Browse content similar to 22/11/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to
The One Show with Matt Baker. | 0:00:17 | 0:00:19 | |
And Alex Jones. | 0:00:19 | 0:00:20 | |
On the day of the Budget, our guests
represent excellent value. | 0:00:20 | 0:00:28 | |
Definitely. | 0:00:28 | 0:00:30 | |
As far as growth is concerned,
one guest is 40% taller than anyone | 0:00:30 | 0:00:33 | |
else in the studio. | 0:00:33 | 0:00:34 | |
And the other is 100% more
Canadian than everyone here. | 0:00:34 | 0:00:38 | |
But they're both guaranteed
to raise your interest - | 0:00:38 | 0:00:40 | |
without being too taxing. | 0:00:40 | 0:00:41 | |
A huge welcome to Katherine Ryan
and Richard Osman! | 0:00:41 | 0:00:44 | |
APPLAUSE. | 0:00:44 | 0:00:47 | |
To avoid getting too political we
will leave the Budget to one side. | 0:00:49 | 0:00:53 | |
We will talk about your personal
budgets. Whitehall have you been | 0:00:53 | 0:00:56 | |
overspending? I never overspend.
I never feel richer than going down | 0:00:56 | 0:01:01 | |
to a shopping street and think, I'm
honestly not interested in anything | 0:01:01 | 0:01:05 | |
in any of these shops. I get to the
end of the high street and think how | 0:01:05 | 0:01:13 | |
rich am I not liking anything.
Nothing would fit you. Other than | 0:01:13 | 0:01:18 | |
books. You are not a big spender. I
would spend less on takeaway, but | 0:01:18 | 0:01:24 | |
more on food. I need is to still be
eating. Cooking healthy meals for my | 0:01:24 | 0:01:31 | |
family. More neefrt yourself. I'm
the favourite of the delivery man. | 0:01:31 | 0:01:36 | |
It's like - Same. The delivery
restaurants are good at what they | 0:01:36 | 0:01:40 | |
do. It's presumptuous to think I
could cook something better. You | 0:01:40 | 0:01:48 | |
should say - listen,, you cook
Indian food better than me. | 0:01:48 | 0:01:54 | |
Richard now turned his attention
to those pointless arguments | 0:01:56 | 0:01:59 | |
we all have where we argue
passionately that one thing | 0:01:59 | 0:02:01 | |
is better than another,
even though the answer | 0:02:01 | 0:02:03 | |
just doesn't matter. | 0:02:03 | 0:02:05 | |
We will get into these more. | 0:02:05 | 0:02:09 | |
He calls these arguments
"World Cups" and in them he tries | 0:02:09 | 0:02:11 | |
to determine which is the best out
of a range of things such | 0:02:11 | 0:02:15 | |
as breakfast cereal,
biscuits and crisps. | 0:02:15 | 0:02:16 | |
Ridiculous really. | 0:02:16 | 0:02:21 | |
Flame grilled are the best. You are
wrong. It's the Scampi Fries. | 0:02:21 | 0:02:31 | |
Really? When you stop in a petrol
station, the first in your mouth is | 0:02:31 | 0:02:37 | |
heaven, isn't it? I'm Flame Grilled
all the way. Don't look at me. You | 0:02:37 | 0:02:43 | |
have said the single most
controversy thing on TV and we had | 0:02:43 | 0:02:48 | |
the Budget today. | 0:02:48 | 0:02:52 | |
Anyway, tonight we're going
to have a World Cup of dinners. | 0:02:52 | 0:02:55 | |
We want you to send in a photo
and tell us why you think your | 0:02:55 | 0:02:59 | |
cheese on toast beats someone
else's spag bol. | 0:02:59 | 0:03:01 | |
Takeaways don't count. Leave them
out of it. | 0:03:01 | 0:03:03 | |
We'll boil it down to a few
finalists and later on Richard | 0:03:03 | 0:03:06 | |
and Katherine will pick
a dinner winner later. | 0:03:06 | 0:03:08 | |
We're also in for
a tasty musical treat | 0:03:08 | 0:03:10 | |
later when none other
than Seal will be here. | 0:03:10 | 0:03:15 | |
# Kiss From A Rose... #
That takes you back. | 0:03:15 | 0:03:23 | |
He's gone back to some
of the classics and tonight he'll be | 0:03:23 | 0:03:26 | |
performing an absolutely brilliant
rendition of I Put A Spell On You. | 0:03:26 | 0:03:29 | |
Can't wait. | 0:03:29 | 0:03:31 | |
He was warming up next to me. He's
on form. | 0:03:31 | 0:03:36 | |
One of the big Budget announcements
today was the pledge to plough | 0:03:36 | 0:03:38 | |
£20 million into completely
eradicating homelessness | 0:03:38 | 0:03:40 | |
in the next 10 years. | 0:03:40 | 0:03:41 | |
A recent study said that there
are now over 300,000 | 0:03:41 | 0:03:44 | |
homeless people in the UK,
but charities like Shelter | 0:03:44 | 0:03:46 | |
suggest the figure is
likely to be even higher. | 0:03:46 | 0:03:48 | |
So how do you even begin to count
the number of people on our streets? | 0:03:48 | 0:03:52 | |
JJ has been finding out. | 0:03:52 | 0:03:54 | |
It's 1.30am in the morning and I'm
heading out on to the streets of | 0:03:54 | 0:03:58 | |
Greater Manchester. I'm joining the
rough sleeping count as the local | 0:03:58 | 0:04:04 | |
council tries to establish how many
people are sleeping on the street. | 0:04:04 | 0:04:07 | |
Since 2010 the number of rough
sleepers in Greater Manchester has | 0:04:07 | 0:04:12 | |
incerealed four-fold. The count is
carried out once a year by | 0:04:12 | 0:04:16 | |
volunteers from the council and
Housing Association. They soon spot | 0:04:16 | 0:04:19 | |
someone in a doorway. Hi, I'm Leisa,
are you OK. How long have you been | 0:04:19 | 0:04:29 | |
staying here. Two weeks. Would you
like to access support and advice in | 0:04:29 | 0:04:33 | |
the next few days maybe. Maybe. He's
Polish, he lived here for the last | 0:04:33 | 0:04:39 | |
three years. Was working, had a job,
then lost his job. He ended up on | 0:04:39 | 0:04:43 | |
the street. He has lost his
passport. That is him effectively | 0:04:43 | 0:04:47 | |
stranded here. Each year the
Government ask local authorities to | 0:04:47 | 0:04:51 | |
provide a figure on how many people
are sleeping rough. Around 15% carry | 0:04:51 | 0:04:55 | |
out a head count like this. How
accurate can one count on one night | 0:04:55 | 0:05:01 | |
a year be? Joining us is the Salford
Mair. It depends how many people | 0:05:01 | 0:05:07 | |
come out and volunteer. The places
we go to and whether or not people | 0:05:07 | 0:05:11 | |
who are homeless or rough sleeping
are actually there when we decide to | 0:05:11 | 0:05:15 | |
visit. So it is fraught with
problems. The count is worthwhile on | 0:05:15 | 0:05:19 | |
a whole number of levels. It means
we get out there and we see for | 0:05:19 | 0:05:25 | |
ourselves the conditions people are
living in. Paul is keen to take us | 0:05:25 | 0:05:29 | |
to the Narrow Gate Night Shelter to
show us the reality. This is | 0:05:29 | 0:05:35 | |
Salford's hidden homeless, they are
not included on the count. One of | 0:05:35 | 0:05:40 | |
them is 51-year-old marry. My
landlord sold the flat I was in. How | 0:05:40 | 0:05:45 | |
long have you been here for? Seven
weeks. How has it been adjusting | 0:05:45 | 0:05:50 | |
living here? It's been quite hard,
actually. You are not used to so | 0:05:50 | 0:05:54 | |
many people. Without this place I
presume would you have been rough | 0:05:54 | 0:05:57 | |
sleeping? I would have had to,
really. Mary has been lucky she, she | 0:05:57 | 0:06:02 | |
will move into a flat in a month's
time. It's 3.00am. We are heading to | 0:06:02 | 0:06:10 | |
Salford Quays. It's cold tonight. I
wouldn't want to be sleeping out. | 0:06:10 | 0:06:15 | |
Yeah, we have reports of every night
five or six people coming and | 0:06:15 | 0:06:20 | |
begging down around this building.
There's no-one here now, just | 0:06:20 | 0:06:24 | |
bedding. It's another example of how
difficult it is to #re8 fleck the | 0:06:24 | 0:06:29 | |
true scale of the problem. S How do
you feel knowing that people are | 0:06:29 | 0:06:33 | |
living like this? I've got grave
concerns. -- reflect. Everybody | 0:06:33 | 0:06:40 | |
sleeping outside using bedding,
cardboard, they are at risk of | 0:06:40 | 0:06:45 | |
hypothermia. Impossible to think you
will get back on your feet when this | 0:06:45 | 0:06:49 | |
is what you come back to at night?
No, it's absolutely horrendous. The | 0:06:49 | 0:06:53 | |
team comes across another man
outside an office building. He says | 0:06:53 | 0:06:57 | |
he's not homeless, just stranded. | 0:06:57 | 0:07:01 | |
It's now 4.00am. There are four
young men sleeping in a train | 0:07:07 | 0:07:12 | |
station. 22-year-old Dean Wild has
been on the street for five months | 0:07:12 | 0:07:16 | |
after losing his job. Is withworking
as a mechanic. -- I was working as a | 0:07:16 | 0:07:23 | |
mechanic. The garage shut down. If
you got accommodation, could you get | 0:07:23 | 0:07:27 | |
back into that? Yes, of course. I
would love to get back into it. It's | 0:07:27 | 0:07:31 | |
the only thing I really want to do.
How tough can it get out here? It | 0:07:31 | 0:07:36 | |
can get tough. This is meant to be a
good sleeping bag. I still feel the | 0:07:36 | 0:07:43 | |
cold. It's not just homelessness he
is dealing with. I see dark figures. | 0:07:43 | 0:07:51 | |
There's no face. It's a dark figure.
I met Dean there, a really nice guy. | 0:07:51 | 0:07:57 | |
He has genuine mental health issues,
but in just a really horrible | 0:07:57 | 0:08:01 | |
situation. Dean is receiving housing
support from the local authority and | 0:08:01 | 0:08:05 | |
it's hoped he will be off the
streets soon. | 0:08:05 | 0:08:08 | |
Last year Salford found five rough
sleepers, but tonight that has more | 0:08:12 | 0:08:15 | |
than doubled to 11. Alongside
evidence from the police, charities | 0:08:15 | 0:08:19 | |
and Housing Association, the
official figure is closer to 40. So | 0:08:19 | 0:08:23 | |
how valuable is the count? Well,
clearly, I think we need to do more | 0:08:23 | 0:08:27 | |
of these, to be perfectly honest
with you. I'd like to see all cities | 0:08:27 | 0:08:32 | |
and towns around the country doing
counts. Unless you get out there and | 0:08:32 | 0:08:37 | |
see it yourself all it is is a
number on a spreadsheet. Let's be | 0:08:37 | 0:08:41 | |
human about this. Seal has joined us
now. Hello. You were watching that | 0:08:41 | 0:08:46 | |
film closely. This is something you
have life experience in. You ended | 0:08:46 | 0:08:51 | |
up on the streets sleeping rough.
How did that situation come about? | 0:08:51 | 0:08:53 | |
Yeah. I mean, the big difference
there is mine was by choice. | 0:08:53 | 0:08:59 | |
Watching this piece, you quickly
realise that a lot of these people | 0:08:59 | 0:09:02 | |
have no choice. I think that's the
most disheartening thing. Right. | 0:09:02 | 0:09:06 | |
When you say by choice, how did you
make up making that decision? I | 0:09:06 | 0:09:11 | |
decided to leave home at 15. I was
in search of, you know, bigger and | 0:09:11 | 0:09:17 | |
brighter things. So it was my
choice, you know. I roughed it on | 0:09:17 | 0:09:26 | |
friend's floors for a while. When
they got tired and they kicked me | 0:09:26 | 0:09:30 | |
out I roughed it in shelters and I
used to sleep on the Underground a | 0:09:30 | 0:09:35 | |
couple of times. It got to that at
one point. Again, you know, the | 0:09:35 | 0:09:40 | |
difference was mine was by choice. A
lot of these poor people just have | 0:09:40 | 0:09:47 | |
no choice. My heart goes out to them
really. You actually turned your | 0:09:47 | 0:09:51 | |
life around then because you wrote
Kiss From A Rose in a squat, didn't | 0:09:51 | 0:09:56 | |
you? Yeah. We have... I try to
explain it sometimes to my American | 0:09:56 | 0:10:00 | |
friends. We have this wonderful
concept in England called squatters | 0:10:00 | 0:10:04 | |
rights which we are all aware of. I
lived in a squat for a while. That | 0:10:04 | 0:10:09 | |
was kind of my... It was - since
leaving home, that was kind of like | 0:10:09 | 0:10:15 | |
my first real space that I could
call my own, I felt. Of course, you | 0:10:15 | 0:10:21 | |
have more or less the guarantor. You
had the guarantee of being rehoused | 0:10:21 | 0:10:26 | |
if you ever had to leave the squat.
That was where I wrote Kiss From A | 0:10:26 | 0:10:31 | |
Rose. Did it it have connotations of
your life when you were writing | 0:10:31 | 0:10:35 | |
that? Did Kiss From A Rose have
connotations? I never thought of it | 0:10:35 | 0:10:40 | |
like that. It must have done,
really. You know, as a writer, an | 0:10:40 | 0:10:46 | |
artist, you kind of reflect the
reality of your surrounding or at | 0:10:46 | 0:10:51 | |
least how you see it, a reality, I
should say. Yes, it must have done. | 0:10:51 | 0:10:55 | |
I mean, people have often asked me -
what is it about? I couldn't tell | 0:10:55 | 0:10:59 | |
you if my life depended on it. We
wanted an answer tonight. My answer | 0:10:59 | 0:11:05 | |
for the longest time was, it's about
whatever. I'd say, what does it mean | 0:11:05 | 0:11:10 | |
to you. That's what it's about, I
guess. | 0:11:10 | 0:11:17 | |
Well, despite Seal's tough start,
he went onto sell over 30 million | 0:11:17 | 0:11:20 | |
records and win multiple Grammy
awards and Brits, thanks | 0:11:20 | 0:11:22 | |
to tunes like these. | 0:11:22 | 0:11:23 | |
# Is there still a part of you that
wants to live honourable gentleman | 0:11:23 | 0:11:30 | |
solitary sister
# Is there still a part of you that | 0:11:30 | 0:11:33 | |
wants to give
# But we're never going to survive | 0:11:33 | 0:11:38 | |
unless we get a little crazy
# No, we're never going to survive | 0:11:38 | 0:11:48 | |
unless we are a little crazy
# Baby, I compare you to a kiss from | 0:11:48 | 0:11:56 | |
a ks rose
# Oh, the more I get of you | 0:11:56 | 0:12:00 | |
# The stranger it feels, yeah...
#. YES! | 0:12:00 | 0:12:09 | |
You should do karaoke, you've got a
good voice. Apparently people who | 0:12:14 | 0:12:18 | |
sing for a living are terrible at
karaoke. Oh really. The whole point | 0:12:18 | 0:12:25 | |
is to be embarrassed. You could come
to our Christmas party. Christmas | 0:12:25 | 0:12:29 | |
karaoke. I did a thing recently
where I had to go undercover and | 0:12:29 | 0:12:36 | |
conceal my identity as this sort of
ageing man who had never quite made | 0:12:36 | 0:12:41 | |
it in the music industry. You know,
he had given up his dreams and etc, | 0:12:41 | 0:12:46 | |
etc. I had to go undercover for a
week. It was one of the hardest | 0:12:46 | 0:12:50 | |
thing I ever did. One was involving
me singing. I was this failed | 0:12:50 | 0:12:56 | |
singer, if there is such a thing, I
don't believe there is. For intents | 0:12:56 | 0:13:00 | |
and purposes.
. I had to mask, I had to | 0:13:00 | 0:13:04 | |
intentionally sing badly. You know.
But it was the hardest thing to do, | 0:13:04 | 0:13:12 | |
you know. I don't know why I told
you that story! If you need to know | 0:13:12 | 0:13:19 | |
how to sing badly come to me. We
aren't doing any karaoke. Katherine, | 0:13:19 | 0:13:24 | |
it's a big deal for you sitting next
to Seal? Was he your teen idol. | 0:13:24 | 0:13:30 | |
Instead of saying keeping it real I
say keeping Seal. I like that. I | 0:13:30 | 0:13:36 | |
thought you might. I love it. Kiss
From A Rose is important if my life. | 0:13:36 | 0:13:40 | |
It is? As a young girl. We have a
picture of you at your school prom | 0:13:40 | 0:13:46 | |
did you not dance to it? Yes. I love
a photo is requested in that you | 0:13:46 | 0:13:53 | |
didn't believe I went to high
school! Yeah, I think you are so | 0:13:53 | 0:13:56 | |
talented. Oh, thank you. Hey, no
problem. Do you know, if you could | 0:13:56 | 0:14:05 | |
see now I'd be blushing, obviously
you can't. Does anyone think I'm | 0:14:05 | 0:14:09 | |
talented? Anyone! There is a new
album out. This is the Standard. | 0:14:09 | 0:14:18 | |
What is quite extraordinary here,
Seal, sorry, sorry to interrupt | 0:14:18 | 0:14:22 | |
there. Do you mind! I'm trying to
help your album. All these songs, | 0:14:22 | 0:14:28 | |
they are covers, you say it's the
thing you are most proud of? Oh, I | 0:14:28 | 0:14:33 | |
think that might be a little bit of
hyperbole. I'm proud of it. Whether | 0:14:33 | 0:14:44 | |
or not it's the thing I'm most proud
of. Trevor and I, the first couple | 0:14:44 | 0:14:49 | |
of of albums, watching those videos
and watching Crazy, the memories and | 0:14:49 | 0:14:55 | |
the pride that I have, you know,
with those memories recording those | 0:14:55 | 0:14:59 | |
records with Trevor. It's hard to
concentrate listening to this guy! | 0:14:59 | 0:15:06 | |
This was definitely... It was a very
challenging experience, which is | 0:15:06 | 0:15:11 | |
ultimately kind of what turned me on
about it. It's all about your voice. | 0:15:11 | 0:15:17 | |
The songs are from a time when
singers sang? | 0:15:17 | 0:15:20 | |
As a singer, what you're trying to
do most of the time, or what we are | 0:15:25 | 0:15:29 | |
trying to do modern days, is suing
as well as we can live and I give a | 0:15:29 | 0:15:35 | |
powerful performance. But we have to
have our stuff together. The major | 0:15:35 | 0:15:40 | |
difference with the songs is, it
doesn't really matter how great the | 0:15:40 | 0:15:47 | |
musicians are. And let's be clear,
they are spectacular musicians, even | 0:15:47 | 0:15:51 | |
the ones I got to work with, some of
them have recorded with Nat King | 0:15:51 | 0:15:55 | |
Cole and Sinatra. Randy was in
Sinatra's band at 19. So I was | 0:15:55 | 0:16:03 | |
privileged to play with these
musicians. But it does not really | 0:16:03 | 0:16:07 | |
matter if the musicians are
spectacular. If the songs are | 0:16:07 | 0:16:12 | |
spectacular, if the arrangements are
spectacular and some of them are | 0:16:12 | 0:16:17 | |
spectacular, and the singing, the
voice is in shape, technically you | 0:16:17 | 0:16:22 | |
are hitting all the notes, it is not
enough. It is so much about the | 0:16:22 | 0:16:27 | |
narrative in the songs, about the
story, that everything is arranged | 0:16:27 | 0:16:33 | |
and centred around the voice's
ability to convey this narrative and | 0:16:33 | 0:16:37 | |
tell the story. If you are not doing
that, or the other stuff. Pieces. | 0:16:37 | 0:16:42 | |
This is one of the reasons why it
was most challenging for me, because | 0:16:42 | 0:16:46 | |
it brought me back to that, the
essence of songwriting, which is | 0:16:46 | 0:16:51 | |
storytelling, to kind of create this
piece which allows people to suspend | 0:16:51 | 0:16:57 | |
belief and go on this journey.
Well, you have got a huge | 0:16:57 | 0:17:02 | |
performance later on at the end of
the show also I Put A Spell On You. | 0:17:02 | 0:17:08 | |
Huge! No pressure, Seal. I like the
way you say that! We will look | 0:17:08 | 0:17:20 | |
forward to it. And you are touring
around the UK. And that was a good | 0:17:20 | 0:17:24 | |
effort with the Welsh accent! | 0:17:24 | 0:17:27 | |
Now, have a look at these pictures. | 0:17:27 | 0:17:29 | |
This was the reaction
when David Cassidy flew into the UK | 0:17:29 | 0:17:31 | |
back in the 1970s. | 0:17:31 | 0:17:37 | |
He was one of the original teen
idols and sadly today | 0:17:37 | 0:17:39 | |
it was announced he had passed away
at the age of 67. | 0:17:39 | 0:17:42 | |
We met him when he came
onto the show in 2011. | 0:17:42 | 0:17:48 | |
At the time we made a film with two
of his biggest fans, | 0:17:48 | 0:17:52 | |
one of whom was Carrie Grant. | 0:17:52 | 0:17:55 | |
Back in the 70s, the name on
everyone's lips, and the man who had | 0:18:01 | 0:18:06 | |
the key to our teenage hearts, was
David Cassidy. But I was not the | 0:18:06 | 0:18:11 | |
only girl to have his posters all
over my bedroom walls. In fact, | 0:18:11 | 0:18:16 | |
there were 13 million people who
were part of the fan club. That is | 0:18:16 | 0:18:20 | |
more than the Beatles and Elvis
Presley. The single I think I love | 0:18:20 | 0:18:26 | |
you was the biggest selling song of
the 1970s and sparked a group of | 0:18:26 | 0:18:33 | |
devoted it Mahrez who savoured every
David Cassidy moment. Wendy Wright | 0:18:33 | 0:18:38 | |
is still a mad fan. How far does her
celebrity crush go? This is your | 0:18:38 | 0:18:44 | |
memorabilia room. I love it. How did
you feel? I fell in love with him! | 0:18:44 | 0:18:52 | |
He was everything the magazines made
me think he would be. The music is | 0:18:52 | 0:18:57 | |
the soundtrack of my life. There is
always a David Cassidy track appears | 0:18:57 | 0:19:03 | |
to be somewhere in the background.
Take me back to 1974. This is the | 0:19:03 | 0:19:12 | |
concert ticket for White city
Stadium. Described the week leading | 0:19:12 | 0:19:15 | |
up to the gig? Every single outfit
was tried on about five times just | 0:19:15 | 0:19:23 | |
in case he saw me and would know how
special I was so it was really | 0:19:23 | 0:19:29 | |
important that I had a pink top or a
blue top because that could make a | 0:19:29 | 0:19:34 | |
difference in our future. There were
thousands and thousands and | 0:19:34 | 0:19:37 | |
thousands of girls there. The
excitement was palpable. You could | 0:19:37 | 0:19:41 | |
feel it. There was excitement in the
air. That day a young girl was | 0:19:41 | 0:19:47 | |
crushed due to the hysteria of the
34,000 fans. She later died. I know | 0:19:47 | 0:19:52 | |
in here you have a report of your
day. David sang his last song and | 0:19:52 | 0:20:01 | |
ran off. We'll pleaded with him to
come back but nothing happened. All | 0:20:01 | 0:20:04 | |
I could say was, he can't have gone,
then I started to cry. The feeling | 0:20:04 | 0:20:10 | |
inside was awful. David had gone.
I might never see him again. I have | 0:20:10 | 0:20:15 | |
come to speak to psychologist Linda
Papadopoulos to make sense of these | 0:20:15 | 0:20:21 | |
powerful infatuations of idols like
David. Think the way the boy bands | 0:20:21 | 0:20:26 | |
have developed over the years have
been very much about helping girls | 0:20:26 | 0:20:31 | |
believe their fantasies, it is about
them, he is singing to you. Think | 0:20:31 | 0:20:35 | |
back to the times of Elvis and David
Cassidy, they do not have a | 0:20:35 | 0:20:41 | |
girlfriend because they are waiting
for you, he is not married because | 0:20:41 | 0:20:44 | |
he has not met yet yet. Chatting to
Linda and Wendy reminds me of those | 0:20:44 | 0:20:50 | |
great at early moments of youth,
when you have those first crushes, | 0:20:50 | 0:20:54 | |
it is a bonding experience for women
and a great chance for us to | 0:20:54 | 0:20:58 | |
remember our youth. We have to grow
up and that is a fact but what is | 0:20:58 | 0:21:03 | |
wrong with holding the flame to your
teenage idol? | 0:21:03 | 0:21:09 | |
Carry loved David Cassidy.
Katherine, we know that Seal would | 0:21:09 | 0:21:13 | |
have been on your bedroom walls that
Richard, we were thinking, would he | 0:21:13 | 0:21:18 | |
have had Star Wars stuff or
Baywatch? Baywatch was a little bit | 0:21:18 | 0:21:25 | |
after my time. Mine was someone I
worked out I have had a crush on for | 0:21:25 | 0:21:30 | |
37 years, Kim Wilde. Kim Wilde! We
did not think of that. Good option. | 0:21:30 | 0:21:37 | |
During this time we came up -- you
came up with this option. Here is | 0:21:37 | 0:21:48 | |
Richard. Who is that? That is my
brother. He is a rock star now. Yes, | 0:21:48 | 0:22:00 | |
he is in, Chris Slade. Tell us --
yes, he is in Suede. Tell us about | 0:22:00 | 0:22:10 | |
World Cup Of Everything. There was a
question about who was better | 0:22:10 | 0:22:18 | |
between Spandau Ballet or... I love
the idea of pointless arguments that | 0:22:18 | 0:22:26 | |
people have. I thought I would ask
on Twitter what people's favourite | 0:22:26 | 0:22:30 | |
chocolate bar was. Then 2 million
votes I thought people were | 0:22:30 | 0:22:35 | |
interested in doing this so I do
this and raise money for a charity | 0:22:35 | 0:22:42 | |
which looks after children in
Uganda. People get serious with May | 0:22:42 | 0:22:47 | |
and I thought I will do a book where
you can do it with your mates on a | 0:22:47 | 0:22:52 | |
long car journey or in the pub. It
is quite interactive. Does 100% | 0:22:52 | 0:22:58 | |
interactive as long as you have a
pencil. It has wall charts you fill | 0:22:58 | 0:23:02 | |
in. It will cause so many arguments.
You will find out the best reduced | 0:23:02 | 0:23:09 | |
sitcom, all that kind of stuff. It
is giving you something to argue | 0:23:09 | 0:23:12 | |
about that is not Brexit, but as
something a bit more... You will | 0:23:12 | 0:23:17 | |
argue about something. What would be
your favourite? Are you talking | 0:23:17 | 0:23:26 | |
about scampi and beef! Identity meet
belongs anywhere. I like salt and | 0:23:26 | 0:23:33 | |
vinegar. I like dill pickle and
chips. The Americans and Canadians | 0:23:33 | 0:23:44 | |
cannot do lists. Thirst for thy have
got the name wrong, chips. It is | 0:23:44 | 0:23:50 | |
amazing how intense it feels when
you're down to the final. I was | 0:23:50 | 0:23:54 | |
logging on. I could not wait to see
who won. Why do we get so heated up | 0:23:54 | 0:23:59 | |
and we would rather argue whether
this than anything else? People love | 0:23:59 | 0:24:03 | |
to argue as a species. When we argue
about real things people get upset, | 0:24:03 | 0:24:09 | |
but if you argue about whether a
Twirl is better than a Twix, which | 0:24:09 | 0:24:14 | |
it is, it is fun. Some of our
friends want to know who would win | 0:24:14 | 0:24:22 | |
their World Cups. We will start with
Breakfast. Here is Dan Walker and | 0:24:22 | 0:24:28 | |
Louise Minchin. If there was a World
Cup of breakfasts... What would be | 0:24:28 | 0:24:35 | |
the winner? Breakfast cereal and not
television programmes I am | 0:24:35 | 0:24:42 | |
presuming! Breakfast food in
general. That is easy, bacon | 0:24:42 | 0:24:48 | |
sandwich. No, because some cultures
cannot have that. You have vegan is | 0:24:48 | 0:24:53 | |
kicking around. I like any potato
base. A bubble and squeak blew my | 0:24:53 | 0:25:05 | |
whole world open. Hash browns. You
like a Scottish breakfast. I like a | 0:25:05 | 0:25:16 | |
Coco Pops. I have said it. Nothing
wrong with that. Now it is the turn | 0:25:16 | 0:25:23 | |
of Zoe with a question. If there was
a World Cup of dance moves, what | 0:25:23 | 0:25:28 | |
would be your winner? Goodness, it
would have to be something I am a | 0:25:28 | 0:25:36 | |
specialist in. I break dance a lot.
Off you go! You need a crash mat for | 0:25:36 | 0:25:46 | |
what I do. Sell the book. There are
no dance moves in the book. Is it | 0:25:46 | 0:25:53 | |
break dancing, spinning on your
head? I was in a break dance crew in | 0:25:53 | 0:25:58 | |
the 1980s. Where you?! No, I wasn't.
Could you imagine? Let's say I was. | 0:25:58 | 0:26:07 | |
You are a good dancer, Catherine.
You heard right. I think all moves | 0:26:07 | 0:26:15 | |
are good as long as you do them with
reckless abandon. I like moves taken | 0:26:15 | 0:26:19 | |
out of real life like the sprinkler
and also shopping and putting things | 0:26:19 | 0:26:24 | |
in the trolley. Moves from life,
starting the lawn mower. I am with | 0:26:24 | 0:26:30 | |
you, if in doubt, mine a sport. I
would just be clicking a mouse, that | 0:26:30 | 0:26:36 | |
is the problem. We have one more.
Here is Michael Ball. I have got a | 0:26:36 | 0:26:43 | |
question. In your opinion, what is
the best musical? That is a good | 0:26:43 | 0:26:50 | |
one. In the book we have the World
Cup of Disney films and people get | 0:26:50 | 0:26:55 | |
very animated about that. I will go
for one that Michael Ball was in and | 0:26:55 | 0:26:59 | |
I love it which is Hairspray. What
about you, Katherine? Hamilton. I | 0:26:59 | 0:27:11 | |
have not seen it. It is coming to
the UK and it is so good. I know it | 0:27:11 | 0:27:15 | |
is tricky picking the newest one but
it is hot for a reason. Michael Ball | 0:27:15 | 0:27:21 | |
has strong opinions on this, as you
might imagine. The longest running | 0:27:21 | 0:27:27 | |
musical is less miserable is, the
most financially successful is | 0:27:27 | 0:27:32 | |
funding of the Opera. The best, it
is Hairspray. Or is it Sweeney Todd? | 0:27:32 | 0:27:41 | |
Or Miss Saigon? Or... He's always
self promoting, Michael Ball. | 0:27:41 | 0:27:50 | |
Richard's World Cup Of Everything is
out now. | 0:27:50 | 0:27:55 | |
Now, finding out you're
expecting your first child | 0:27:55 | 0:27:56 | |
can be an incredibly exciting
time, but it can also be | 0:27:56 | 0:27:59 | |
a pretty anxious one too. | 0:27:59 | 0:28:00 | |
This is the story of one couple
who had to put their baby's life | 0:28:00 | 0:28:04 | |
in the hands of doctors
before she was even born. | 0:28:04 | 0:28:06 | |
At their home in Bristol, Holly and
Mark Lloyd are getting ready for the | 0:28:06 | 0:28:09 | |
arrival of their first child. The
couple married in February, and had | 0:28:09 | 0:28:15 | |
always wanted a family. It had
happened sooner than we thought, so | 0:28:15 | 0:28:20 | |
it meant that I was 16 weeks
pregnant already when we got | 0:28:20 | 0:28:23 | |
married. It was a surprise. Really
excited. At the 20 week scan Holly | 0:28:23 | 0:28:33 | |
and Mark discovered they were
expecting a girl, but they also | 0:28:33 | 0:28:36 | |
learned there was a problem. The
sonographer asked for a second | 0:28:36 | 0:28:41 | |
opinion and then a third opinion so
a lot of people came in to have a | 0:28:41 | 0:28:44 | |
look. The more it went on, the more
worried we became. Your brain | 0:28:44 | 0:28:50 | |
rationalises what is happening but
it is difficult. Quite terrifying | 0:28:50 | 0:28:55 | |
really. The scan reveals the baby
has a life-threatening condition and | 0:28:55 | 0:28:59 | |
will only survive if she has major
surgery | 0:28:59 | 0:29:11 | |
within a couple of weeks of the
birth. It is the most difficult | 0:29:27 | 0:29:30 | |
thing either of us has ever had to
deal with. The thing that sticks in | 0:29:30 | 0:29:32 | |
my mind is a little baby having
open-heart surgery is the worst | 0:29:32 | 0:29:35 | |
combination of words you want to put
together. The surgery will be | 0:29:35 | 0:29:37 | |
carried out at the Bristol Hospital
for children. A normal heart pumps | 0:29:37 | 0:29:40 | |
red oxygen rich blood around the
body and sends oxygen poor or blue | 0:29:40 | 0:29:42 | |
blood to the lungs. What happens is
the blue blood comes back to the | 0:29:42 | 0:29:45 | |
body and instead of going to the
lungs it goes back to the body, | 0:29:45 | 0:29:48 | |
whereas the red light coming back
from the lungs goes straight out to | 0:29:48 | 0:29:50 | |
the lungs again. After birth, the
child will not be able to survive | 0:29:50 | 0:29:54 | |
because the oxygen levels in the
blood will get too low for the | 0:29:54 | 0:29:59 | |
organs to work. The condition
affects two out of every 10,000 live | 0:29:59 | 0:30:04 | |
births and is often called blue baby
syndrome. There are many different | 0:30:04 | 0:30:09 | |
heart abnormalities which will
produce a child which is blue, a | 0:30:09 | 0:30:16 | |
blue baby. In technical terms, it is
called cyanotic heart disease. All | 0:30:16 | 0:30:19 | |
it means is the oxygen levels in the
blood going to the body are not as | 0:30:19 | 0:30:24 | |
high as you would expect them to be.
Research by the British Heart | 0:30:24 | 0:30:29 | |
Foundation at the University of
Bristol hospital is improving | 0:30:29 | 0:30:32 | |
outcomes all the time. But
technically, it is one of the most | 0:30:32 | 0:30:37 | |
challenging operations. Although the
results of the arterial switch in | 0:30:37 | 0:30:41 | |
Britain nowadays are extremely good,
we can never belittle what it is. It | 0:30:41 | 0:30:45 | |
is a heart operation on a small
child. Holly is having sleepless | 0:30:45 | 0:30:52 | |
nights. She is almost nine months
pregnant and the baby is breech. A | 0:30:52 | 0:30:56 | |
Caesarean is booked for the next
day. She decides to start a video | 0:30:56 | 0:31:02 | |
diary. | 0:31:02 | 0:31:06 | |
Fot feeling as strong as I've done.
It's the morning of the birth. Holly | 0:31:06 | 0:31:15 | |
and Mark know their baby's life is
at risk as soon as she's born. In | 0:31:15 | 0:31:20 | |
the delivery suite at Saint
Michael's Maternity Hospital | 0:31:20 | 0:31:23 | |
everything is right. Why the baby is
still connected to the mum the baby | 0:31:23 | 0:31:31 | |
is being oxygenated. When he has to
oxygen anyway by himself or herself | 0:31:31 | 0:31:39 | |
is when they go blue. It doesn't
really feel real. I can't comprehend | 0:31:39 | 0:31:45 | |
what's about to happen, really.
Speak to you afterwards. Love you. | 0:31:45 | 0:31:49 | |
Love you. Holly is in theatre. The
caesarean takes just six minutes, | 0:31:49 | 0:31:57 | |
but their baby needs resuscitation
and is rushed to Nato natal | 0:31:57 | 0:32:02 | |
intensive care. Down stairs, Holly
is desperate to hold her. We haven't | 0:32:02 | 0:32:06 | |
seen her yet. I fleetingly saw her
before she was taken away. She | 0:32:06 | 0:32:12 | |
wasn't well enough for a cuddle or
anything. Waiting to see if we can | 0:32:12 | 0:32:16 | |
go and see our little girl. Yeah,
waiting to see if she's stabilised. | 0:32:16 | 0:32:21 | |
She's being well looked after at the
moment. Their baby is stable, but in | 0:32:21 | 0:32:24 | |
trouble. In the next few hours she
will need an extra procedure to | 0:32:24 | 0:32:28 | |
allow more oxygen into her body.
It's the only way she will survive | 0:32:28 | 0:32:35 | |
long enough to have the corrective
surgery. The next few days will be | 0:32:35 | 0:32:39 | |
critical. The story will continue
later on in the proprogramme when | 0:32:39 | 0:32:44 | |
Mark, Holly and their baby daughter
will join us to talk about that | 0:32:44 | 0:32:49 | |
operation. The next film is
something else. It really is. Your | 0:32:49 | 0:32:56 | |
tour is about your daughter Violet
who thinks you are the most | 0:32:56 | 0:32:59 | |
embarrassing mum out there. How did
it go down that you had written all | 0:32:59 | 0:33:05 | |
this new material on her Glitter
room. 'S a real room. Her bedroom. | 0:33:05 | 0:33:13 | |
Sounds fantastic. It's her flat. I
was the first woman to buy property | 0:33:13 | 0:33:18 | |
alone. I was aware my grandmother
wouldn't have been allowed to do | 0:33:18 | 0:33:22 | |
that, or carry a passport or open a
bank account without the signature | 0:33:22 | 0:33:26 | |
of a man. I have a lovely life with
Violet. I get people to say - it's | 0:33:26 | 0:33:37 | |
sad you are alone. When I'm alone I
get to hang out with me. The first | 0:33:37 | 0:33:45 | |
audition of a decorator I told him
what she wanted for the glitter room | 0:33:45 | 0:33:49 | |
he said to me - no. He said, you
cannot do. This he said, no man will | 0:33:49 | 0:33:54 | |
ever want to live here. You are not
inviting one. I know! I said - you | 0:33:54 | 0:34:00 | |
promise! I have florals and rose
gold and blush. It's a beautiful | 0:34:00 | 0:34:06 | |
flat. It sounds pretty. In the
Glitter room he stood in the middle | 0:34:06 | 0:34:12 | |
of it and said, "when will the
decision maker be home". I was like, | 0:34:12 | 0:34:16 | |
she's at school for two more hours,
you had better hurry up. It's about | 0:34:16 | 0:34:23 | |
the trials and tribulations of the
stigma being attached to being a | 0:34:23 | 0:34:28 | |
single mum. How much do you tell
Violet? She used to come on tour | 0:34:28 | 0:34:36 | |
with me more when she was a baby.
She wasn't really listening. I have | 0:34:36 | 0:34:40 | |
to keep her away from some of my
stuff. That is the interesting stage | 0:34:40 | 0:34:44 | |
you are at in your life. Yes. It's a
funny stage. I'm a good mum. It | 0:34:44 | 0:34:49 | |
shocks people. There is a line.
There are certain things he can't | 0:34:49 | 0:34:53 | |
watch on telly or live stand-up. She
is embarrassed by me. That's fine. I | 0:34:53 | 0:34:58 | |
feel that's my job. That's
completely cool. I do the school run | 0:34:58 | 0:35:02 | |
sometimes in a bathrobe. I just live
my best life. With the school run, | 0:35:02 | 0:35:06 | |
we know that you are a bit scathing,
let us say, about some of the other | 0:35:06 | 0:35:10 | |
parents. Do you drive pass slowly
push out Violet and go - bye - in | 0:35:10 | 0:35:18 | |
case they pick on you or do you go
in disguise. There are a lot of the | 0:35:18 | 0:35:23 | |
mums at the school I love a lot. I
started slagging them off really | 0:35:23 | 0:35:27 | |
early on to get out of fundraising.
I didn't want them inviting me to | 0:35:27 | 0:35:32 | |
the pub quiz. That probably worked.
It was really effective. I would | 0:35:32 | 0:35:37 | |
recommend it. I don't want to play
the game. The game of the cafe and, | 0:35:37 | 0:35:43 | |
let's do this. I have my own squad.
Because my daughter is friend with | 0:35:43 | 0:35:48 | |
your daughter doesn't mean you and I
have to be friends. I'm very busy. I | 0:35:48 | 0:35:51 | |
don't want to do the cake sale. I
suggested a fine programme were you | 0:35:51 | 0:35:59 | |
get fined maybe £50, that is good
for the charity you don't have to | 0:35:59 | 0:36:02 | |
turn up. They were selling my
cupcakes for 10p one time. Were is | 0:36:02 | 0:36:09 | |
your skill of economy. After all
that effort. The tour will continue | 0:36:09 | 0:36:13 | |
for a little while you have been
working with Jimmy Carr and Rustel | 0:36:13 | 0:36:19 | |
Brand with the series called Roast.
Tell us, it is's full on. You are | 0:36:19 | 0:36:23 | |
almost like on a judging panel? It's
more than almost. It is Roast | 0:36:23 | 0:36:28 | |
Battle. It's famous language of
comedy in America. I think Brits | 0:36:28 | 0:36:35 | |
have seen it more now. A person is
being roasted. To us roast something | 0:36:35 | 0:36:39 | |
a language of love am you have to
research the entire career and craft | 0:36:39 | 0:36:44 | |
really smart jokes at that person's
expense. It's hard to explain it. | 0:36:44 | 0:36:49 | |
It's an honour of we brought it to
the UK. Jimmy Carr, Comedy Central | 0:36:49 | 0:36:55 | |
UK. It's the sharpest minds in
comedy. Two comedians roasting one | 0:36:55 | 0:36:59 | |
another and we judge the jokes and
the roasts. It really, anything | 0:36:59 | 0:37:05 | |
goes. Real horrible things are said.
We have a clip from the new series | 0:37:05 | 0:37:12 | |
with Tom Allen and Suzy Ruffle. He
is so bad at maintaining a | 0:37:12 | 0:37:20 | |
relationship his hair left him. He
is the funniest 11-year-old boy I've | 0:37:20 | 0:37:25 | |
ever... What do you think of these
two? I thought they were both | 0:37:25 | 0:37:30 | |
absolutely brilliant. I would say
that Suzy had the better roast. | 0:37:30 | 0:37:36 | |
There we go. Katherine's Glitter
tour continues around the country | 0:37:36 | 0:37:44 | |
until next March. | 0:37:44 | 0:37:48 | |
Now, lots of performers
suffer from stage fright, | 0:37:48 | 0:37:50 | |
but that's nothing compared
to the scary situations constantly | 0:37:50 | 0:37:52 | |
faced by explorer and
expedition leader Aldo Kane. | 0:37:52 | 0:37:54 | |
We'll be talking to him
in just a minute, | 0:37:54 | 0:37:56 | |
but first here he is abseiling
into one of the world's most | 0:37:56 | 0:37:59 | |
dangerous volcanos,
Nyiragongo, in the Congo. | 0:37:59 | 0:38:04 | |
I'm guessing at that. | 0:38:04 | 0:38:10 | |
APPLAUS Aldo is here now. You are
making your way down there to a lava | 0:38:30 | 0:38:37 | |
lake that is below? I would rather
be doing that than being on live | 0:38:37 | 0:38:43 | |
television, for sure. You are. It's
one of the most bizarre things that | 0:38:43 | 0:38:49 | |
you can ever, ever imagine to be
doing with your life potentially | 0:38:49 | 0:38:55 | |
dangling on the end of a rope. You
are taking geology gists down as | 0:38:55 | 0:38:59 | |
well, they do these important
scientific research and experiments | 0:38:59 | 0:39:02 | |
down there. You have the job of
assessing the safest time, the | 0:39:02 | 0:39:06 | |
safest route down. I mean, what are
you looking for? Can you ever tell | 0:39:06 | 0:39:11 | |
when the volcano is not going to
erupt? In an answer, no, that's... | 0:39:11 | 0:39:17 | |
You can't tell. My job is to get the
scientists and the film crew down | 0:39:17 | 0:39:25 | |
into the volcano as far as we can
until I can say, pretty much with | 0:39:25 | 0:39:30 | |
the choice of everyone else that,
you know, it's safe or isn't safe to | 0:39:30 | 0:39:33 | |
go forward. That's a constant battle
when you are making television. But | 0:39:33 | 0:39:38 | |
we were also there following
scientists who are doing a real job. | 0:39:38 | 0:39:43 | |
For us, it's a really tricky line as
to when you can say it's safe or not | 0:39:43 | 0:39:48 | |
safe. Snoop nigh my first rule of
volcanoes for me is don't abseil | 0:39:48 | 0:39:53 | |
into them - at any time. It's
unbelievable. It's the biggest lava | 0:39:53 | 0:39:57 | |
lake on earth. It's one of the most
surreal experiences you can ever | 0:39:57 | 0:40:01 | |
have. An ex-Royal Marine you have
been in extreme situations. Is it | 0:40:01 | 0:40:07 | |
hot down there? What was the
feeling? You were at a very high | 0:40:07 | 0:40:12 | |
height when you started? Yes. The
volcano is nearly 3,500 meters. In | 0:40:12 | 0:40:19 | |
the Congo you are still experiencing
rain and hail and snow up there. So | 0:40:19 | 0:40:24 | |
to then abseil into where you think
it's actually going to be quite | 0:40:24 | 0:40:28 | |
warm, it's not warm until you get
right down towards the bottom. | 0:40:28 | 0:40:34 | |
Obviously, I mean, the people going
with you must be terrified. You must | 0:40:34 | 0:40:39 | |
be a tiny bit because you have all
of these people following your lead. | 0:40:39 | 0:40:46 | |
You have quite a unique approach to
fear, haven't you really? I'm | 0:40:46 | 0:40:50 | |
terrified when you go in there. You
have 15 people that are under your | 0:40:50 | 0:40:53 | |
care. There is only so much you can
physically do to stop rocks hitting | 0:40:53 | 0:41:00 | |
someone. Inside there, that's the
biggest risk. You know, I'm in my | 0:41:00 | 0:41:06 | |
job lucky enough or unlucky enough
to feel real fear five or six times | 0:41:06 | 0:41:10 | |
a year. Certainly in this year. It's
very much, for me, it's not about | 0:41:10 | 0:41:16 | |
feeling the fear and cracking on
with it or not. It's more about | 0:41:16 | 0:41:20 | |
actually understanding it, why are
you scared of that thing? What are | 0:41:20 | 0:41:24 | |
these feelings? What are the
feelings? Is it excited. For me, | 0:41:24 | 0:41:29 | |
it's mainly just to focus me and to
get me... If I'm abseiling off Angel | 0:41:29 | 0:41:36 | |
Falls to make sure I've connect what
had I need to connect to stop me | 0:41:36 | 0:41:39 | |
freefalling. In the volcano it's not
just about me, it's about the | 0:41:39 | 0:41:46 | |
scientists and the film crew and the
camera kit. On that note, how did | 0:41:46 | 0:41:52 | |
the kit react in that very extreme
situation of heat and whatever? | 0:41:52 | 0:41:58 | |
Metal work corrodes within a few
days. The Met al bits which | 0:41:58 | 0:42:05 | |
basically stop you falling and
dying. Some of the ladders put in | 0:42:05 | 0:42:09 | |
there. The gases corroded the rungs
off them. When you are crossing a | 0:42:09 | 0:42:18 | |
crevasse. No. Inside a volcano.
Yeah, you know, it's super corrosive | 0:42:18 | 0:42:27 | |
to pretty much everything. Are you
happy you have ticked that. Would | 0:42:27 | 0:42:30 | |
you go back? No. I would like to say
never, but it's television. So no | 0:42:30 | 0:42:34 | |
doubt we will be back in there at
some point. You took Tom Hardy and | 0:42:34 | 0:42:43 | |
Henry Cavill who plays Superman into
extreme environments. Please tell us | 0:42:43 | 0:42:47 | |
that at least Superman was tough
enough or did you have to rough them | 0:42:47 | 0:42:51 | |
up a bit? No, these guys are used to
working and filming in extreme | 0:42:51 | 0:42:56 | |
environments. I'd like to say when I
first met Henry I thought, this is | 0:42:56 | 0:43:01 | |
going to be hard work. He's just got
the cover of this month's Men's | 0:43:01 | 0:43:10 | |
Health. You are on there. With his
your top offed and the rope over | 0:43:10 | 0:43:15 | |
your shoulder. We will spare your
blushes. You can see more of Aldo in | 0:43:15 | 0:43:26 | |
Much xpeditio volcano which starts
this Sunday at 9.00pm on BBC Two. -- | 0:43:26 | 0:43:41 | |
Expedition Volcano. | 0:43:41 | 0:43:47 | |
At the start of the show
we asked you for photos | 0:43:47 | 0:43:49 | |
of your World Cup winning
dinners, and you've sent | 0:43:49 | 0:43:51 | |
us lots of offerings. | 0:43:51 | 0:43:53 | |
We've selected two of
the tastiest looking ones. | 0:43:53 | 0:43:53 | |
Here is toad in the hole and here is
the paella. It's up to you. The | 0:43:55 | 0:44:04 | |
first looks like something Aldo
would abseil into it. Toad on the | 0:44:04 | 0:44:09 | |
hole is something I would rather be
eating. Katherine? What is it? | 0:44:09 | 0:44:17 | |
Yorkshire pudding with sausages. Not
that one. One all. OK. I would have | 0:44:17 | 0:44:24 | |
to go with toad in the hole. There
we go. Sian, winner, winner, chicken | 0:44:24 | 0:44:34 | |
dinner - well, toad in the hole. | 0:44:34 | 0:44:37 | |
Earlier on we met the parents
of a baby who was waiting to have | 0:44:37 | 0:44:40 | |
surgery on her heart
to save her life. | 0:44:40 | 0:44:42 | |
Now you're about to see
a truly incredible | 0:44:42 | 0:44:44 | |
piece of medicine as she's
prepared for surgery. | 0:44:44 | 0:44:48 | |
Holly and Mark's first baby is in
neo anyway' intensive care. She was | 0:44:48 | 0:44:54 | |
born with a rare heart condition and
can't survive without open heart | 0:44:54 | 0:44:58 | |
surgery. New mum Holly can't take
her eyes off. She's the most | 0:44:58 | 0:45:04 | |
gorgeous thing I've ever seen. Her
condition is stable, she weighs | 0:45:04 | 0:45:10 | |
7.5lbs. She has a name. I would like
to welcome to the home Ivy Hope | 0:45:10 | 0:45:17 | |
Florence Lloyd. We love her to bits.
Blue at birth, she has had one | 0:45:17 | 0:45:25 | |
procedure which has helped to flood
her heart with red oxygenated blood. | 0:45:25 | 0:45:30 | |
It's been so much harder and more
emotion al than I thought it would | 0:45:30 | 0:45:34 | |
be. Just seeing everything that
she's had to go through. Ivy is nine | 0:45:34 | 0:45:42 | |
days old. Today, surgeons will
operate to switch the main arteries | 0:45:42 | 0:45:49 | |
of Ivy's heart. Andy Parry has
studied information on her heart. | 0:45:49 | 0:46:00 | |
Operating on someone else's child is
a considerable responsibility | 0:46:00 | 0:46:04 | |
knowing the risks associated with
the operation. Like everything in | 0:46:04 | 0:46:07 | |
life. It's a risk - benefit,
balance. It's the moment her parents | 0:46:07 | 0:46:13 | |
have been dreading. Mark can't bear
to leave Ivy's side. She's so | 0:46:13 | 0:46:19 | |
delicate. Going to surgery has been
really tough. But we realise that | 0:46:19 | 0:46:24 | |
she needs to have that to be well.
So... | 0:46:24 | 0:46:26 | |
It is 11am and the theatre is ready.
I am so worried about how we will | 0:46:35 | 0:46:42 | |
cope over the next few hours. Holly
and Mark Begin the most anxious wait | 0:46:42 | 0:46:53 | |
of their lives. Their tiny baby is
now in the care of anaesthetist | 0:46:53 | 0:47:03 | |
Richard Berenger. The smaller the
patient the more fiddly it is. Mr | 0:47:03 | 0:47:09 | |
Parry will be operating on a heart
the size of a walnut. The coronary | 0:47:09 | 0:47:17 | |
arteries are minute. You have to
move those arteries across without | 0:47:17 | 0:47:21 | |
stretching them or kinking them. If
you manage that then the heart works | 0:47:21 | 0:47:27 | |
nicely afterwards. If you don't get
it quite right, you can cause | 0:47:27 | 0:47:31 | |
limitations of blood to the heart
and the heart does not work as well. | 0:47:31 | 0:47:37 | |
Baby Ivy is ready for surgery. Her
blood pressure, the pleasure in her | 0:47:37 | 0:47:41 | |
veins and her brain will be
monitored throughout. -- the | 0:47:41 | 0:47:47 | |
pressure in her veins. Week open the
chest. We dissect out the blood | 0:47:47 | 0:47:53 | |
vessels so we can do the operation.
Baby Ivy is given a drug so blood | 0:47:53 | 0:48:00 | |
clots do not form during the
surgery. Now she is connected to the | 0:48:00 | 0:48:05 | |
bypass machine with two tubes. One
takes blood out of the heart, the | 0:48:05 | 0:48:10 | |
other takes blood back to the heart
having been through the lung bypass | 0:48:10 | 0:48:15 | |
machine. Mr Parry will stop Ivy's
heart. The monitor goes to zero. | 0:48:15 | 0:48:21 | |
Ivy's heart is no longer beating.
The most challenging work is about | 0:48:21 | 0:48:27 | |
to begin. Such is the concentration
required, our camera is asked to | 0:48:27 | 0:48:32 | |
leave. Over the next Alan and a
half, the arteries are carefully | 0:48:32 | 0:48:38 | |
moved into the correct positions --
over the next hour and a half. When | 0:48:38 | 0:48:44 | |
our cameras are invited back in,
Ivy's heart is beating again. It is | 0:48:44 | 0:48:50 | |
good news. We are off bypass. We
have done an arterial switch | 0:48:50 | 0:48:54 | |
operation. We have done an
echocardiogram which shows there is | 0:48:54 | 0:48:59 | |
good flow in the coronary arteries
and we should be closing this little | 0:48:59 | 0:49:02 | |
one's chest. As soon as they are
told the operation is over, Mark and | 0:49:02 | 0:49:09 | |
Holly rush to paediatric intensive
care. Their relief is overwhelming. | 0:49:09 | 0:49:21 | |
Holly and Mark are here along with
baby Ivy. She has just been sick but | 0:49:21 | 0:49:27 | |
she is such a good little girl this
afternoon. I will get you a tissue. | 0:49:27 | 0:49:34 | |
We knew this was about to happen at!
Years the new dress you have got for | 0:49:34 | 0:49:40 | |
a television appearance. She is 15
weeks today? She is doing | 0:49:40 | 0:49:48 | |
fantastically well. She is thriving.
Thank you for inviting our cameras | 0:49:48 | 0:49:53 | |
along. That must have been
incredibly difficult for you to make | 0:49:53 | 0:49:56 | |
the decision about whether you want
anyone to witness what you were | 0:49:56 | 0:49:59 | |
going through there. The thought of
people being their in such a | 0:49:59 | 0:50:08 | |
difficult time of our lives was
really hard but the thought that we | 0:50:08 | 0:50:12 | |
could raise awareness of congenital
heart disease and the fantastic work | 0:50:12 | 0:50:16 | |
the British art can -- the British
Heart Foundation do was important. | 0:50:16 | 0:50:25 | |
Are there any restrictions on what
she will be able to do growing up? | 0:50:25 | 0:50:29 | |
There are a few which we have been
told. No piercings and tattoos. That | 0:50:29 | 0:50:37 | |
is a shame! I am really happy about
that. And contact sport, she needs | 0:50:37 | 0:50:43 | |
to be careful, but apart from that,
she should be able to lead a | 0:50:43 | 0:50:50 | |
completely normal life. And just a
word on Mr Andrew Parry, your | 0:50:50 | 0:50:55 | |
surgeon. As parents completely
helpless in that situation, you are | 0:50:55 | 0:50:59 | |
just putting everything in his
hands? He's a super talented guy and | 0:50:59 | 0:51:04 | |
we trust him 100% with ivy and he
has done a fantastic job. He really | 0:51:04 | 0:51:10 | |
cares about what he does. Thank you
for letting us film you and | 0:51:10 | 0:51:16 | |
congratulations. Thank you, Ivy.
Have a wonderful Christmas. I am | 0:51:16 | 0:51:21 | |
sure you will. | 0:51:21 | 0:51:28 | |
Vic Reeves is carving out quite
a career for himself as an artist | 0:51:28 | 0:51:31 | |
using his real name Jim Moir. | 0:51:31 | 0:51:33 | |
So when we challenged him to spend
a day by the seaside painting, | 0:51:33 | 0:51:36 | |
he jumped at the chance. | 0:51:36 | 0:51:37 | |
We are moving on now. | 0:51:37 | 0:51:38 | |
We are moving on now. | 0:51:38 | 0:51:39 | |
However, he ended up slightly more
windswept than he'd bargained for. | 0:51:39 | 0:51:42 | |
This year, the One Show has been
sending people who love painting to | 0:51:42 | 0:51:47 | |
revisit coastal scenes painted by
William Daniel. He produced 300 | 0:51:47 | 0:51:53 | |
prints called a voyage around
Britain. They had sunny weather but | 0:51:53 | 0:51:58 | |
I have drawn the short straw. They
sent me to Dover in October, and I | 0:51:58 | 0:52:02 | |
am loving it. So ferocious, the wind
and the rain and the waves. It is | 0:52:02 | 0:52:10 | |
exhilarating. Seaweed just flew by.
I love adverse weather conditions, | 0:52:10 | 0:52:23 | |
and I love the sea. It gets right
into your soul. It's a seascape. | 0:52:23 | 0:52:36 | |
Right, I'm pleased enough with that
but my true challenge today is | 0:52:36 | 0:52:40 | |
finding a particular view painted by
William Daniel three centuries ago. | 0:52:40 | 0:52:46 | |
That is called Shakespeare's cliff,
so-called because it was in King | 0:52:46 | 0:52:51 | |
Lear. I am here to paint this scene
which Daniel painted in the early | 0:52:51 | 0:52:55 | |
1800 's. It looks pretty much
identical. I'm in exactly the same | 0:52:55 | 0:53:01 | |
spot. Here I am painting this
brutalist 16 in brutal weather and I | 0:53:01 | 0:53:07 | |
will paint it in a brutalist dip
style. Thank you. And diesel would | 0:53:07 | 0:53:14 | |
probably blow away so I am securing
my canvas with boulders. I am using | 0:53:14 | 0:53:19 | |
acrylics so I need some water. This
painting will have the water, ground | 0:53:19 | 0:53:27 | |
up chalk from the cliffs, and rust
from a shipwreck. Look, that is | 0:53:27 | 0:53:32 | |
quite nice, isn't it? And I can use
colours which aren't really even | 0:53:32 | 0:53:39 | |
there, it put a bit of red there
because I can. Daniel was here quite | 0:53:39 | 0:53:48 | |
clearly on a lovely day with a
picnic. I spend most of my time in a | 0:53:48 | 0:53:56 | |
studio, not painting landscapes,
worried is nice and warm. But I must | 0:53:56 | 0:54:01 | |
say, it is really good fun doing
this. Since Daniel's time, two | 0:54:01 | 0:54:06 | |
railway tunnels have been cut
through the cliff. And the Channel | 0:54:06 | 0:54:11 | |
Tunnel runs underneath. At this very
moment, families are off on lovely | 0:54:11 | 0:54:19 | |
camping trips to France on holiday,
right under the cliff. But that is | 0:54:19 | 0:54:27 | |
not the only way to get to France,
oh no. If you don't have a ticket, | 0:54:27 | 0:54:32 | |
there is an alternative. You are not
contemplating a cross-channel swim | 0:54:32 | 0:54:38 | |
in this weather, are you? Absolutely
not. This is a little bit too rough. | 0:54:38 | 0:54:44 | |
Have you done it more than once? 34
in all. What possessed you? This is | 0:54:44 | 0:54:51 | |
the busiest shipping road in the
world, isn't it? Yes, but in 150 | 0:54:51 | 0:54:57 | |
years of Channel swimming, that has
not been a single accident. I think | 0:54:57 | 0:55:06 | |
I want to have a gun ships at the
end of it. You get lots of strange | 0:55:06 | 0:55:10 | |
sorts. I get about a mile out and I
think, whose stupid idea was this? | 0:55:10 | 0:55:14 | |
It is a sense of achievement to
challenge yourself to the absolute | 0:55:14 | 0:55:17 | |
limit. Because it is there. And
Shakespeare Cliff is there is well, | 0:55:17 | 0:55:22 | |
for me to complete my painting. I
love using acrylics and I love using | 0:55:22 | 0:55:29 | |
the elements to shape the painting.
Letting the wind attack it now. Yes, | 0:55:29 | 0:55:37 | |
I reckon that is cooked. | 0:55:37 | 0:55:43 | |
There we are, a day's work in Dover
and its environs. A seascape and | 0:55:47 | 0:55:57 | |
there we have Shakespeare's cliff.
Ladies and gentlemen, I can | 0:55:57 | 0:56:02 | |
thoroughly recommend painting in
adverse weather conditions. It | 0:56:02 | 0:56:05 | |
cleanses the soul and makes you feel
alive! | 0:56:05 | 0:56:09 | |
I am going to try it. I bet he was
freezing. Good effort though. | 0:56:09 | 0:56:15 | |
Well, that's just about
it from us tonight. | 0:56:15 | 0:56:17 | |
Thanks to all our guests -
Richard and Katherine - | 0:56:17 | 0:56:20 | |
as always, its been a pleasure. | 0:56:20 | 0:56:21 | |
Richard's, The World Cup
Of Everything is out now, | 0:56:21 | 0:56:23 | |
and Katherine's Glitter Room tour
continues | 0:56:23 | 0:56:25 | |
around the country until March. | 0:56:25 | 0:56:26 | |
But now, it's time for the fabulous
Seal and, I Put A Spell On You. | 0:56:26 | 0:56:29 | |
# I put a spell on you | 0:56:46 | 0:56:51 | |
# 'Cause you're mine | 0:56:51 | 0:56:55 | |
# You better stop the things you do | 0:57:02 | 0:57:08 | |
# I ain't lyin' | 0:57:08 | 0:57:12 | |
# No, I ain't lyin' | 0:57:12 | 0:57:15 | |
# You know I can't stand it | 0:57:17 | 0:57:21 | |
# You're runnin' around | 0:57:21 | 0:57:28 | |
# You know better baby | 0:57:28 | 0:57:36 | |
# I can't stand the way
you put me down | 0:57:36 | 0:57:39 | |
# Yeah, Yeah | 0:57:39 | 0:57:40 | |
# I put a spell on you | 0:57:40 | 0:57:41 | |
# Because you're mine | 0:57:41 | 0:57:46 | |
# You're mine | 0:57:46 | 0:57:50 | |
There are macro you don't love him.
I put a spell on you. | 0:58:37 | 0:58:45 | |
# I put a spell on you | 0:58:45 | 0:58:47 | |
# Because you're mine.#. | 0:58:47 | 0:58:57 | |
# You are mine... | 0:59:08 | 0:59:11 |