
Browse content similar to Dara O Briain This Is The Show. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
This programme contains strong language and adult humour. | 0:00:02 | 0:00:08 | |
Thank you very much. | 0:00:09 | 0:00:10 | |
Thank you very much, good evening, ladies and gentlemen, hello, | 0:00:11 | 0:00:14 | |
hello, hello, hello, how are you? Good to have you here, folks. | 0:00:14 | 0:00:16 | |
Welcome to the Hammersmith Apollo. Are you in good form? | 0:00:16 | 0:00:19 | |
AUDIENCE: Yes! | 0:00:19 | 0:00:20 | |
Very good. This is our big show tonight. | 0:00:20 | 0:00:22 | |
This is our big set, which was supposed to look like | 0:00:22 | 0:00:24 | |
the Hollywood Bowl, but, in fact, looks like the opening titles to Rainbow. | 0:00:24 | 0:00:28 | |
That didn't work out quite as we planned it, | 0:00:28 | 0:00:30 | |
cos that makes me look like Bungle. | 0:00:30 | 0:00:33 | |
So, listen, it is a pleasure and a delight to be here. | 0:00:33 | 0:00:35 | |
This is the show, there will be some messing around, some stories, | 0:00:35 | 0:00:38 | |
some chat, there will be chat, there will be chat. | 0:00:38 | 0:00:40 | |
Don't fear the chat. Some comics are really rude and mean | 0:00:40 | 0:00:44 | |
and they go, "Look at you." And they're pick on you. I don't do | 0:00:44 | 0:00:47 | |
that shit cos, you know. Well, A, because I'm not that kind of comic. | 0:00:47 | 0:00:49 | |
And, B, you know, you have to be nice, you have to be nice. | 0:00:49 | 0:00:53 | |
Comedy generally, these days, has to be nice. It didn't always have | 0:00:53 | 0:00:57 | |
to be nice, but then Frankie Boyle and Jonathan Ross fucked it up. | 0:00:57 | 0:01:01 | |
However, what did I want to talk to you about? | 0:01:02 | 0:01:04 | |
I, during the year, had an unusual experience | 0:01:04 | 0:01:07 | |
because I ended up at a student party, right, one night. | 0:01:07 | 0:01:10 | |
-And I've not been to a stu... -Woo! -I know, yeah, tragic, isn't it? | 0:01:10 | 0:01:13 | |
I've not been to a student party in a decade, right, | 0:01:13 | 0:01:16 | |
but I did a gig in Cambridge and some lad came up to me | 0:01:16 | 0:01:18 | |
and said, "Will you come back to the house? We're having a meeting | 0:01:18 | 0:01:20 | |
"of the Cambridge Whisky Drinking Association." And I went, | 0:01:20 | 0:01:23 | |
"Oh, that sounds fancy." And he goes, "No, it's not." | 0:01:23 | 0:01:25 | |
And all it was is this group of lads | 0:01:25 | 0:01:28 | |
and they all pitch in four quid each and buy a bottle | 0:01:28 | 0:01:30 | |
of single malt whisky, right. Really student, but lovely guys, | 0:01:30 | 0:01:35 | |
real comedy nerds. And I went back and was chatting to the lads. | 0:01:35 | 0:01:38 | |
And during the conversation, I note there were three girls there. | 0:01:38 | 0:01:40 | |
All first year in college, about 18, 19 years old. | 0:01:40 | 0:01:44 | |
And I'm chatting to the three girls about college life and this and that. | 0:01:44 | 0:01:47 | |
And then, I made an observation I hadn't actually formally made, | 0:01:47 | 0:01:51 | |
which was that nothing was passing between me and the girls. | 0:01:51 | 0:01:54 | |
There was no electricity, no vibe, no chemistry, no potential. | 0:01:54 | 0:01:58 | |
Nothing was passing. The three women were looking at me | 0:01:58 | 0:02:02 | |
in a kind of a, "This is very nice. I wonder who he's here to collect." | 0:02:02 | 0:02:06 | |
However, I... | 0:02:06 | 0:02:08 | |
Now, that's shattering, but I know it had to happen. Honestly, nothing, | 0:02:08 | 0:02:12 | |
blank, it was as if I'd forgotten to turn on the Bluetooth in me cock. | 0:02:12 | 0:02:16 | |
Nothing was coming off the girls. | 0:02:16 | 0:02:18 | |
I wasn't looking for it, I'm married with a kid, | 0:02:18 | 0:02:21 | |
I wasn't hunting it down, but nonetheless it's slightly | 0:02:21 | 0:02:23 | |
disappointing, you know. They weren't even registering | 0:02:23 | 0:02:26 | |
a sexual device in the room. Nothing was coming off them, right. | 0:02:26 | 0:02:29 | |
Similarly, a few weeks later, I went to a doctor's appointment | 0:02:29 | 0:02:32 | |
and I was checking with the doctor about stuff | 0:02:32 | 0:02:34 | |
and I said, "Will you do an MOT on me? | 0:02:34 | 0:02:35 | |
"I'm in my late 30s now, let's see how I'm doing." | 0:02:35 | 0:02:38 | |
So, your man does a big test on me, runs a load of things, | 0:02:38 | 0:02:40 | |
and then comes back with a big, serious face on him. | 0:02:40 | 0:02:43 | |
I said, "What's wrong?" And he goes, "Well, your cholesterol." | 0:02:43 | 0:02:46 | |
He says, "Your cholesterol is very high." Right. | 0:02:46 | 0:02:49 | |
And my cholesterol was ludicrous, | 0:02:49 | 0:02:51 | |
pick a number and double it type high, right. | 0:02:51 | 0:02:53 | |
But I didn't know what it meant and I went, | 0:02:53 | 0:02:55 | |
"What does it mean? What does it mean?" | 0:02:55 | 0:02:57 | |
I went, "Does that mean I've got butter for blood? | 0:02:57 | 0:02:59 | |
"That's what it means. I've got butter for blood, doesn't it?" | 0:02:59 | 0:03:02 | |
And your man looked at me and goes, "Not quite." I said, "Not quite? | 0:03:02 | 0:03:04 | |
"That was chosen as a ridiculous example. | 0:03:04 | 0:03:07 | |
"I expected you to say no. | 0:03:07 | 0:03:08 | |
"That wasn't the opening negotiation." And he sits there. | 0:03:08 | 0:03:11 | |
"What does not quite butter? What? Spreadable, margarine? | 0:03:11 | 0:03:14 | |
"What have I got in my veins at the moment?" | 0:03:14 | 0:03:16 | |
And your man looks at me and goes, "I can't believe..." | 0:03:16 | 0:03:18 | |
And I said, "What? It's not butter?" | 0:03:18 | 0:03:20 | |
AUDIENCE LAUGHS | 0:03:20 | 0:03:21 | |
He goes, "No, I can't believe you're not dead yet. | 0:03:21 | 0:03:23 | |
"I've had a look at the figures, you should be dead now. | 0:03:23 | 0:03:26 | |
"Stop going on about butter. You've mentioned butter nine times. | 0:03:26 | 0:03:29 | |
"And every time you do your eyes light up and you start to salivate. | 0:03:29 | 0:03:32 | |
"That could be the problem, right there." | 0:03:32 | 0:03:34 | |
Firstly, this is an important thing, the 19-year-old girls, | 0:03:35 | 0:03:38 | |
by the way, that... If you've ever had a conversation that | 0:03:38 | 0:03:41 | |
involved the word cholesterol, you don't get to wonder why | 0:03:41 | 0:03:44 | |
the 19-year-old girls don't seem to be in any way interested in you. | 0:03:44 | 0:03:48 | |
That's a good rule for life, lads, you know, | 0:03:48 | 0:03:50 | |
if you're ha... Let's just put it this way, if you're using | 0:03:50 | 0:03:52 | |
a special margarine, boys, no more 19-year-olds for you, right. | 0:03:52 | 0:03:56 | |
Here's a rhyme next time you open the fridge, | 0:03:56 | 0:03:59 | |
"If your Flora is blue, no 19-year-olds for you." Right. | 0:03:59 | 0:04:02 | |
AUDIENCE LAUGHS | 0:04:02 | 0:04:04 | |
But the other issue I went was, | 0:04:04 | 0:04:06 | |
I said, "What am I going to do?" And he says "Well, I'm afraid | 0:04:06 | 0:04:09 | |
"there are two things you can do. Plan A is a drug called statins." | 0:04:09 | 0:04:11 | |
Now, we'd have all heard of statins by the time we die. | 0:04:11 | 0:04:14 | |
One of those drugs like Disprin that we'd have heard about. | 0:04:14 | 0:04:16 | |
It's like, "Oh, my God, the statins this, statins that." | 0:04:16 | 0:04:18 | |
We'll have all heard of statins. But your man goes, | 0:04:18 | 0:04:20 | |
"You take these drugs and you take them every day until you die." | 0:04:20 | 0:04:23 | |
And I went, "No fucking way, man. No fucking way. I'm a young man, | 0:04:23 | 0:04:27 | |
"I'm not eating myself into the situation | 0:04:27 | 0:04:29 | |
"where I need drugs for life. | 0:04:29 | 0:04:31 | |
"What's plan B?" And he said, "A harsh regime of exercise." | 0:04:31 | 0:04:35 | |
And I said, "Let us urgently reconsider plan A. | 0:04:35 | 0:04:39 | |
"And, in fact, I'm angry at the way you hid plan B behind plan A. | 0:04:39 | 0:04:42 | |
"knowing full well I would reject plan A out-of-hand | 0:04:42 | 0:04:46 | |
"and then you'd spring me with the genuinely prickish plan B." | 0:04:46 | 0:04:49 | |
No-one wants to do the exercise, no-one wants to be back in the gym | 0:04:49 | 0:04:52 | |
on the machines that do this or do this or do something. | 0:04:52 | 0:04:55 | |
While some prick from the gym in a little blue t-shirt with the logo | 0:04:55 | 0:04:59 | |
sewn onto it goes, "Are you having a good workout?" And you go... | 0:04:59 | 0:05:02 | |
HE GASPS | 0:05:02 | 0:05:03 | |
And he goes, "Are you having a balanced workout?" | 0:05:05 | 0:05:07 | |
And you go, "Well, I haven't fallen off the machine yet." | 0:05:07 | 0:05:10 | |
I think that's as much balance as I intended to achieve | 0:05:10 | 0:05:12 | |
over the course of this workout. What do you mean balance? | 0:05:12 | 0:05:15 | |
They love this bullshit in the health industry. "Oh, you've | 0:05:15 | 0:05:18 | |
"got to have a balanced workout. There are three types of fitness." | 0:05:18 | 0:05:22 | |
There aren't three types of fitness. It's only a type of fitness if you | 0:05:22 | 0:05:26 | |
can't bluff it. There are two types of fitness. One. Strength for | 0:05:26 | 0:05:30 | |
the lifting of heavy things and stamina for the holding of heavy things | 0:05:30 | 0:05:33 | |
when the place you're going to put the heavy thing isn't quite ready | 0:05:33 | 0:05:36 | |
for the heavy thing, so you've got to go and put the heavy thing back. | 0:05:36 | 0:05:39 | |
The third one. Suppleness, flexibility. | 0:05:39 | 0:05:42 | |
Ask my arse. | 0:05:42 | 0:05:43 | |
Can you touch your toes? Yes, I can touch my toes, I've got knees. | 0:05:45 | 0:05:50 | |
Remarkably easy to touch your toes. | 0:05:50 | 0:05:54 | |
AUDIENCE APPLAUDS | 0:05:54 | 0:05:56 | |
I have semi-collapsible limbs that makes the job almost facile | 0:05:56 | 0:06:00 | |
when it comes to touching my toes. | 0:06:00 | 0:06:01 | |
Look, there's one set, there's the other. Job done, right. | 0:06:02 | 0:06:05 | |
Nonetheless, I had to pick an exercise which is a chore, right. | 0:06:06 | 0:06:09 | |
And I went through all the different options and I eventually fixed on | 0:06:09 | 0:06:12 | |
cycling. I thought, "This'll be the one I'll do. I'll go cycling." | 0:06:12 | 0:06:15 | |
And I could... This is kind of because when I was 15, in Ireland, | 0:06:15 | 0:06:18 | |
we had this guy called Stephen Roche who won the Tour de France. | 0:06:18 | 0:06:21 | |
And as a teenage boy, I went, "Oh, wow." And he was a hero to me | 0:06:21 | 0:06:24 | |
and I always wanted that bike. That skinny bike with | 0:06:24 | 0:06:27 | |
the drop handlebars, and here we go, right. So, finally I can do this. | 0:06:27 | 0:06:30 | |
Does anyone here ride a bike? | 0:06:30 | 0:06:32 | |
SOME AUDIENCE MEMBERS: Yes. | 0:06:32 | 0:06:34 | |
OK, maybe I'll broaden that out a bit, does anyone here own a bike? | 0:06:34 | 0:06:36 | |
AUDIENCE: Yes. | 0:06:36 | 0:06:38 | |
In fact, no, let me narrow it down now. Is there anyone here married to | 0:06:38 | 0:06:42 | |
or living with somebody who spent a lot of money on that bike and | 0:06:42 | 0:06:46 | |
that hasn't been out of the garage in at least a year at this stage? | 0:06:46 | 0:06:48 | |
Yes, there's a few. You're my people. | 0:06:48 | 0:06:50 | |
You're my people, right there. Did he buy the shorts as well? | 0:06:50 | 0:06:52 | |
I bet he bought the shorts too, didn't he? | 0:06:52 | 0:06:54 | |
And walked around the house going, "Look at that, Mary, isn't that | 0:06:54 | 0:06:57 | |
"fantastic, look at that! Look at the way it lifts, lifts and holds. | 0:06:57 | 0:07:01 | |
"Mary, you're a lucky woman. I've still got it." | 0:07:01 | 0:07:03 | |
You always buy the shorts and you go out, | 0:07:03 | 0:07:06 | |
you think you're an athlete. I went out the first day on | 0:07:06 | 0:07:08 | |
the bike, out to Richmond Park. Cycling around the park. And then | 0:07:08 | 0:07:11 | |
I got thirsty, you know, when you get thirsty as a punter, you drink. | 0:07:11 | 0:07:14 | |
But, when you're an athlete, in other words, you've got the bike | 0:07:14 | 0:07:17 | |
and the shorts, you rehydrate. | 0:07:17 | 0:07:19 | |
So, I'm on the bike, I put my hands on the handlebar, | 0:07:19 | 0:07:21 | |
I reach into the frame of the bike, pull the bottle out and, | 0:07:21 | 0:07:24 | |
while cycling, pump it, pump it. To push the fluids into my system fast. | 0:07:24 | 0:07:29 | |
Then I released, | 0:07:31 | 0:07:32 | |
forgetting to disengage the bottle from the corner of my mouth. | 0:07:32 | 0:07:36 | |
So, when I did this it popped out creating a vacuum | 0:07:36 | 0:07:40 | |
which instantly sucked the fluid back up my throat, out of my mouth, | 0:07:40 | 0:07:44 | |
into the bottle again. | 0:07:44 | 0:07:46 | |
I effectively rinsed myself out. | 0:07:46 | 0:07:49 | |
When I took the bottle away it was as heavy as it had been | 0:07:51 | 0:07:53 | |
when I initially introduced it into the situation. | 0:07:53 | 0:07:56 | |
But I didn't fall. I wobbled, I wobbled ferociously. | 0:07:57 | 0:07:59 | |
I was all over the road but I didn't fall. You don't fall | 0:07:59 | 0:08:02 | |
when you're at speed. You fall when you're static. | 0:08:02 | 0:08:05 | |
You fall when you're in traffic. | 0:08:05 | 0:08:06 | |
You fall when you're at the lights. You fall when there are others | 0:08:06 | 0:08:10 | |
around to see you fall. That's when you fall off | 0:08:10 | 0:08:14 | |
a menopausily-purchased, expensive bike | 0:08:14 | 0:08:16 | |
that you don't really know how to use. | 0:08:16 | 0:08:18 | |
And you fall slowly. | 0:08:18 | 0:08:20 | |
Cos if you're at speed you can go to here, down to here | 0:08:20 | 0:08:23 | |
and the momentum will carry you around. But if you're static, | 0:08:23 | 0:08:26 | |
if you go to here, that's enough for gravity to go, | 0:08:26 | 0:08:30 | |
"I'm having you." | 0:08:30 | 0:08:33 | |
And you go down slowly. Enough time for people to go, | 0:08:33 | 0:08:36 | |
"Oop, timber, you're going down, he's going down. Hey, driver, | 0:08:36 | 0:08:39 | |
"look at this, this is hilarious. Hey, Mary, | 0:08:39 | 0:08:41 | |
"come here, come here. No, park the car, you've loads of time, come on." | 0:08:41 | 0:08:45 | |
The most important thing to do when you're falling off a bike | 0:08:46 | 0:08:49 | |
is make the face. Make the face. This is vital. This is the face. | 0:08:49 | 0:08:54 | |
Duh. That's the face. Duh. That's the vi... If you look, duh, | 0:08:54 | 0:08:58 | |
people have a reflex, they have to go "duh" back at you. And you're | 0:08:58 | 0:09:01 | |
going "duh", they're going "duh", and you're, "No, I'm falling." | 0:09:01 | 0:09:03 | |
They go, "No, I'm falling myself. Happens to the best of us." | 0:09:03 | 0:09:06 | |
That makes it OK. But if you go "duh", people look at you | 0:09:06 | 0:09:09 | |
and they go "duh" as well, "Oh, well, you know." And in their head | 0:09:09 | 0:09:11 | |
it goes wah-wah-wah, and that makes it all OK. | 0:09:11 | 0:09:16 | |
You could try to stop yourself falling, but that's impossible. | 0:09:16 | 0:09:18 | |
Because the man who sold you the bike and the shorts, | 0:09:18 | 0:09:22 | |
also sold you the shoes. | 0:09:22 | 0:09:23 | |
AUDIENCE LAUGHS | 0:09:23 | 0:09:25 | |
The special, magical cycling shoes that clip onto the pedals for | 0:09:25 | 0:09:29 | |
the official, efficient transferral of energy from thighs to bike. | 0:09:29 | 0:09:34 | |
But you can't get them off the pedals because you keep | 0:09:34 | 0:09:36 | |
forgetting the 30 degree, Fred Astaire, unclippy angle | 0:09:36 | 0:09:40 | |
that you have to do. And you're falling off a bike, | 0:09:40 | 0:09:42 | |
you can't remember that because half your brain's going, | 0:09:42 | 0:09:45 | |
"Oh, Jesus, you're falling, you're falling." | 0:09:45 | 0:09:47 | |
And the other half is going, "Make the face, make the face." | 0:09:47 | 0:09:51 | |
So, you kick, you kick furiously, but you're strapped to the pedals. | 0:09:51 | 0:09:55 | |
So, the energy goes down one pedal and then up the other pedal. | 0:09:55 | 0:09:57 | |
Now, you're shaking, you're making the face, you're making the face. | 0:09:57 | 0:10:00 | |
But people are looking at you going, "Jeez, he's having a fit." | 0:10:00 | 0:10:03 | |
You're shaking all over the place. | 0:10:03 | 0:10:06 | |
And they're going, "Who gave the epileptic a bike?" | 0:10:06 | 0:10:08 | |
"It must have been the traffic lights that set him off." | 0:10:10 | 0:10:13 | |
And, Mammy, it hurts. It hurts when you hit the ground. | 0:10:22 | 0:10:26 | |
I've had back injuries. How many people here have ever had back pain? | 0:10:26 | 0:10:30 | |
-AUDIENCE: Yes. -The majority of you. It's a chore | 0:10:30 | 0:10:31 | |
cos you don't know what to do with it, what do they do, | 0:10:31 | 0:10:34 | |
"Ow, I can't handle this." | 0:10:34 | 0:10:35 | |
It's a fucking nightmare having back pain. I was whining about one | 0:10:35 | 0:10:38 | |
back injury for a while to a mate of mine, for so long he eventual went, | 0:10:38 | 0:10:41 | |
"Jesus, there's a chiropractor near me, go get yourself checked out." | 0:10:41 | 0:10:45 | |
I said, "Is he good?" He said, "I don't know, you go check yourself out." | 0:10:45 | 0:10:48 | |
And, well, I'm here with my review. It's voodoo, that's | 0:10:48 | 0:10:52 | |
my review of chiroprac-ty. It's voodoo with percussion built in. | 0:10:52 | 0:10:55 | |
They lie you down and they do clickety-pop, click, click pop. | 0:10:55 | 0:10:59 | |
Clickity poppety click pop, click pop, pop, on your back. | 0:10:59 | 0:11:01 | |
Then the guy stood me up, stood me in the room looking away. | 0:11:01 | 0:11:05 | |
He went behind me, | 0:11:05 | 0:11:07 | |
reached over my shoulders, grabbed my head | 0:11:07 | 0:11:11 | |
and went crack. | 0:11:11 | 0:11:12 | |
So, you're there going, "I wonder what's happening... | 0:11:12 | 0:11:15 | |
"Fucking hell!" | 0:11:15 | 0:11:16 | |
AUDIENCE LAUGHS | 0:11:16 | 0:11:18 | |
I wasn't expecting that. No doctor does that. | 0:11:18 | 0:11:23 | |
I've never seen any trained medical professional do that. | 0:11:23 | 0:11:26 | |
I've seen Jason Bourne do it. | 0:11:26 | 0:11:28 | |
I've seen Bruce Willis do it in a Die Hard movie. I've never | 0:11:30 | 0:11:34 | |
seen a Die Hard movie where he's sneaked up behind somebody and gone | 0:11:34 | 0:11:37 | |
CRACK. And they've gone, "Oh, Jesus, that's fantastic, thanks very much. | 0:11:37 | 0:11:41 | |
"Oh, God, you've really loosened that up. | 0:11:41 | 0:11:43 | |
"I'd a knot of tension there for years, that's all gone now. | 0:11:43 | 0:11:46 | |
"Oh, that was the only reason I got into terrorism. | 0:11:46 | 0:11:50 | |
"was the dull nagging pain in my neck, | 0:11:50 | 0:11:52 | |
"Thank you, John McClane, for releasing me from that". | 0:11:52 | 0:11:55 | |
And my fears were confirmed by a mate of mine, Simon Singh. | 0:11:57 | 0:11:59 | |
Who wrote an article for the Guardian a couple of years ago, | 0:11:59 | 0:12:02 | |
pointing out that some chiropractors claim to cure infant colic. | 0:12:02 | 0:12:07 | |
And asthma and ear infections in young children, right. | 0:12:07 | 0:12:10 | |
And he said, "There's no evidence for this. This is bogus." | 0:12:10 | 0:12:13 | |
And the entire organisation of chiropractors sued him for libel. | 0:12:13 | 0:12:16 | |
The case dragged on for two years, cost hundreds of thousands of pounds | 0:12:16 | 0:12:18 | |
and they, eventually, backed down because they had no case. | 0:12:18 | 0:12:21 | |
And it was a waste of time and ludicrous, kind of, nonsense thing | 0:12:21 | 0:12:24 | |
to do, right. And a lot of people got very angry because | 0:12:24 | 0:12:27 | |
of the medical implications or because of the legal implications. | 0:12:27 | 0:12:30 | |
Me. My reaction was much more of a gut feeling of, | 0:12:30 | 0:12:34 | |
"What manner of eejit brings an infant to a chiropractor?" | 0:12:34 | 0:12:38 | |
Have you ever met an infant and gone, "How are you feeling?" | 0:12:38 | 0:12:41 | |
And the kid's gone, "I'm fucking knotted, stop it, jeez. | 0:12:41 | 0:12:45 | |
"I'm in bits. I got out of the cot this morning. Twang. I can't move." | 0:12:45 | 0:12:48 | |
Or, "Stop it, I bent over to pick up a Peppa Pig, | 0:12:50 | 0:12:53 | |
"I couldn't get down, I couldn't get down, couldn't get down, get down." | 0:12:53 | 0:12:56 | |
"Oh, sure, I'm a martyr to me back, a martyr, | 0:12:57 | 0:13:00 | |
"I've got play group in an hour, | 0:13:00 | 0:13:01 | |
"I don't know how the fuck I'm going to get through that." | 0:13:01 | 0:13:05 | |
Where were we, ladies and gentlemen? | 0:13:06 | 0:13:08 | |
Oh, yes, the 19-year-old girls. That's what I was talking about. | 0:13:08 | 0:13:13 | |
No, no, no, here's a different situation and a situation | 0:13:13 | 0:13:16 | |
that's very common in my life. Where I now find myself often | 0:13:16 | 0:13:19 | |
in the company of women. Just me and loads of women. | 0:13:19 | 0:13:22 | |
AUDIENCE: Woo! | 0:13:22 | 0:13:23 | |
Please, It's not what you think. | 0:13:23 | 0:13:25 | |
What's wrong with you people with your dirty minds? Right. | 0:13:25 | 0:13:29 | |
No, it's me and mothers, right. And by which I mean mothers, rather | 0:13:29 | 0:13:32 | |
than, you fucking mother. Anyway, so, OK, I'm sorry. I've stumbled | 0:13:32 | 0:13:36 | |
across a lot of people who are into MILFs in a huge way. I'm sorry. | 0:13:36 | 0:13:39 | |
This is important. I spend these days every, you know. | 0:13:40 | 0:13:43 | |
I spend a load of my time, about 11 o'clock in the morning, | 0:13:43 | 0:13:46 | |
where it's me and mother, mother, mother, mother, mother. | 0:13:46 | 0:13:48 | |
At these classes called Drummarama, or Gymalimadingdong, right. | 0:13:48 | 0:13:53 | |
These classes you go to with a toddler in order to | 0:13:54 | 0:13:57 | |
tire the fucker out. | 0:13:57 | 0:13:59 | |
I'm sorry, didn't I mean to increase their coordination | 0:13:59 | 0:14:02 | |
and social skills? | 0:14:02 | 0:14:04 | |
No, tire the fucker out so they'll sleep and you can drink some wine. | 0:14:04 | 0:14:09 | |
AUDIENCE LAUGHS | 0:14:09 | 0:14:11 | |
And when I go, it is, literally, me as the only grown-up male there | 0:14:11 | 0:14:14 | |
and mother, mother, mother, mother. And they look at you. | 0:14:14 | 0:14:17 | |
Mothers look at you when you're the only man in a crowd of women. | 0:14:17 | 0:14:20 | |
"What are you doing here, in our sacred mothering space, | 0:14:20 | 0:14:24 | |
"with your penis?" | 0:14:24 | 0:14:26 | |
Obviously, implicitly with your penis rather than, | 0:14:26 | 0:14:30 | |
"What do you think you're doing with your penis? | 0:14:30 | 0:14:32 | |
"Put it away, for Christ's sake! | 0:14:32 | 0:14:33 | |
"It's Drumarama, they supply the drum sticks, | 0:14:33 | 0:14:35 | |
"there's no need to take that out." | 0:14:35 | 0:14:37 | |
Collectively, I have to say this, mummies are bitches. | 0:14:39 | 0:14:42 | |
They really are. Oh, I'm sorry. I had a mother walk up to me once | 0:14:42 | 0:14:46 | |
in a swimming lesson and go, "You may not change with your daughter." | 0:14:46 | 0:14:50 | |
I went, "How dare you! | 0:14:50 | 0:14:52 | |
"It's the most natural, normal thing for a father | 0:14:52 | 0:14:54 | |
"and a child to change together. Of course | 0:14:54 | 0:14:56 | |
"I will change my daughter. There's nothing weird about it. | 0:14:56 | 0:14:58 | |
"How dare you even imply that there's something wrong with that." | 0:14:58 | 0:15:01 | |
And the woman looked me and went, "It's the woman's changing room." | 0:15:01 | 0:15:05 | |
But I went up to her | 0:15:05 | 0:15:07 | |
and went, "Who are you to place such structures on a child's mind? | 0:15:07 | 0:15:11 | |
"Why don't you and the other mummies just go back to the showers | 0:15:11 | 0:15:14 | |
"and I'll just sit here and finish my cigar." | 0:15:14 | 0:15:17 | |
AUDIENCE LAUGHS | 0:15:17 | 0:15:19 | |
So, I don't go to swimming lessons any more. No. | 0:15:19 | 0:15:22 | |
I now go to soft play areas, which are these arenas | 0:15:22 | 0:15:26 | |
which are specially built and all padded so the kids can run | 0:15:26 | 0:15:29 | |
into things and not hurt themselves. | 0:15:29 | 0:15:32 | |
And then they run into each other. | 0:15:32 | 0:15:33 | |
And you're outside with some stranger parent | 0:15:35 | 0:15:37 | |
and you have to do this real, "Ooh, are they OK? | 0:15:37 | 0:15:39 | |
"Are they grand? Are they fine? Are they all right? | 0:15:39 | 0:15:42 | |
"Ooh, are they all right? Ooh, bit of rough and tumble, | 0:15:42 | 0:15:44 | |
"doesn't do them any harm in the long run. A few tears now, it'll be fine, | 0:15:44 | 0:15:47 | |
"It'll be grand. It'll be fine, it'll be grand." | 0:15:47 | 0:15:49 | |
That's what you say. But, on the inside, you're going, "Boom! | 0:15:49 | 0:15:53 | |
"My kid poned your kid." | 0:15:55 | 0:15:57 | |
You turn into Don King of the bouncy castle. | 0:15:59 | 0:16:04 | |
"Get that loser out of here. Who's next with my child?" | 0:16:04 | 0:16:09 | |
I either go there or pet shops, | 0:16:09 | 0:16:10 | |
which are, of course, a free zoo. | 0:16:10 | 0:16:13 | |
AUDIENCE LAUGHS | 0:16:13 | 0:16:14 | |
And people who work in pet shops know this. | 0:16:17 | 0:16:19 | |
And they look at you going, "You're not going to buy a thing are you?" | 0:16:19 | 0:16:22 | |
When you walk in. You go, "No, I'm not buying a thing, ha-ha-ha-ha. | 0:16:22 | 0:16:25 | |
"Look at the fish, come on. Look at the fish, come on, | 0:16:25 | 0:16:27 | |
"for half an hour, because Daddy's hung over to fuck. So, you look | 0:16:27 | 0:16:30 | |
"at the fish for a while. While I rest my head in a terrarium." | 0:16:30 | 0:16:33 | |
HE SNORES | 0:16:33 | 0:16:35 | |
Now, I'm aware that it is actually slightly risky for a comedian | 0:16:36 | 0:16:39 | |
to talk about these kind of topics. | 0:16:39 | 0:16:41 | |
These are the ones that can alienate people. Cos there are | 0:16:41 | 0:16:44 | |
a lot of people of a certain age who don't have kids, don't want to hear | 0:16:44 | 0:16:47 | |
about this, right. It can look mawkish or sentimental and that's | 0:16:47 | 0:16:49 | |
not what I'm trying to achieve. Particularly, say, well, | 0:16:49 | 0:16:52 | |
let's go very, very, very young. You, you, you, you two, there. | 0:16:52 | 0:16:56 | |
What age are you two? | 0:16:56 | 0:16:58 | |
14, and you? You're 14 as well, OK, grand. | 0:16:58 | 0:17:01 | |
Right, now, you are perfect for these kind of things. | 0:17:01 | 0:17:04 | |
You're teenage boys. 14-year-olds don't want to hear | 0:17:04 | 0:17:06 | |
something about... I'm sorry, am I interrupting | 0:17:06 | 0:17:08 | |
your recording illegally of my show? Err... | 0:17:08 | 0:17:12 | |
I'm loving the brazenness of it. | 0:17:14 | 0:17:16 | |
Like, we have nine cameras, but you thought, | 0:17:16 | 0:17:18 | |
"No, the phone will capture the moment better than any possible | 0:17:18 | 0:17:21 | |
"major production thing that we have." No, go for it! | 0:17:21 | 0:17:23 | |
No, go for it. You can run it as an extra, your view. | 0:17:23 | 0:17:26 | |
-What's your name? -Johnny. -Johnny, is it Johnny? | 0:17:26 | 0:17:28 | |
Yeah, Johnny. As an extra, | 0:17:28 | 0:17:29 | |
Johnny's view of the show, which is like that. | 0:17:29 | 0:17:33 | |
Constantly, every time I look over you go down. | 0:17:33 | 0:17:35 | |
Johnny, I'm going to use you as ambassadors for | 0:17:35 | 0:17:37 | |
young men in the audience. | 0:17:37 | 0:17:38 | |
You don't want to hear stuff about babies. I know that you don't. | 0:17:38 | 0:17:42 | |
That's not as rare an instinct as most... As you might imagine. | 0:17:42 | 0:17:45 | |
How many people... This is a test I run every night. | 0:17:45 | 0:17:47 | |
How many people in this room think babies are cute? | 0:17:47 | 0:17:51 | |
SOME AUDIENCE CHEER | 0:17:51 | 0:17:53 | |
OK, how many people in this room think kittens and puppies are cute? | 0:17:53 | 0:17:57 | |
MORE OF THE AUDIENCE CHEERS | 0:17:57 | 0:17:59 | |
Yep. Every night, the kittens and the puppies win. | 0:17:59 | 0:18:03 | |
Really. I've done this show 120 times. | 0:18:03 | 0:18:05 | |
Every night, the kit... There's never even a debate. | 0:18:05 | 0:18:07 | |
The kittens trounce babies. | 0:18:07 | 0:18:10 | |
It's something really fucked up on an evolutionary level. | 0:18:10 | 0:18:12 | |
We find the young of other species to be more appealing | 0:18:12 | 0:18:16 | |
than the young of our own, right. | 0:18:16 | 0:18:18 | |
Not just kittens, not just puppies, lambs. | 0:18:18 | 0:18:22 | |
AUDIENCE: Aaaw. | 0:18:22 | 0:18:23 | |
Ducklings. | 0:18:23 | 0:18:26 | |
Baby crocodiles. | 0:18:26 | 0:18:27 | |
AUDIENCE LAUGHS | 0:18:27 | 0:18:29 | |
If you're ever on a plane | 0:18:29 | 0:18:30 | |
and an air hostess went, "I'm afraid you will be sitting next to a baby." | 0:18:30 | 0:18:35 | |
And you automatically go, "Oh, for fuck's sake. | 0:18:35 | 0:18:39 | |
"Oh, no. Oh, come on. | 0:18:39 | 0:18:42 | |
"Oh no, not me. It's my holiday as well. Nooo." | 0:18:42 | 0:18:47 | |
And then she goes, "A baby crocodile." | 0:18:47 | 0:18:50 | |
And you go, "Hooray!" | 0:18:50 | 0:18:52 | |
You'd be feeding it rashers all the way through the flight. | 0:18:52 | 0:18:54 | |
"Come on, Snappy, have a bit of bacon, there you go. | 0:18:54 | 0:18:57 | |
"Oh-ho-ho, you little monkey, get down." | 0:18:57 | 0:18:59 | |
It is just one of those things, you know. | 0:19:02 | 0:19:04 | |
We don't like that much. It's, you know, here's another thing. | 0:19:04 | 0:19:07 | |
I'm not going to be sentimental about it, trust me. | 0:19:07 | 0:19:09 | |
In fact, I'll give this piece of advice. Anyone here who | 0:19:09 | 0:19:12 | |
doesn't have kids, who may have kids in the future. A little tip for you. | 0:19:12 | 0:19:15 | |
A little habit you could break now. Something that... | 0:19:15 | 0:19:18 | |
Trust me, you do this, you will thank me for it in years to come. | 0:19:18 | 0:19:20 | |
It's very, very simple. Stop using the word dirty in a sexual context. | 0:19:20 | 0:19:27 | |
We've all done it. I'm not judging you. We've all thrown the word in | 0:19:27 | 0:19:31 | |
to add a bit of spice to a situation, frisson to a night. | 0:19:31 | 0:19:34 | |
But it will rear up and bite you when you turn to your infant child | 0:19:34 | 0:19:38 | |
and go, "Don't do that, that's dirty. Oooh. You're a dirty girl. | 0:19:38 | 0:19:43 | |
"Look at you now. God, I can't believe I just said that | 0:19:43 | 0:19:47 | |
"to my own child." | 0:19:47 | 0:19:48 | |
AUDIENCE APPLAUDS | 0:19:48 | 0:19:50 | |
That is... | 0:19:50 | 0:19:52 | |
The creepiest thing I have ever done in my life. | 0:19:52 | 0:19:55 | |
That is horrible. | 0:19:55 | 0:19:56 | |
It's a word that has a proper meaning. A proper genuine... | 0:19:56 | 0:19:59 | |
Like, naughty is another one as well. | 0:19:59 | 0:20:01 | |
These words and phrases have definite, proper meanings | 0:20:01 | 0:20:04 | |
and when we subvert them for sexual reasons, | 0:20:04 | 0:20:06 | |
we ruin them for when we really need them. | 0:20:06 | 0:20:09 | |
Dirty, naughty and do what Daddy tells you. | 0:20:09 | 0:20:12 | |
So, no, not sentimental. | 0:20:20 | 0:20:22 | |
But I might be slightly nerdy in the next little bit. | 0:20:22 | 0:20:25 | |
Are there any nerds in the room? | 0:20:25 | 0:20:26 | |
AUDIENCE CHEERS | 0:20:26 | 0:20:28 | |
OK, loads of nerds, good stuff. Don't fear us, non-nerds, | 0:20:28 | 0:20:31 | |
we're gentle folk. | 0:20:31 | 0:20:32 | |
I myself, I'm a nerd. I did a degree in science, | 0:20:32 | 0:20:35 | |
a long time ago, right. I still get credit for it in chat shows | 0:20:35 | 0:20:39 | |
or on QI. They go, "Oh, my God, you did a degree in science?" | 0:20:39 | 0:20:42 | |
And I have to go, "Yes, I did, don't ask me any questions." | 0:20:42 | 0:20:46 | |
A decade and a half ago, I can't remember. You can't keep trading | 0:20:47 | 0:20:51 | |
on this stuff forever. | 0:20:51 | 0:20:52 | |
You know this if you've ever played five-a-side football. | 0:20:52 | 0:20:54 | |
If you ever play five-a-side football, there's | 0:20:54 | 0:20:56 | |
always one bloke going, "Well, yeah, I had trials, semi-professionally... | 0:20:56 | 0:21:01 | |
"..when I was 14." And you go "Really? | 0:21:02 | 0:21:04 | |
"Cos you're not 14 now, are you? You fat prick." | 0:21:04 | 0:21:07 | |
"You've kind of bulked out a bit in the last 25 years. | 0:21:09 | 0:21:11 | |
"A 14-year-old you would be useful, we could send him down the wings. | 0:21:11 | 0:21:14 | |
"But you've kind of... Get in the nets and block shit. | 0:21:14 | 0:21:16 | |
"That's all you're good for now." | 0:21:16 | 0:21:18 | |
But it does still, you know, get me angry about things. | 0:21:20 | 0:21:23 | |
For example, the last show I did, I had a ten-minute routine | 0:21:23 | 0:21:26 | |
about homeopathy, and what a crock of shit homeopathy is, right? | 0:21:26 | 0:21:30 | |
I don't have any homeopathy jokes in this year's show cos I feel | 0:21:30 | 0:21:34 | |
if I dilute my homeopathic material it'll become much more powerful. | 0:21:34 | 0:21:40 | |
If you got that, you're a nerd, all right? So... Talking with the guru. | 0:21:41 | 0:21:46 | |
What got me angry this year and in the last couple of years | 0:21:46 | 0:21:49 | |
has been to do with the babies, Because the amount | 0:21:49 | 0:21:51 | |
of quasi-scientific bullshit that's pedalled at new parents, | 0:21:51 | 0:21:55 | |
who don't know any better and are easily frightened is shocking. | 0:21:55 | 0:21:58 | |
About when the child should sleep or cry or eat | 0:21:58 | 0:22:01 | |
or what you should play to it and what you should play with it. | 0:22:01 | 0:22:03 | |
It's a horrendous industry, even before the child is born. | 0:22:03 | 0:22:07 | |
Right, my two young friends. Hello, how are you, right? | 0:22:07 | 0:22:10 | |
I'm going to talk about a thing called an antenatal class. | 0:22:10 | 0:22:12 | |
I'm taking a wild guess here that you don't know what that is? | 0:22:12 | 0:22:15 | |
You've a vague idea? | 0:22:15 | 0:22:17 | |
You've maybe seen the films where there's like pregnant women, | 0:22:17 | 0:22:20 | |
a circle of pregnant women. | 0:22:20 | 0:22:21 | |
And they're breathing. That's an antenatal class. | 0:22:21 | 0:22:23 | |
In this part of the world, the classes are run by a charity | 0:22:23 | 0:22:26 | |
called the National Childbirth Trust, | 0:22:26 | 0:22:29 | |
very commonly known by the abbreviation NCT. | 0:22:29 | 0:22:33 | |
Little note for any comedians in the room, beware abbreviations. | 0:22:33 | 0:22:37 | |
They can mean very different things in different countries. | 0:22:37 | 0:22:40 | |
In Ireland, for example, NCT stands for National Car Test, | 0:22:40 | 0:22:44 | |
the Irish equivalent of the MOT. | 0:22:44 | 0:22:47 | |
I, like a fucking eejit, forgot that, and walked out at the start | 0:22:48 | 0:22:51 | |
of this tour and said, "So, I brought me pregnant wife for an NCT." | 0:22:51 | 0:22:54 | |
And the whole room recoiled in horror, | 0:22:56 | 0:22:58 | |
as if to go, "Why would you do that? | 0:22:58 | 0:23:00 | |
"Why would you walk her into a garage and go, | 0:23:00 | 0:23:02 | |
"'Jesus, the handling has gone on this, she's all over the road. | 0:23:02 | 0:23:05 | |
"'Mind you, the headlamps, the headlamps are better than | 0:23:05 | 0:23:07 | |
"'I've ever seen them. Don't do anything about them.'" | 0:23:07 | 0:23:09 | |
AUDIENCE LAUGHS | 0:23:09 | 0:23:12 | |
Now, you don't do this course | 0:23:12 | 0:23:14 | |
because of any of the information involved. You can get that | 0:23:14 | 0:23:16 | |
in a load of different sources. You do the course because you'll meet | 0:23:16 | 0:23:20 | |
other new mothers. And it is vital for new mothers having their first baby | 0:23:20 | 0:23:24 | |
to have a network, a support structure of other new mothers also | 0:23:24 | 0:23:28 | |
having their first babies at the same time in the area. So they can | 0:23:28 | 0:23:32 | |
share with them their total lack of aggregate knowledge or experience. | 0:23:32 | 0:23:37 | |
It'd be like the rest of us, having a computer help desk | 0:23:37 | 0:23:39 | |
that we'd ring up and go, "Help, my computer's fucked." | 0:23:39 | 0:23:41 | |
"That sounds terrible." "It is, how are you?" "I'm all right." | 0:23:41 | 0:23:45 | |
"Bye." That's the level of care they can offer each other, right? | 0:23:45 | 0:23:48 | |
The course, by the way, is also run by midwives. | 0:23:51 | 0:23:53 | |
Now, midwives are fabulous people who do wonderful jobs. | 0:23:53 | 0:23:55 | |
But some midwives are surprisingly political. | 0:23:55 | 0:23:59 | |
Some midwives think they're in a turf war | 0:23:59 | 0:24:03 | |
with doctors. | 0:24:03 | 0:24:05 | |
In a, "Don't let the doctors near you," kind of a way. | 0:24:05 | 0:24:08 | |
Cos some midwives seem to have mistaken doctors, in their head, | 0:24:08 | 0:24:10 | |
for Sweeney Todd, The Demon Barber Of Fleet Street. | 0:24:10 | 0:24:14 | |
Actual quote from a midwife, "Don't let the doctors near you, | 0:24:14 | 0:24:17 | |
"with their knives." | 0:24:17 | 0:24:20 | |
Actual quote. As if the process isn't scary enough without | 0:24:20 | 0:24:23 | |
thinking doctors are ready to lash out randomly in dark corridors. | 0:24:23 | 0:24:28 | |
The course is also taught in that tone. | 0:24:28 | 0:24:31 | |
That tone that I can't stand. That, | 0:24:31 | 0:24:34 | |
IN A SOFT VOICE: "OK, we're all here together, we're all just taking | 0:24:34 | 0:24:38 | |
"our first steps on an incredible journey of life." | 0:24:38 | 0:24:43 | |
Urgh. | 0:24:43 | 0:24:47 | |
At one stage she goes, "No surnames, no job titles, what you do | 0:24:47 | 0:24:51 | |
"outside this room isn't important right now. We're all the same here. | 0:24:51 | 0:24:56 | |
"We're just new parents, taking our first peek into a wide, new world. | 0:24:56 | 0:25:02 | |
"Try to ignore the large, bald man off the telly... | 0:25:02 | 0:25:06 | |
AUDIENCE LAUGHS | 0:25:06 | 0:25:09 | |
"..sitting in the corner of the room, | 0:25:09 | 0:25:12 | |
"openly taking notes for use in a future routine." | 0:25:12 | 0:25:15 | |
It was all I could do to keep sane. | 0:25:18 | 0:25:21 | |
We had... She would do things like she handed out a homeopathy kit, | 0:25:21 | 0:25:25 | |
you know, for labour pains. And it came around to me | 0:25:25 | 0:25:27 | |
and I went, "Oh, ingredients. Water, that'll be handy | 0:25:27 | 0:25:29 | |
"when you're screaming the place down, won't it? | 0:25:29 | 0:25:32 | |
"I imagine all the screaming probably dries your throat out a bit." | 0:25:32 | 0:25:35 | |
And then she gets to some of the genuine signs. | 0:25:35 | 0:25:37 | |
My two young friends here, for example, | 0:25:37 | 0:25:38 | |
there is a hormone in a woman's body called oxytocin. | 0:25:38 | 0:25:41 | |
Oxytocin is a hormone released during love-making. | 0:25:41 | 0:25:44 | |
It is also the hormone that regulates labour, right. | 0:25:44 | 0:25:47 | |
The woman was talking about this and she says, "Oxytocin," she says, | 0:25:47 | 0:25:51 | |
"Oxytocin is best released in a quiet, dimly lit, | 0:25:51 | 0:25:58 | |
"nurturing environment, where there are no loud noises. | 0:25:58 | 0:26:03 | |
"Or sharp sounds." | 0:26:04 | 0:26:06 | |
And you're going, "It's not a fucking badger." | 0:26:06 | 0:26:10 | |
AUDIENCE LAUGHS | 0:26:10 | 0:26:12 | |
Come on. Come on. Come on. Tlik-tlik-tlik. | 0:26:13 | 0:26:17 | |
Come on. Tlik-tlik-tlik. | 0:26:17 | 0:26:21 | |
She goes further, she says, "The production of oxytocin will halt..." | 0:26:21 | 0:26:25 | |
Will halt! "..if your partner has to answer any difficult questions, | 0:26:25 | 0:26:29 | |
"or make any decisions, or perform any rational thought." | 0:26:29 | 0:26:35 | |
And we're all sitting there going, "Well, that sounds handy, doesn't it?" | 0:26:35 | 0:26:39 | |
If you go into labour in a shopping centre or up a mountain. "Oh, God, | 0:26:39 | 0:26:44 | |
"I've gone into labour." "Pop quiz." | 0:26:44 | 0:26:46 | |
"Oh, fuck, it's stopped, nice work." | 0:26:46 | 0:26:47 | |
Presumably, you can stave off labour using only a Nintendo DS | 0:26:49 | 0:26:53 | |
and a copy of Dr Kawashima's Brain Training regime. | 0:26:53 | 0:26:57 | |
And then she gets to a major issue. Oh, lads, lads, lads, lads, | 0:26:58 | 0:27:02 | |
you'll know nothing about this. I'm going to say something here | 0:27:02 | 0:27:04 | |
that you will never have heard of before in your life. | 0:27:04 | 0:27:07 | |
But, when I say it, watch out for this. When I say something in | 0:27:07 | 0:27:10 | |
about a minute's time, every woman in this room is going to make a noise. | 0:27:10 | 0:27:13 | |
Every one of you will make this noise. | 0:27:13 | 0:27:16 | |
And I'm not proud of the noise I'm about to make you make. | 0:27:16 | 0:27:18 | |
It's not a good noise I'm going to make you do, but there's good stuff | 0:27:18 | 0:27:22 | |
just beyond the noise. There's gold. But there's a noise barrier | 0:27:22 | 0:27:24 | |
and you've got to make the noise to get through that barrier, right. | 0:27:24 | 0:27:27 | |
During the process there is a point | 0:27:29 | 0:27:31 | |
where a decision may have to be made. | 0:27:31 | 0:27:33 | |
I cannot apologise enough. | 0:27:33 | 0:27:36 | |
Between a tear and a cut. | 0:27:39 | 0:27:41 | |
AUDIENCE: Oooh. | 0:27:41 | 0:27:42 | |
There's the noise. | 0:27:44 | 0:27:46 | |
There's the noise I've heard 120 times so far in this tour. | 0:27:46 | 0:27:51 | |
The noise and also the hands. | 0:27:51 | 0:27:53 | |
If it's any comfort to you, there are two 14-year-olds | 0:27:53 | 0:27:56 | |
who haven't a clue what just happened. | 0:27:56 | 0:27:59 | |
Who are sitting in the front row going, | 0:27:59 | 0:28:01 | |
"What? Do they have to cut them out of their jeans? Is that what happens?" | 0:28:01 | 0:28:05 | |
We get to this important point and the woman's discussing it | 0:28:05 | 0:28:09 | |
and in her full-on, "Don't let the doctors near you." When she goes, | 0:28:09 | 0:28:12 | |
"Obviously," she says, "you should choose the natural path." | 0:28:12 | 0:28:15 | |
AUDIENCE: Ooh. | 0:28:15 | 0:28:17 | |
Which is a debatable point, right. | 0:28:17 | 0:28:20 | |
But to back up this stance, to back this up, unbelievable, | 0:28:20 | 0:28:23 | |
she goes, "Besides which," she says, "Besides which, | 0:28:23 | 0:28:27 | |
"a tear heals better than a cut." | 0:28:27 | 0:28:31 | |
AUDIENCE: Oh. | 0:28:31 | 0:28:33 | |
I am loving you for that sound. | 0:28:33 | 0:28:36 | |
That's exactly the sound we made at the time of, "Huh? What? | 0:28:36 | 0:28:39 | |
"What? That sounds... What? | 0:28:39 | 0:28:42 | |
"That sounds counterintuitive, at best." I turn to my wife, | 0:28:42 | 0:28:46 | |
who is a surgeon. | 0:28:46 | 0:28:48 | |
AUDIENCE LAUGHS | 0:28:48 | 0:28:51 | |
Although not allowed to say it. | 0:28:53 | 0:28:55 | |
And said, "Really?" And she goes, | 0:28:55 | 0:28:57 | |
"No, it fucking doesn't." | 0:28:57 | 0:28:59 | |
AUDIENCE CHEERS | 0:29:01 | 0:29:03 | |
"That's the stupidest thing I've ever heard in my life. What does | 0:29:07 | 0:29:10 | |
"she think we've been doing for the last 250 years?" And I said, | 0:29:10 | 0:29:13 | |
"Do you want to correct her in this?" "If I correct her in this, | 0:29:13 | 0:29:15 | |
"I've got to correct her in everything she's said for the last day and a half. | 0:29:15 | 0:29:18 | |
"Let's just get the email addresses and get out of here." | 0:29:18 | 0:29:22 | |
A friend of mine summed it up brilliantly. | 0:29:22 | 0:29:25 | |
A mate of mine had just been through the whole thing | 0:29:25 | 0:29:27 | |
and I was talking with him a few days later. I said to him, | 0:29:27 | 0:29:29 | |
"Oh, my God, she said an incredible thing. | 0:29:29 | 0:29:31 | |
"She said a tear heals better than a cut." | 0:29:31 | 0:29:33 | |
And your man goes, "Oh, yes, ooh, yes. | 0:29:33 | 0:29:37 | |
"That's very well known now. | 0:29:37 | 0:29:39 | |
"In fact, most surgeons these days, for the initial incision... | 0:29:39 | 0:29:43 | |
"..will use a bear." | 0:29:45 | 0:29:47 | |
There's an image to get out of your heads. | 0:29:54 | 0:29:56 | |
This. "Dr Bear, to theatre three. Dr Bear, to theatre three." | 0:29:56 | 0:30:02 | |
Raargh, raargh, raargh. | 0:30:02 | 0:30:07 | |
DARA MAKES WATER NOISES | 0:30:07 | 0:30:11 | |
"What are we doing today? Appendectomy? Stand back." | 0:30:14 | 0:30:16 | |
-RIPPING NOISE -"Goodbye. Rargh." | 0:30:16 | 0:30:19 | |
AUDIENCE CHEERS | 0:30:20 | 0:30:22 | |
"Oh, Dr Bear, are you going back to the mess now?" | 0:30:28 | 0:30:32 | |
"Yes, maybe my porridge has cooled down by now. Rargh." | 0:30:32 | 0:30:35 | |
There's a question, there's a question, a propos of nothing. | 0:30:35 | 0:30:39 | |
But how, how, how do you cook porridge in one pot on one ring | 0:30:39 | 0:30:43 | |
on one stove? Then dole it out into three separate bowls | 0:30:43 | 0:30:45 | |
and it goes to three different temperatures? | 0:30:45 | 0:30:48 | |
How exactly does that happen? | 0:30:48 | 0:30:52 | |
Somebody explain to me the physics of that situation, | 0:30:52 | 0:30:54 | |
I'm not getting it. | 0:30:54 | 0:30:56 | |
Mummy bear, your porridge is cold, why are you going for a walk? | 0:30:56 | 0:30:58 | |
It's not going to heat up while you're wondering around the woods. | 0:30:58 | 0:31:01 | |
Your child's porridge is the right temperature, | 0:31:01 | 0:31:03 | |
let him eat his breakfast. Just cos Daddy bear, Mr Dr Daddy Bear | 0:31:03 | 0:31:07 | |
is a bit, "Ooh, it burns my mouth." Well, blow on it, you prick. | 0:31:07 | 0:31:10 | |
Blow on it, for Christ's sake, or put milk into it. | 0:31:10 | 0:31:12 | |
That's what we do with hot porridge. We don't go for a walk. | 0:31:12 | 0:31:15 | |
That's why we get all these burglaries all the time. | 0:31:15 | 0:31:17 | |
And another thing, how do they even have a baby bear given that | 0:31:17 | 0:31:22 | |
he won't go into her bed, cos it's too soft? | 0:31:22 | 0:31:25 | |
"Come over here, Mummy bear." "I will not, it's too hard." | 0:31:27 | 0:31:31 | |
"It's not the only thing that's too hard, get over here now." | 0:31:31 | 0:31:34 | |
OK, no, we're off the biology. Young men, we're off the biology. | 0:31:34 | 0:31:37 | |
We're just into the culture now. We're off the ickiness. | 0:31:37 | 0:31:40 | |
If you have a child, this is the thing that everyone says, | 0:31:40 | 0:31:43 | |
"Oh, you're having a child, ooh, you'll have no time, ooh, | 0:31:43 | 0:31:46 | |
"you'll have no time. Oh, God, now, you'll have to give up so much. No time any more." | 0:31:46 | 0:31:50 | |
People say this to you like it's a sacrifice. It's not a sacrifice, right. | 0:31:50 | 0:31:54 | |
We've got too much shit at the moment, too much culture, | 0:31:54 | 0:31:56 | |
too much content, too much stuff to keep across. | 0:31:56 | 0:31:59 | |
I'd a night in not long ago. This may have happened to any of you. | 0:31:59 | 0:32:01 | |
Child asleep, wife out, house to myself, what'll I do? | 0:32:01 | 0:32:04 | |
Well, I'll watch a bit of sport, I've got 14 sports channels, | 0:32:04 | 0:32:06 | |
there's bound to be a match or a tournament | 0:32:06 | 0:32:08 | |
or a game or something I can have a look at. | 0:32:08 | 0:32:10 | |
Wait a minute, I'll watch a movie. | 0:32:10 | 0:32:12 | |
I've got 20 movie channels. Besides which, I'm always buying DVDs. | 0:32:12 | 0:32:14 | |
Let's have a look at the DVDs I've bought and never watched. | 0:32:14 | 0:32:17 | |
A box set of a TV series, I haven't seen the end of this. | 0:32:17 | 0:32:19 | |
What am I doing? There's stuff saved onto the Sky Plus Box. | 0:32:19 | 0:32:22 | |
If there's 200 channels there's bound to be something to watch. | 0:32:22 | 0:32:25 | |
No, I won't watch, I'll play. I've got three consoles | 0:32:25 | 0:32:27 | |
and guitars and wobble boards and all sorts of guns. | 0:32:27 | 0:32:30 | |
No, I won't play, I'll listen to some music. | 0:32:30 | 0:32:32 | |
I'm always buying CDs. | 0:32:32 | 0:32:33 | |
I'll go on to Spotify, all the music in the world. | 0:32:33 | 0:32:35 | |
When I'm online, I'll go to Facebook or Twitter, or read a book. | 0:32:35 | 0:32:38 | |
I'm always buying books, I never keep up with the books. | 0:32:38 | 0:32:40 | |
In the end, I watched the last hour of RoboCop. | 0:32:40 | 0:32:43 | |
When faced with all of the world's culture, I panicked and just fell | 0:32:46 | 0:32:49 | |
into a foetal position and went back to me childhood again. | 0:32:49 | 0:32:52 | |
There's too much stuff. And do you know what's irritating? | 0:32:52 | 0:32:54 | |
Often the same stuff over and over again. | 0:32:54 | 0:32:57 | |
I'm in a battle with the film I Am Legend. | 0:32:57 | 0:33:00 | |
I Am Legend is your typical meh-blockbuster, you know? | 0:33:00 | 0:33:03 | |
You watch it for 90 minutes and then go, "Meh." Right? | 0:33:03 | 0:33:06 | |
But it's sold to us across a million formats. | 0:33:06 | 0:33:08 | |
Sold to us repeatedly. Sold in the cinemas, then on DVD, | 0:33:08 | 0:33:11 | |
then on Blu-ray. Then on the movie channels, then on the terrestrial | 0:33:11 | 0:33:14 | |
channels. Also downloadable for the iPod, the iPhone and the iPad. | 0:33:14 | 0:33:17 | |
You can also download it for the Xbox 360 and the PS3 | 0:33:17 | 0:33:19 | |
and on a small disc for the PSP. | 0:33:19 | 0:33:21 | |
You can also get... I was travelling last year, every plane I was on | 0:33:21 | 0:33:24 | |
and every hotel I arrived at, I Am poxy Legend was being pitched at me. | 0:33:24 | 0:33:29 | |
Everywhere for a year, I couldn't get away from the film. | 0:33:29 | 0:33:31 | |
This is the irony. It's a film about the last remaining man on Earth. | 0:33:31 | 0:33:35 | |
And, still, the fucker can't leave me alone for five minutes. | 0:33:35 | 0:33:39 | |
He's got the entire planet to run around and everywhere I go, | 0:33:39 | 0:33:42 | |
"I'm A Legend, here's me dog. I'm A Legend, play with me." | 0:33:42 | 0:33:44 | |
I expect to be stuck in traffic | 0:33:44 | 0:33:46 | |
and for my Sat Nav to go, "Traffic is very heavy at the moment, | 0:33:46 | 0:33:48 | |
"would you like to watch a bit of I Am Legend?" No! | 0:33:48 | 0:33:54 | |
And it's not just blockbusters, stuff we didn't even need. | 0:33:54 | 0:33:56 | |
Ten years ago, mouthwash. Mouthwash is a product we didn't even | 0:33:56 | 0:34:00 | |
need ten years ago. It is currently on sale, from Listerine, it is | 0:34:00 | 0:34:03 | |
currently on sale in supermarkets in this country in six types of mint. | 0:34:03 | 0:34:09 | |
Name a type of mint? | 0:34:09 | 0:34:10 | |
-Softmint. -Spearmint. | 0:34:10 | 0:34:12 | |
Spearmint didn't make the cut. | 0:34:12 | 0:34:13 | |
Spearmint wasn't one of the mints. Name another type of mint? | 0:34:13 | 0:34:16 | |
-Peppermint. -Peppermint didn't make the cut either. | 0:34:16 | 0:34:18 | |
Cool mint did, these new bullshit mints. Cool mint, fresh mint, | 0:34:18 | 0:34:22 | |
clear mint. I bought all six and I racked them up | 0:34:22 | 0:34:24 | |
in front of myself, like a taste test. | 0:34:24 | 0:34:26 | |
For the purpose of this show. Trust me, you go any direction | 0:34:26 | 0:34:30 | |
in any permeation, they're all pretty much mint, right. | 0:34:30 | 0:34:33 | |
Then you've a moment of realisation where you go, | 0:34:33 | 0:34:35 | |
"What am I doing? It's a mouthwash. | 0:34:35 | 0:34:38 | |
"You use it immediately after you've brushed your teeth. Everything | 0:34:38 | 0:34:42 | |
"tastes of mint immediately after you've brushed your teeth. | 0:34:42 | 0:34:45 | |
"Fruit, chocolate, chilli, tarmacadam, | 0:34:45 | 0:34:48 | |
"a vagina, they all taste of mint." | 0:34:48 | 0:34:50 | |
Obviously, the keyword is immediately. | 0:34:54 | 0:34:57 | |
I keep a tube by the bed. OK. | 0:34:58 | 0:35:00 | |
AUDIENCE LAUGHS | 0:35:00 | 0:35:02 | |
Anyway, so you have finally an opportunity to walk away | 0:35:02 | 0:35:05 | |
from all this choice, this tsunami of choice that we have, culturally. | 0:35:05 | 0:35:08 | |
If you've got a kid you can go, "I'm out of the game. | 0:35:08 | 0:35:10 | |
"I've no time to keep up with this, I'm gone." | 0:35:10 | 0:35:13 | |
First thing to go, right, | 0:35:13 | 0:35:14 | |
first major cultural movement I just dropped was new music. | 0:35:14 | 0:35:17 | |
New music, I've gone, I couldn't give a damn about new music. | 0:35:17 | 0:35:20 | |
Fuck you, Zane Lowe. Fuck you and everyone else on Radio One going, | 0:35:20 | 0:35:23 | |
"Yeah, you've got to listen to this twinkety-twing-twing. | 0:35:23 | 0:35:26 | |
"Yeah. Twang, twing, twang." Fuck you, right. | 0:35:26 | 0:35:29 | |
Fuck Pixie, Gaga, Boots, whatever you're called. | 0:35:29 | 0:35:32 | |
Florence and the mechanics, good luck to you, right. | 0:35:32 | 0:35:36 | |
You fight it out amongst yourselves and become classic hits. | 0:35:36 | 0:35:39 | |
I'll hear you eventually, all right? | 0:35:39 | 0:35:40 | |
I spent a quarter of a century, forced to keep up with this stuff. | 0:35:40 | 0:35:43 | |
I'm out of the game, it is like throwing off a heavy coat. | 0:35:43 | 0:35:45 | |
It's always good to be out of music snobbery as well, to go, | 0:35:45 | 0:35:48 | |
"Nah, I'm not part of this." | 0:35:48 | 0:35:49 | |
Music snobbery is the worst kind of snobbery, | 0:35:49 | 0:35:51 | |
"Oh, you like those noises? | 0:35:51 | 0:35:53 | |
"Those sounds in your ear? Do you like them? | 0:35:53 | 0:35:55 | |
"They're the wrong sounds. | 0:35:55 | 0:35:56 | |
"You should like these sounds in your ear." Right. | 0:35:56 | 0:36:00 | |
It forces people who like something a bit mainstream, | 0:36:00 | 0:36:02 | |
like a bit of pop, like a bit of Girls Aloud or Take That | 0:36:02 | 0:36:04 | |
or a bit of ABBA, you know, to have to go, | 0:36:04 | 0:36:06 | |
"Ooh, they're my guilty pleasure." | 0:36:06 | 0:36:09 | |
I hate that phrase, right. It is an insult to top quality pop. | 0:36:09 | 0:36:14 | |
It is also an insult to guilt. | 0:36:14 | 0:36:16 | |
I might be an atheist now, but I did my time with the Catholic Church. | 0:36:17 | 0:36:22 | |
I learnt a lot about guilt and it needed a lot more than, | 0:36:22 | 0:36:25 | |
"Gimme, gimme, gimme a man after midnight," | 0:36:25 | 0:36:27 | |
to merit the phrase guilty. | 0:36:27 | 0:36:29 | |
You had to have the man after midnight, | 0:36:29 | 0:36:30 | |
then you can talk about guilt. | 0:36:30 | 0:36:32 | |
If you've got a guilty pleasure, let it be something | 0:36:32 | 0:36:34 | |
you genuinely feel guilty about. | 0:36:34 | 0:36:36 | |
You know what my actual guilty pleasure...? | 0:36:36 | 0:36:37 | |
My genuine guilty pleasure is? | 0:36:37 | 0:36:39 | |
I like to use a crowded tube train to touch women. | 0:36:39 | 0:36:43 | |
It feels wrong but it feels right. | 0:36:45 | 0:36:47 | |
That's practically the definition of a guilty pleasure. | 0:36:47 | 0:36:50 | |
It's particularly good if you can make it seem like it's their fault, | 0:36:50 | 0:36:52 | |
"Ah, what are you doing? | 0:36:52 | 0:36:54 | |
"Jeez, buy me dinner next time, honey." | 0:36:54 | 0:36:56 | |
AUDIENCE LAUGHS | 0:36:56 | 0:36:59 | |
I don't do that, all right. | 0:36:59 | 0:37:01 | |
Don't walk away thinking... | 0:37:01 | 0:37:03 | |
I don't, I don't, I just smell them, all right? | 0:37:03 | 0:37:05 | |
That's OK, isn't it? | 0:37:05 | 0:37:06 | |
They don't own the air. | 0:37:08 | 0:37:09 | |
"What are you doing?" "I'm asthmatic, maybe. | 0:37:09 | 0:37:13 | |
"Come back. | 0:37:13 | 0:37:15 | |
"You smell of warm." | 0:37:15 | 0:37:16 | |
No, new music, gone. Do you know what else went? | 0:37:18 | 0:37:20 | |
Movies. This is the weirdest thing for me. | 0:37:20 | 0:37:22 | |
I used to love movies. My two young friends, | 0:37:22 | 0:37:24 | |
14 and 15, are you still filming? | 0:37:24 | 0:37:26 | |
I'm loving the way you're still filming this. | 0:37:26 | 0:37:28 | |
We've got to get this stuff and stick it on the DVD somewhere. | 0:37:28 | 0:37:32 | |
There may be a point where you're physically removed | 0:37:32 | 0:37:34 | |
from the room. We may need another 14-year-old | 0:37:34 | 0:37:36 | |
to sit there for the retakes. For the guy who couldn't stop pirating. | 0:37:36 | 0:37:41 | |
Even though it was repeatedly pointed out to him, | 0:37:41 | 0:37:43 | |
"Don't pirate." "I can't stop myself, I've got to tape it. | 0:37:43 | 0:37:45 | |
"I'm even blanking out earlier bits I taped. | 0:37:45 | 0:37:48 | |
"It's just a compulsion to see the thing ticking over. | 0:37:48 | 0:37:52 | |
"I'm deleting beloved family memories. | 0:37:52 | 0:37:54 | |
"I've got to have this show on tape." | 0:37:54 | 0:37:55 | |
It's recorded for a DVD! | 0:37:55 | 0:37:58 | |
How could you not...? You can watch it glossy and live | 0:37:58 | 0:38:01 | |
and shiny with your own face in it! | 0:38:01 | 0:38:03 | |
That's how much better the version of DVD... | 0:38:03 | 0:38:05 | |
You're in the one we're selling in the shops! | 0:38:05 | 0:38:08 | |
That's got to be better than the one you're going to record now. | 0:38:08 | 0:38:12 | |
Oh, I love it! | 0:38:19 | 0:38:21 | |
And I know the minute I talk to you, He's got it out again, hasn't he? | 0:38:21 | 0:38:25 | |
He's taken it out again. | 0:38:25 | 0:38:26 | |
I know, I know, it's ridiculous! | 0:38:26 | 0:38:29 | |
Anyway, so please, that was the best bit to record, | 0:38:29 | 0:38:33 | |
and you've chickened out for that bit! | 0:38:33 | 0:38:34 | |
Definitely the bit to have. Anyway, where we were? | 0:38:34 | 0:38:37 | |
No, if your age... Sorry, technical question, | 0:38:37 | 0:38:39 | |
have you seen The Godfather yet? | 0:38:39 | 0:38:41 | |
You have, have you seen Dog Day Afternoon yet? Dog Day Afternoon? | 0:38:41 | 0:38:45 | |
Doesn't ring any bells? Have you seen Taxi Driver yet? | 0:38:45 | 0:38:48 | |
Oh, you've got stuff ahead of you. | 0:38:48 | 0:38:49 | |
You've got such gold ahead of you. Incredible movies | 0:38:49 | 0:38:52 | |
that you have to watch, you're going to love it. | 0:38:52 | 0:38:53 | |
And there's so many of them. 1970s American independent movies, | 0:38:53 | 0:38:57 | |
1990s American independent movies, 1980s French and Continental movies. | 0:38:57 | 0:39:01 | |
Then, of course, you get to 38 | 0:39:01 | 0:39:03 | |
and you've seen them. And you're stuck with just a giant, shiny | 0:39:03 | 0:39:07 | |
robot flinging Megan Fox through a Styrofoam wall, right. | 0:39:07 | 0:39:11 | |
And it kind of doesn't measure up really, you know? | 0:39:11 | 0:39:14 | |
You kind of go... And 3D. Ask my arse 3D, right? I'm sorry. | 0:39:14 | 0:39:19 | |
AUDIENCE CHEERS | 0:39:19 | 0:39:20 | |
Here's my take on 3D, right. They tried in the '50s, | 0:39:20 | 0:39:23 | |
they tried in the '80s, they're trying in 2010. | 0:39:23 | 0:39:26 | |
Once every 30 years. | 0:39:26 | 0:39:28 | |
It's like tuberculosis. | 0:39:28 | 0:39:30 | |
It flares up once a generation | 0:39:30 | 0:39:32 | |
and you have to zap it with some antibiotics | 0:39:32 | 0:39:34 | |
and get on with your lives. That's what you have to do. | 0:39:34 | 0:39:37 | |
Don't get me wrong, Avatar. Ooh, Avatar, what a premise. Ooh. | 0:39:37 | 0:39:42 | |
It picks up where Titanic left off. | 0:39:42 | 0:39:45 | |
Inasmuch as half the cast are blue. | 0:39:46 | 0:39:48 | |
AUDIENCE LAUGHS | 0:39:48 | 0:39:51 | |
Anyway, no, here's the movie that sums up movies at the moment for me. | 0:39:55 | 0:39:58 | |
I want you to come with me | 0:39:58 | 0:39:59 | |
cos I guarantee the majority won't have seen this film. | 0:39:59 | 0:40:02 | |
Incredible film, but you won't have seen it. | 0:40:02 | 0:40:04 | |
The film came out last year, it was called 2012, right. | 0:40:04 | 0:40:08 | |
Now, how many of you haven't seen 2012? | 0:40:09 | 0:40:12 | |
-AUDIENCE CHEERS -OK, right, a good number. | 0:40:12 | 0:40:14 | |
2012 is an apocalypse movie. It's an apocalypse end of the... | 0:40:14 | 0:40:17 | |
Like a disaster movie. It was the most insane, over the top, | 0:40:17 | 0:40:20 | |
ludicrously apocalyptic movie. | 0:40:20 | 0:40:23 | |
Entire cities tilted and fell into lava. | 0:40:23 | 0:40:26 | |
It was just ridiculous, you know. Obviously, you didn't see us dying. | 0:40:26 | 0:40:30 | |
That's one of the things about American disaster movies. | 0:40:30 | 0:40:32 | |
You know you're dead somewhere in that movie, but you never see it. | 0:40:32 | 0:40:35 | |
You just see the Hollywood sign and the New York skyline | 0:40:35 | 0:40:38 | |
and they're destroyed. You never actually see us. | 0:40:38 | 0:40:40 | |
I think you could localise them now. | 0:40:40 | 0:40:42 | |
You could put a thing in when the DVD comes out. | 0:40:42 | 0:40:44 | |
You know, when you put a DVD in the first time | 0:40:44 | 0:40:46 | |
and it asks you the language you want, like English, Francais, Suomi. | 0:40:46 | 0:40:51 | |
And you're always tempted to click on Suomi, you know, to see | 0:40:51 | 0:40:54 | |
what "play" is in Suomi. But you're afraid you'll get trapped in | 0:40:54 | 0:40:57 | |
an extras menu in Suomi | 0:40:57 | 0:40:58 | |
and not be able to navigate your way back out again. | 0:40:58 | 0:41:00 | |
AUDIENCE LAUGHS | 0:41:00 | 0:41:02 | |
So, you chicken out and you press English. | 0:41:02 | 0:41:04 | |
They could do that, you could say I'm watching it in scroll, scroll, London. | 0:41:04 | 0:41:07 | |
Then you'd forget about it. But an hour and a half later, | 0:41:07 | 0:41:10 | |
there'd just be a scene where a bloke runs in and goes, | 0:41:10 | 0:41:12 | |
"Trafalgar Square, it's fucked." And then runs out again. | 0:41:12 | 0:41:16 | |
By the way, that line I do everywhere. In every town, | 0:41:16 | 0:41:18 | |
I change it for a local landmark. This is the toughest town | 0:41:18 | 0:41:21 | |
to do it in. Cos, for the simple reason, if I go, | 0:41:21 | 0:41:24 | |
"Leicester Square is fucked." | 0:41:24 | 0:41:26 | |
A London crowd will just go, "Yeah, it is really, it really has. | 0:41:26 | 0:41:29 | |
"You know, just let it go down. so terribly, yes." | 0:41:29 | 0:41:33 | |
Anyway, it's a ludicrously, over-the-top disaster movie. | 0:41:33 | 0:41:36 | |
It is hilarious in its over-the-top-edness. | 0:41:36 | 0:41:39 | |
No plot, no plot. Just John Cusack running away from lava | 0:41:39 | 0:41:43 | |
for two and a half hours. | 0:41:43 | 0:41:45 | |
And always just slightly ahead of the lava. "Oh, God, lava. | 0:41:45 | 0:41:49 | |
"Oh, Jesus, lava. Quick, get into the car." | 0:41:49 | 0:41:52 | |
He drove off, the lava sped up. | 0:41:52 | 0:41:54 | |
Then he gets into a plane, the lava accelerates again. | 0:41:55 | 0:42:00 | |
After an hour and a half of this brinksmanship, | 0:42:00 | 0:42:02 | |
you're going, "Jesus John, I'm spotting a pattern here. | 0:42:02 | 0:42:04 | |
"Why don't you hold still for a minute | 0:42:04 | 0:42:06 | |
"and see what the lava does?" | 0:42:06 | 0:42:08 | |
Will it come up to you and go, "Oh, Jesus, he's called our bluff. | 0:42:08 | 0:42:10 | |
"Quick, get back down the hole, we've got nothing, he's gone." | 0:42:10 | 0:42:13 | |
It's the most ludicrous... They destroy everything. | 0:42:15 | 0:42:17 | |
And you're going, "Oh, if you've destroyed everything | 0:42:17 | 0:42:20 | |
"there must be a reason. You must have sat down | 0:42:20 | 0:42:22 | |
"with geologists or cosmologists or meteorologists to come up with | 0:42:22 | 0:42:25 | |
"some justification for the greatest apocalypse that we've ever seen." | 0:42:25 | 0:42:29 | |
No. There's one line in one scene at the start of the movie, | 0:42:29 | 0:42:33 | |
to explain the entire apocalypse. | 0:42:33 | 0:42:35 | |
And it's not even repeated to or alluded to, just one line, right. | 0:42:35 | 0:42:38 | |
I'm now going to do this for you. This is why you have to come | 0:42:38 | 0:42:41 | |
with me a bit cos you won't have seen this. I will make the scene come alive. | 0:42:41 | 0:42:44 | |
It's India, it's a monsoon. A man arrives, clearly in a hurry. | 0:42:44 | 0:42:47 | |
He's wearing a suit, he's got a small bag. | 0:42:47 | 0:42:49 | |
He's rushed to be here. He's a scientist. | 0:42:49 | 0:42:51 | |
He's meeting another scientist. He goes, | 0:42:51 | 0:42:54 | |
"I came as soon as you called." The other guy, | 0:42:54 | 0:42:56 | |
in a white coat, goes, "We've had some incredible results." | 0:42:56 | 0:43:00 | |
At which point, this bloke should have gone, "Well, why didn't | 0:43:00 | 0:43:03 | |
"you email them to me, like we normally do in science these days? | 0:43:03 | 0:43:07 | |
"Why, instead, did you compel me to fly from Washington to India? | 0:43:07 | 0:43:10 | |
"I've been on nine aeroplanes, I've watched I Am Legend 14 times." | 0:43:10 | 0:43:13 | |
But he doesn't say that, he goes, "Oh, my God, what are they?" | 0:43:17 | 0:43:20 | |
And this bloke delivers the greatest line in the history of cinema. | 0:43:20 | 0:43:23 | |
Some of you won't get this immediately, but trust me, I will explain it. | 0:43:23 | 0:43:26 | |
This guy, a physicist, turns to the other physicist | 0:43:26 | 0:43:29 | |
and without any shame or compulsion goes, | 0:43:29 | 0:43:32 | |
"The neutrinos have mutated." | 0:43:32 | 0:43:36 | |
AUDIENCE LAUGHS | 0:43:36 | 0:43:38 | |
Now. | 0:43:38 | 0:43:41 | |
For the non-nerds here, neutrinos are tiny subatomic, | 0:43:41 | 0:43:44 | |
really, really almost mass-less particles that are released | 0:43:44 | 0:43:47 | |
in nuclear breakdowns, like in the sun, for example. | 0:43:47 | 0:43:50 | |
500 trillion of them pass through your bodies every second. | 0:43:50 | 0:43:54 | |
They can't mutate. | 0:43:54 | 0:43:55 | |
Their structure is fundamental to the structure of the universe. | 0:43:55 | 0:43:58 | |
They can't just change. | 0:43:58 | 0:44:00 | |
He might as well have gone, "The electrons... | 0:44:00 | 0:44:03 | |
"are angry." | 0:44:03 | 0:44:05 | |
Or, "The light from the sun... | 0:44:08 | 0:44:10 | |
"it's gone off." | 0:44:10 | 0:44:12 | |
That's how fucking ludicrous it is, right. | 0:44:12 | 0:44:15 | |
But he doesn't do this, he goes, "The neutrinos have mutated | 0:44:15 | 0:44:19 | |
"and they're heating up the planet." | 0:44:19 | 0:44:22 | |
At which point, | 0:44:22 | 0:44:23 | |
this bloke should have gone, "What the fuck are you saying? | 0:44:23 | 0:44:26 | |
"What sort of shit physicist are you? | 0:44:26 | 0:44:28 | |
"What crappy Calcutta university spat you out with a fucking degree? | 0:44:28 | 0:44:32 | |
"The muta... What the... | 0:44:32 | 0:44:33 | |
"Did you not ask one of the blokes to check your figures? | 0:44:33 | 0:44:35 | |
"He would have given you slap and told you not to get | 0:44:35 | 0:44:37 | |
"some guy to fly from Washington in a monsoon | 0:44:37 | 0:44:39 | |
"with no change of underwear to tell me the fucking... | 0:44:39 | 0:44:41 | |
"You're a fucking eejit." He doesn't deliver this speech. | 0:44:41 | 0:44:44 | |
Instead, he goes, "Oh, my God." | 0:44:45 | 0:44:47 | |
And runs away from lava for two and a half hours. | 0:44:47 | 0:44:49 | |
And it's never mentioned again. | 0:44:51 | 0:44:52 | |
This, the most incredible thing that's ever happened | 0:44:52 | 0:44:55 | |
in the history of science, is never mentioned again. | 0:44:55 | 0:44:57 | |
People don't even know, when they're running away | 0:44:57 | 0:44:59 | |
from the lava. "Aah, why?" They don't even think to ask. | 0:44:59 | 0:45:02 | |
They just run and scream and/or die. Even at the end of the movie, | 0:45:02 | 0:45:05 | |
and I know you're thinking, "End of the movie? Spoiler alert." | 0:45:05 | 0:45:08 | |
I can't spoil it. | 0:45:08 | 0:45:10 | |
They're on a boat, there's a new dawn, they've all survived. | 0:45:10 | 0:45:13 | |
Everybody in the cinema got up and walked out. | 0:45:13 | 0:45:15 | |
I was the only eejit in a Curzon in Leicester Square, | 0:45:15 | 0:45:18 | |
with my arm up going, "Er, what happened to the fucking neutrinos?" | 0:45:18 | 0:45:22 | |
AUDIENCE LAUGHS | 0:45:22 | 0:45:24 | |
A week ago they had mutated and were heating up the planet, | 0:45:24 | 0:45:27 | |
how does that change all of a sudden? | 0:45:27 | 0:45:28 | |
That was the most amazing thing to have happened in physics, | 0:45:28 | 0:45:31 | |
did it happen twice in eight days? | 0:45:31 | 0:45:33 | |
They said, "Sorry about last week, boss was giving me | 0:45:33 | 0:45:35 | |
"a bit of grief at work, wife was nagging me, I lashed out, mutated, | 0:45:35 | 0:45:38 | |
"heated up your planet, won't happen again. Yours, the neutrinos." | 0:45:38 | 0:45:42 | |
How exactly did that threat go away? | 0:45:42 | 0:45:45 | |
And then you're going, if you're just going to make shit up, | 0:45:45 | 0:45:48 | |
if you're just going to suspend all logic then go for it. | 0:45:48 | 0:45:50 | |
Jesus, go for it, right. | 0:45:50 | 0:45:51 | |
If you're just going to go wild then go wild. With the tiniest of changes, | 0:45:51 | 0:45:55 | |
you could have a genuinely amazing movie. Same opening scene. | 0:45:55 | 0:45:57 | |
Rain, man, suit, bag. "I came as soon as you called." Other guy goes, | 0:45:57 | 0:46:01 | |
"We've had some incredible results." This guy goes, "What are they?" | 0:46:01 | 0:46:05 | |
If at that stage, with the tiniest of changes, this bloke had just gone, | 0:46:05 | 0:46:11 | |
"The Latinos...have mutated | 0:46:11 | 0:46:16 | |
"and they're heating up the planet." | 0:46:16 | 0:46:19 | |
Now, there's a movie. | 0:46:19 | 0:46:22 | |
Two and a half hours of running away from Gloria Estefan. | 0:46:22 | 0:46:24 | |
Ch-ch-cha. | 0:46:24 | 0:46:26 | |
"Oh, no, the rhythm is gonna get me." | 0:46:27 | 0:46:30 | |
Quick. | 0:46:32 | 0:46:33 | |
AUDIENCE CHEER | 0:46:33 | 0:46:35 | |
"Quick, get into the car." Vroom. "Who's that in the rear view mirror? | 0:46:35 | 0:46:40 | |
"It's Ricky Martin" | 0:46:40 | 0:46:41 | |
# Bam-bam ba-da-da-da da-da Ra-da da da-da. # | 0:46:41 | 0:46:44 | |
All over the world Mariachi vans erupting out of the Earth's core. | 0:46:44 | 0:46:48 | |
# La cucaracha, la cucaracha Bam-bam da-da-da-dum. # | 0:46:48 | 0:46:51 | |
And the ending. | 0:46:51 | 0:46:52 | |
The ending would be the greatest ending in the history of cinema. | 0:46:52 | 0:46:56 | |
They're on the boat, it's a new dawn. | 0:46:56 | 0:46:58 | |
They've survived the Latino apocalypse of 2012. | 0:46:58 | 0:47:02 | |
John Cusack looks at his wife with love in his eyes | 0:47:02 | 0:47:05 | |
and she looks at him with love in her eyes. | 0:47:05 | 0:47:08 | |
Then, mounting horror as she raises up her arms | 0:47:08 | 0:47:12 | |
and she realises she's got giant, multicoloured, ruffled sleeves on. | 0:47:12 | 0:47:17 | |
And a set of maracas in her hands. And she just goes, | 0:47:17 | 0:47:20 | |
"Tequila!" | 0:47:20 | 0:47:22 | |
And John Cusack goes, "Nooooo." The end. | 0:47:22 | 0:47:24 | |
Now, that's a fucking movie I'd pay money to watch. | 0:47:24 | 0:47:27 | |
But they don't make them like that any more. | 0:47:35 | 0:47:37 | |
In case you think I'm just being overly negative, | 0:47:37 | 0:47:39 | |
I'm dropping music, I'm dropping movies. There is an art form I'm keeping. | 0:47:39 | 0:47:42 | |
There is an entertainment industry | 0:47:42 | 0:47:44 | |
I am supporting. And I'm going to say this, | 0:47:44 | 0:47:46 | |
half of the people who will shout out in response, | 0:47:46 | 0:47:48 | |
and half the people who don't who'll be like a bit, | 0:47:48 | 0:47:51 | |
"Oh, for God's sake, Dara." This is the industry. | 0:47:51 | 0:47:53 | |
Video games. | 0:47:53 | 0:47:55 | |
-AUDIENCE CHEERS -Hello to the gamers. | 0:47:55 | 0:47:57 | |
Hello to the non-gamers, who are going, "You're kidding me?" | 0:47:57 | 0:47:59 | |
Yes, yes. I know it's supposed to be embarrassing, | 0:47:59 | 0:48:01 | |
I know I shouldn't admit to it, | 0:48:01 | 0:48:03 | |
I know this because if I'm at a dinner party | 0:48:03 | 0:48:05 | |
and somebody goes, "Dara, how do you relax after a gig?" | 0:48:05 | 0:48:08 | |
It's less embarrassing if I go, "I masturbate to hardcore pornography." | 0:48:08 | 0:48:11 | |
AUDIENCE LAUGHS | 0:48:11 | 0:48:12 | |
Because once you've got past that line, the conversation is | 0:48:12 | 0:48:15 | |
exactly the same. "Oh, I've not done that since I was a teenager." | 0:48:15 | 0:48:18 | |
"Oh, you should check it out. It's really moved on since then. | 0:48:18 | 0:48:21 | |
"The graphics alone are unrecognisable. | 0:48:21 | 0:48:23 | |
"I have to use all ten fingers." | 0:48:23 | 0:48:25 | |
AUDIENCE LAUGHS | 0:48:25 | 0:48:27 | |
This is my argument for why video games are the winners, | 0:48:29 | 0:48:31 | |
are the greatest of all of these industries. | 0:48:31 | 0:48:33 | |
Video games do a thing that no other industry does. | 0:48:33 | 0:48:36 | |
You cannot be bad at watching a movie. | 0:48:36 | 0:48:39 | |
You cannot be bad at listening to an album. | 0:48:39 | 0:48:42 | |
But you can be bad at playing a video game. And the video game | 0:48:42 | 0:48:45 | |
will punish you and deny you access to the rest of the video game. | 0:48:45 | 0:48:50 | |
No other art form does this. | 0:48:51 | 0:48:52 | |
You've never been reading a book and, three chapters in, | 0:48:52 | 0:48:55 | |
the book has gone, "What are the major themes of the book so far?" | 0:48:55 | 0:48:59 | |
And you've gone, "Well, I-I don't know." | 0:48:59 | 0:49:01 | |
Pffmmm. "Oh, for fuck's sakes." | 0:49:01 | 0:49:03 | |
You've never been listening to an album | 0:49:07 | 0:49:09 | |
and, after four songs, the album has gone, | 0:49:09 | 0:49:11 | |
"Dance. Show me your dancing is good enough to merit this." | 0:49:11 | 0:49:14 | |
You're going, "Is this good enough?" And the album goes, "No." And stops. | 0:49:14 | 0:49:17 | |
No other art form. | 0:49:17 | 0:49:18 | |
Video games do it all the time, An example. | 0:49:18 | 0:49:20 | |
A very famous game came out a couple of years ago, | 0:49:20 | 0:49:22 | |
very controversial game. Grand Theft Auto IV. | 0:49:22 | 0:49:25 | |
A lot of people who play that. Very controversial game | 0:49:25 | 0:49:27 | |
because you can drag people into an alleyway and shoot them in the head. | 0:49:27 | 0:49:31 | |
I never got to that bit. | 0:49:31 | 0:49:34 | |
I got stuck on a bit where they steal a car and drive | 0:49:34 | 0:49:36 | |
across the city and assassinate a guy in a train station. | 0:49:36 | 0:49:39 | |
But the fucker kept running away. | 0:49:39 | 0:49:41 | |
So, I had to steal the car again and drive all the way back again. | 0:49:41 | 0:49:44 | |
But you couldn't drive quickly cos there's a toll booth | 0:49:44 | 0:49:46 | |
in the middle of the route and I had to slow up at the toll booth | 0:49:46 | 0:49:49 | |
and pay the toll. Trust me, six or seven attempts at this, | 0:49:49 | 0:49:52 | |
you're in your front room, in your pants going, | 0:49:52 | 0:49:55 | |
"I'm in fucking traffic. | 0:49:55 | 0:49:56 | |
"I'm on my day off and I'm commuting, what kind of eejit am I? | 0:49:57 | 0:50:01 | |
"How am I wasting my life here? | 0:50:01 | 0:50:02 | |
"If I lived in Liberty City, I'd buy a flat near | 0:50:02 | 0:50:05 | |
"the guy I had to assassinate and I'd fucking walk to work." | 0:50:05 | 0:50:08 | |
I asked who here was a gamer. Who plays with the Wii? | 0:50:09 | 0:50:12 | |
AUDIENCE CHEERS | 0:50:12 | 0:50:13 | |
That doesn't count. This is a Wii game. | 0:50:13 | 0:50:16 | |
"Ooh, I'm stroking a pony." That's a Wii game, right. | 0:50:16 | 0:50:20 | |
"Ooh, I'm feeding sugar cubes to a unicorn who's going to poo out | 0:50:20 | 0:50:23 | |
"rainbows that I can paint on to Mario's house." | 0:50:23 | 0:50:26 | |
That's not gaming. This is gaming. | 0:50:26 | 0:50:28 | |
"Oh, my God, I'm in a gun battle, which one of these isn't crouch?" | 0:50:28 | 0:50:33 | |
AUDIENCE LAUGHS | 0:50:33 | 0:50:34 | |
Every game involves crouching. You're always behind a little wall | 0:50:34 | 0:50:37 | |
or an oil barrel. You're always crouching. | 0:50:37 | 0:50:39 | |
But they put the crouch button in different places on different games. | 0:50:39 | 0:50:43 | |
And you get panicked in the middle of a Space Marine laser battle. | 0:50:43 | 0:50:46 | |
And you're just pressing any button at all. And, before you know it, | 0:50:46 | 0:50:49 | |
your soldier is just waddling around the battlefield. | 0:50:49 | 0:50:52 | |
AUDIENCE LAUGHS | 0:50:52 | 0:50:54 | |
Just looking up at you. | 0:50:54 | 0:50:56 | |
Going, "Press anything. Anything! | 0:50:56 | 0:51:00 | |
"Not toggle maps!" | 0:51:00 | 0:51:03 | |
There's a game called Metal Gear Solid | 0:51:04 | 0:51:07 | |
and you play a character called Snake. And when Snake dies, | 0:51:07 | 0:51:09 | |
the camera pulls cinematically up from him and the man that Snake | 0:51:09 | 0:51:12 | |
has been speaking to on his comms unit goes, | 0:51:12 | 0:51:15 | |
"Snake, Snake, SNAAAAAKE." | 0:51:15 | 0:51:19 | |
Every time he dies. | 0:51:19 | 0:51:21 | |
When I play at Snake, he dies a lot. | 0:51:22 | 0:51:24 | |
But the man's sadness seems undiminished by the regularity | 0:51:26 | 0:51:29 | |
with which he has to mourn Snake. | 0:51:29 | 0:51:31 | |
You'd think, once or twice, he'd just go, "Ah, Snake." | 0:51:31 | 0:51:34 | |
You think there'd be some sort of debriefing session | 0:51:34 | 0:51:36 | |
where they go, "Jesus, Mick, you were very fucked off with | 0:51:36 | 0:51:39 | |
"the death of Snake, weren't you?" "He's one of the best | 0:51:39 | 0:51:41 | |
"agents we've ever had." "He was not, Mick. | 0:51:41 | 0:51:44 | |
"We've looked back over the mission logs. | 0:51:44 | 0:51:46 | |
"His behaviour in the field was erratic, at best. | 0:51:46 | 0:51:48 | |
"He spent most of the time waddling around | 0:51:48 | 0:51:50 | |
"the battlefield for no reason. He'd be waddling into corridors. | 0:51:50 | 0:51:53 | |
"He didn't know where to go. He'd be toggling maps, weapons, | 0:51:53 | 0:51:56 | |
"then items, then items and weapons and maps. | 0:51:56 | 0:51:58 | |
"He'd try to put his maps into his items and his weapons into his map. | 0:51:58 | 0:52:01 | |
"Then he had to get behind that, he couldn't. | 0:52:01 | 0:52:03 | |
"He kept running at it, and he kept running at it repeatedly. | 0:52:03 | 0:52:06 | |
"He ran at it once, he missed it, | 0:52:06 | 0:52:08 | |
"he had to run around again, in a little circle." | 0:52:08 | 0:52:11 | |
AUDIENCE LAUGHS | 0:52:11 | 0:52:12 | |
"He tried jumping at it, he tried jumping at it. | 0:52:12 | 0:52:15 | |
"Then he kept touching it, touching it. Then jump and touch, | 0:52:15 | 0:52:17 | |
"jump and touch, jump and touch, crouch and touch. | 0:52:17 | 0:52:20 | |
"Then he looked up, then he had a crowbar, then he looked down. | 0:52:20 | 0:52:23 | |
"Then he dropped the crowbar, picked up the crowbar, weapons, | 0:52:23 | 0:52:25 | |
"items, items, weapons, items, weapons, weapons, items, crouched, | 0:52:25 | 0:52:27 | |
"not crouched, crouched, not crouched, weapons, items, crouched. | 0:52:27 | 0:52:31 | |
"Then a robot attacked him. He gave him his fucking rations. | 0:52:31 | 0:52:36 | |
"The worst agent we've ever had." | 0:52:38 | 0:52:39 | |
Ladies and gentlemen, it's been a pleasure to talk to you. | 0:52:39 | 0:52:42 | |
I'm Dara O'Briain, thank you very much, good night, goodbye. | 0:52:42 | 0:52:44 | |
We'll see you again, you're very kind. | 0:52:44 | 0:52:46 | |
You're all legends. I love your work, thank you very much. | 0:52:46 | 0:52:49 | |
SALSA MUSIC PLAYS | 0:52:49 | 0:52:51 | |
What is that music? Oh, my God. What is that Latino beat? | 0:52:51 | 0:52:55 | |
Oh, no. Ooooh. | 0:52:55 | 0:52:58 | |
AUDIENCE CHEER AND WHISTLE | 0:52:58 | 0:53:01 | |
Oooh, building up to the big finale. | 0:53:03 | 0:53:06 | |
Here comes the big finale, oooooh! | 0:53:08 | 0:53:10 | |
Tequilaaaa! | 0:53:10 | 0:53:13 | |
Thank you very much. You've been fantastic. | 0:53:13 | 0:53:15 | |
Thanks, goodbye, goodbye, goodbye, bye-bye. | 0:53:15 | 0:53:17 | |
Thank you very much, ladies and gentlemen. Good night. | 0:53:21 | 0:53:25 | |
Ladies and gentlemen, I've done this show 120 times, right. | 0:53:46 | 0:53:49 | |
In it, there are various routines I have done | 0:53:49 | 0:53:51 | |
and I have performed them as much as I could. | 0:53:51 | 0:53:52 | |
And I thought I'd done a very good job, | 0:53:52 | 0:53:54 | |
but sometimes I worry I'm a little hammy about it. | 0:53:54 | 0:53:56 | |
And it would be nice to see some of the lines delivered by a proper, | 0:53:56 | 0:53:59 | |
professional performer. A proper actor, right. | 0:53:59 | 0:54:02 | |
Say, for example, doing the 2012 routine, just to see how they'd be | 0:54:02 | 0:54:05 | |
delivered by somebody who genuinely knew how to, well, do you know what? | 0:54:05 | 0:54:09 | |
Even better, by someone who was in the actual film, 2012. | 0:54:09 | 0:54:13 | |
How much better would my routine be with the guy who actually delivers | 0:54:13 | 0:54:17 | |
the line that I am taking the piss out of night after night? | 0:54:17 | 0:54:21 | |
So, just for tonight, as a little treat, I would like | 0:54:21 | 0:54:24 | |
to welcome onto the stage an actor you may know from East Is East | 0:54:24 | 0:54:26 | |
or from Eastenders. Or currently on Strictly Come Dancing, but most | 0:54:26 | 0:54:29 | |
importantly, plays the physicist in 2012. Who delivers the magic line. | 0:54:29 | 0:54:35 | |
Could you please welcome Jimi Mistry, ladies and gentlemen, | 0:54:35 | 0:54:37 | |
on to the stage? | 0:54:37 | 0:54:38 | |
AUDIENCE CHEERS | 0:54:38 | 0:54:40 | |
JIMI CLEARS HIS THROAT | 0:54:44 | 0:54:47 | |
Tonight. | 0:54:50 | 0:54:52 | |
For one night only, myself and Jimi will now recreate | 0:54:52 | 0:54:56 | |
that routine and all of its important moments. | 0:54:56 | 0:54:58 | |
Picture the scene. | 0:54:58 | 0:55:01 | |
It's Calcutta, it's India, it's a rainy day. | 0:55:01 | 0:55:03 | |
A man arrives in a suit with a bag. He is a scientist, | 0:55:03 | 0:55:07 | |
He has travelled great distances in a hurry to be here. | 0:55:07 | 0:55:09 | |
He is meeting another scientist, he goes, | 0:55:09 | 0:55:11 | |
"I came as soon as you called." The other man says. | 0:55:11 | 0:55:14 | |
IN AN INDIAN ACCENT: We've had some incredible results. Rrr. | 0:55:14 | 0:55:17 | |
AUDIENCE LAUGHS AND CHEERS | 0:55:17 | 0:55:21 | |
You like that line, wait till the next one. | 0:55:29 | 0:55:31 | |
AUDIENCE LAUGHS | 0:55:31 | 0:55:33 | |
This scientist, you know, why didn't you email them to me. | 0:55:33 | 0:55:36 | |
You know about that, to that bit, right. | 0:55:36 | 0:55:38 | |
This guy just goes, "What are they?" | 0:55:38 | 0:55:40 | |
And then this guy, without shame or compunction, | 0:55:40 | 0:55:43 | |
this physicist turns to the other physicist and says, | 0:55:43 | 0:55:46 | |
The neutrinos... | 0:55:46 | 0:55:49 | |
have mutated! | 0:55:49 | 0:55:51 | |
AUDIENCE LAUGHS AND CHEERS | 0:55:51 | 0:55:55 | |
That's good, that's good. | 0:55:56 | 0:55:58 | |
What a ridiculous line! He might as well have said, | 0:56:00 | 0:56:02 | |
The electrons are angry. | 0:56:02 | 0:56:05 | |
Or even... | 0:56:06 | 0:56:09 | |
The light from the sun....it... | 0:56:09 | 0:56:12 | |
IN AN ENGLISH ACCENT: ..it's gone off. | 0:56:12 | 0:56:15 | |
You're actually doing it better than I do now. | 0:56:15 | 0:56:17 | |
Oh, oh, that's why I'm doing it. | 0:56:17 | 0:56:20 | |
How much better would the film be if this was the actual ending. | 0:56:20 | 0:56:23 | |
"We've had some..." This guy goes, "What are they?" If, at that stage, | 0:56:23 | 0:56:26 | |
with the tiniest of changes. With the fucking most miniscule, with | 0:56:26 | 0:56:32 | |
the most itsy-bitsy-tiny-weeny-winy of changes. | 0:56:32 | 0:56:36 | |
If the physicist said this, | 0:56:36 | 0:56:38 | |
The Latinos have mutated. | 0:56:38 | 0:56:42 | |
AUDIENCE CHEERS | 0:56:42 | 0:56:44 | |
And they are heating up the planet! | 0:56:47 | 0:56:49 | |
SALSA MUSIC PLAYS | 0:56:49 | 0:56:53 | |
OK. Big finale. Big finale. | 0:57:05 | 0:57:07 | |
-Oooh. -Ooooh. | 0:57:07 | 0:57:08 | |
BOTH: Tequilaaaaaaaa! | 0:57:08 | 0:57:11 | |
You're a fucking legend. Jimi Mistry, everybody. | 0:57:14 | 0:57:18 | |
Jimi, Jimi Mistry! | 0:57:18 | 0:57:19 | |
Thank you very much, good night. | 0:57:21 | 0:57:23 | |
Goodbye, good night, good to see you. I'm Dara O'Briain, good night. | 0:57:23 | 0:57:27 | |
Jimi Mistry, thank you very much, good night. | 0:57:27 | 0:57:29 | |
Good night and good night. | 0:57:29 | 0:57:32 | |
Subtitles by Red Bee Media Ltd | 0:57:43 | 0:57:46 | |
E-mail [email protected] | 0:57:46 | 0:57:50 |