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-PHONE RINGS -Answer the phone. Answer the phone. | 0:00:02 | 0:00:05 | |
-PHONE RINGS -Oh, you're joking. | 0:00:05 | 0:00:07 | |
Dad, can you answer the phone? | 0:00:07 | 0:00:10 | |
-PHONE CONTINUES RINGING -Oh, God. | 0:00:12 | 0:00:14 | |
Answer the phone, answer the phone. | 0:00:14 | 0:00:17 | |
-PHONE CONTINUES RINGING -Kat, can you answer the phone? | 0:00:17 | 0:00:21 | |
SHE SIGHS | 0:00:24 | 0:00:27 | |
Answer the phone, answer the phone. Answer the phone. | 0:00:27 | 0:00:31 | |
Hello, Cassidy household, Natalie Cassidy speaking. | 0:00:31 | 0:00:34 | |
Nat. Vince. Are you ready for the big time? | 0:00:34 | 0:00:38 | |
I will be after me bath, why? | 0:00:38 | 0:00:40 | |
Something is coming, something big, Nat, you might want to sit down. | 0:00:40 | 0:00:43 | |
Morgan Freeman has seen you doing lesbian Sonia | 0:00:45 | 0:00:48 | |
and he wants you to read for a part. | 0:00:48 | 0:00:50 | |
You are triple mega joking! | 0:00:50 | 0:00:54 | |
This programme contains some strong language | 0:00:55 | 0:01:02 | |
This is Mann Management, | 0:01:24 | 0:01:26 | |
one of the UK's foremost celebrity talent agencies. | 0:01:26 | 0:01:29 | |
Their illustrious client base is managed by agent to the stars | 0:01:29 | 0:01:33 | |
Vincent Mann. | 0:01:33 | 0:01:35 | |
What does it take to be a great agent? | 0:01:35 | 0:01:38 | |
A big smile, a firm handshake | 0:01:38 | 0:01:40 | |
and a stab-proof back. | 0:01:40 | 0:01:42 | |
In an unprecedented move, he has given our documentary crew | 0:01:45 | 0:01:48 | |
unlimited access to both his agency and his superstar clients. | 0:01:48 | 0:01:52 | |
Today, an exciting job offer | 0:01:54 | 0:01:55 | |
has come in from Hollywood A-lister Morgan Freeman. | 0:01:55 | 0:01:59 | |
He's looking for a female cockney astronaut for a new romcom | 0:01:59 | 0:02:03 | |
set on Mars. | 0:02:03 | 0:02:05 | |
-He wants to see you today! -Oh, my God, this is amazing! | 0:02:05 | 0:02:08 | |
It's like a dream come true! | 0:02:08 | 0:02:10 | |
Well, it would be if I didn't have Dad today. Can he do tomorrow? | 0:02:10 | 0:02:13 | |
Morgan Freeman doesn't do tomorrows, Nat, | 0:02:13 | 0:02:15 | |
he very rarely does todays. | 0:02:15 | 0:02:17 | |
Can't you ask your sister to have your dad? | 0:02:17 | 0:02:19 | |
Oh, Kat doesn't do todays, | 0:02:19 | 0:02:21 | |
she only does tomorrows. | 0:02:21 | 0:02:22 | |
-Well, ask her to do you a favour. -All right, then. | 0:02:22 | 0:02:25 | |
-Kat. -What?! | 0:02:26 | 0:02:28 | |
Morgan Freeman wants to see me today, can you have Dad? | 0:02:28 | 0:02:32 | |
No! I'm doing me Insanity with Fat Karen! | 0:02:32 | 0:02:37 | |
She can't do it, Vince, she's doing Insanity with Fat Karen. | 0:02:37 | 0:02:40 | |
Then you're taking him with you, right? | 0:02:40 | 0:02:42 | |
Right. | 0:02:42 | 0:02:43 | |
Yes! Get in! | 0:02:49 | 0:02:53 | |
I ain't going up London, Nat. | 0:02:53 | 0:02:55 | |
Just listen to me, please, Dad. | 0:02:55 | 0:02:57 | |
All we need to do is drive up London, | 0:02:57 | 0:03:00 | |
you come in with me, wait in reception, then we drive home again. | 0:03:00 | 0:03:05 | |
We can stop for motorway chips on the way back. | 0:03:05 | 0:03:08 | |
-Will I be back in time for Pointless? -Yes. | 0:03:08 | 0:03:11 | |
-Cash In The Attic? -Don't push your luck. | 0:03:11 | 0:03:14 | |
-All right. -Get in! | 0:03:14 | 0:03:18 | |
HE SIGHS | 0:03:19 | 0:03:22 | |
Another celebrated client of Mann Management | 0:03:22 | 0:03:25 | |
is comedian and activist Russell Brand. | 0:03:25 | 0:03:28 | |
He's in the Essex countryside furthering his spiritual revolution. | 0:03:28 | 0:03:32 | |
I had an almost existential revelation. | 0:03:32 | 0:03:37 | |
Why wait for society to evolve into a giant citadel of peaceful, | 0:03:37 | 0:03:41 | |
philosophical civilisation | 0:03:41 | 0:03:43 | |
'when I can build a new paradigm | 0:03:43 | 0:03:45 | |
'of existence, right here on me own slice' | 0:03:45 | 0:03:48 | |
of Albion paradise? | 0:03:48 | 0:03:49 | |
Russell has acquired almost five acres of brown-belt land on which | 0:03:51 | 0:03:55 | |
he plans to build his version of Utopia. | 0:03:55 | 0:03:58 | |
This is where I want the Marvel Meditation Tower. | 0:03:58 | 0:04:01 | |
-How tall's that, then? -Like this, but massive. | 0:04:01 | 0:04:05 | |
'For a revolutionary construction of this magnitude, | 0:04:05 | 0:04:08 | |
'I needed the very best and Trevor was by far the most | 0:04:08 | 0:04:12 | |
'spiritually advanced builder I could lay me hands on.' | 0:04:12 | 0:04:15 | |
Oi, Russell, what do you think of that? | 0:04:15 | 0:04:18 | |
Do you want to keep it? Might come in handy. | 0:04:18 | 0:04:21 | |
With a builder onboard, | 0:04:21 | 0:04:22 | |
Russell's Utopian dream is going to the next level - | 0:04:22 | 0:04:25 | |
a planning meeting with Essex County Council. | 0:04:25 | 0:04:28 | |
Brothers and sisters in together-hood, striving as one | 0:04:28 | 0:04:31 | |
for the benefit of all, equality, freedom, | 0:04:31 | 0:04:34 | |
here just off junction 29 of the M25. | 0:04:34 | 0:04:39 | |
I think we all agree it's a nice idea, in principle, | 0:04:39 | 0:04:42 | |
but would you have anything more solid we could look at? | 0:04:42 | 0:04:45 | |
I've got Trevor. He's solid. | 0:04:45 | 0:04:48 | |
'Yeah, it's all a bit tetchy here at Utopia this afternoon. | 0:04:50 | 0:04:52 | |
'Like, Russell's got the council in asking him all kinds' | 0:04:52 | 0:04:55 | |
of questions. He doesn't like it when people do that. | 0:04:55 | 0:04:57 | |
The land itself, Mr Brand, has it been agriculturally classified? | 0:04:57 | 0:05:02 | |
I'm not here to give answers, love, I'm here to change the question. | 0:05:02 | 0:05:06 | |
You DO need to give answers. | 0:05:06 | 0:05:08 | |
We need to know what exactly it is you're proposing to build. | 0:05:08 | 0:05:11 | |
The future! | 0:05:11 | 0:05:12 | |
And would the future have disability access? | 0:05:14 | 0:05:16 | |
People will not be pigeonholed by their physical characteristics, | 0:05:16 | 0:05:21 | |
I'm trying to build a progressive Utopian ideal here and you're | 0:05:21 | 0:05:24 | |
festooning me in crimson tape like I'm trying to run a market stall. | 0:05:24 | 0:05:29 | |
We probably could get you a market stall. | 0:05:30 | 0:05:32 | |
The stupidest of the stupid questions we're asked is, | 0:05:38 | 0:05:42 | |
-"Do you..." -"Mel and Sue..." | 0:05:42 | 0:05:44 | |
-BOTH: -"Actually live together?" | 0:05:44 | 0:05:46 | |
And the answer to that is a resounding, | 0:05:46 | 0:05:49 | |
"Yes, my love." | 0:05:49 | 0:05:50 | |
There's us, Mel and Sue... | 0:05:54 | 0:05:55 | |
..my cat, Arthur C Clarke... | 0:05:55 | 0:05:57 | |
..our two Goldfish, Mel and Sue. | 0:05:57 | 0:05:59 | |
No relation. ROFL. | 0:05:59 | 0:06:01 | |
Oh, and Tim. My husband. | 0:06:04 | 0:06:07 | |
Hello, I'm Tim, I'm Mel's husband | 0:06:07 | 0:06:09 | |
and I live with Mel... | 0:06:09 | 0:06:12 | |
and Sue. | 0:06:12 | 0:06:13 | |
-Whoa! -No way. | 0:06:21 | 0:06:24 | |
I did not see that coming. | 0:06:24 | 0:06:26 | |
Wow, so someone messed with the blood samples? | 0:06:26 | 0:06:29 | |
Yeah, do you think it was the dodgy sheriff's department? | 0:06:29 | 0:06:32 | |
Hey, you, right things. | 0:06:32 | 0:06:34 | |
Hey, classic! | 0:06:34 | 0:06:36 | |
Hi, Sue, there's just five minutes left, so... | 0:06:36 | 0:06:38 | |
What are we watching? Making A Murderer? | 0:06:38 | 0:06:40 | |
Didn't we watch this last week, Melly melon? Melon balls? | 0:06:40 | 0:06:44 | |
Wasn't that a different show, my great mate? | 0:06:44 | 0:06:48 | |
Don't think so. | 0:06:48 | 0:06:49 | |
Yeah, didn't we watch The Jinx, my showbiz compadre? | 0:06:49 | 0:06:53 | |
No, definitely Making A Murderer. | 0:06:53 | 0:06:55 | |
I remember it turns out that neither of them get released | 0:06:55 | 0:06:57 | |
and they're both still in prison today. | 0:06:57 | 0:06:59 | |
Oh, for fuck's sake. | 0:06:59 | 0:07:02 | |
SUE WHISTLES | 0:07:02 | 0:07:04 | |
'Actually, it's a blessing having Dad with me' | 0:07:09 | 0:07:12 | |
on the way to the audition with Morgan Freeman. | 0:07:12 | 0:07:14 | |
He's going to help me with the lines like he does with lesbian Sonia. | 0:07:14 | 0:07:18 | |
I know a romcom set on Mars is a different vibe, | 0:07:18 | 0:07:21 | |
but I'm just going to try and keep it natural. | 0:07:21 | 0:07:24 | |
I know we've only got 24 hours of oxygen, Blake, | 0:07:24 | 0:07:28 | |
but what's the point of having oxygen if I haven't got love? | 0:07:28 | 0:07:31 | |
Of course you've got love, | 0:07:31 | 0:07:33 | |
you've got love of everyone back home on planet Earth. | 0:07:33 | 0:07:37 | |
That feels like nothing without you. | 0:07:37 | 0:07:40 | |
24 hours is not long enough to explore a universe of feelings. | 0:07:40 | 0:07:45 | |
But it is long enough for us to save ourselves. | 0:07:45 | 0:07:49 | |
But what if one of us doesn't make it, Blake? | 0:07:49 | 0:07:51 | |
Why did you come here if not to explore your feelings? | 0:07:51 | 0:07:55 | |
I came here to explore Mars, goddammit. | 0:07:55 | 0:07:59 | |
So did I, but I discovered you, babe. | 0:07:59 | 0:08:02 | |
Then the alien grabs your face... | 0:08:06 | 0:08:07 | |
Bla-a-a-a-a-a-a-ke! | 0:08:09 | 0:08:15 | |
'If it's that good with Dad,' | 0:08:16 | 0:08:17 | |
imagine how good it's going to be with Morgan Freeman. | 0:08:17 | 0:08:21 | |
Better, I reckon. | 0:08:22 | 0:08:23 | |
'I was feeling a bit awks about fibbing to my better half Timbo,' | 0:08:26 | 0:08:30 | |
so I thought I'd put my Bake Off pinny on and rustle up | 0:08:30 | 0:08:32 | |
a bit of apology pie. | 0:08:32 | 0:08:34 | |
So, Mel told me to pop off to the flicks and give her and Tim | 0:08:34 | 0:08:37 | |
some private time, which is not a problem. | 0:08:37 | 0:08:39 | |
No pasa nada. No problemo. Nos problemos. | 0:08:39 | 0:08:45 | |
-No, no. -Very happy to give them some space. | 0:08:45 | 0:08:47 | |
If you know what I mean? | 0:08:47 | 0:08:49 | |
Boom-baka-chow, baka-chow-wow-wow. | 0:08:49 | 0:08:51 | |
Boom-baka-chow-wow-wow. | 0:08:51 | 0:08:53 | |
Boom-baka-chow, baka-chow-baka-chow. | 0:08:53 | 0:08:55 | |
Boom-baka-chow-wow-wow. | 0:08:55 | 0:08:57 | |
Boom-baka-chow, baka-chow-wow-wow. | 0:08:57 | 0:08:59 | |
Boom-baka-chow-wow-wow. Boom-baka-chow. | 0:08:59 | 0:09:02 | |
I know I said I'd wait to watch it with you, but Sue just... | 0:09:13 | 0:09:16 | |
Oh, don't worry about it, I know what she's like. | 0:09:16 | 0:09:20 | |
She's definitely gone out, hasn't she? | 0:09:21 | 0:09:23 | |
Yeah, just us tonight, love. | 0:09:23 | 0:09:25 | |
-This is nice. -Yeah, so, how's your day been? | 0:09:28 | 0:09:31 | |
Yeah, not bad, yeah. | 0:09:31 | 0:09:33 | |
You know, Stuart from work is studying reiki. | 0:09:33 | 0:09:36 | |
Really? I've always fancied that. | 0:09:36 | 0:09:38 | |
Yeah, no, I know, I thought we could maybe go along as a couple, | 0:09:38 | 0:09:41 | |
you know what I mean? It might be a load of rubbish, but... | 0:09:41 | 0:09:43 | |
-CLATTER -Help! -Sue! -Ah! | 0:09:43 | 0:09:46 | |
You all right? What's happened? | 0:09:46 | 0:09:48 | |
Oh, mate, what happened? You OK? | 0:09:59 | 0:10:02 | |
-Are you all right? -I fell over. -Oh, mate. | 0:10:03 | 0:10:07 | |
Tim, can you get the first-aid kit, please? | 0:10:07 | 0:10:10 | |
-That's jam. -What? | 0:10:10 | 0:10:12 | |
She's got jam on her arm, there's pips in it. | 0:10:12 | 0:10:16 | |
Yeah. I fell over and I landed on some jam. | 0:10:16 | 0:10:19 | |
Why? What? Did you have jam in your pocket or...? | 0:10:19 | 0:10:23 | |
We're always getting sent jam, aren't we, Mel? | 0:10:23 | 0:10:25 | |
Because of the show. | 0:10:25 | 0:10:26 | |
Our fans send us jam. | 0:10:26 | 0:10:28 | |
Yeah, we have been sent some jam in the past, yeah. | 0:10:28 | 0:10:30 | |
-I just thought that... -Can you just make some tea, please, Tim? | 0:10:30 | 0:10:33 | |
'No-one sent in any jam.' | 0:10:36 | 0:10:38 | |
That was my jam, the expensive jam that I bought last week. | 0:10:38 | 0:10:41 | |
She's using my own jam against me. | 0:10:41 | 0:10:43 | |
Tim, I'm so sorry I spoilt your big, sexy, romantic night in. | 0:10:43 | 0:10:47 | |
Seriously, Tim. Timmy. Timmy-Tim-Tam. | 0:10:47 | 0:10:53 | |
Justin Timberlake, Timmy Mallet, Tim'll fix it. | 0:10:53 | 0:10:57 | |
I do love you. | 0:10:57 | 0:10:59 | |
I said, "I love you." | 0:11:01 | 0:11:03 | |
-I love you too, Sue. -Aw. | 0:11:06 | 0:11:08 | |
With an open door to Vincent's clients, we were able to ask | 0:11:17 | 0:11:20 | |
the stars some more pertinent questions about their celebrity. | 0:11:20 | 0:11:24 | |
How important is an education? | 0:11:24 | 0:11:26 | |
Well, I went to school on Albert Square, so, unfortunately, | 0:11:26 | 0:11:30 | |
my classroom was just a set with no actual teachers in it. | 0:11:30 | 0:11:34 | |
How important is an education? | 0:11:34 | 0:11:37 | |
What is this? Question Time? | 0:11:37 | 0:11:39 | |
What you going to ask me next? | 0:11:39 | 0:11:41 | |
What's your social housing policy? You mucking me off, mate? | 0:11:41 | 0:11:43 | |
I guess it probably was important, wasn't it? | 0:11:43 | 0:11:46 | |
Back in the days, before predictive text. | 0:11:46 | 0:11:48 | |
I can't really tell you what it's like to live a life with one, | 0:11:51 | 0:11:54 | |
but I'm happy without one. | 0:11:54 | 0:11:56 | |
But then again, I am under 30 and worth about 140 million, | 0:11:56 | 0:12:00 | |
so I might not be the best person to ask. | 0:12:00 | 0:12:03 | |
Well, it's incredibly important. | 0:12:03 | 0:12:06 | |
Unless you're lucky enough to make a career out of liking stuff | 0:12:06 | 0:12:09 | |
and then not liking stuff, then it makes no bloody difference. | 0:12:09 | 0:12:13 | |
Absolutely vital. | 0:12:13 | 0:12:15 | |
If there's one thing that's got me where I am today, | 0:12:15 | 0:12:19 | |
it's knowing my Gurkhas from my burkas | 0:12:19 | 0:12:21 | |
and my merkins from my gherkins. | 0:12:21 | 0:12:22 | |
Well, there were two things that we learnt at the school of comedy. | 0:12:23 | 0:12:27 | |
The art of sarcasm. | 0:12:27 | 0:12:29 | |
Said sarcastically there. She's a master. | 0:12:29 | 0:12:31 | |
And, of course, a good pun. | 0:12:31 | 0:12:32 | |
Which is harder to beat than a boiled egg. | 0:12:32 | 0:12:36 | |
-Punderful work there, my bosom buddy. -Thank you. | 0:12:36 | 0:12:38 | |
Thankfully, Pete Beale steps in and taught me everything he knew, | 0:12:38 | 0:12:42 | |
which was some basic acting | 0:12:42 | 0:12:44 | |
and how to run a fruit and veg stall. | 0:12:44 | 0:12:47 | |
So I will always have that to fall back on | 0:12:47 | 0:12:49 | |
if lesbian Sonia goes tits up. | 0:12:49 | 0:12:51 | |
Shall I tell you something? | 0:12:54 | 0:12:56 | |
I just adore travelling, | 0:12:56 | 0:12:58 | |
from the asphyxiating heat of the Abyssinian scrub | 0:12:58 | 0:13:02 | |
to the hawkish, bitter winds of the Siberian tundra, | 0:13:02 | 0:13:05 | |
and I cannot wait to get started on my latest adventure. | 0:13:05 | 0:13:08 | |
Jo Lumley has an incredible gift for seeing the exotic | 0:13:12 | 0:13:15 | |
in every place she visits. | 0:13:15 | 0:13:17 | |
Unfortunately, she also has an incredible gift for burning money. | 0:13:17 | 0:13:22 | |
So, me and her travel log producers have come up with a plan | 0:13:22 | 0:13:25 | |
to save us all a few quid. | 0:13:25 | 0:13:26 | |
Aloha. | 0:13:37 | 0:13:39 | |
Shalom. | 0:13:39 | 0:13:41 | |
The fact is, people will tune in to watch Jo-Jo's travel logs | 0:13:41 | 0:13:44 | |
wherever she goes. | 0:13:44 | 0:13:46 | |
So, really, you could send her anywhere, | 0:13:46 | 0:13:48 | |
which is exactly what we've done. | 0:13:48 | 0:13:50 | |
Now, I've been sent on my travels to this wonderful little haven. | 0:13:51 | 0:13:55 | |
The locals call it Potters Bar. | 0:13:55 | 0:13:58 | |
Isn't this the most charming lobby? | 0:13:59 | 0:14:01 | |
Full of promise and endless possibility. | 0:14:01 | 0:14:04 | |
Oh, and look, look what's happening here, do you see? Oh. | 0:14:04 | 0:14:08 | |
This is the local currency. Isn't it scrumptious? | 0:14:10 | 0:14:14 | |
And as light as a souffle. | 0:14:14 | 0:14:15 | |
You pop it in this little secret crevice here and then just | 0:14:15 | 0:14:20 | |
press some things and, oh, look, do you see, can you believe it? | 0:14:20 | 0:14:23 | |
It twists and curls like an eel, caught in a boatman's net. | 0:14:23 | 0:14:27 | |
-Can I help you? -Hello. | 0:14:27 | 0:14:30 | |
-Do you have your booking reference? -I'm sure I've got something. | 0:14:30 | 0:14:33 | |
If my many thrilling adventures have taught me one thing, | 0:14:36 | 0:14:39 | |
it's to expect the unexpected and make sure one has packed | 0:14:39 | 0:14:43 | |
the absolute essentials. | 0:14:43 | 0:14:45 | |
-Don't worry. -Oh, lovely. | 0:14:47 | 0:14:50 | |
If I can offer one piece of wisdom while exploring, it is this. | 0:14:50 | 0:14:54 | |
Take care of your hosts and your hosts will take care of you. | 0:14:54 | 0:14:58 | |
Now, will you be a doll and tell the bellboy | 0:14:58 | 0:15:00 | |
he's in for a little treat when he brings my bag-gage | 0:15:00 | 0:15:04 | |
up to the bedchamber? | 0:15:04 | 0:15:05 | |
Not like that, you filthy-minded tykes. | 0:15:05 | 0:15:08 | |
Namaste. | 0:15:08 | 0:15:11 | |
Hello, please take a seat. | 0:15:13 | 0:15:15 | |
In London's Soho, Natalie Cassidy has arrived for her casting | 0:15:15 | 0:15:18 | |
opposite Hollywood A-lister Morgan Freeman. | 0:15:18 | 0:15:21 | |
Natalie Cassidy, represented by Vincent Mann, Mann Management. | 0:15:22 | 0:15:27 | |
Reading for Cockney astronaut. | 0:15:27 | 0:15:30 | |
Great, thanks. | 0:15:30 | 0:15:31 | |
And who's this? | 0:15:33 | 0:15:35 | |
They said it was OK if Dad came in, Mr Morgan Freeman. | 0:15:35 | 0:15:39 | |
He don't like being on his own in case a dog comes. | 0:15:39 | 0:15:41 | |
It's ever since his accident... | 0:15:41 | 0:15:43 | |
Just read the lines, kid. | 0:15:43 | 0:15:44 | |
Right, yeah, course. Sorry. | 0:15:46 | 0:15:48 | |
I'll read Blake's lines. That's not going to put you off, is it? | 0:15:48 | 0:15:51 | |
No, I've done scenes with Steve McFadden, nothing could put me off. | 0:15:51 | 0:15:56 | |
Right. OK. Action. | 0:15:56 | 0:15:59 | |
I know we've only got 24 hours of oxygen, Blake, | 0:16:00 | 0:16:03 | |
but what's the point of having oxygen if I haven't got love? | 0:16:03 | 0:16:06 | |
MORGAN AND NATALIE'S DAD: Of course you've got love, | 0:16:06 | 0:16:09 | |
you've got the love of everybody back home on planet Earth. | 0:16:09 | 0:16:11 | |
-Sorry, Pops. Could you just... -What? -Shh, Daddy, quiet. | 0:16:11 | 0:16:15 | |
-What? -Just shh. | 0:16:15 | 0:16:18 | |
Sorry, Mr Freeman. | 0:16:18 | 0:16:20 | |
It's OK, it's fine. Go again. | 0:16:20 | 0:16:23 | |
I know we've only got 24 hours of oxygen, Blake, | 0:16:24 | 0:16:27 | |
but what is the point of oxygen if I haven't got love? | 0:16:27 | 0:16:30 | |
BOTH: Of course you've got love. You've got the love... | 0:16:30 | 0:16:33 | |
Dad! | 0:16:33 | 0:16:34 | |
-What? -You're doing it again. | 0:16:34 | 0:16:36 | |
I never. | 0:16:36 | 0:16:38 | |
Yeah, you did. Let Mr Freeman do his Blake. | 0:16:38 | 0:16:42 | |
Sorry. It's fine. | 0:16:42 | 0:16:43 | |
Go again. | 0:16:43 | 0:16:45 | |
I know we've only got 24 hours of oxygen, Blake, | 0:16:47 | 0:16:50 | |
but what is the point of having oxygen if I haven't got love? | 0:16:50 | 0:16:53 | |
-BOTH: Of course you've got love. -Dad! | 0:16:53 | 0:16:55 | |
Jesus, just keep going. | 0:16:55 | 0:16:57 | |
BOTH: You've got the love of everybody back home on planet Earth. | 0:16:57 | 0:17:00 | |
But what if one of us doesn't make it, Blake? | 0:17:00 | 0:17:02 | |
Why did you come here if not to explore your feelings? | 0:17:02 | 0:17:06 | |
BOTH: I came here to explore Mars, goddammit! | 0:17:06 | 0:17:09 | |
HE GARGLES AND CHOKES LOUDLY | 0:17:09 | 0:17:12 | |
Yeah, I think it went well in the end. | 0:17:23 | 0:17:25 | |
Fingers crossed we'll be looking for a house to rent in LA soon. | 0:17:25 | 0:17:28 | |
Course, we'll have to go by boat, cos Dad won't fly. | 0:17:28 | 0:17:32 | |
Should look into that, actually. Pass me the iPad. | 0:17:32 | 0:17:36 | |
A voyage becomes all the more rewarding if one takes the time | 0:17:37 | 0:17:40 | |
to acquaint themselves with the locals. | 0:17:40 | 0:17:43 | |
Despite the language barrier, | 0:17:43 | 0:17:45 | |
I can see that Mariola is a travelling merchant | 0:17:45 | 0:17:48 | |
and she's just been showing me these... | 0:17:48 | 0:17:50 | |
Show them, Mariola. | 0:17:50 | 0:17:52 | |
I feel like a giantess. | 0:17:56 | 0:17:58 | |
And look at these, can you see? Oh. | 0:17:58 | 0:18:02 | |
Soft as butter from the churn. | 0:18:02 | 0:18:04 | |
How much for these, Mariola? | 0:18:04 | 0:18:07 | |
This for room, not for sale. | 0:18:07 | 0:18:10 | |
Such a proud people. | 0:18:10 | 0:18:12 | |
I'll take them all, you lucky girl. | 0:18:13 | 0:18:15 | |
No-one in show business works harder than Cheryl Cole, | 0:18:24 | 0:18:27 | |
Tweedy, Ferdinand...whatever. | 0:18:27 | 0:18:30 | |
Unfortunately, Cheryl's ferocious appetite for | 0:18:30 | 0:18:32 | |
a new challenge also applies to her relationships. | 0:18:32 | 0:18:35 | |
Last I heard, she's got a new love in her life. | 0:18:35 | 0:18:38 | |
Yes, it's true. | 0:18:40 | 0:18:42 | |
This time I've found a kindred spirit | 0:18:42 | 0:18:45 | |
who I know I can properly trust in for the rest of me whole life. | 0:18:45 | 0:18:49 | |
This is Buster. Say hello, Buster. | 0:18:49 | 0:18:53 | |
I named him after the film by Phil Collins, you know. | 0:18:53 | 0:18:55 | |
When him and Julie Walters go loco in Acapulco. | 0:18:55 | 0:18:59 | |
Buster doesn't care one bit that I'm Cheryl from Girls Aloud | 0:18:59 | 0:19:02 | |
and I don't care that he's Buster from wherever me assistant | 0:19:02 | 0:19:06 | |
got him from. | 0:19:06 | 0:19:07 | |
I'm going to love Buster forever and ever. Aren't I, sweetheart? | 0:19:07 | 0:19:11 | |
You know, I'm not saying it's all plain sailing, | 0:19:11 | 0:19:14 | |
he doesn't always pay us enough attention, | 0:19:14 | 0:19:16 | |
sometimes I'm pouring me heart out to him and I look over and | 0:19:16 | 0:19:20 | |
he's just licking his own balls, over and over and over again. | 0:19:20 | 0:19:23 | |
The little bastard has no respect for us whatsoever. | 0:19:23 | 0:19:27 | |
I mean, I'm Cheryl from Girls Aloud and he's just a dog, | 0:19:27 | 0:19:31 | |
we come from different worlds. | 0:19:31 | 0:19:34 | |
I'll never be able to watch Phil Collins ever again. | 0:19:34 | 0:19:37 | |
And it's all this little shit's fault. | 0:19:37 | 0:19:40 | |
-SOBBING: -Take it away from us. | 0:19:40 | 0:19:42 | |
When he's not on the set of EastEnders, | 0:19:44 | 0:19:47 | |
Danny Dyer can often be found working from home in his man shed. | 0:19:47 | 0:19:51 | |
-PHONE RINGS -Oi-oi. | 0:19:51 | 0:19:54 | |
-Vincent, me old son. -Yeah, Danny. | 0:19:55 | 0:19:58 | |
-Good news, mate. You're up for an award. -Oh, yeah? | 0:19:58 | 0:20:01 | |
What is it? Another MTA or one of the big ones? | 0:20:01 | 0:20:04 | |
Oscars and that. | 0:20:04 | 0:20:05 | |
Not an Oscar. It's Rear of the Year. | 0:20:05 | 0:20:08 | |
Are you having a babble? That's better than a moody Oscar. | 0:20:08 | 0:20:12 | |
Fucking get in! Really? | 0:20:12 | 0:20:13 | |
Mate, me and my little April. | 0:20:13 | 0:20:17 | |
You call your bum April? | 0:20:17 | 0:20:18 | |
April and Paris, Aris, | 0:20:18 | 0:20:20 | |
Aristotle, bottle, bottle and glass, | 0:20:20 | 0:20:22 | |
it's a quicker way of saying arse, mate. | 0:20:22 | 0:20:24 | |
Makes sense. Congratulations. | 0:20:24 | 0:20:27 | |
Oh, I'm made up, proper get in, do you know what I mean? | 0:20:27 | 0:20:29 | |
Better write me speech. | 0:20:29 | 0:20:31 | |
Cheers. | 0:20:33 | 0:20:35 | |
And the winner is...Danny Dyer! | 0:20:36 | 0:20:40 | |
HE IMITATES APPLAUSE | 0:20:40 | 0:20:42 | |
Thank you, thank you, thank you. Wow. | 0:20:42 | 0:20:45 | |
Behind every great man is a great bum. | 0:20:45 | 0:20:50 | |
And it's been one hell of a journey for me and my Aris. | 0:20:50 | 0:20:53 | |
I've sat on it, I've had it whipped by a stripper. | 0:20:53 | 0:20:56 | |
I've even had a quack look up it when I had the old Harry Styles. | 0:20:56 | 0:21:00 | |
Now I'm up there with all the previous winners, | 0:21:00 | 0:21:03 | |
like Kylie, Olly Murs and all that firm. | 0:21:03 | 0:21:06 | |
But all that don't mean nothing without you mob out there, the fans. | 0:21:06 | 0:21:10 | |
And then, uh... | 0:21:11 | 0:21:13 | |
..I bend over... | 0:21:14 | 0:21:15 | |
..and show 'em the goods. | 0:21:17 | 0:21:18 | |
It's really, really sad that it didn't work out with Buster. | 0:21:22 | 0:21:25 | |
But they say if you love someone, set them free. | 0:21:26 | 0:21:30 | |
So I got me assistant to set Buster free in a lay-by, | 0:21:32 | 0:21:35 | |
just off the A42. | 0:21:35 | 0:21:37 | |
And, you know, it all worked out for the best, | 0:21:37 | 0:21:39 | |
because if I hadn't dumped him, | 0:21:39 | 0:21:41 | |
I wouldn't have found Pierre. | 0:21:41 | 0:21:43 | |
Say hello, Pierre. | 0:21:45 | 0:21:48 | |
Me and little Pierre are made for each other. | 0:21:48 | 0:21:51 | |
He's just so mellow and considerate. | 0:21:51 | 0:21:53 | |
And he just looks so wise and that. | 0:21:53 | 0:21:56 | |
Me and Pierre are totally on the same level. | 0:21:56 | 0:21:58 | |
It's almost like we can read each other's minds. | 0:21:58 | 0:22:02 | |
I know what you're thinking, don't I, babe? | 0:22:02 | 0:22:04 | |
You're thinking that you're going to love me forever. | 0:22:04 | 0:22:07 | |
What else are you thinking? | 0:22:07 | 0:22:10 | |
Have you got something to say, pet? | 0:22:11 | 0:22:13 | |
Well, if you don't tell me, how am I supposed to guess? | 0:22:14 | 0:22:17 | |
You know, it's not all plain sailing. No relationship is. | 0:22:17 | 0:22:21 | |
Pierre has his dark moments, | 0:22:21 | 0:22:23 | |
where he retreats into his shell and just ignores us. | 0:22:23 | 0:22:26 | |
The ungrateful little slaphead. | 0:22:26 | 0:22:28 | |
I wouldn't mind, but after all I done for him, | 0:22:28 | 0:22:31 | |
taking him out of the shoebox and getting me assistant | 0:22:31 | 0:22:34 | |
to buy him some lettuce, you'd think the moody little helmet | 0:22:34 | 0:22:36 | |
would be a bit more bloody grateful. | 0:22:36 | 0:22:38 | |
Who the hell does he think he is? | 0:22:38 | 0:22:40 | |
Coming into Cheryl from Girls Aloud's house, | 0:22:40 | 0:22:42 | |
eating me lettuce and ignoring me, the little bald bastard. | 0:22:42 | 0:22:46 | |
-VIOLIN PLAYS -Take it away from us. | 0:22:46 | 0:22:49 | |
So, we find ourselves in the hub of the hostelry. | 0:22:53 | 0:22:56 | |
It's my guess that this is the original Potters Bar | 0:22:56 | 0:23:00 | |
where ceramicists would gather, | 0:23:00 | 0:23:02 | |
compare earthenware and smoke shisha pipes. | 0:23:02 | 0:23:06 | |
Shall we join the natives? | 0:23:06 | 0:23:08 | |
Konnichiwa. | 0:23:08 | 0:23:11 | |
-What? -Aren't you Joanna Lumley? | 0:23:11 | 0:23:14 | |
Oh, dear, the curse of The New Avengers strikes again. | 0:23:14 | 0:23:18 | |
Yes, it is she, but it doesn't seem possible, does it? | 0:23:18 | 0:23:22 | |
So, tell me, which trade do you ply? | 0:23:22 | 0:23:25 | |
-We're carpet salesmen. -Oh, how magnificent. | 0:23:25 | 0:23:27 | |
-Not really. -Oh, don't be coy. | 0:23:27 | 0:23:30 | |
Carpets are the foundation of existence, the very backbone | 0:23:30 | 0:23:34 | |
of our evolutionary leap from savage to sophisticate. | 0:23:34 | 0:23:38 | |
Now, unfurl your most exquisite Turkish rug and let's barter. | 0:23:38 | 0:23:42 | |
Well, we specialise in polypropylene and bio-based polymer weaves | 0:23:42 | 0:23:47 | |
with non-chlorinated vinyl backing. | 0:23:47 | 0:23:48 | |
Oh, how divine, you simply must tell me everything. | 0:23:48 | 0:23:52 | |
Now, give this to the local innkeeper and tell him to | 0:23:52 | 0:23:55 | |
furnish us with his finest boo and plenty of it. | 0:23:55 | 0:23:59 | |
I'll have a pint of Stella. And a Jagerbomb. | 0:23:59 | 0:24:02 | |
Oh, fill your boots. | 0:24:02 | 0:24:03 | |
I have a sneaking suspicion that this encounter | 0:24:05 | 0:24:08 | |
may well consume the day. | 0:24:08 | 0:24:09 | |
Well, there's no harm in a little | 0:24:09 | 0:24:11 | |
ein klein joie de nuit now, is there? | 0:24:11 | 0:24:13 | |
Now, tell me, gentlemen, why are your carpets so perfectly small? | 0:24:13 | 0:24:18 | |
One should truly experience a destination, | 0:24:19 | 0:24:23 | |
so, I'm hosting a soiree, one can't put a price on that, | 0:24:23 | 0:24:27 | |
I certainly don't. | 0:24:27 | 0:24:29 | |
-Come, come. -POP MUSIC PLAYS | 0:24:29 | 0:24:33 | |
Look, isn't this enchanting? | 0:24:33 | 0:24:35 | |
All my fabulous new friends have joined me, and in return, | 0:24:35 | 0:24:39 | |
I've laid on a banquet from the twisty treaty box. | 0:24:39 | 0:24:42 | |
Now, if you'll excuse me, I must get back | 0:24:42 | 0:24:44 | |
to this delightful traditional game. | 0:24:44 | 0:24:46 | |
-Oh, fabulous. -Snap. | 0:24:46 | 0:24:50 | |
Oh, do I forfeit again? | 0:24:50 | 0:24:51 | |
Silly old Jo-Jo. | 0:24:54 | 0:24:56 | |
Oh, fun, fun, fun. | 0:24:56 | 0:24:58 | |
# Told them I was gonna blow back When I was in the south | 0:24:58 | 0:25:00 | |
# Go low, go low Everybody go low. # | 0:25:00 | 0:25:02 | |
SHE SIGHS | 0:25:02 | 0:25:04 | |
What could I not live without? | 0:25:06 | 0:25:07 | |
Cor, that's a toughie. | 0:25:07 | 0:25:10 | |
Same as most people, Viva Forever by the Spice Girls. | 0:25:10 | 0:25:13 | |
I couldn't live without my Samsung Galaxy, | 0:25:13 | 0:25:16 | |
my Twitter account, BlackBerry... | 0:25:16 | 0:25:19 | |
I couldn't live without my two best friends, | 0:25:19 | 0:25:23 | |
my boobicles. | 0:25:23 | 0:25:24 | |
Facebook, Vine account, MacBook, Instagram account, | 0:25:26 | 0:25:30 | |
iPad, oh, and the kids. | 0:25:30 | 0:25:32 | |
What could I not live without? Oh, I've got three things. | 0:25:32 | 0:25:35 | |
My panda onesie, my strawberry lip balm and my old pal-amaroo, Sue. | 0:25:35 | 0:25:40 | |
Third. I was third on that list. | 0:25:40 | 0:25:43 | |
She's joking. | 0:25:43 | 0:25:45 | |
That's Kenneth and that's Isaac. No, hang on. | 0:25:47 | 0:25:49 | |
That's Kenneth and that's Isaac, yeah. | 0:25:49 | 0:25:52 | |
They've always been so supportive, they even clap when I run. | 0:25:52 | 0:25:56 | |
Fair whiz, fair whiz. | 0:25:56 | 0:25:58 | |
Oh, they're my besties...my breasties! | 0:25:58 | 0:26:01 | |
Oh, good Lord, that's moist. | 0:26:01 | 0:26:04 | |
Ahh, loads of jokes there for you to choose from. | 0:26:04 | 0:26:07 | |
I'd probably go for Storage Wars and Dairylea Dunkers. | 0:26:07 | 0:26:11 | |
Ideally together. | 0:26:11 | 0:26:13 | |
Yes. | 0:26:14 | 0:26:15 | |
# Look at me | 0:26:17 | 0:26:18 | |
# You know what you see. # | 0:26:18 | 0:26:20 | |
With his speech written and rehearsed, Danny is making | 0:26:20 | 0:26:24 | |
some final preparations for his appearance at Rear of the Year. | 0:26:24 | 0:26:27 | |
# Look at me You know what you see. # | 0:26:27 | 0:26:29 | |
PHONE RINGS | 0:26:29 | 0:26:32 | |
-'Allo. -Yeah, Dan, Vinny. | 0:26:35 | 0:26:38 | |
Sorry, mate, bit of a mix-up. | 0:26:38 | 0:26:40 | |
You've actually won Bell-End of the Year from the NME. | 0:26:40 | 0:26:43 | |
Bell-End of the Year? | 0:26:43 | 0:26:45 | |
Yeah, sorry, crossed wires, mate. | 0:26:45 | 0:26:47 | |
You mean to say I haven't won Rear of the Year, | 0:26:47 | 0:26:50 | |
but instead I've won an award for me Hampton? | 0:26:50 | 0:26:53 | |
Sort of. | 0:26:53 | 0:26:54 | |
Fuck it, an award's an award. | 0:26:54 | 0:26:57 | |
Better tweak me speech. | 0:26:57 | 0:26:59 | |
Well, well, well, who's a clever boy, then? | 0:27:01 | 0:27:05 | |
Come on, then, let's have a look at ya. | 0:27:05 | 0:27:08 | |
'My fabulous adventure has come to an end, and so with a heavy heart | 0:27:11 | 0:27:16 | |
'it's time to say bon voyage to Potters Bar.' | 0:27:16 | 0:27:19 | |
Yassou, there you are. | 0:27:19 | 0:27:22 | |
I was worried I'd lost you in the souk. | 0:27:22 | 0:27:26 | |
Now, I have to tell you something, I have had the wildest of times, | 0:27:26 | 0:27:30 | |
fabulous. | 0:27:30 | 0:27:32 | |
I've made friends by the dozen, | 0:27:32 | 0:27:34 | |
compadres for life | 0:27:34 | 0:27:36 | |
and I'll be very sad bidding adieu to Potters Bar. | 0:27:36 | 0:27:39 | |
There we are, darling, that's for you. Thank you. | 0:27:41 | 0:27:44 | |
Oh, so many zeros. The inflation in these Third World provinces | 0:27:46 | 0:27:51 | |
must be crippling to the locals. | 0:27:51 | 0:27:53 | |
Would you be a dear and send that to my agent? Thank you. | 0:27:53 | 0:27:57 | |
And do add something for yourself, I insist. | 0:27:57 | 0:27:59 | |
490 quid on toiletries?! | 0:28:03 | 0:28:05 | |
Hang on... 220 quid on Monster Munch?! | 0:28:05 | 0:28:08 | |
I get it, someone's winding me up. | 0:28:10 | 0:28:12 | |
Right? | 0:28:12 | 0:28:14 | |
Shame it didn't work out with Pierre, but I've moved on. | 0:28:17 | 0:28:21 | |
This is... | 0:28:21 | 0:28:23 | |
Take it away from us. | 0:28:24 | 0:28:26 | |
# Why look so awfully tragic? | 0:28:29 | 0:28:32 | |
# Put on a happy face | 0:28:32 | 0:28:35 | |
# Smiling can work like magic | 0:28:35 | 0:28:37 | |
# Put on a happy face | 0:28:37 | 0:28:40 | |
# Why do you mope around so sourly? | 0:28:40 | 0:28:43 | |
# It's such a strain | 0:28:43 | 0:28:46 | |
# Just put on a happy face. # | 0:28:46 | 0:28:57 |