39:53 | 0:40:00 | |
Bundles! Officially, it is another bundle! Time for our 4th contender, | 0:40:00 | 0:40:05 | |
comedian Frankie Allen from Liverpool. Here he is back in 1987. | 0:40:05 | 0:40:10 | |
Imagine having a bevvy with the incredible hulk and he knocked his | 0:40:10 | 0:40:20 | |
0:40:20 | 0:40:22 | ||
pint over. All right, keep your Looking fantastic, are you still | 0:40:22 | 0:40:28 | |
performing? Yeah, I am working all over the time, all over Europe, a | 0:40:28 | 0:40:33 | |
lot for the forces. Did it give you lots of opportunities? | 0:40:33 | 0:40:37 | |
Monkhouse gave me some great advice, it was fantastic, events in my life, | 0:40:37 | 0:40:41 | |
and I have not stopped, I have been working everywhere, busy, met some | 0:40:41 | 0:40:46 | |
marvellous people all over the world, great. You are here to work | 0:40:46 | 0:40:51 | |
tonight, I hear that they are ready for you. Yes, we are ready, tonight | 0:40:51 | 0:41:01 | |
0:41:01 | 0:41:03 | ||
Opportunity Knocks Again for I was driving through Liverpool. I | 0:41:04 | 0:41:09 | |
saw a house with balloons outside. Birthday cards on the door. He said | 0:41:09 | 0:41:15 | |
Happy birthday, Becky, 18 today. Underneath, it said the world's | 0:41:15 | 0:41:25 | |
0:41:25 | 0:41:28 | ||
Boughton advent calendar been Liverpool. All the windows were | 0:41:28 | 0:41:35 | |
boarded up. Thank you very much! Has he still got it? Still got it, | 0:41:35 | 0:41:42 | |
baby! He has still got it. So a fellow drinking... He was drinking | 0:41:42 | 0:41:50 | |
brake fluid. It will kill you. He said, Frank, I can start anytime I | 0:41:50 | 0:41:58 | |
want! Thank you very much, Frank! An encore, brilliant! It is time to | 0:41:58 | 0:42:02 | |
meet another contender, one-man- band Bruce Thompson from Newcastle. | 0:42:02 | 0:42:08 | |
This is him back in 1971. Fantastic! Look at that hair as | 0:42:08 | 0:42:14 | |
well. Thank you. I have still got it. How many instruments? At the | 0:42:14 | 0:42:19 | |
minute, five. And a voice! You have to practise this last night. | 0:42:19 | 0:42:23 | |
song that I did in 1971, I have not signed it since, and you will see | 0:42:23 | 0:42:28 | |
why in a minute. I had to download it last night and learned again. | 0:42:28 | 0:42:34 | |
You have, they are ready, good luck. All right, tonight Opportunity | 0:42:34 | 0:42:44 | |
0:42:44 | 0:43:12 | ||
Knocks Again for Bruce Thompson. All right, come on, let's hear it | 0:43:12 | 0:43:19 | |
for Bruce! Has he still got it? has got it, this is TV gold! Bruce | 0:43:19 | 0:43:24 | |
has still got it, thank you so much. Our next guest is a bit of a | 0:43:24 | 0:43:32 | |
special one. He is a beginner, it is Jay Rayner! Ladies and gentlemen, | 0:43:32 | 0:43:40 | |
tonight I give you a Lancashire Beautiful Lancashire, the perfect | 0:43:40 | 0:43:44 | |
place to come to celebrate the renaissance of a great traditional | 0:43:44 | 0:43:48 | |
British dish. When it is usually cold and damp outside, you need a | 0:43:48 | 0:43:51 | |
meal that is going to warn you to the tips of your toes, and that is | 0:43:51 | 0:43:56 | |
where Lancashire hot pot comes in, hot, steaming loveliness, layers of | 0:43:56 | 0:44:04 | |
lamb, potato, I could really do with something like that now! | 0:44:04 | 0:44:07 | |
Traditionally, it was a dish of necessity made it the cheapest and | 0:44:07 | 0:44:11 | |
most readily available ingredients. A few hundred years ago, workers | 0:44:11 | 0:44:14 | |
would leave the hot part in the baker's bread oven during the day, | 0:44:14 | 0:44:18 | |
and by the time they came home, the mutton would be beautifully tender. | 0:44:18 | 0:44:23 | |
The first time the hotpot got a literary mention is in the novel | 0:44:23 | 0:44:27 | |
north and south. Victorian writer Elizabeth Gaskell described how the | 0:44:27 | 0:44:31 | |
mill owner dined on hotpot with his workers, saying, I have never made | 0:44:31 | 0:44:38 | |
a better dinner in my life. Two Art Part, coming up! Nigel is | 0:44:38 | 0:44:42 | |
Lancashire born and bred. He says it deserves its place and the menu | 0:44:42 | 0:44:52 | |
0:44:52 | 0:44:52 | ||
You'll love Lancashire hotpot. is my favourite dish. We always had | 0:44:52 | 0:44:58 | |
it as a family. It is a very simple dish, slow-cooked, beautiful, | 0:44:58 | 0:45:03 | |
something a family can enjoy and celebrate together. Are there are | 0:45:03 | 0:45:07 | |
regional differences? There have been rumours of black pudding going | 0:45:07 | 0:45:13 | |
into a hot pot, and kidneys. For me, carrots, kidneys, black pudding, | 0:45:13 | 0:45:16 | |
that is a no-no. Time to start cooking and I am being allowed to | 0:45:16 | 0:45:20 | |
help. I feel an immense responsibility. It all depends on | 0:45:20 | 0:45:25 | |
me. Nigel is using traditional cheap cuts of lamb but sneaking in | 0:45:25 | 0:45:31 | |
some expensive ones. And there is a surprise ingredient. Oysters in a | 0:45:31 | 0:45:35 | |
hot pot? They are a natural thing in hot pot. In Lancashire, they | 0:45:36 | 0:45:40 | |
were a cheap commodity 100 years ago and used as protein. When meat | 0:45:40 | 0:45:44 | |
was out of season or expensive, they would use oysters. What does | 0:45:44 | 0:45:50 | |
it give to the dish? An extra bit of luxury and richness, and it is | 0:45:50 | 0:45:56 | |
just interesting and different. It is a form of surf and turf. Onions | 0:45:56 | 0:46:00 | |
next, with lamb chops adding drama to the dish. With the bone pointing | 0:46:00 | 0:46:10 | |
out? Yes, push them right down like that. Beautiful. OK, I have got the | 0:46:10 | 0:46:15 | |
potatoes. That is looking good. for the potatoey lid. No, we have | 0:46:15 | 0:46:21 | |
not forgotten the stock. Nigel's of court does not have any. You have | 0:46:21 | 0:46:25 | |
plenty of liquid in the potatoes and onions and the lamb releases | 0:46:25 | 0:46:29 | |
juices. You have the oysters as well. We are trying to get a hot | 0:46:29 | 0:46:34 | |
pot that is a hot pot, not a broth. It all comes together as one. | 0:46:34 | 0:46:38 | |
Poppet in the oven for three hours and you should have a beautiful, | 0:46:38 | 0:46:48 | |
0:46:48 | 0:46:57 | ||
It smells fantastic, but how does it taste? The bit of oyster. I have | 0:46:57 | 0:47:01 | |
had Lancashire hot pot before, but this has an added dimension. There | 0:47:01 | 0:47:06 | |
is a richness to the oyster. It is not fishy. It is sweet and dense. | 0:47:06 | 0:47:13 | |
It is lovely and it is all mine. But not for long. I have come to | 0:47:13 | 0:47:18 | |
see how modern-day Lancastrians feel about the oysters that their | 0:47:18 | 0:47:26 | |
forefathers loved. That is very good. I would not opt for that. | 0:47:26 | 0:47:30 | |
am going down to the seaside to get the oysters. Looking at the remains, | 0:47:30 | 0:47:35 | |
it is clear that this has been a hit. No real surprise, it is a | 0:47:35 | 0:47:41 | |
classic. But throw in some oysters and it is even better than that. | 0:47:41 | 0:47:45 | |
My favourite dish in the world, literally, in the world. I am not | 0:47:45 | 0:47:49 | |
sure my mum would approve of the oysters. Cornish pasty is have to | 0:47:49 | 0:47:54 | |
come from Cornwall. What about a hotpot and Lancashire. You cannot | 0:47:54 | 0:48:01 | |
put a product of designated origin on a recipe. Only products. We had | 0:48:01 | 0:48:04 | |
won their, cheese from Lancashire. We have loads of products from | 0:48:04 | 0:48:09 | |
Lancashire, because it is good stuff. You have to drive this. This | 0:48:09 | 0:48:19 | |
0:48:19 | 0:48:25 | ||
is called the Lancashire bomb. -- It is really powerful. Wow! It is a | 0:48:25 | 0:48:30 | |
sheep's cheese, made by the same family for four generations. Cy M | 0:48:30 | 0:48:40 | |
that is all right. I would have Then we have better pies. They came | 0:48:40 | 0:48:44 | |
about because the Catholics did not want to eat meat on Fridays. -- | 0:48:44 | 0:48:53 | |
butter. Potato, Leek, butter, basically carbohydrates squared. | 0:48:53 | 0:48:59 | |
Very good for your festive figure. Can you feel your arteries | 0:48:59 | 0:49:04 | |
hardening? Yes, but I don't care because it is so nice. We have | 0:49:04 | 0:49:09 | |
Chorley cake, which is like Eccles cake but less sweet. There is lots | 0:49:09 | 0:49:16 | |
of very good stuff. How good is this? That is very good, I like | 0:49:16 | 0:49:26 | |
that. Shall I have some of that? The show is over! We are on the | 0:49:26 | 0:49:29 | |
hunt for the One Show spaghetti bolognese. We want special twists | 0:49:29 | 0:49:35 | |
and ingredients that make yours the best. Ray Winstone thinks the law | 0:49:35 | 0:49:45 | |
0:49:45 | 0:49:49 | ||
is the clue. -- he thinks you need Grated plain chocolate. | 0:49:50 | 0:49:59 | |
0:50:00 | 0:50:06 | ||
Controversial, but interesting. Beautiful. He is vegetarian. Lie- | 0:50:06 | 0:50:10 | |
detector tests have been in the news this week and Hertfordshire | 0:50:10 | 0:50:14 | |
police have been carrying out a trial to determine whether they are | 0:50:14 | 0:50:20 | |
a useful way of bringing about securing convictions. But is there | 0:50:20 | 0:50:26 | |
any truth in lie-detectors? Joe Crowley has been to find out. | 0:50:26 | 0:50:30 | |
The added dimension of the polygraph focuses attention during | 0:50:30 | 0:50:35 | |
tense scenes in cop drama interrogations. But do we really | 0:50:35 | 0:50:40 | |
need the polygraph machine, the lie detector? I do not lie, but | 0:50:40 | 0:50:45 | |
sometimes not telling the truth is good. Would you consider yourself | 0:50:45 | 0:50:54 | |
an honest person? Yes. Do you ever lied to people? Yes. If you had to | 0:50:54 | 0:50:57 | |
go on a lie-detector test, a polygraph, do you think you would | 0:50:58 | 0:51:03 | |
pass? No. So how reliable is a polygraph at finding the truth? | 0:51:04 | 0:51:09 | |
This is my better half. Bruce is here so I cannot tell you her name. | 0:51:09 | 0:51:12 | |
I am going to try to conceal it from him and he is going to try to | 0:51:12 | 0:51:17 | |
find it out using a polygraph. would like you to write down eight | 0:51:17 | 0:51:23 | |
names and I will go through them and say, is this your girl from's | 0:51:23 | 0:51:28 | |
name for? I want you to sate No each time. -- your girlfriend. A | 0:51:28 | 0:51:31 | |
normal test would be to find out if you had committed a certain deed | 0:51:31 | 0:51:35 | |
but in this instance we are just going to get some information from | 0:51:35 | 0:51:45 | |
0:51:45 | 0:51:49 | ||
you. Is your girlfriend's name Emma? No. Hanna? | 0:51:49 | 0:51:52 | |
I am not sure how good I was at concealing the truth, but we will | 0:51:52 | 0:51:58 | |
find out later. The polygraph is not admissible in British courts, | 0:51:58 | 0:52:02 | |
but it is slightly different in the States. Sadly, the BBC budget does | 0:52:02 | 0:52:06 | |
not take me to America, but through the wonders of modern technology I | 0:52:06 | 0:52:12 | |
can speak to Professor Ronald Sullivan at Harvard Law School. So, | 0:52:12 | 0:52:16 | |
Professor, can you hear me? Thank you for joining me. How do | 0:52:16 | 0:52:21 | |
polygraphs work in American courts? Some states permit the use of | 0:52:21 | 0:52:28 | |
polygraph evidence. New Mexico is one interesting example. New Mexico | 0:52:28 | 0:52:31 | |
basically treats jurors as grown- ups and says, we are going to | 0:52:32 | 0:52:35 | |
present you with evidence and some of this evidence may be polygraph | 0:52:35 | 0:52:40 | |
evidence. You will hear both sides. You will hear the proponent of the | 0:52:40 | 0:52:43 | |
evidence says it is reliable. You will hear the opponent of the | 0:52:43 | 0:52:48 | |
evidence say it is unreliable. And you make the decision whether you | 0:52:48 | 0:52:53 | |
use it. But Professor Sullivan admits that large sections of the | 0:52:53 | 0:52:58 | |
US scientific community regarded as a pseudo-science. Back with Bruce, | 0:52:58 | 0:53:02 | |
the Test is over, he has analysed the data and it is time for the | 0:53:02 | 0:53:11 | |
results. The most likely name of your girlfriend would be heaven. Is | 0:53:11 | 0:53:21 | |
0:53:21 | 0:53:21 | ||
it? Yes. -- Helen. You can see this peak here. These are the other | 0:53:21 | 0:53:25 | |
names and he reacted to some of them, but when it came to Helen, | 0:53:25 | 0:53:29 | |
you get a nice reaction and it died away afterwards. I am still | 0:53:29 | 0:53:32 | |
sceptical about it but you can reassure my lovely other half that | 0:53:33 | 0:53:38 | |
she has nothing to fear from any of those other seven names. I don't | 0:53:38 | 0:53:42 | |
think she has anything to fear from the other seven names. Because you | 0:53:42 | 0:53:46 | |
reacted so strongly, it is probably something important with her. | 0:53:46 | 0:53:50 | |
Possibly you are going to dump her, or possibly you are very much in | 0:53:50 | 0:53:55 | |
love and looking forward to going home. I cannot tell that. And that | 0:53:55 | 0:53:59 | |
was all true, Ladies and Gentlemen. Time for another star from | 0:53:59 | 0:54:07 | |
Opportunity Knocks Again. Have they still got it? Accordion player | 0:54:07 | 0:54:11 | |
Steve originally appeared on Opportunity Knocks in 1978. Here he | 0:54:11 | 0:54:21 | |
0:54:21 | 0:54:27 | ||
Fantastic, Steve. I am loving the outfit. Can we have a look? | 0:54:27 | 0:54:36 | |
Gorgeous legs! I have had them for a long time. Did Opportunity Knocks | 0:54:36 | 0:54:41 | |
change your life? It did. I get lots of work on my website and | 0:54:41 | 0:54:46 | |
contracts everywhere. Your wife was in the audience then and she is | 0:54:46 | 0:54:51 | |
here tonight as well. She has always travelled with me. All the | 0:54:51 | 0:54:57 | |
time. They are ready for you. I gather you have to put on your | 0:54:57 | 0:55:05 | |
instrument. Yes. Good luck. So far, all that acts have got what it | 0:55:05 | 0:55:15 | |
0:55:15 | 0:55:15 | ||
Apology for the loss of subtitles for 47 seconds | 0:55:15 | 0:56:09 | |
takes, but has Steve? He is ready? Standing ovation, look at that! The | 0:56:09 | 0:56:16 | |
first standing ovation of the night. Now, our last performance, ladies | 0:56:16 | 0:56:25 | |
and gentlemen. Make the most of it. Chris Morris from Bodmin, now 54. | 0:56:25 | 0:56:35 | |
0:56:35 | 0:56:52 | ||
That was the Royal Variety Performance. We had a song which | 0:56:52 | 0:56:56 | |
was number one after doing that programme, and then we did the | 0:56:56 | 0:57:01 | |
Royal Variety performance as well. It was fantastic. You are still | 0:57:01 | 0:57:07 | |
working. Yes, I have a recording studio and I record new artists. | 0:57:07 | 0:57:12 | |
And I also work with a 70s band. don't want to make you nervous, but | 0:57:12 | 0:57:17 | |
they are ready. Good luck. He has to still have it. Opportunity | 0:57:17 | 0:57:27 | |
0:57:27 | 0:57:45 | ||
# Bells ring, birds sing # Sunday Shining | 0:57:45 | 0:57:51 | |
# No more pining # Just be true | 0:57:51 | 0:58:01 | |
0:58:01 | 0:58:10 | ||
# Shining through Chris is still a hero. Come on, | 0:58:10 | 0:58:17 | |
welcome back all have our guests. Did they still have it? Come on, | 0:58:17 | 0:58:21 | |
say goodbye to the viewers. Sherlock is back on the TV at 9 | 0:58:22 | 0:58:31 | |
0:58:32 | 0:58:32 |