:00:16. > :00:19.Hello and welcome to your Wednesday One Show with Alex Jones.
:00:20. > :00:25.Tonight we are joined by these three little boys.
:00:26. > :00:31.One started life as Santa's little helper but grew up to be one of
:00:32. > :00:36.The second started life in russia as a budding "tri-cyclist",
:00:37. > :00:44.he's now one of the UK's richest media moguls.
:00:45. > :00:47.And the last one clearly fancied a career in the armed forces,
:00:48. > :00:53.but instead, he's just quickstepped his way out of Strictly.
:00:54. > :00:59.Please welcome Rob Brydon, owner of the Independent newspaper,
:01:00. > :01:19.Brilliant photos. And thanks to your families for sending them in. The
:01:20. > :01:27.one in the tractor is very cute. Soviet tractor. Well, now, Rob, this
:01:28. > :01:38.is a correction between yourself and Yevgeny. What is that? Well, he
:01:39. > :01:42.hangs around outside my house. He is always dressed so smartly, I think
:01:43. > :01:46.you should go somewhere. I said look, I'm doing The One Show. Why
:01:47. > :01:53.don't you come. We did predict that would be that sort of answer. I am
:01:54. > :02:01.joking of course. I'm going to be hosting the Evening Standard Theatre
:02:02. > :02:05.Awards this Sunday, which Yevgeny is responsible for, because The
:02:06. > :02:12.Standard is his. I have to say that, because he is here. But it is a big
:02:13. > :02:17.show. We will talk about that later. Tonight it is about show business,
:02:18. > :02:19.as well as the theatre awards and Strictly Come Dancing, we have a
:02:20. > :02:43.performance from this lot. Their the cast of the China national
:02:44. > :02:48.Peking Opera. It looks fantastic. Mesmerising. Now, the Home
:02:49. > :02:53.Secretary, Theresa May, is pushing for an overhaul of online
:02:54. > :02:56.surveillance laws in the form of a new legislation called the
:02:57. > :02:59.Investigatory Powers Bill. It will require internet firms to keep a
:03:00. > :03:06.record of the web-sites we visit for a year. But is increased
:03:07. > :03:12.surveillance an invasion of privacy, or a compromise we have to live
:03:13. > :03:19.with. It is over to Max Hastings and Shami Chakrabarti.
:03:20. > :03:26.The only edge we have over terrorists is the fact we can
:03:27. > :03:30.monitor what they're doing on the internet by telephone. And we have
:03:31. > :03:36.got to use it. If we don't, how else are you going to find these people?
:03:37. > :03:42.Our ultimate edge over the terrorists is our solidarity. We
:03:43. > :03:48.need to trust each other and talk and we need human intelligence and
:03:49. > :03:53.not just the collecti of greater amounts of sensitive data. It is not
:03:54. > :03:58.likely the neighbours in a Muslim community say I think they're up to
:03:59. > :04:01.no good. Unless the intelligence services can use electronic
:04:02. > :04:06.surveillance, I can't see how those who want to to us harm can be
:04:07. > :04:10.caught. The new Bill proposes hacking powers. If your system has
:04:11. > :04:15.been hacked you will not know that that is the case. And that system or
:04:16. > :04:20.device will then be vulnerable to subsequent hacks. Not by the
:04:21. > :04:24.authorities this time. But by more malign powers. I am womening to
:04:25. > :04:29.trust our government and the intelligence services that far to
:04:30. > :04:35.give them access to my internet and telephones, because I can't see how
:04:36. > :04:39.else they can protect us from harm. The authorities already have
:04:40. > :04:43.enormous powers to look at our online data. Greater powers in the
:04:44. > :04:48.UK than anywhere else in the free world. If you're looking for a
:04:49. > :04:54.needle, don't keep building a bigger and big irhaystack. How else will we
:04:55. > :05:03.find them, except by what the spooks call bulk data collection? I have
:05:04. > :05:08.walked in GCHQs basement among five acres of computers which are looking
:05:09. > :05:11.at our internet. Unless you trawl through a whole community, how on
:05:12. > :05:15.earth are you going to find these people? If the police want to search
:05:16. > :05:20.my home or office, they go to a magistrate. This is done all over
:05:21. > :05:28.the country very quickly every day. What is being proposed is the ekwif
:05:29. > :05:32.lent of - equivalent of planting cameras in even's bedroom. There is
:05:33. > :05:36.no reason why those warrants shouldn't be signed off by judges.
:05:37. > :05:40.It is not a perfect bill, what legislation ever is? But compared
:05:41. > :05:43.with the risks we face we have got to be prepared to give the benefit
:05:44. > :05:47.of doubt to the Security Services and give us these powers. This is a
:05:48. > :05:51.moment to hold our nerve, not to rush through new powers. But to get
:05:52. > :05:59.them right. We have an opportunity to make them fit for purpose in the
:06:00. > :06:08.21st Century and to ensure that our privacy is proportionately
:06:09. > :06:13.protected. Give yenny, your father worked for the K GB in Russia, do
:06:14. > :06:18.you think there should be more or less surveillance here? That is a
:06:19. > :06:22.bit too glamorous your description. He was a foreign intelligence
:06:23. > :06:27.officer in London, but it was in the 80s so, less of the poisonous
:06:28. > :06:32.umbrella poking and more of newspaper reading and reporting back
:06:33. > :06:38.home. On a serious note, I think we possibly are facing the biggest
:06:39. > :06:44.fight of our generations. Because or generation, because Isis is a threat
:06:45. > :06:53.which needs to be addressed. Especially in light of recent
:06:54. > :07:00.events, the downing of the Russian plane, the events in Turkey and
:07:01. > :07:04.Tunisia and Paris. Although I care about civil liberties, I think the
:07:05. > :07:07.balance is tilting towards having more surveillance, because if the
:07:08. > :07:12.surveillance can save lives, more surveillance, because if the
:07:13. > :07:17.innocent lives of just people on the street, who ever they may be,
:07:18. > :07:21.mothers, daughters, fathers, I think we must be able to allow the
:07:22. > :07:31.mothers, daughters, fathers, I think surveillance if it saves people. You
:07:32. > :07:35.agree with this Jeremy? It comes up on my show all the time. A lot of
:07:36. > :07:40.listeners say, same sentence again and again, if you have got nothing
:07:41. > :07:43.to hide, you have nothing to fear, but somebody will say, we had a
:07:44. > :07:47.prosecution of the newspaper industry, because they were hacking
:07:48. > :07:47.into phones. So people are very worried about
:07:48. > :07:53.into phones. So people are very web search history tells people who
:07:54. > :08:03.you are. If it is captured web search history tells people who
:08:04. > :08:10.you. But events of the last few days web search history tells people who
:08:11. > :08:17.everyone is now thinking afresh about this. From a broadcaster's
:08:18. > :08:21.perspective, obviously these attacks, one of the reasons they
:08:22. > :08:25.were doing it was to try and get some attention. How much
:08:26. > :08:28.were doing it was to try and get do you think column inches
:08:29. > :08:31.were doing it was to try and get time should be given to these kind
:08:32. > :08:35.of acts, if their aim is to put it out there, how much should we cover
:08:36. > :08:41.it? Well the information war is something they're very good at. I'm
:08:42. > :08:47.afraid every day in news rooms editors have to take a decision on
:08:48. > :08:53.how much coverage they would give to a particular act that has been
:08:54. > :08:59.conducted. So when Steven Sotloff was beheaded, we decided not to put
:09:00. > :09:04.a photograph of Jihadi John on the front-page, but a younger photograph
:09:05. > :09:10.of Steven Sotloff. It is something that comes up every day. It is a
:09:11. > :09:16.judgment that needs to be taken and on one hand we don't to give them
:09:17. > :09:21.too much air time. But it has to be shown. I think news has its own
:09:22. > :09:25.energy and it is difficult to decide what happened in Paris wasn't news
:09:26. > :09:30.worthy, just saying that sounds absurd. So unfortunately they know
:09:31. > :09:37.that the mechanism is they can claim your front-page by doing a terrible
:09:38. > :09:42.thing. It is how you present it and how they choose to present it. Some
:09:43. > :09:46.are undoubtedly more sensationalist, because they knee fear sells and
:09:47. > :09:51.that is where I have a problem, where I see it presented almost not
:09:52. > :09:57.as entertainment. But there is an element of it, where it is
:09:58. > :10:05.sensationalised. That is scary. There was a student at Virginia Tech
:10:06. > :10:12.in the United States who shoot students dead and he left a message
:10:13. > :10:15.and some news outlets played the mess I felt queasy about that.
:10:16. > :10:20.Because the next person knows they're going to get their message
:10:21. > :10:22.played. If you can't interview the guy I don't think you should play
:10:23. > :10:29.the message. Thank you for your comments on that. We are going to
:10:30. > :10:34.move on, because I think... There is only one thing we disagree on. I
:10:35. > :10:42.know what you mean. I can come into the studio it is freezing. Matt
:10:43. > :10:46.arrives and he is sweating pints. I have to towel down. The crew is in
:10:47. > :10:54.shorts half of the time. It is something we cannot agree on. Yes,
:10:55. > :10:59.it seems the daily argument we call the thermospat extends beyond this
:11:00. > :11:02.studio. Despite temperatures reaching 22 degrees in November the
:11:03. > :11:13.first storms have arrived and winter is on the way and in many homes the
:11:14. > :11:17.heating is on. A survey by you switch suggested there will be
:11:18. > :11:24.millions of arguments about the thermostat. But could the arguments
:11:25. > :11:29.be wrecking our domestic bliss. And who is in charge of the thermostat?
:11:30. > :11:33.We have come to Northampton to find out. Hello there. We are from The
:11:34. > :11:37.One Show. We are asking people about heating. Do you like a warm house.
:11:38. > :11:45.Yes. Who would be in charge of that The wife. Who is in control of the
:11:46. > :11:50.temperature? Me. Yes clam! Who decides? She is a woman obviously.
:11:51. > :12:00.She is in charge. You pick your battles. Normally me. I wife likes
:12:01. > :12:07.it up. Who comes out on top. It must be you. I pay the bill. Bill payer.
:12:08. > :12:16.You have the power. Women are more likely to crank up the thermostat
:12:17. > :12:23.than men. Men like a cooler agreement. But I like it toasty. Is
:12:24. > :12:30.there any battle over the thermostat? I prefer it warmer.
:12:31. > :12:34.Someone would turn it up more. No, if I do that, I tend to that if she
:12:35. > :12:42.is not in. What she doesn't know doesn't hurt her. Until this goes
:12:43. > :12:46.out. We are from The One Show. I walk in and think it is hot and then
:12:47. > :12:58.switch it off. Does that cause arguments. I just get the look. You
:12:59. > :13:06.turn it up? 25. I have it lower than 18. We spend a lot. I am conscious
:13:07. > :13:11.of bill. Every degree you go up, you go up in price. Yes, it is all
:13:12. > :13:18.right, but it is ex-tenest pensive and you can -- expensive and you put
:13:19. > :13:26.on a jumper. You're a woman after my heart. She likes it warmer than you.
:13:27. > :13:31.By far. Is there anything you could decrease this seasonal friction by
:13:32. > :13:43.doing some other energy saving forms of insulation? Have a cuddle! In
:13:44. > :13:52.your house? Is it you? No, it's Nicola, my wife. You three? I like
:13:53. > :13:59.it cold. My father sits by the door. While the heating it full blast. No
:14:00. > :14:04.heating until November. I was totally outvoted on it. My wife and
:14:05. > :14:12.two daughter three to one against. The heating come on in October.
:14:13. > :14:18.People wonder on you view. I'm Russian. For you this is barmy. I
:14:19. > :14:28.keep it cold and then I have a vodka shot! I thought you might have a
:14:29. > :14:35.blanket. A fur one. The coldest I have been in Moscow and I bought a
:14:36. > :14:49.cagoule. It was minus 35. Unbelievable. As. Rob you mentioned
:14:50. > :14:54.you and Yevgeny will present the Evening Standard Theatre Awards. I'm
:14:55. > :15:00.presenting, he has a light night. He is not doing much. Just shaking
:15:01. > :15:04.hands. He owns the paper. I don't own any papers. Other than actual
:15:05. > :15:11.copies. Let's see some of the acts that are hoping to win. I'm Jess.
:15:12. > :15:28.Jules. I want to be a songwriter. It's not
:15:29. > :15:34.practical, girls don't write music. White
:15:35. > :15:54.APPLAUSE This is taking place on Sunday, we
:15:55. > :16:00.saw clips were many great musicals, like Gypsy, many which have come out
:16:01. > :16:07.this year, actually. That is because it is the awards for this year. I
:16:08. > :16:16.know that, but they are very new, that is what I'm saying. That is the
:16:17. > :16:23.point of the awards, every time I come on the show, there is something
:16:24. > :16:31.rudimentary I have got to explain her. " As you noticed with the
:16:32. > :16:39.Oscars, it is always the films which come out in the last 12 months? " --
:16:40. > :16:45.have you noticed. They could have come out a year earlier and only
:16:46. > :16:52.risen to prominence this year, OK? Anyway, you are not judging, so,
:16:53. > :16:57.personal favourites? I saw Imelda Staunton in Gypsy, that great
:16:58. > :17:06.performance, but I had never seen her in anything where she is not
:17:07. > :17:12.amazing. It is true. I saw her in Guys And Dolls, she was off the
:17:13. > :17:18.scale, and Sweeney Todd with Michael Ball, she was amazing. She is very
:17:19. > :17:23.special. In terms of musicals, I would go with her. Yevgeny, you have
:17:24. > :17:29.turned these awards into something special, why is Theatre is so
:17:30. > :17:36.important for you? I grew up with Theatre, first in the Soviet Union
:17:37. > :17:42.and then moving here. What are your memories? My most vivid memories was
:17:43. > :17:45.the White guard, which was Stalin's most favourite play, and it was
:17:46. > :17:53.actually onstage at the National Theatre recently. I remember it very
:17:54. > :17:56.vividly, I was sick after eating caviar which had gone off, not that
:17:57. > :18:03.I have had caviar caviar which had gone off, not that
:18:04. > :18:09.we believe that... Seriously, I grew up watching Theatre, and Theatre is
:18:10. > :18:14.very popular in Russia, it was popular in the Soviet Union. The
:18:15. > :18:17.Soviet government realised it was a great propaganda tool, and there
:18:18. > :18:25.were great propaganda tool, and there
:18:26. > :18:28.here, London, the West End, great propaganda tool, and there
:18:29. > :18:29.beyond West End, great propaganda tool, and there
:18:30. > :18:34.theatre. Quite beautiful, throwing great propaganda tool, and there
:18:35. > :18:39.flowers, and that appreciation. Russians do tend to show their
:18:40. > :18:45.appreciation, giving flowers at every before 's and many curtain
:18:46. > :18:50.calls. Do they actually listen to the content? There are mobile
:18:51. > :18:55.telephones going off, but they do listen. If there is an important
:18:56. > :19:03.person, coming, the performance can be held for an hour, waiting for his
:19:04. > :19:08.arrival. In this country, I think we would only do that if it was Simon
:19:09. > :19:14.Cowell. LAUGHTER May be. Let's talk about your
:19:15. > :19:20.Theatre, musicals have been a big part of your life. Yes, when I was
:19:21. > :19:27.younger. I was at Porthcawl, Trencin, this is where I met Ruth
:19:28. > :19:31.Jones from Gavin and Stacy, and we were together in Guys And Dolls and
:19:32. > :19:36.Carousel, West side story, but were together in Guys And Dolls and
:19:37. > :19:42.never done one. I want to were together in Guys And Dolls and
:19:43. > :19:48.I'm looking for the right one. We will take you back to
:19:49. > :19:52.I'm looking for the right one. We and show you why you enjoyed it so
:19:53. > :19:54.much, what do you remember about this?
:19:55. > :19:57.much, what do you remember about # But she won't make a sissy out of
:19:58. > :20:07.# APPLAUSE That is great. In musical terms,
:20:08. > :20:13.that is called flat, that was from Carousel. And that is me dressed
:20:14. > :20:19.like a David Essex tribute band. That was at the grand Pavilion. Yes,
:20:20. > :20:29.on the seafront. This building? Yes, it is. Very pretty. Television
:20:30. > :20:32.cameras are there, and a boy that we know, called Joe, he is
:20:33. > :20:38.cameras are there, and a boy that we have you done? Rob, you will
:20:39. > :20:45.recognise displays, what a grand Pavilion this is and I have been
:20:46. > :20:48.told it has not changed much since you were here in the early 80s,
:20:49. > :20:57.strutting your staff, you were on you were here in the early 80s,
:20:58. > :21:02.this stage in a series of school productions, you have mentioned
:21:03. > :21:10.Carousel. As a special surprise we have gathered together a few people
:21:11. > :21:15.to share early memories of you from those days. I'm joined by Gordon
:21:16. > :21:21.Ebsworth, your headmaster. Gordon, you introduce drop to the drama
:21:22. > :21:28.department? Yes, I did. An excellent move. Unknown to me at that time,
:21:29. > :21:34.but just think of the success that has followed him from that moment
:21:35. > :21:40.on. He had a great voice? Very melodious. Your teacher, still
:21:41. > :21:48.waxing lyrical. In the studio we have a photo, so have a look at
:21:49. > :21:55.that, it is black and white, it is a bit grainy, but do you remember
:21:56. > :22:03.this? Just to jog your memory, I will be Rob Brydon for a moment. I
:22:04. > :22:09.have got his pout going on, any clues as to the production? That is
:22:10. > :22:15.Debbie Nelson. Good Lord. LAUGHTER She was Sweet Charity, your leading
:22:16. > :22:22.lady, what was it like to play against him? A lot of fun, he was
:22:23. > :22:29.the consummate performer on stage, he based his character on a Woody
:22:30. > :22:34.Allen and he had the Woody Allen glasses and backstage he carried on
:22:35. > :22:42.being the backstage performer and he made us laugh all the time, it was a
:22:43. > :22:48.lot of fun. He was doing impressions at an early date, no surprise.
:22:49. > :22:53.Debbie is going to sing a line, see if you can answer it. LAUGHTER
:22:54. > :23:01.You belong to me # I wish I could remember the song!
:23:02. > :23:07.I know that you love being on stage, but I understand that you were
:23:08. > :23:13.watching avidly from the wings, and watching avidly from the wings is
:23:14. > :23:21.Cerys, who was in Carousel. You played Mrs Mullins and you had to be
:23:22. > :23:28.a bit forward with him? Yes, I had to be romantic with him and put my
:23:29. > :23:35.hands through his hair and I was very nervous. Every time we did the
:23:36. > :23:42.scene I used to deflect and say to the teacher, should I stand stage
:23:43. > :23:50.right? In the end, Roger said, are you ever going to be romantic with
:23:51. > :24:00.him? And did you? Ask Rob. You were the man at the heart of all this,
:24:01. > :24:08.you were his drama teacher, and he has spoken of you as being a pivotal
:24:09. > :24:14.figure in his life. Yes, our friendship has developed over the
:24:15. > :24:22.years. Very proud of him. You are still doing your job? Yes, it is
:24:23. > :24:28.nice to think that we might find the next Rob Brydon. Finally, two more
:24:29. > :24:34.guests, and if you do not recognise them you are in trouble, it is your
:24:35. > :24:41.mother and father. LAUGHTER And you always know that he was
:24:42. > :24:49.going to be a performer? Yes, from a very young age, at home, in church,
:24:50. > :25:01.always very happy to entertain, but did not know what he would go on to.
:25:02. > :25:12.He was a show off? He was indeed, I will not deny it. He says he gets
:25:13. > :25:19.more like you as he gets older? Yes, I think so, he's very lucky,
:25:20. > :25:26.actually. That is how his career is blossoming, he is copying me. There
:25:27. > :25:33.is a hint for the family humour. Take a position on the stage, you
:25:34. > :25:42.have all supported him in his early life, and a quick shout to Bridgend
:25:43. > :25:48.youth Theatre. I know you are a big supporter of that. As Sweet Charity
:25:49. > :25:56.sang, if only my friends could see you now, and the truth is, you will
:25:57. > :26:04.level. -- the truth is, you will never, in. -- you will never walk
:26:05. > :26:10.alone. You are lost for words? Cena yes, thank you, that's a lovely
:26:11. > :26:17.thing do. It is great to see your face. For anybody who is thinking
:26:18. > :26:24.about popping out to buy some sweets for a loved one, do not let this
:26:25. > :26:31.film put you off. We are just saying that you might need to put in more
:26:32. > :26:35.effort. For nearly 40 years, the most famous advertising character in
:26:36. > :26:41.British TV history delivered chocolates to a mysterious lady.
:26:42. > :26:46.Over the years he drove a sports car over a collapsing bridge and avoided
:26:47. > :26:51.avalanches, or because the lady loves a box of chocolates. One of
:26:52. > :26:57.the best remembered stunts involved the silent hero diving from a cliff
:26:58. > :27:01.into shark infested waters, to deliver the chocolates to the
:27:02. > :27:06.mysterious lady's yacht. Our stuntman is going to attempt to
:27:07. > :27:13.recreate the legendary dive. But what is it about these adverts that
:27:14. > :27:19.made them so popular? Kate from Saatchi Saatchi is the daughter of
:27:20. > :27:27.copywriter Bob, the man who wrote that famous tag line, all because
:27:28. > :27:40.the lady loves... It captured a time, and they became and I'm not
:27:41. > :27:46.sure it happens so much now, but it became an event, because they did
:27:47. > :27:54.very brave stance and impressive action and they almost had to better
:27:55. > :28:00.themselves every time they did it, and it became something people look
:28:01. > :28:05.forward to. Why does it work? He is obviously romantic, a fantasy escape
:28:06. > :28:11.character, quite tongue in cheek, knowing my father, it was not
:28:12. > :28:17.conceived as a serious play, and it is very elegantly delivered, the
:28:18. > :28:24.idea, or because the lady loves Milk Tray, and they always knew that he
:28:25. > :28:29.was going to embark on a ridiculous journey because the soundtrack
:28:30. > :28:35.kicked off. That was the success, they were very smooth characters,
:28:36. > :28:40.that always managed to go to extraordinary lengths and achieve
:28:41. > :28:48.the seemingly impossible. There have been seven Milk Tray men, and Alan
:28:49. > :28:58.Myers would play the character more than most, but it was someone else
:28:59. > :29:06.who made the death-defying dive, his name was out of joint, the legendary
:29:07. > :29:17.British stuntman who worked on numerous blockbuster films. His son
:29:18. > :29:26.is at the YMCA where his dad trained. I remember dad saying he
:29:27. > :29:34.got to the edge of the cliff and he looked down. There is a yacht in the
:29:35. > :29:41.Bay. He only went halfway up the cliff, this cliff was 160 feet high,
:29:42. > :29:44.and I thought, this is very dangerous, but I know what I'm
:29:45. > :29:47.doing, he said, and so he dive. The first time it was 85
:29:48. > :29:58.degrees to deflect dive. The first time it was 85
:29:59. > :30:00.he did the dive again, and I don't dive. The first time it was 85
:30:01. > :30:07.know why, but he went in at 90 dive. The first time it was 85
:30:08. > :30:11.degrees and the impact of dive. The first time it was 85
:30:12. > :30:16.on his head crumbled his spine like an accordion and he was paralysed,
:30:17. > :30:24.knocked unconscious, and he was rushed out of
:30:25. > :30:32.Remember, our stunt men know what they're doing to stay way from any
:30:33. > :30:37.cliffs. Now welcome Strictly's partner to the music that Jeremy has
:30:38. > :30:52.been trying to forget since Sunday. It is Karen Clifton. Come on in,
:30:53. > :30:59.take a seat. I missed you so much. Hello lovely. I had, you will
:31:00. > :31:04.appreciate this, I got this Bluetooth boom box that can compare
:31:05. > :31:11.with two phones, I saw it today and it was paired with Karen's phone. I
:31:12. > :31:16.thought it is sad. We were devastated when you left. But there
:31:17. > :31:22.has been a little bit of upset on social media hasn't there? Yes we
:31:23. > :31:27.have had videos of kids crying. They haven't been able to go to sleep,
:31:28. > :31:32.because Jeremy is out of competition. It
:31:33. > :31:32.because Jeremy is out of harm-warming. One kid bought a
:31:33. > :31:41.balloon and when they called us out, harm-warming. One kid bought a
:31:42. > :31:45.he dropped his balloon. Is there anything you would like to say
:31:46. > :31:48.he dropped his balloon. Is there the children. Somebody said her
:31:49. > :31:53.child who was four asked to go to bed, because then at least Jeremy
:31:54. > :32:00.won't stop dancing in my dreams. That sounds more like a nightmare to
:32:01. > :32:04.me. But very young kids, we are in great shape and we will be friend
:32:05. > :32:07.for life. I got eight weeks in. I thought I would be out in the first
:32:08. > :32:15.week. This brilliant dancer kept me in. I believe it was all you Karen.
:32:16. > :32:23.So I always think... I don't think anyone doubts that. So I don't think
:32:24. > :32:29.the pros get the credit. She said, I have got to stop the dad dancing.
:32:30. > :32:34.She said that the dad dancing, we are the same age, Rob, born in 65,
:32:35. > :32:39.dad dancing is where you move everything. The dancing I'm going to
:32:40. > :32:46.teach you is where you only move one thing. That is all I can remember of
:32:47. > :32:51.the whole experience. What I learned instead of nodding down wards to
:32:52. > :32:58.music. Nod up and you look like you're more in the beat. I had a
:32:59. > :33:02.thing, I was shopping, and I should mention this, Karen, this person
:33:03. > :33:12.came to me, a lady in a supermarket, and said, stop it... I'm nodding.
:33:13. > :33:18.She just said, nice to see you on strict list I thought your
:33:19. > :33:26.co-ordination was better by the end. I then knocked my glasses off. So it
:33:27. > :33:32.not that good. I think you got better and you were underscored at
:33:33. > :33:41.some points. The judges were a bit mean. Sometimes. They described you
:33:42. > :33:53.as a spider. Dancing spider. The dancing is OK. The best one was a
:33:54. > :33:57.stork being electrocuted. And Craig paused and said, you know the
:33:58. > :34:02.problem really began when you started to dance. I thought... Well
:34:03. > :34:08.I don't know what to take out of that. For me at the end of that
:34:09. > :34:13.table having done the dance and they were opening up on you, I was loving
:34:14. > :34:18.it and I was laughing all the way through. I didn't mind. That was
:34:19. > :34:23.great. Does that mean that, are you content with what you have done?
:34:24. > :34:30.Dancing, or is this a spring board... Oh yes, this is where it
:34:31. > :34:37.begins. Even was done specifically for you. I mean specifically.
:34:38. > :34:43.Including the horse. We have the horse. You were fabulous. These are
:34:44. > :34:57.your best bits. Come on. OK. You're back. I'm back. Because I want to
:34:58. > :35:19.# Together we will go our way! # thriller, thriller # # Putting on my
:35:20. > :35:27.top hat, tying on white tie... # Splish, splash, I was taking a
:35:28. > :35:32.bath... # Here is the shoe that I'm going to auction for charity. This
:35:33. > :35:39.is your actual shoe. The reason it is interesting, because there is a
:35:40. > :35:45.hole in the side and the costume department said, Jeremy, how have
:35:46. > :35:50.you done that. I said it us the move that Karen clocked the clock, from
:35:51. > :35:57.Grease, where you walk and lie on the floor and walk around in the
:35:58. > :36:05.circle so I wore a hole in my shoe. That was worth it. . You don't have
:36:06. > :36:11.any regrets about the clock. No, it was great. You did me proud. Karen
:36:12. > :36:18.you have got to keep dancing, you will be at Blackpool? Yes. We will
:36:19. > :36:25.be doing all of our pro routines. I'm going to miss this guy. I'm
:36:26. > :36:29.taking a friend up to Blackpool, I promised I would take this friend
:36:30. > :36:34.even if I was out. No further back story required. An old university
:36:35. > :36:40.friend. Sorry, I misunderstood. You know we are on air? I will be
:36:41. > :36:48.cheering you on from the side looivens. Lines. Still to come a
:36:49. > :36:55.special edition of Rob's comedy show, Would Yevgeny Lie To You? He
:36:56. > :37:01.has been waiting for five minutes. Our next film is about love,
:37:02. > :37:06.suffering and relationships, all set against the backdrop of sibling
:37:07. > :37:16.rivalry. This is riverside in wary,shire. -- Warwick shire. The
:37:17. > :37:24.River Trent is given to flooding and tidal bores, they push high waves up
:37:25. > :37:31.stream a phenomenon the locals all the agar. In 1859 this river
:37:32. > :37:40.inspired one of most celebrated books in English literature, The
:37:41. > :37:46.Mill on the Floss by George Elliot. The novel tells the story of Maggie
:37:47. > :37:53.and her brother Tom, who grow up on the river Floss. The banks seemed
:37:54. > :37:59.like home. Maggie gathered the reeds, they wandered with a sense of
:38:00. > :38:04.travel to see the rushing spring tide come up like a hungry monster.
:38:05. > :38:13.Tom thought people were at a disadvantage, who lived on any other
:38:14. > :38:22.spot of the globe. The author based Tom and Maggie on her own childhood
:38:23. > :38:26.in Warwickshire. Vivienne Wood has studied the author's links to the
:38:27. > :38:31.area. She lived with her mother and father and sister and her beloved
:38:32. > :38:36.brother Isaac. She adored her brother. That is the key to
:38:37. > :38:41.understanding George Elliot. Family life is at the heart of the Mill on
:38:42. > :38:46.the floss, the author and her brother would fishes in a pond at
:38:47. > :38:51.the bottom of the garden. They were on their way to the round pool that,
:38:52. > :38:57.wonderful pool which the floods had made along wile ago. No one knew who
:38:58. > :39:02.deep it was and it was mysterious too, but it should be almost a
:39:03. > :39:08.perfect round. Why did she choose a male name? In many ways it was to
:39:09. > :39:13.avoid the judgment of society. It was very difficult for women then to
:39:14. > :39:21.publish. George Elliot did reveal she was a woman after the success of
:39:22. > :39:26.her first novel Adam Bead, but some reviewers were not amoozed. --
:39:27. > :39:32.amused One said it was the vile outpourings of a lewd woman's mind.
:39:33. > :39:36.Her creation Maggie also has a strong independent streak and
:39:37. > :39:42.develops a relationship with the son of her father's enemy. Against the
:39:43. > :39:53.wishes of her brother, she meets him in secret at Red Deeps, a wood based
:39:54. > :39:59.on this wood. She held this place in deep awe. Visions of robbers and
:40:00. > :40:05.fierce animal bes haunting every hollow. Maggie's meetings cause a
:40:06. > :40:13.rift with her brother, Tom. Which only worsens after the St Ogg's
:40:14. > :40:20.bizarre which is set here. This English scholar is an short on her
:40:21. > :40:30.books. Her she receives the attention not only of Philip but her
:40:31. > :40:35.cuss sin. She allows Steve on the take her on an ill advised boat trip
:40:36. > :40:41.and they go too far and spend the night away and when they come back
:40:42. > :40:47.she is regarded as a fallen woman. Her brother disowns her and she is
:40:48. > :40:55.disgraced in the eyes of society. This rift between Maggie and Tom is
:40:56. > :41:01.echoed in the real life story. In 1854 she moved in with a writer who
:41:02. > :41:06.was still particularied to his previous -- married to his previous
:41:07. > :41:10.partner. He cut off contact with her and told the family not to have
:41:11. > :41:15.contact with her either. Elliot's The Mill on the Floss was published
:41:16. > :41:19.in 1860 to instant success. After the end of novel Maggie rose to the
:41:20. > :41:23.mill to save her brother from a flood. The two have a fleeting
:41:24. > :41:28.reconciliation before the water overwhelms them. But there would be
:41:29. > :41:30.no such reunion for George Elliot. She would never see her brother
:41:31. > :41:41.again. Fantastic. Thank you Cerys. She would never see her brother
:41:42. > :41:45.Now, as we She would never see her brother
:41:46. > :41:58.presenting the Evening Standard Theatre Awards with Yevgeny.
:41:59. > :42:05.presenting the Evening Standard are going to play Would Yevgeny Lie
:42:06. > :42:12.To You. So how will it work. Yevgeny will read three sometimes statement
:42:13. > :42:16.and they have to spot the lie. Karen you get the final say. Are we set?
:42:17. > :42:27.When you're ready read out your statements. I will try and keep my
:42:28. > :42:36.face straight. Sir Elton John once shaved off my beard and my eyebrows
:42:37. > :42:47.for charity and vowed to go further the next year. I own a wolf called
:42:48. > :42:55.Boris. OK. Statement three, I am going to be pressing the launch
:42:56. > :43:03.button for major Tim Peake's trip to the space station. Who was the
:43:04. > :43:11.third. Tim Peake the astronaut. That one had me going. The wolf thing is
:43:12. > :43:15.no way to refer to our mayor is the first thing I would say. He has a
:43:16. > :43:23.difficult job. But it is not easy. You know how shy he is. The wolf, I
:43:24. > :43:27.think the wolf... I was thinking the facial hair. I can't picture him
:43:28. > :43:32.without facial hair. I don't think I have ever seen him without the
:43:33. > :43:40.beard. Can we ask questions. Where is your wolf kept? In an enclosure
:43:41. > :43:47.behind a fence. He is hesitating there. That is made up. Where is the
:43:48. > :43:56.fence? It is up on the hill. We can see where this is going. Where is
:43:57. > :44:11.the hill? It's part of a mountain. What is the name of the mountain? It
:44:12. > :44:18.is called... Mount TeTso. Which is the lie? The Elton thing... I can
:44:19. > :44:23.kind of... The wolf thing. The wolf fell apart. The rocket pressing the
:44:24. > :44:32.launch I can believe that. But I don't think you would allow your
:44:33. > :44:38.eyebrows. Let's ask the captain. What do you think. I think the wolf
:44:39. > :44:45.was destroyed. One is true. What about the the wolf? Let's go with
:44:46. > :44:55.the eyebrows. I think the space rocket with the wolf. The wolf. No
:44:56. > :45:03.I'm afraid it is not. You don't even know where it is. The lie was? I was
:45:04. > :45:11.pressing the launch button. We did shave awe off your beard and
:45:12. > :45:18.eyebrows. Yes. Do you walk your wolf? I do sometimes. The neighbours
:45:19. > :45:27.are not too scared. Very good. Thank you. Now we say thank you to Yevgeny
:45:28. > :45:35.for joining us. Now, you're free to go and walk your wolf. Now then.
:45:36. > :45:42.Wasn't it a good game? So many questions. Now adverts. Rob you done
:45:43. > :45:46.a few adverts. One or two. There was one at the start of your career that
:45:47. > :45:50.you thought would help you hit the big time, but it didn't. No. This
:45:51. > :46:04.was... Let's have a look at it. That is my dear friend, we were
:46:05. > :46:09.penniless young actors, and we got this job, and we went for this
:46:10. > :46:13.advert at Pinewood Studios, the same studio that we now do our
:46:14. > :46:16.programming, and Steve took out a bank loan and the strength of that
:46:17. > :46:22.advert and how much money was going to make him when it ran, and they
:46:23. > :46:29.never went to air. Yeah. It was for a chocolate bar? Can I say the name?
:46:30. > :46:34.You have said it once already. It is orange and crispy. It had toffee in
:46:35. > :46:38.it. LAUGHTER Gyles Brandreth is looking at a
:46:39. > :46:43.classier piece of advertising history tonight. We can see how he's
:46:44. > :46:50.getting on, recreating a famous Todd performed just for a box of
:46:51. > :46:53.chocolates. -- famous stunt. In the early 70s, Cadburys made one of
:46:54. > :47:00.their most memorable TV adverts and sought stuntman Alf joined dive 163
:47:01. > :47:12.feet into the sea below. He made quite a splash. With the Alf Joint
:47:13. > :47:16.Syriza -- seriously injuring himself commit his friend was waiting in the
:47:17. > :47:20.boat below. It was headfirst, which was very dangerous, and water is
:47:21. > :47:28.like hitting this table, if you get it wrong. He risked his life for a
:47:29. > :47:34.box of chocolates? Yeah, virtually. The director of the company said if
:47:35. > :47:41.we don't have the shot, can you do it? I said, yes. I was waiting for
:47:42. > :47:48.him to come back, at 1030, the first assistant said we have got the shot,
:47:49. > :47:52.it's OK. How do you rate Alf Joint as a stuntman? He was a great, he
:47:53. > :47:56.has a lot of courage and guts, and he was also very well trained, you
:47:57. > :48:03.knew what he was doing, and I would say he is one of the greats, really.
:48:04. > :48:07.On the 25th of July 2005 Alf Joint died at the age of 77, and today The
:48:08. > :48:15.One Show would like to honour his most famous stunt. Our stuntman Theo
:48:16. > :48:20.Molton needs a minimum of five metres water depth to make the dive
:48:21. > :48:25.safely from the 43 foot cliff face. He and Jamie must find an entry
:48:26. > :48:29.point. While up above, to give Theo every chance of clearing the rocks
:48:30. > :48:34.below, we have brought a team of professional stunt riggers to
:48:35. > :48:37.construct an aluminium platform. There is mention of their being a 3
:48:38. > :48:43.metre distance out from the cliff which I had to clear, because it is
:48:44. > :48:45.very shallow. Going up to the top initially, it was quite
:48:46. > :48:50.intimidating, you cannot see under the water. If you overcook it by a
:48:51. > :48:57.couple of degrees, you will slap on your shins and if you go under that
:48:58. > :49:00.you will smack your front. Our safety team are in place, in and out
:49:01. > :49:05.of the water, ready to respond should he harm himself. And with
:49:06. > :49:07.this in mind, Theo has decided to make a feet first entry before
:49:08. > :49:27.attempting the dive. Entering the water feet first pales
:49:28. > :49:32.in comparison to the physical demands on your upper body during a
:49:33. > :49:38.dive. Theo is ready, but something is not quite right. I think the lady
:49:39. > :49:47.might be disappointed with Theo delivering the chocolates, surely it
:49:48. > :50:10.is all the girls the ladies love is Gyles Brandreth...
:50:11. > :51:06.APPLAUSE Well done. Well, Gyles Brandreth is
:51:07. > :51:17.here this evening. Here he comes. Wow. All right. That was quite
:51:18. > :51:25.something. Still wet, as well. And all because the lady loves... Look
:51:26. > :51:37.at this. Thank you. Low and sugar, but high and water. -- on sugar.
:51:38. > :51:43.Remarkable, and there is a new milk Tray man. Yes, he is back, because
:51:44. > :51:49.Mr Alger cells, and you thought it was sex and violence which sold, you
:51:50. > :51:54.base your careers on that. -- nostalgia sells. All research tells
:51:55. > :51:59.us that is what people go for, especially in difficult times,
:52:00. > :52:02.people like the security of knowing relationships, this happened after
:52:03. > :52:06.9/11 and the financial crisis, and it might be happening now. People
:52:07. > :52:13.like what they know, they want to walk back to happiness, hence
:52:14. > :52:16.adverts like Milk Tray. Adverts when people are walking up cobbled
:52:17. > :52:20.streets, even the world of politics, maybe the arrival of Jeremy Corbyn,
:52:21. > :52:27.because we are looking statically to the era of old-fashioned socialism.
:52:28. > :52:30.-- looking nostalgically. I saw the new James Bond film and it was like
:52:31. > :52:40.going back in time. I'm actually younger than Sean Connery, and
:52:41. > :52:44.taller... And more handsome. Anyway, the cat is back, driving his old
:52:45. > :52:48.Aston Martin, that is going on as it used to be, and they are great
:52:49. > :52:54.films, Jurassic Park, Star Wars, with the original cast. There they
:52:55. > :52:59.are again. Harrison Ford, Mark Hamill, Carrie Fisher. Star Wars is
:53:00. > :53:10.coming back? You never thought it had coming back -- it was coming
:53:11. > :53:14.back? I had never heard of it. You were a Star Wars groupie? Yes, we
:53:15. > :53:19.wrote a stage version, which we did in Swansea and I played Luke
:53:20. > :53:22.Skywalker because I was in charge. We had a tinfoil door for the storm
:53:23. > :53:29.troopers to burst through and we had Poyet light sabres, it was good for
:53:30. > :53:34.its time. -- we had toy. I would like to say we have the cast back
:53:35. > :53:39.together for that, but we haven't. I wouldn't be surprised if you had.
:53:40. > :53:45.Suddenly I was ten again, it was amazing, the power of that advert,
:53:46. > :53:49.when was it last on? In the 80s, it began in the late 60s, but it is
:53:50. > :53:52.evocative, it is an era where we felt safe and secure, or because the
:53:53. > :54:01.lady loves... Thank you so much. Delivered beautifully. I got work to
:54:02. > :54:11.do, ladies all over London, I'm double booked. On a serious note,
:54:12. > :54:18.have a safe trip home. Thank you. Unbelievable. How does he do it? One
:54:19. > :54:22.of the things many of you are keen to know because you love it is when
:54:23. > :54:26.this year's festive virtual choirs coming back, and we have some good
:54:27. > :54:35.news. We can finally answer that question. Carrie Grant has the
:54:36. > :54:39.details. Last Christmas we made something a bit special, a virtual
:54:40. > :54:42.choirs of One Show viewers, hundreds of you took part by filming
:54:43. > :54:46.yourselves in the comfort of your own homes, and then we combined your
:54:47. > :54:58.videos to create a stunning virtual carol concert, that united the UK in
:54:59. > :55:02.song. I absolutely loved it, this was your choir, performing to an
:55:03. > :55:06.audience of millions, and I loved the way you got dressed up in your
:55:07. > :55:19.festive costumes and hats, and so it is time to do it all over again. But
:55:20. > :55:22.this time, it is vintage pop. It was all sharp suits and when it's
:55:23. > :55:32.released sleigh sleigh ride in 1960 through, and we are giving their
:55:33. > :55:36.classic a 21st-century makeover. Our musicians have been creating vintage
:55:37. > :55:43.shouts for you to sing too. It is all being taken very seriously and
:55:44. > :55:46.the all being taken very seriously and
:55:47. > :55:54.for your videos, to help you sing it we have drafted in five guide
:55:55. > :56:03.vocalists. Next challenge is, there are a few different king Alleyne. --
:56:04. > :56:08.King and Ling. You can throw that in with any consonant, right? I love
:56:09. > :56:16.the delivery. You sound like you are from the 60s, it has that lovely...
:56:17. > :56:18.LAUGHTER Everything is ready for our
:56:19. > :56:23.Christmas extravaganza, and all we need now is you. Go to The One Show
:56:24. > :56:30.website and follow the link to our virtual choir page. This is one of
:56:31. > :56:35.our vocalists to show you how to do your performance. It is very easy,
:56:36. > :56:40.I've gone onto my laptop which I have propped up on this book, so I
:56:41. > :56:44.can watch. I have my earphones here, which I will plug into my laptop so
:56:45. > :56:49.only I can hear the track, which is really important, by phone to fill
:56:50. > :56:54.myself, but you can use any smart the vice or tablet, as long as you
:56:55. > :57:00.film it horizontally like a television screen. Smart device.
:57:01. > :57:07.Play the guide track. # Just hear the sleigh bells
:57:08. > :57:10.ringing... # It is a lovely time to have a
:57:11. > :57:19.sleigh ride together with you # We would like you to go to town
:57:20. > :57:22.with your videos. We have a choreography, as well, you can just
:57:23. > :57:26.make up your own moves, as well, anything goes. When you are
:57:27. > :57:34.finished, upload your video, anyone can take part, so get singing. Join
:57:35. > :57:37.the Virtual vintage quiet which is uniting the UK in song this
:57:38. > :57:43.Christmas where ever you are -- choir. That sounds lovely. All the
:57:44. > :57:49.details on the website, you have until midnight to apply. Thank you
:57:50. > :57:55.to all of our guests, what not has been. Now we can enjoy the China
:57:56. > :58:00.National Peking Opera company as they perform the Warrior Women of
:58:01. > :58:03.Yang. You can see them in London at Sadler 's Wells from Sunday until
:58:04. > :58:10.Thursday. Goodbye.