:00:21. > :00:28.Hello and welcome to The One Show. With Matt Baker. And Alex Jones. An
:00:29. > :00:32.hour or so ago, an open topped bus left Jubilee Square in Leicester
:00:33. > :00:35.carrying the Premier League champions look on a victory parade
:00:36. > :00:39.through the town. It's all kicking off up in Leicester but the party
:00:40. > :00:43.hasn't really stopped since that night at Jamie Vardy's house two
:00:44. > :00:48.weeks ago. It's like as if we were there. Live to Victoria Park later
:00:49. > :00:55.where Joe is with fans preparing the home coming. Tonight's guest is a
:00:56. > :01:01.hero, a super hero. His character in the latest X-Men film has awesome
:01:02. > :01:02.telekinetic and telepathic powers so we'll see if we can tell who the
:01:03. > :01:12.guest is. Concentrate now. Anything there? Coming through? Did
:01:13. > :01:15.you get it? For nigh mere mortals out there who didn't get it, it's
:01:16. > :01:21.James McAvoy! APPLAUSE.
:01:22. > :01:26.Great to see you. Thanks for having me. We were only watching you today
:01:27. > :01:31.as Professor X and we find out in the movie why the character
:01:32. > :01:36.Professor X is bald. Yes. Obviously played by Patrick Stewart in former
:01:37. > :01:41.films. But there is a moment because you shave your own head don't you,
:01:42. > :01:47.you are proper bald here? I'm proper bald, I go full-blown bald. There is
:01:48. > :01:51.no half measures really. Look, I've been waiting for six years to go for
:01:52. > :01:57.the full-blown bald so I was really glad that they let me do it. We've
:01:58. > :02:00.got the clip. Talk us through as you are shaving here. Is Patrick Stewart
:02:01. > :02:06.on the line while you are doing this? I thought you were going to
:02:07. > :02:13.say is he on the loo? He's on the line. Yes, we managed to face time
:02:14. > :02:17.him when we did this. That's my favourite bit. Then he gives you a
:02:18. > :02:28.close shave afterwards, after that bit? Patrick? No. Felix shaved me
:02:29. > :02:33.with the white stuff and all of that. We heard Patrick Stewart kept
:02:34. > :02:39.a lock of your hair. I mean that's a bit weird isn't it? He's annoyed at
:02:40. > :02:45.me for taking over so he wants a voodoo doll. He wanted me to send
:02:46. > :02:48.him the hair so he could make it into a wig. It never happened but
:02:49. > :02:55.the director's got it in a bag in his safe. In his house. Why? Which
:02:56. > :03:00.is a little bit weird. And sometimes it wakes me up at night in cold
:03:01. > :03:04.sweats. That is strange. 20 years down the line though it might be
:03:05. > :03:13.worth a fortune. That is true. Strange. We have got a few fans in
:03:14. > :03:17.the audience. We might introduce them later.
:03:18. > :03:24.First, to a crime that cost ?400 million a year, it's caused fires,
:03:25. > :03:27.explosions and even deaths. Nick Wallace has joined enforcement
:03:28. > :03:35.authorities as they shine a light on the dark and dangerous world of
:03:36. > :03:38.energy theft. Meet Joel and Piers, they are energy
:03:39. > :03:42.theft investigators and tour the country tracking down people who
:03:43. > :03:47.tamper with their gas or electricity supply to avoid paying what is due.
:03:48. > :03:52.Fiddling a metre may sound harmless enough but when it's a gas supply
:03:53. > :03:56.that is being tampered with, lives are in danger. Today they are in
:03:57. > :03:59.Liverpool and the first stop of the day is a convenience store which
:04:00. > :04:03.hasn't paid for any electricity for some time. Morning, Sir. British
:04:04. > :04:11.Gas, just come to inspect the metre...
:04:12. > :04:14.Joel and Piers soon work out the metre has been tampered with. They
:04:15. > :04:22.collect the evidence and call in an engineer. Yes, got it. Now it's
:04:23. > :04:26.switch off time. But something is up. They can still hear the hum of
:04:27. > :04:31.electricity. So they head down to the basement. We've now disconnected
:04:32. > :04:35.the supply to the whole of the shop and lo and behold everything town
:04:36. > :04:39.here is still on. I can't believe how many freezers they've got. But
:04:40. > :04:45.they are still switched on. We've got one here, one here, three along
:04:46. > :04:50.the line there and in the other room, there are about three more at
:04:51. > :04:54.least in one line. I don't think I've ever seen so many chiller
:04:55. > :04:59.cabinets or freezers in one shop. It's a case now of finding out where
:05:00. > :05:02.this metre is. This building it seems isn't just home to a
:05:03. > :05:08.convenience store, there's also a butchers, a pool hall and a bar
:05:09. > :05:13.above the shop and all are apparently getting their power from
:05:14. > :05:17.the same illegal supply. Two hours in and they've still not found it.
:05:18. > :05:27.Then Joel spots a possible source. But it's well hidden. OK. Yes, back
:05:28. > :05:32.on. And the sockets. That's taken this lot out. The team cut the fuse
:05:33. > :05:36.box for this completely unmeetered electricity supply and just as they
:05:37. > :05:40.think their work is done, the boys make another dangerous discovery in
:05:41. > :05:48.a chicken shop in the same complex. Not only have we spotted a
:05:49. > :05:52.commercial gas metre there, it's illegal and the metre is in reverse.
:05:53. > :05:56.The view on this gas metre is crystal clear. It's a ticking
:05:57. > :06:01.timebomb. It's waiting to go wrong. And go wrong they do. In May 2013, a
:06:02. > :06:06.home in Sheffield was destroyed and two more damaged in a gas explosion
:06:07. > :06:10.on a residential street. Although any evidence of what caused the
:06:11. > :06:14.explosion disappeared in the blast, when police and inspectors visited
:06:15. > :06:19.other homes in the street, they found eight instances of energy
:06:20. > :06:23.theft. The energy companies reckon around ?400 million worth of gas and
:06:24. > :06:28.electricity are being stolen every year, adding about ?20 to our annual
:06:29. > :06:33.household bills which means me and you are forking out for this. This.?
:06:34. > :06:39.Back in Liverpool, Joel and Piers are trying to find the supply. It
:06:40. > :06:47.seems someone's dug out pipes in the pavement, it's theft on an
:06:48. > :06:50.industrial scale. They are going to dig outside and see where it's being
:06:51. > :06:55.connected to the mains. The boys have one more job to do, work out
:06:56. > :07:00.just how much electricity is being stolen and present the shopkeeper
:07:01. > :07:04.with the bill and a warning. Very, very dangerous. That could easily
:07:05. > :07:09.have started a fire and caused the whole lot to go up in smoke.
:07:10. > :07:13.Unsurprisingly it's a heavy sum and they calculate the shop owes ?11,500
:07:14. > :07:21.for the last three months. The next day, the owner pays up in full. The
:07:22. > :07:25.UK revenue protection association says in 2014, around 150,000 cases
:07:26. > :07:30.of suspected metre tampering were reported but only around 1,600
:07:31. > :07:35.people a year are successfully prosecuted for it in the courts.
:07:36. > :07:43.Mark Andrews is the team's head of revenue proshe cannion. --
:07:44. > :07:46.protection. Who is doing this? Most people get a bill for gas and
:07:47. > :07:51.electricity that they have used and a fine. Is that enough of a
:07:52. > :07:57.disincentive for them? If we find you stealing, you lose your supply
:07:58. > :08:00.until it's sorted. You get a bill for the energy stolen, then of
:08:01. > :08:03.course these matters are reported to the police and there is a maximum
:08:04. > :08:07.five years in prison for stealing energy.
:08:08. > :08:12.Meanwhile, Piers and Joel are back on the road searching out more of
:08:13. > :08:20.the 10,000 tampered supplies British Gas expects to find this year. If
:08:21. > :08:25.you suspect anything of a neighbour or anything like that, you can
:08:26. > :08:28.report anonymously to Crimestoppers. Time to talk about X-Men Apocalypse.
:08:29. > :08:38.Let's start with a clip. What is it? Oh, God, he can control
:08:39. > :08:43.all of us. Charles! The world needs the X-Men. That's why I'm here. To
:08:44. > :08:50.fight. Not all of us can control our powers. Then don't. This is war.
:08:51. > :08:57.Everything they've built... Will fall. And from the ashes of their
:08:58. > :09:11.world, we'll build a better one. I've never felt power like this
:09:12. > :09:18.before. Wow! When I'm saying that I've never
:09:19. > :09:24.felt power like this before it's because I'm stealing it from all my
:09:25. > :09:31.neighbours. Not even a titter from the audience. We appreciated that.
:09:32. > :09:34.To be fair, you are in contact with those mutants, that's the whole
:09:35. > :09:39.point of that scene. Tell us, how has this kind of, I mean it's an
:09:40. > :09:49.incredible chain of films, this is the ninth film now, so how is the
:09:50. > :09:53.story moving on? Electrically and ever more brilliantly. We are not
:09:54. > :09:59.just doing the same thing the whole time, promise. Nine films haven't
:10:00. > :10:06.run out of stories. To be honest, it's about we go from the innocence
:10:07. > :10:10.of bumbling along X-Men into the type of people that maybe Eric is
:10:11. > :10:13.who leads armies and into the type of person Charles is, a social
:10:14. > :10:18.worker, teacher Professor by day and by night he's got a paramilitary
:10:19. > :10:27.organisation in his basement. That's what this movie turns us into
:10:28. > :10:30.really. It's still part of the origin-type stories a little bit
:10:31. > :10:34.where it's still building towards the people you've seen in the
:10:35. > :10:40.movies. We are still on a journey towards becoming Patrick Stewart.
:10:41. > :10:44.You talk about the origins and where the characters have come from and
:10:45. > :10:48.you are Mr X, Professor X in this one. I know. How much pressure do
:10:49. > :10:53.you feel to know the back stories of the other characters because it's
:10:54. > :11:01.really complex isn't it? Matt's got the encyclopedia. But where are you
:11:02. > :11:05.on this? You must feel under pressure to know that when you meet
:11:06. > :11:13.fans like we have in tonight. I forgot the name of angel, the real
:11:14. > :11:21.angel. He's called? Warren Worthington III. There you go!
:11:22. > :11:31.Raven, do you know your second name? No. Dark Horn. Carry on. Give got
:11:32. > :11:35.the encyclopedia. Do you trawl the Internet for memorabilia, do you
:11:36. > :11:38.carry stuff of your own character? I have collected a few things. When
:11:39. > :11:43.you have Professor X you don't get involved a lot in the fight scenes
:11:44. > :11:46.or a lot of the posters where people are flying in with fists and stuff
:11:47. > :11:53.like that. Anything that's got Professor X on it, I'm always like,
:11:54. > :11:58.I'm having that. I wore a T-shirt with my own character on. That is
:11:59. > :12:02.not cool at all. At least you don't collect other people's hair yet. I
:12:03. > :12:09.should wear a T-shirt with James McAvoy on it. This film is, the
:12:10. > :12:14.majority of actors are British aren't they, so does it feel like a
:12:15. > :12:19.British production? It did to begin with when we were first shooting the
:12:20. > :12:23.X-Men first class, we shot in Pinewood and it was a British
:12:24. > :12:28.director and it all felt very sort of home-grown and then the second
:12:29. > :12:35.and third we did in Montreal with an American director and brought more
:12:36. > :12:40.actors in who were British. It was devastating... No, it really just
:12:41. > :12:45.feels like, rather than being concerned about being British or
:12:46. > :12:48.American or Canadian or Australian, because big Hugh, he's Australian, I
:12:49. > :12:54.don't know, we've all got a really good vibe on set and a really good
:12:55. > :12:58.way of working with each other and it's not like once in a career time
:12:59. > :13:02.or once in a lifetime, it's only happened to me two or three times in
:13:03. > :13:07.my career, you get a group of people that get on that well. So apart from
:13:08. > :13:10.the fact that the audience enjoy it, we have a lovely time together which
:13:11. > :13:17.doesn't really mat tore the audience. It's a similar vibe to The
:13:18. > :13:21.One Show. Exactly. We enjoy it! The film X-Men Apocalypse is released
:13:22. > :13:29.this Wednesday and thank you to James! -- doesn't really matter to
:13:30. > :13:35.the audience. One of James first major roles was
:13:36. > :13:39.in Shameless about the adventures of the per poach chillily skint
:13:40. > :13:46.Gallagher family. Shameless owes a debt of gratitude to a play first
:13:47. > :13:50.performed 60 years ago. -- perpetually. Think of all the
:13:51. > :13:54.dramas you love, happy valley, Coronation Street and Shameless all
:13:55. > :14:00.portraying working class characters from the north with fire in their
:14:01. > :14:04.bellies. But it wasn't always that way. A playwrighten in this room in
:14:05. > :14:10.Derby 60 years ago changed the game and did so by making for the first
:14:11. > :14:17.time a hero of a working class character. Written by John Osborne
:14:18. > :14:20.in 1955, look back in anger centred around a very ordinary
:14:21. > :14:33.claustrophobic bedsit. Its lead character, a young working class man
:14:34. > :14:37.was expressing bitterness at a Britain ruled by a hypocritical
:14:38. > :14:43.establishment and he mocks his middle class wife Alison. Out of my
:14:44. > :14:47.sight. When it premiered in 1956, here at the Royal Court Theatre in
:14:48. > :14:52.London, it was nothing short of revolutionary.
:14:53. > :14:58.Up until then, theatre was a genteel middle class affair. Lords and
:14:59. > :15:04.Ladies, RP act isn'ts, drawing rooms and gowns an gallons and gallons of
:15:05. > :15:08.tea. One of those nice cucumber sandwiches you promised me.
:15:09. > :15:14.Osborne's play wrestled gentility to the ground and gave it a good
:15:15. > :15:19.kicking. I wonder if you might become a young recognisable human
:15:20. > :15:26.being but I doubt it. The critics went wild. Kenneth Tynan did.
:15:27. > :15:32.Serenely glowing, surrounded by middle aged faces. Gary Raymond
:15:33. > :15:34.there for the first run and who later played Jimmy Porter's flat
:15:35. > :15:37.mate remembers the controversy at the time. What was the reaction of
:15:38. > :15:48.the audience around you? Cross, some of them thought, why
:15:49. > :15:54.doesn't he get a proper job? Is it true that Look Back In Anger made
:15:55. > :15:57.possible much of what followed? It created a road, people thought they
:15:58. > :16:03.could write about these kind of people. And that led to the silver
:16:04. > :16:07.screen, and Look Back In Anger was made into a film starring Richard
:16:08. > :16:11.Burton and Gary played Cliff. What did Richard Burton bring to the
:16:12. > :16:18.character of Jimmy Porter? Tremendous panache, he was tanned
:16:19. > :16:25.and he glowed. Try washing your socks. And soon television was
:16:26. > :16:29.getting in on the working class act. It was the dawning of a new era in
:16:30. > :16:35.which culture and the gritty realism of ordinary life was told in
:16:36. > :16:39.regional accents. Now, angry young men and women were ringing the
:16:40. > :16:43.changes, and although John Osborne is credited with creating a working
:16:44. > :16:50.class cultural Revolution, a lot of his own life on which the play was
:16:51. > :16:54.based was a little more complex. He was from the affluent London
:16:55. > :16:58.suburbs, attended public school and enjoyed the finer things in life.
:16:59. > :17:04.Which he found here in the wine bars of posh Sloane Square. But he said
:17:05. > :17:10.his middle-class upbringing had been suffocating and that has to be a
:17:11. > :17:13.recipe for anger. Actor Peter Egan was John Osborne's friend in his
:17:14. > :17:20.later years. Was he anything like Jimmy Porter? He was like an exposed
:17:21. > :17:25.nerve. Did he come down with advancing years? He was more
:17:26. > :17:33.completely what he was, vitriolic voice box. And he was not modest. I
:17:34. > :17:37.think that why that particular play of mine worked was because it was
:17:38. > :17:45.very well written. John Osborne wrote his last play in 1994, sequel
:17:46. > :17:48.to Look Back In Anger. It sees Jimmy Porter living in a big country house
:17:49. > :17:54.and Peter Egan played the angry, older man. I got to love the play
:17:55. > :18:00.very much. Did you love Jimmy? Yes, I did. I admired John Osborne, he
:18:01. > :18:05.was a hero of mine and I wanted to pay tribute to him. John Osborne
:18:06. > :18:07.died in 1994, having been awarded the MBE. Part of the establishment
:18:08. > :18:22.after all. # Don't look back in anger, I hear
:18:23. > :18:25.you say... STUDIO: You have said you are worried about acting as a
:18:26. > :18:29.profession becoming elitist, and you have set up an amazing scholarship
:18:30. > :18:36.fund. What are you hoping to achieve? Helping young kids in
:18:37. > :18:40.Scotland? That is it, helping people that want to try things out but
:18:41. > :18:46.don't have the money to do it. I don't mind if acting is full of posh
:18:47. > :18:49.actors, even though it will be healthier for it, but I don't really
:18:50. > :18:54.mind, but I do care about the country which has a government which
:18:55. > :19:01.does not allow everyone across the border have access to an education
:19:02. > :19:10.which also includes art -- across the board. I think our can help ECB
:19:11. > :19:17.and your limitations, it stops you going thinking you are only good
:19:18. > :19:22.enough for that -- I think art can help and expand your limitations.
:19:23. > :19:29.The eases way to keep society static is to get rid of art. Art in
:19:30. > :19:33.education is at an all-time low, and that is why, I don't thing acting is
:19:34. > :19:38.elitist, but the only fresh meat that the acting industry is getting
:19:39. > :19:44.is from private schools. Because the other schools do not have any time
:19:45. > :19:50.or any money to spend on art, it is a funding thing and government
:19:51. > :19:54.prioritising the expansion... It sounds touchy-feely, but if you want
:19:55. > :19:58.social mobility and you want your kid to have a better life than you,
:19:59. > :20:03.art is very important, I think. You will like this next bit, we will get
:20:04. > :20:13.the biggest story to come out of the shepherding world this week. I'm
:20:14. > :20:17.ready. It is time for the headlines. A border collie called Cap has been
:20:18. > :20:22.sold for nearly ?15,000, becoming the most expensive sheepdog in
:20:23. > :20:25.Britain. The question is, is he going to be redundant but for the
:20:26. > :20:32.receipt has been printed? Not if I have anything to do with it. We have
:20:33. > :20:36.been looking at a technological rival looking to become the next
:20:37. > :20:49.herding hero. Special operative in place. Recovery commencing. Device
:20:50. > :20:54.being deployed. DRAMATIC MUSIC could technology be changing one of our
:20:55. > :20:57.oldest traditions? Despite man's best friend having served well over
:20:58. > :21:04.the years, it appears there might be a new contender to bring sheep
:21:05. > :21:10.farming into the 21st-century. A video of a remote-controlled drone
:21:11. > :21:14.herding sheep in Carlow Ireland went viral, for bringing captured the
:21:15. > :21:21.footage. It is the sound of the drone that they should respond to,
:21:22. > :21:25.it is quite noisy. If you go right, they will go left, and vice versa,
:21:26. > :21:30.so you steer them in that way. You don't think the Shepherd will be out
:21:31. > :21:37.of work? I cannot see a sheepdog with a Pienaar Colaba just yet, no.
:21:38. > :21:46.But drones are the future, make no mistake. In Australia day use
:21:47. > :21:51.helicopters to herd cattle, said that the days of traditional sheep
:21:52. > :21:59.farming in the UK be numbered? -- so could the days. There is one man who
:22:00. > :22:03.will not switch without a fight. Joe completed our One Show challenge to
:22:04. > :22:08.form the show's logo with sheep, but what does he make of the debate? I
:22:09. > :22:14.doubt we know, I've never seen a drone. My sheep are used to dogs and
:22:15. > :22:21.only dogs and it would be interesting to see how they react to
:22:22. > :22:26.this piece of technology. What advantages will a sheepdog has? It
:22:27. > :22:32.will be interesting to see a drone tackling a sheep which has lambs.
:22:33. > :22:37.This dog will do everything I ask him to do, the Malaysia should
:22:38. > :22:44.becomes a bit strained, but I could not farm without these dogs -- the
:22:45. > :22:49.relationship becomes a bit strained. Can you prove that his dogs are
:22:50. > :22:54.still the top dogs? We have provided three challenges to test his herding
:22:55. > :22:59.abilities. Paul will be working with our UK licensed drone operator on
:23:00. > :23:07.how best to herd the flock of sheep. Now it is time to see which is
:23:08. > :23:14.better, drone or dog. Is Gary ready? He is. He is off like a rocket. The
:23:15. > :23:24.competitors have to get the five sheep around three posts and into
:23:25. > :23:30.the pen. Very impressive. Only three minutes and 30 seconds. And now it
:23:31. > :23:39.is time for the drone. And we are off. Go forwards. That is it.
:23:40. > :23:47.Drop-down. With the drone struggling to complete the cause, it is a win
:23:48. > :23:50.for the dog. For the second challenge, we are increasing numbers
:23:51. > :23:55.to 50 and our competitors have got to herd the sheep from one field to
:23:56. > :24:01.the next. The dog manages it in three minutes and 47 seconds, and
:24:02. > :24:06.now it is the turn of the drone. They win with a timer two minutes
:24:07. > :24:13.and 20 seconds, making it a tie. -- time of two minutes. And now the
:24:14. > :24:17.deciding round. Much more complex. We will get a sheep driven down,
:24:18. > :24:20.hopefully through one set of gates and then across the field through
:24:21. > :24:30.the other set of gates and then hopefully through the opening at the
:24:31. > :24:37.bottom. First up, the drone. Go back to the corner, quick, quick. Seven
:24:38. > :24:48.minutes and 30 and now we can see how the dog gets on. And that is it.
:24:49. > :24:54.Three minutes and 57, the dog definitely beats drone, what a
:24:55. > :24:59.performance, well done Joe, and well done Gary. Top job. STUDIO: I could
:25:00. > :25:06.have told you the outcome of that film. Goodness me. Jazz shake a bag
:25:07. > :25:19.of feed and you will see the sheep come running. You can join me for
:25:20. > :25:25.Shameless in September. Two weeks ago -- for One Man And His Drone in
:25:26. > :25:32.September. Two weeks ago Leicester City were the winners of the Premier
:25:33. > :25:40.League at odds of 5000-1 and we can see their open top bus parade. How
:25:41. > :25:44.is it going? What is happening, the team have been going through the
:25:45. > :25:51.city centre, the city has put on an incredible show, banners and
:25:52. > :25:54.bunting, and we just saw the team bus go back round the back of this
:25:55. > :26:00.stage we are expecting them to come on stage any minute. There are
:26:01. > :26:05.thousands and thousands of people, I've been trying to get a sense of
:26:06. > :26:11.what it means and I've been trying to speak to a few of the people. It
:26:12. > :26:16.is opposed to be the foxes, but he was dressed as a tiger. I have been
:26:17. > :26:22.speaking to people about what this means to them. One couple, foster
:26:23. > :26:27.carers in Leicester, they said, finally people are getting the name
:26:28. > :26:32.right. Finally, people are saying Leicester City. Another lady with a
:26:33. > :26:38.wonderful electric blue headscarf, she says, she hates football, but
:26:39. > :26:45.this is about unity and people coming together, and the spring in
:26:46. > :26:50.best that, the underdog in Leicester -- the spring in their step. I want
:26:51. > :26:55.to introduce you to the Mururajani family. We watched the game against
:26:56. > :27:04.Manchester United a few weeks ago at their home. It was a nerve wracking
:27:05. > :27:08.game. It has been incredible, it has not sunk in yet, but this is a
:27:09. > :27:12.massive relief, that we have finally got over the line, but this is
:27:13. > :27:18.beyond description. What is it like to be here? The most amazing
:27:19. > :27:24.experience and the atmosphere is just amazing, lots of cheering,
:27:25. > :27:32.Leicester City have made us proud today. And what a party. I did not
:27:33. > :27:37.expect it to be, so many people, and all of the flags and these scarves
:27:38. > :27:43.and the balloons, it made me happy, that I was here and that Leicester
:27:44. > :27:47.City have won the league. You were a bit miserable when he did not beat
:27:48. > :27:52.Manchester United? I'm happier now, but I did not know it would be like
:27:53. > :27:58.this. I didn't know it would be all screaming, it is amazing, amazing to
:27:59. > :28:05.see. Thank you very much, enjoy the party. Back to the studio. STUDIO:
:28:06. > :28:11.Wonderful, can we have a round of applause? APPLAUSE
:28:12. > :28:16.Hollywood have been in contact, they want to make a film Jamie Vardy's
:28:17. > :28:26.life. We found a football of view playing football and we have put the
:28:27. > :28:33.two together. -- of you. Uncanny. I'm a shoo-in for next year's
:28:34. > :28:39.Oscars. You would like to do it? Are you kidding? I would love it. Jamie
:28:40. > :28:48.Vardy's party, bringing it to Hollywood? Yes! Thank you very much,
:28:49. > :28:54.James. X-Men Apocalypse is out in a few days. Tomorrow we will be in
:28:55. > :28:59.Albert Square, saying goodbye to the East End's most famous landlady,
:29:00. > :29:01.Peggy Mitchell. Until then, goodbye.