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This programme contains some strong language | 0:00:02 | 0:00:08 | |
CHEERING AND APPLAUSE | 0:00:23 | 0:00:25 | |
Hello! | 0:00:28 | 0:00:30 | |
Good evening, good evening, good evening, good evening, | 0:00:30 | 0:00:33 | |
good evening, good evening, | 0:00:33 | 0:00:35 | |
good evening and welcome to QI, which tonight is a tissue of lies. | 0:00:35 | 0:00:38 | |
Let's meet our perfidious panel - the duke of deception, Adam Hills. | 0:00:38 | 0:00:44 | |
The duchess of dissembling, Sara Pascoe. | 0:00:48 | 0:00:52 | |
The marquis of mendacity, Jack Whitehall. | 0:00:55 | 0:00:59 | |
And with his pants on fire, Alan Davies. | 0:01:02 | 0:01:06 | |
Our buzzers this evening are charged with enigmatic mystery. | 0:01:11 | 0:01:16 | |
Adam goes... | 0:01:16 | 0:01:18 | |
MUSIC: THE X-FILES THEME | 0:01:18 | 0:01:21 | |
Sara goes... | 0:01:21 | 0:01:22 | |
MUSIC: TALES OF THE UNEXPECTED THEME | 0:01:22 | 0:01:25 | |
Jack goes... | 0:01:27 | 0:01:28 | |
MUSIC: THE TWILIGHT ZONE THEME | 0:01:28 | 0:01:31 | |
Alan goes... | 0:01:33 | 0:01:34 | |
'I don't believe it!' | 0:01:34 | 0:01:37 | |
So, before we start, remember that I have hidden | 0:01:39 | 0:01:42 | |
a lavatory inside one of the questions, all right? | 0:01:42 | 0:01:45 | |
CASH REGISTER RINGS | 0:01:45 | 0:01:47 | |
TOILET FLUSHES | 0:01:47 | 0:01:49 | |
Because it's the L series, one of the questions involves a lavatory. | 0:01:49 | 0:01:52 | |
And if you think you've spotted which it is, | 0:01:52 | 0:01:55 | |
you wave your penny and spend it. | 0:01:55 | 0:01:57 | |
-Ah. -You spend your penny. All right. Let's start with a lark. | 0:01:57 | 0:02:00 | |
We like to do larks on the L series. | 0:02:00 | 0:02:02 | |
I'm going to show you how your senses can deceive. | 0:02:02 | 0:02:05 | |
So, Alan and Jack, you should each have a rubber hand | 0:02:05 | 0:02:09 | |
and a little grey wooden partition. | 0:02:09 | 0:02:12 | |
And Alan will explain and Jack will explain it. | 0:02:12 | 0:02:15 | |
I'm not quite au fait with prosthetics, | 0:02:15 | 0:02:18 | |
but I'll give it a crack(!) | 0:02:18 | 0:02:19 | |
Hold my hand here. | 0:02:20 | 0:02:22 | |
That's it. | 0:02:22 | 0:02:23 | |
You can stand up, Jack, if you like. | 0:02:23 | 0:02:25 | |
I've forgotten what I'm doing here. This goes here. | 0:02:25 | 0:02:27 | |
Yeah, like that. | 0:02:27 | 0:02:29 | |
OK. What you've got here is a perfectly obvious real hand, | 0:02:29 | 0:02:33 | |
your right hands, and a perfectly obvious fake hand. | 0:02:33 | 0:02:36 | |
And you've each got a brush. | 0:02:36 | 0:02:38 | |
So, all I want you to do is brush each hand sort of simultaneously, | 0:02:38 | 0:02:42 | |
and what you should feel, Adam and Sara... | 0:02:42 | 0:02:45 | |
Excruciating pain! | 0:02:45 | 0:02:47 | |
Jab hard into the hand until they roar! | 0:02:48 | 0:02:52 | |
Sara, scream! | 0:02:52 | 0:02:53 | |
-We'll come to that. For the moment, just a gentle rubbing. -SARA: OK. | 0:02:53 | 0:02:57 | |
-Eventually... -This hand will fall off. | 0:02:57 | 0:03:00 | |
Eventually, you will feel in the rubber hand | 0:03:01 | 0:03:04 | |
the same sensation you feel in your real hand. | 0:03:04 | 0:03:07 | |
-Which seems extraordinary... -Yeah? -..but you will. | 0:03:07 | 0:03:09 | |
-And let me know when you do. -SARA: OK. | 0:03:09 | 0:03:12 | |
It may not have happened yet. | 0:03:12 | 0:03:14 | |
-Then you will urinate. -You have to keep going. -I'm sorry. | 0:03:14 | 0:03:17 | |
-You have to keep going. -I'm keeping going, I'm keeping going! | 0:03:17 | 0:03:22 | |
I am now starting to feel that this is my hand. | 0:03:22 | 0:03:24 | |
That's it, that's what happens. | 0:03:24 | 0:03:25 | |
I'm having trouble distinguishing. | 0:03:25 | 0:03:27 | |
-Are you not, Sara? -No. -Keep going, Alan. | 0:03:27 | 0:03:29 | |
-ADAM: Oh, that's nice. -You like? -Yeah. | 0:03:29 | 0:03:31 | |
-So you can feel that in the rubber hand? -Lower. Definitely. Lower. | 0:03:31 | 0:03:34 | |
You play your cards right, might get a happy ending with this. | 0:03:34 | 0:03:37 | |
-You're not feeling anything, Sara? -It feels very much like my hand... | 0:03:37 | 0:03:40 | |
-Oh, it now does feel like your hand? -No, my hand feels like my hand. | 0:03:40 | 0:03:43 | |
-Well, that would do, yes. -Yeah. | 0:03:43 | 0:03:44 | |
My hand has never felt more like it belongs to me. | 0:03:44 | 0:03:47 | |
-I'm going faster. -I think that will help. | 0:03:47 | 0:03:49 | |
OK. | 0:03:49 | 0:03:51 | |
OK, I've got it, I've got it! | 0:03:51 | 0:03:53 | |
-You've got it. -I've got it. I've got it. | 0:03:53 | 0:03:55 | |
Faster is better, keep up the speed. | 0:03:55 | 0:03:57 | |
Right. | 0:03:59 | 0:04:01 | |
It's happening now! It's my hand! It's my hand! | 0:04:01 | 0:04:04 | |
-It really does feel like it. -It's my hand now. | 0:04:04 | 0:04:06 | |
It's bizarre, isn't it? It's genuinely bizarre. | 0:04:06 | 0:04:09 | |
-And now you can get out the other brush. -What? -What? | 0:04:09 | 0:04:12 | |
They've got... | 0:04:12 | 0:04:14 | |
SHE SHRIEKS | 0:04:14 | 0:04:16 | |
MUSIC: THE TWILIGHT ZONE THEME | 0:04:16 | 0:04:19 | |
That's amazing, isn't it? | 0:04:19 | 0:04:21 | |
It is amazing, because I didn't believe it was going to happen. | 0:04:21 | 0:04:23 | |
That's what's so good - you really didn't believe. | 0:04:23 | 0:04:26 | |
It doesn't matter how much you know your hand is fake, | 0:04:26 | 0:04:29 | |
it doesn't matter how much you know it's rubber, the effect works. | 0:04:29 | 0:04:32 | |
You see it, you see that it's a clear fake, | 0:04:32 | 0:04:34 | |
but, extraordinary, the brain overrides | 0:04:34 | 0:04:36 | |
what it knows with what it feels. That is to say, the cognitive side. | 0:04:36 | 0:04:39 | |
That's not that he's just next to a slightly mal-coordinated | 0:04:39 | 0:04:43 | |
man-child with a rubber hammer. | 0:04:43 | 0:04:45 | |
We can show you a replay of Adam's reaction here, | 0:04:45 | 0:04:47 | |
because we've actually got it here. If you watch this, here. | 0:04:47 | 0:04:50 | |
Oh, that shirt is awful. | 0:04:50 | 0:04:52 | |
That is...that is genuine. | 0:04:54 | 0:04:56 | |
It's made all the more extraordinary by the fact, of course | 0:04:59 | 0:05:02 | |
you, as is well known, have a prosthetic foot. | 0:05:02 | 0:05:05 | |
I do, I do indeed. | 0:05:05 | 0:05:06 | |
And so you are used to all the cliches there are | 0:05:06 | 0:05:09 | |
about prosthesis and about phantom limbs and all the rest of it. | 0:05:09 | 0:05:12 | |
-Indeed. I have a strict, can I take this... -Yeah, you can put that away, do. -No, I meant can I take it home? | 0:05:12 | 0:05:18 | |
I have a strange thing with my prosthetic that I've found that I do, | 0:05:19 | 0:05:22 | |
if I'm, if I stub my toe, I will still stop and go, "Ow!" | 0:05:22 | 0:05:27 | |
I will actually loudly say ouch. And then realise, oh, it's the prosthetic, it didn't actually hurt. | 0:05:27 | 0:05:32 | |
I'm conditioned that when you stub your toe, you yell out. | 0:05:32 | 0:05:35 | |
And as you well know, and from war time, | 0:05:35 | 0:05:38 | |
the screams of pain people had, once they'd been amputated, | 0:05:38 | 0:05:41 | |
in the limbs that no longer existed, | 0:05:41 | 0:05:42 | |
they swore that their shins... | 0:05:42 | 0:05:44 | |
And having itches in them you can't scratch. | 0:05:44 | 0:05:46 | |
I can't imagine anything more agonising than having | 0:05:46 | 0:05:48 | |
an itch in something you can't scratch. | 0:05:48 | 0:05:50 | |
I met this guy who...in America, and he was a Vietnam veteran, | 0:05:50 | 0:05:54 | |
-and he knew someone who'd lost both legs. -Yeah. | 0:05:54 | 0:05:57 | |
And he went to see him in hospital and he said, | 0:05:57 | 0:06:00 | |
"I still haven't had sex with my wife." | 0:06:00 | 0:06:02 | |
He said, "Why? Why not?" | 0:06:02 | 0:06:04 | |
He said, "Oh, I haven't got any legs now, I feel awkward. | 0:06:04 | 0:06:07 | |
"I don't really, you know..." | 0:06:07 | 0:06:09 | |
He said, "Well, you should just do it." | 0:06:09 | 0:06:11 | |
So he really encouraged him to do it. | 0:06:11 | 0:06:12 | |
And then he went back to see him, and he had a big smile on his face. | 0:06:12 | 0:06:15 | |
And he said, "So, did you do the thing?" And he said, "Yeah. | 0:06:15 | 0:06:19 | |
"And with no legs, you can get right on up there." | 0:06:19 | 0:06:23 | |
Well... | 0:06:26 | 0:06:28 | |
It's one of the unexpected advantages. | 0:06:31 | 0:06:34 | |
-Talk about every cloud. -There you go. | 0:06:34 | 0:06:37 | |
I am cutting off my legs this evening. | 0:06:37 | 0:06:40 | |
Oh! Oh, goodness me. | 0:06:40 | 0:06:42 | |
But the point is, the brain has a mental map of the body from birth | 0:06:42 | 0:06:46 | |
and even if that map is distorted by an amputation, | 0:06:46 | 0:06:49 | |
it takes a lot for the brain to lose its sense of where everything is. | 0:06:49 | 0:06:53 | |
It can be fooled, as the rubber hand showed you. | 0:06:53 | 0:06:56 | |
I remember once being in bed with my girlfriend | 0:06:56 | 0:06:58 | |
and doing that thing where I fell asleep on my arm. | 0:06:58 | 0:07:01 | |
And of course your arm goes numb. | 0:07:01 | 0:07:03 | |
And I rolled then over onto my back and my arm fell across my stomach. | 0:07:03 | 0:07:07 | |
But because it was numb, I actually thought it was her arm on my stomach. | 0:07:07 | 0:07:10 | |
And I actually started stroking it. | 0:07:10 | 0:07:12 | |
Aww! How sweet. | 0:07:13 | 0:07:15 | |
And it was, but I then kind of realised that it wasn't her arm, | 0:07:15 | 0:07:19 | |
it didn't feel like her arm. It was... | 0:07:19 | 0:07:21 | |
"Who the hell's in the bed with me?" | 0:07:25 | 0:07:26 | |
I'm putting the light on! | 0:07:26 | 0:07:28 | |
Well that extraordinary rubber hand illusion proves that even our own senses can tell us porkies. | 0:07:30 | 0:07:34 | |
And speaking of porkies, what's the point of pink? | 0:07:34 | 0:07:37 | |
Oh, you mean in terms of like a gender colour? | 0:07:37 | 0:07:41 | |
This isn't to do with gender, it's purely to do with the colour itself. | 0:07:41 | 0:07:45 | |
In printing, pink, or at least a reddy pink, has a particular name. | 0:07:45 | 0:07:48 | |
If I was to say CYMK. | 0:07:48 | 0:07:50 | |
Magenta? | 0:07:50 | 0:07:51 | |
-Magenta is the right answer! -Get in! | 0:07:51 | 0:07:54 | |
APPLAUSE | 0:07:54 | 0:07:56 | |
C is for Cyan, which is probably the blue nearest us, as it were, | 0:08:00 | 0:08:04 | |
the six o'clock blue. | 0:08:04 | 0:08:05 | |
M for Magenta, Y for Yellow and K is the Black, CMYK. | 0:08:05 | 0:08:09 | |
But magenta is between blue and red, and that's to say between the lowest wavelength of visible light | 0:08:09 | 0:08:14 | |
and the highest wavelength of visible light, which is sort of not possible. | 0:08:14 | 0:08:18 | |
-So it's a kind of can't-really-exist colour, and yet it does. -Yes, it does! | 0:08:18 | 0:08:22 | |
It's what you might call I suppose, a pigment of the imagination! | 0:08:22 | 0:08:26 | |
-GROANS -Which is nice. Which is nice. | 0:08:26 | 0:08:30 | |
-So, in terms of the senses lying... -Yeah. | 0:08:30 | 0:08:32 | |
-Our eyes and colour is a bit like that, because the world doesn't look like this. -No. Not in the least. | 0:08:32 | 0:08:36 | |
-We have cones and rods in our eyes. -Mm-hm. -And rods deal with darkness and light, black to white, | 0:08:36 | 0:08:40 | |
and the cones deal with colour. So dogs have two cones, | 0:08:40 | 0:08:43 | |
so they can, they're not colour blind, | 0:08:43 | 0:08:46 | |
-but they see a lot less colour than we do in the world, because we have three. But birds have four! -Yes. | 0:08:46 | 0:08:50 | |
They can see ultraviolet rays. | 0:08:50 | 0:08:52 | |
Was it the Six Million...? Yeah, the Six Million Dollar Man, when | 0:08:52 | 0:08:55 | |
Steve Austin, it would obviously cost a lot more now than six million... | 0:08:55 | 0:08:58 | |
Oh, I'd say. | 0:08:58 | 0:09:00 | |
Steve Austin got a bionic eye... | 0:09:00 | 0:09:01 | |
Lee Majors, yes. | 0:09:01 | 0:09:02 | |
And all they gave him, really, was a zoom facility. | 0:09:02 | 0:09:05 | |
"Dun-dun-dun," exactly. | 0:09:05 | 0:09:07 | |
So he could see things further away. | 0:09:07 | 0:09:09 | |
That is pretty feeble. | 0:09:09 | 0:09:11 | |
If they'd given him about eight extra cones... | 0:09:11 | 0:09:13 | |
That's true! | 0:09:13 | 0:09:14 | |
-He could have seen so much... -How could they have shown that to us? -X-rays. | 0:09:14 | 0:09:18 | |
Now we have the Instagram eye and he could make it all sepia and old-fashioned. | 0:09:18 | 0:09:21 | |
LAUGHTER | 0:09:21 | 0:09:23 | |
Our eyes still only have three cones to watch him seeing something so | 0:09:23 | 0:09:26 | |
it would still look to our eyes... | 0:09:26 | 0:09:27 | |
Extremely good point. | 0:09:27 | 0:09:28 | |
He'd have needed a sidekick to say "But what can you see?" | 0:09:28 | 0:09:32 | |
"Like a bird! I can see ultraviolet light, which is where the villain is revealed by this!" | 0:09:32 | 0:09:36 | |
"Let me run over there, fast." | 0:09:36 | 0:09:39 | |
And also, while we're on the subject of the Bionic Man, | 0:09:39 | 0:09:42 | |
he had one leg that was really good and yet they showed him | 0:09:42 | 0:09:46 | |
running at 70 when the reality was he would have been | 0:09:46 | 0:09:49 | |
hopping at 70, because the other leg would have just been destroyed by | 0:09:49 | 0:09:53 | |
the speed at which, biomechanically, it would have been unable to cope. | 0:09:53 | 0:09:58 | |
It would have ruined my childhood. | 0:09:58 | 0:10:00 | |
-They would have been better off if they'd taken off both legs... -Yeah! | 0:10:00 | 0:10:03 | |
-Given him two bionic legs. -Given him wheels, Adam, wheels! | 0:10:03 | 0:10:06 | |
And the sex would have been amazing. | 0:10:07 | 0:10:09 | |
LAUGHTER | 0:10:09 | 0:10:11 | |
Bionic sex. | 0:10:11 | 0:10:12 | |
There was the Bionic Woman, Lindsay Wagner, and she had ears, didn't she? | 0:10:12 | 0:10:15 | |
She could hear anything. | 0:10:15 | 0:10:17 | |
-Lee Majors, Lindsay Wagner. Well before anybody in this audience was born. -Fictional people. | 0:10:17 | 0:10:21 | |
-Yes, they were totally madey-uppy. -Yes, good. | 0:10:21 | 0:10:23 | |
Before your time as well, oh, God, we feel so old, don't we? | 0:10:23 | 0:10:26 | |
-Yeah, but it was great being in the '70s. -It was, yeah. We could go to university for free. | 0:10:26 | 0:10:31 | |
MOCKING LAUGH | 0:10:31 | 0:10:32 | |
APPLAUSE | 0:10:34 | 0:10:37 | |
But anyway, the fact is, yeah, magenta doesn't really exist and yet it does, for our eyes. | 0:10:42 | 0:10:46 | |
There's also a special kind of pink which is known as Baker-Miller Pink, which is | 0:10:46 | 0:10:50 | |
you take a gallon of white paint and a pint of red paint and you | 0:10:50 | 0:10:54 | |
come up with what's in the middle, a sort of bubble-gum coloured pink. | 0:10:54 | 0:10:57 | |
It's pretty, isn't it? | 0:10:57 | 0:10:58 | |
What's interesting about that is that it was generally thought by psychologists and others | 0:10:58 | 0:11:02 | |
to create a feeling of passivity, and so was used in prisons and mental asylums | 0:11:02 | 0:11:08 | |
and was known as "drunk tank pink". | 0:11:08 | 0:11:11 | |
That looks like a fun prison, to be honest. | 0:11:11 | 0:11:13 | |
LAUGHTER | 0:11:13 | 0:11:14 | |
-I would definitely go there. -Gay prison! | 0:11:14 | 0:11:16 | |
So, the other thing they did, some American sporting teams thought | 0:11:17 | 0:11:21 | |
that, well, this is true about this pink, they changed their visitors' | 0:11:21 | 0:11:25 | |
changing rooms to pink, in order to make the visiting teams more passive. | 0:11:25 | 0:11:30 | |
Which is kind of cheating, really, isn't it? | 0:11:30 | 0:11:32 | |
-It is kind of cheating. -It's not very sporting. | 0:11:32 | 0:11:34 | |
So university sporting rules in America now mean you can change | 0:11:34 | 0:11:38 | |
any changing room's colour as long as your own is the same colour, | 0:11:38 | 0:11:42 | |
to stop that advantage. If it is an advantage. | 0:11:42 | 0:11:44 | |
It would be interesting to see how much difference it makes, | 0:11:44 | 0:11:46 | |
because surely this is an incremental thing. | 0:11:46 | 0:11:48 | |
You are completely right. | 0:11:48 | 0:11:50 | |
The fact is that apparently, even after half an hour, | 0:11:50 | 0:11:52 | |
people get used to it, and if they've been in a prison or a drunk tank before | 0:11:52 | 0:11:56 | |
-it reminds them of the drunk tank and they get angry and more aggressive. -It's associative, OK. | 0:11:56 | 0:12:01 | |
So it is really of no use whatsoever. | 0:12:01 | 0:12:02 | |
That's it, if you see pink elephants they might not really be there, | 0:12:02 | 0:12:06 | |
it seems to be an imaginary colour. | 0:12:06 | 0:12:08 | |
Which room in the house would you keep these in? | 0:12:08 | 0:12:11 | |
MUSIC: TWILIGHT ZONE THEME | 0:12:11 | 0:12:13 | |
Oh, just push it. In the library. | 0:12:13 | 0:12:15 | |
ALARM BLARES | 0:12:15 | 0:12:17 | |
Adam is about to score points, yes! | 0:12:17 | 0:12:21 | |
-Really? -Yeah. | 0:12:21 | 0:12:23 | |
Yeah! | 0:12:23 | 0:12:25 | |
Very good. | 0:12:27 | 0:12:29 | |
That's the penny well spent. | 0:12:29 | 0:12:32 | |
And can I just point out, in Australia, that's 2.50. | 0:12:32 | 0:12:34 | |
-What is that game with the pennies, odd and even... -Two up. -Two up. | 0:12:34 | 0:12:38 | |
Two up, that's right. | 0:12:38 | 0:12:39 | |
-It's a... -It's a betting game. -It's a betting game but it's only played one day a year. -That's right. | 0:12:39 | 0:12:44 | |
It's only played on ANZAC Day | 0:12:44 | 0:12:45 | |
-and it's played with pennies, I think. -That's right. Real, old-fashioned pennies. | 0:12:45 | 0:12:49 | |
You flip them up in the air and you bet on whether you get two heads, two tails or a head and a tail. | 0:12:49 | 0:12:54 | |
If you win a lot of money you're allowed to leave the room | 0:12:54 | 0:12:57 | |
and you have half an hour's grace before someone would chase you, | 0:12:57 | 0:13:00 | |
club you over the head and steal your winnings. | 0:13:00 | 0:13:03 | |
-It being Australia. -Yeah. | 0:13:03 | 0:13:04 | |
-In the nicest possible way. -Yeah, and the only day that it's allowed to be played now, | 0:13:05 | 0:13:10 | |
it's illegal any time of the year, except on ANZAC Day. | 0:13:10 | 0:13:12 | |
Well, if we have a look at the picture again, | 0:13:12 | 0:13:15 | |
those are actually English literature books, and this, | 0:13:15 | 0:13:18 | |
I'm afraid, is a French chamber pot, or commode if you prefer. | 0:13:18 | 0:13:23 | |
And they liked to shit on us and our literature in one go. | 0:13:23 | 0:13:26 | |
Oh, just when you think they can't do anything else. | 0:13:26 | 0:13:29 | |
When you open the lid, does it go, "Ugh"? | 0:13:29 | 0:13:32 | |
"I shit on you." Exactly. | 0:13:33 | 0:13:35 | |
"Because I can't beat you in a war, I will poo on your books." | 0:13:35 | 0:13:40 | |
You open the lid and it goes, # Boy, boy for sale. # | 0:13:40 | 0:13:45 | |
But perhaps the most impressive invention in recent times, | 0:13:45 | 0:13:48 | |
-for your lavatorial wants... -The helicopter. | 0:13:48 | 0:13:51 | |
Um, well... The Gotta Go Briefcase. It's Japanese, of course. | 0:13:51 | 0:13:55 | |
How much better do you get than that? | 0:13:57 | 0:14:00 | |
It's just simply superb. It's got everything you could possibly want, | 0:14:00 | 0:14:03 | |
including a newspaper to leaf through | 0:14:03 | 0:14:05 | |
if your easement is taking time. | 0:14:05 | 0:14:07 | |
I've always felt really sad when I leave a toilet, like, | 0:14:07 | 0:14:10 | |
"Oh, we've become such good friends." I wish I could just pack it up and carry it away(!) | 0:14:10 | 0:14:13 | |
-Now I can. -It's got a generously equipped sealing lid. | 0:14:13 | 0:14:16 | |
You can quietly and discreetly go about your personal business | 0:14:16 | 0:14:19 | |
anywhere you please, with a fold-out leather privacy panel, | 0:14:19 | 0:14:21 | |
-which tucks away neatly to the side. -Yeah, it looks like it hides you completely, that panel. | 0:14:21 | 0:14:25 | |
-A small tray with... -"What's that suitcase just sitting there?" | 0:14:25 | 0:14:29 | |
It's got a small tray with a cup-holder. | 0:14:29 | 0:14:31 | |
-Oh, great, so I don't even have to throw away my drink? -A cup-holder. | 0:14:31 | 0:14:34 | |
That's like Homer Simpson, | 0:14:34 | 0:14:37 | |
isn't it? Do you remember that episode where he bought a huge RV? | 0:14:37 | 0:14:39 | |
And Marge said, "Oh, Homer!" and he said, | 0:14:39 | 0:14:42 | |
"But, Marge, it's got six cup-holders! SIX!" | 0:14:42 | 0:14:45 | |
Men like cup-holders. | 0:14:45 | 0:14:48 | |
There's just something so great about them. | 0:14:48 | 0:14:50 | |
-It's got a vanity mirror. -I like the leather finish. | 0:14:50 | 0:14:52 | |
Yeah, refillable hand-sanitising dispenser. | 0:14:52 | 0:14:55 | |
Maximum weight capacity is 80 kilos. | 0:14:55 | 0:14:57 | |
"Exceeding the recommended weight will void all warranties..." | 0:14:57 | 0:15:00 | |
80 kilos?! What are you going to get, an elephant to shit in it?! | 0:15:00 | 0:15:03 | |
-I know. -How are you going to get 80 kilos?! | 0:15:03 | 0:15:05 | |
-I weigh less than 80 kilos. -It does seem extraordinary. | 0:15:05 | 0:15:08 | |
"I really need to get the... | 0:15:08 | 0:15:10 | |
"I'm going to exceed the limit!" | 0:15:10 | 0:15:12 | |
"It may result in rupture of waste tank, | 0:15:14 | 0:15:16 | |
"possible bacteria contamination of briefcase contents | 0:15:16 | 0:15:19 | |
"and massive stench." So you don't want to do that. | 0:15:19 | 0:15:23 | |
I'm assuming you haven't emptied it for a year. | 0:15:23 | 0:15:25 | |
Also, you would have two suitcases in meetings. | 0:15:25 | 0:15:27 | |
Everyone would be like, "Derek, why have you got two suitcases?" | 0:15:27 | 0:15:30 | |
If you got it wrong... | 0:15:30 | 0:15:31 | |
"No reason." And then he just hides behind the leather panel. | 0:15:31 | 0:15:34 | |
If you accidentally went, "I've been through the figures and... Oops!" | 0:15:34 | 0:15:37 | |
Massive stench! Massive stench! | 0:15:37 | 0:15:41 | |
-Oh, dear. -"How did the meeting go?" | 0:15:42 | 0:15:45 | |
"Oh, it was going fine until I got the bog out." | 0:15:45 | 0:15:47 | |
Alternatively, you go the other way. | 0:15:47 | 0:15:50 | |
"Thanks for letting me use your toilet briefcase." | 0:15:50 | 0:15:53 | |
"Oh, I don't have a toilet briefcase." | 0:15:53 | 0:15:55 | |
I ought to say that the 80 kilos includes the person sitting on it. | 0:15:55 | 0:15:59 | |
Oh, right. | 0:15:59 | 0:16:00 | |
I would break it, I've a horrible feeling. | 0:16:00 | 0:16:03 | |
That changes everything. | 0:16:04 | 0:16:07 | |
Maybe the sell it to banker-wankers in the City, | 0:16:07 | 0:16:10 | |
with the boast of it has an amazing surface to do cocaine off as well. | 0:16:10 | 0:16:13 | |
-When you open it up. -It would be perfect. | 0:16:13 | 0:16:16 | |
Absolutely, with the little dimples, you could snort out of the little leather dimples. | 0:16:16 | 0:16:20 | |
Anyway, that's the Gotta Go Briefcase. | 0:16:20 | 0:16:23 | |
And it's yours, I'm sure, for a very reasonable price. | 0:16:23 | 0:16:26 | |
If that question left a bad smell, why is the noseless lemur so badly named? | 0:16:26 | 0:16:31 | |
MUSIC: X-FILES THEME TUNE | 0:16:33 | 0:16:35 | |
I am going to take a punt and say it's not a lemur. | 0:16:35 | 0:16:37 | |
Oh! You're brilliant. We were hoping you'd say it has, actually, got a nose, | 0:16:37 | 0:16:41 | |
-in which case it's badly named, but you're right. -What, ever? -Never was, never will be. In fact it is a fish. | 0:16:41 | 0:16:47 | |
-It's pretty... -What? | 0:16:47 | 0:16:50 | |
Pretty difficult, you'd think to confuse a lemur and a fish. | 0:16:50 | 0:16:52 | |
You'd think that was a map of Madagascar, where lemurs come from, | 0:16:52 | 0:16:56 | |
but in fact that is the fossil, and for a very long time it was considered to be a lemur | 0:16:56 | 0:17:00 | |
and it was known as Scalabrini's noseless lemur. | 0:17:00 | 0:17:04 | |
Pedro Scalabrini was an Italian born Argentinian naturalist. | 0:17:04 | 0:17:07 | |
In 1898, he gave a fossil fragment to a palaeontologist called Florentino Ameghino, | 0:17:07 | 0:17:12 | |
who was so patriotic in his Argentinian-ness, that he hated the fact that particularly | 0:17:12 | 0:17:17 | |
Charles Darwin had said that all primates originated in Africa. | 0:17:17 | 0:17:22 | |
Which we now know to be true. | 0:17:22 | 0:17:24 | |
And a lemur is a primate, | 0:17:24 | 0:17:26 | |
lemurs only come from Madagascar, which was shaved | 0:17:26 | 0:17:28 | |
off from the mainland of Africa many, many millions of years ago. | 0:17:28 | 0:17:32 | |
There's an aye-aye. Wonderful lemur. | 0:17:32 | 0:17:34 | |
That's an English footballer just before a penalty shoot-out. | 0:17:34 | 0:17:38 | |
LAUGHTER | 0:17:38 | 0:17:40 | |
Desperately afraid. | 0:17:41 | 0:17:43 | |
"Who wants to take one?" | 0:17:43 | 0:17:45 | |
So he tried to prove, Ameghino, that lemurs existed in South America | 0:17:47 | 0:17:51 | |
in pre-Columbian times, which they didn't. | 0:17:51 | 0:17:54 | |
It turned out in 2012 that it was, in fact, an extinct fish. | 0:17:54 | 0:17:58 | |
Do you know, that picture of the lemur, the lemur's face there, | 0:17:58 | 0:18:02 | |
I'm assuming that's what I would look like if I was using the toilet briefcase. | 0:18:02 | 0:18:05 | |
Those perfectly round eyes are so beautiful. | 0:18:05 | 0:18:08 | |
That's after the massive stench. | 0:18:08 | 0:18:11 | |
Yeah. They are marvellous creatures. Well, talking of paleontological things, | 0:18:13 | 0:18:16 | |
the first platypus that was ever seen by Western man, nobody believed. They thought it... | 0:18:16 | 0:18:21 | |
No. But we did have a habit of explorers making up monsters | 0:18:21 | 0:18:26 | |
-and drawing pictures in the 16th and 17th century. -We certainly did. -Yes. | 0:18:26 | 0:18:29 | |
And that was considered an example of an obvious and ridiculous hoax. | 0:18:29 | 0:18:33 | |
How could that be? | 0:18:33 | 0:18:34 | |
And George Shaw, who was the naturalist, | 0:18:34 | 0:18:37 | |
examined it minutely for stitch marks around the beak, | 0:18:37 | 0:18:39 | |
because he could not believe that such, no-one could believe... | 0:18:39 | 0:18:42 | |
But even when you see them in real life, | 0:18:42 | 0:18:44 | |
-I went to see them in Melbourne, and you just can't believe... -They're hilarious. | 0:18:44 | 0:18:47 | |
You watch them for ages going "You don't make any sense!" | 0:18:47 | 0:18:50 | |
-All the bits of you! -Their mouths look like they belong in a Japanese briefcase. | 0:18:50 | 0:18:54 | |
-They do. They're so charming. -They're sweet. -And they're smaller than I expected. | 0:18:54 | 0:18:59 | |
Egg-laying mammals. | 0:18:59 | 0:19:00 | |
It took 30 years from the first specimen to arrive in Europe | 0:19:00 | 0:19:03 | |
for people to believe that it was real. They were absolutely convinced. | 0:19:03 | 0:19:06 | |
Oh, "We're not going to fall for this, But there it is. The platypus. | 0:19:06 | 0:19:09 | |
And do you know the first, I'm pretty sure the first kangaroo that was sent | 0:19:09 | 0:19:13 | |
back to one of the British museums, they sent it back but they didn't | 0:19:13 | 0:19:16 | |
give an example of how it stood, so it was mounted on all fours. | 0:19:16 | 0:19:21 | |
Oh, that's very believable. | 0:19:21 | 0:19:22 | |
With its tiny little paws, because its front paws were like this, and its massive bum sticking up. | 0:19:22 | 0:19:26 | |
Looks as if it's ready for action! | 0:19:28 | 0:19:32 | |
LAUGHTER | 0:19:33 | 0:19:34 | |
Now, what's this guy on about? | 0:19:37 | 0:19:39 | |
MAN SINGS GIBBERISH OVER RAP MUSIC | 0:19:39 | 0:19:42 | |
That was a 1972, rather before its time, | 0:19:55 | 0:19:59 | |
piece of rap, | 0:19:59 | 0:20:00 | |
by an incredibly famous Italian called Adriano Celentano, | 0:20:00 | 0:20:04 | |
who is not known here. | 0:20:04 | 0:20:06 | |
He had a huge hit with this, | 0:20:06 | 0:20:08 | |
which is called Prisencolinensinainciusol. | 0:20:08 | 0:20:12 | |
-You can see it written up and that will help you. -Oh, wow. | 0:20:12 | 0:20:15 | |
Prisencolinensinainciusol | 0:20:15 | 0:20:19 | |
in de col men seivuan | 0:20:19 | 0:20:21 | |
prisencolinensinainciusol ol rait. | 0:20:21 | 0:20:24 | |
Which is Italian for "Gangnam Style". | 0:20:24 | 0:20:27 | |
Yeah, kind of. What it is, it's just babble. | 0:20:27 | 0:20:30 | |
-Gibberish. -It's babble that is supposed to sound like English. | 0:20:30 | 0:20:33 | |
To an Italian, it sounds more or less like English sounds. | 0:20:33 | 0:20:36 | |
There's that famous clip of the person on Malaysia's Got Talent, | 0:20:36 | 0:20:39 | |
where they're singing Mariah Carey, Can't Live Without You, | 0:20:39 | 0:20:42 | |
which is possibly the greatest song ever recorded, | 0:20:42 | 0:20:44 | |
but she's heard it, clearly, through a second party | 0:20:44 | 0:20:47 | |
and doesn't know what the lyrics are, | 0:20:47 | 0:20:48 | |
so she burst into the chorus and she just goes... | 0:20:48 | 0:20:51 | |
# Ken Lee, Ken Lee Boo, dee, boo, doutchu. # | 0:20:51 | 0:20:54 | |
And she thinks it's about a guy called Ken Lee. | 0:20:56 | 0:20:59 | |
Aw... | 0:20:59 | 0:21:00 | |
Anyway, that was a huge hit in 1972. | 0:21:00 | 0:21:03 | |
Number one in Italy and it was in the top ten in France | 0:21:03 | 0:21:06 | |
and in Belgium and the Netherlands. | 0:21:06 | 0:21:08 | |
It's babble that is supposed to sound like English, | 0:21:08 | 0:21:11 | |
but in 2011, London-based film-makers Brian and Karl | 0:21:11 | 0:21:14 | |
produced a wonderful film called Skwerl, | 0:21:14 | 0:21:17 | |
which used a similar technique - | 0:21:17 | 0:21:19 | |
the dialogue is actually gibberish but sounds like English. | 0:21:19 | 0:21:21 | |
It's had over seven million viewers | 0:21:21 | 0:21:23 | |
and we can show you a bit of it here. Run VT. | 0:21:23 | 0:21:26 | |
HE TALKS GIBBERISH | 0:21:26 | 0:21:29 | |
CUTLERY RATTLES | 0:21:33 | 0:21:35 | |
PLATES CRASH | 0:21:40 | 0:21:42 | |
SHE GASPS AND SOBS | 0:21:43 | 0:21:45 | |
FIZZING | 0:21:48 | 0:21:50 | |
You fucking asshole! | 0:21:56 | 0:21:58 | |
That wasn't gibberish, but we've got them here tonight, | 0:21:58 | 0:22:02 | |
Brian and Karl, thank you very much. | 0:22:02 | 0:22:04 | |
One of the hardest things to do in the world | 0:22:08 | 0:22:11 | |
is to talk gibberish without it becoming... | 0:22:11 | 0:22:13 | |
-Did you actually learn your gibberish? -We did, yeah. -Yeah. | 0:22:13 | 0:22:16 | |
Did you imagine that there was sense behind it? | 0:22:16 | 0:22:19 | |
He thinks she's forgotten his birthday, is that what this...? | 0:22:19 | 0:22:22 | |
That's one interpretation. | 0:22:22 | 0:22:24 | |
I'm not an actor, but Fiona, who's in the film, is an actress, | 0:22:24 | 0:22:26 | |
and so she needed to know what this was about, | 0:22:26 | 0:22:29 | |
she needed the intentions. | 0:22:29 | 0:22:30 | |
But I think it was important to kind of have a sort of a sense | 0:22:30 | 0:22:33 | |
-behind what we were saying. -It was a lot like what you were talking about | 0:22:33 | 0:22:36 | |
with Mariah Carey, Ken Lee and stuff. | 0:22:36 | 0:22:38 | |
We sort of had the sentences and then kind of garbled them | 0:22:38 | 0:22:42 | |
and kind of wrote down the garble as it came out. | 0:22:42 | 0:22:46 | |
I understood more words in that clip, | 0:22:46 | 0:22:48 | |
though, than I did in five series of The Wire. | 0:22:48 | 0:22:52 | |
-ADAM: Are you Australian? -Yeah, I'm Australian. -Yeah, I thought so. | 0:22:55 | 0:22:58 | |
Because we have a similar thing that we do where we don't use words... | 0:22:58 | 0:23:02 | |
-AUSTRALIAN ACCENT: -Do you think I haven't noticed? -Yeah, exactly. | 0:23:02 | 0:23:05 | |
-GASPING: -You have another thing you do, | 0:23:05 | 0:23:07 | |
which is sound as if you've got heartburn. | 0:23:07 | 0:23:10 | |
For some bizarre reason. I don't know why that is. | 0:23:11 | 0:23:14 | |
That's how they get the actors on Home And Away | 0:23:20 | 0:23:23 | |
to do an emotional scene - they just give them heartburn. | 0:23:23 | 0:23:26 | |
"Steven, the cafe's burnt...down again." | 0:23:26 | 0:23:30 | |
Australians will make enough noises that could be a sentence, | 0:23:30 | 0:23:33 | |
but there are no actual words in it. I'll try it. | 0:23:33 | 0:23:36 | |
RUNNING WORDS TOGETHER: So, OK, are you having a good night? | 0:23:36 | 0:23:40 | |
Yeah, right, it's all right, man. | 0:23:40 | 0:23:42 | |
Are you enjoying your time at QI? | 0:23:42 | 0:23:45 | |
HE TALKS GIBBERISH | 0:23:45 | 0:23:47 | |
There's also... | 0:23:54 | 0:23:55 | |
I have a similar thing that I can do with posh people. | 0:23:55 | 0:23:58 | |
This gentleman in the front row here... | 0:23:58 | 0:24:00 | |
with the blue trousers. | 0:24:00 | 0:24:02 | |
HE MUMBLES IN POSH VOICE | 0:24:02 | 0:24:05 | |
Anyway, sorry, that's wonderful, Brian and Karl, | 0:24:07 | 0:24:09 | |
thank you very much indeed. Thanks for joining us. | 0:24:09 | 0:24:13 | |
Magnificent. | 0:24:17 | 0:24:18 | |
So, time for some refreshment. Here we go. | 0:24:18 | 0:24:21 | |
Let's have... You pass that there to Sara, if you would, Alan. | 0:24:21 | 0:24:25 | |
There you go. | 0:24:25 | 0:24:27 | |
-There's one for you, Jack. Pass one to Adam. -Is this carrot? | 0:24:27 | 0:24:31 | |
And I'll have one myself. And there's one for you, Alan. | 0:24:31 | 0:24:35 | |
Thank you so much. | 0:24:35 | 0:24:37 | |
There you go. | 0:24:37 | 0:24:39 | |
Hmm. Hmm! | 0:24:39 | 0:24:41 | |
-You look as if you... -Who grew this? -You've done this before. | 0:24:43 | 0:24:47 | |
-So... -You've got to make it upright first. | 0:24:49 | 0:24:51 | |
Oh, right. | 0:24:51 | 0:24:53 | |
Come on. Will you talk to it? | 0:24:54 | 0:24:56 | |
Come here, you. Oh, you look lovely. You're so huge(!) | 0:24:56 | 0:25:01 | |
I don't think I'm going to be able to manage it. | 0:25:03 | 0:25:05 | |
Oh, there you are, yes... | 0:25:05 | 0:25:07 | |
Hey-hey! What do you think these were once used for? | 0:25:07 | 0:25:11 | |
What were carrots used for, or particularly these ones on sticks? | 0:25:16 | 0:25:20 | |
Ones on sticks. | 0:25:20 | 0:25:21 | |
Waving in tiny airplanes? | 0:25:21 | 0:25:23 | |
Is it like what Gwyneth Paltrow gives her kids? | 0:25:26 | 0:25:28 | |
She probably does, yeah, they probably are. | 0:25:28 | 0:25:31 | |
To see in the dark? | 0:25:31 | 0:25:33 | |
ALARM BLARES | 0:25:33 | 0:25:35 | |
Seeing in the dark, well, you're in the right era. | 0:25:38 | 0:25:41 | |
When was it said that carrots could help you see in the dark? | 0:25:41 | 0:25:44 | |
At night. | 0:25:44 | 0:25:46 | |
In which period of history was it made known to people, | 0:25:54 | 0:25:58 | |
this idea, which is not really true? | 0:25:58 | 0:26:00 | |
The Dark Ages. Not the Dark Ages. | 0:26:00 | 0:26:03 | |
-When did people discover vitamins? -SARA: Yeah. | 0:26:04 | 0:26:07 | |
That wasn't until the beginning of the 20th century. | 0:26:07 | 0:26:09 | |
Because vitamin A is the key, it helps your eyes, doesn't it? | 0:26:09 | 0:26:12 | |
Vitamin A does help your eyes. | 0:26:12 | 0:26:13 | |
So it must have been around about then. | 0:26:13 | 0:26:16 | |
Well, it was really... It... | 0:26:16 | 0:26:18 | |
It must be so hard being a rabbit. It really... | 0:26:21 | 0:26:24 | |
They would never get any talking done. | 0:26:24 | 0:26:26 | |
No, they wouldn't, would they? | 0:26:26 | 0:26:28 | |
They'd be, "Sorry, what are you saying?" | 0:26:28 | 0:26:31 | |
-"I've got a mouthful of bloody carrot." -Good God! | 0:26:31 | 0:26:34 | |
The problem was, in the Second World War, there was... | 0:26:34 | 0:26:37 | |
We would run out of... | 0:26:37 | 0:26:39 | |
Put it away. | 0:26:41 | 0:26:42 | |
Concentrate, Stephen. | 0:26:42 | 0:26:44 | |
Stop flapping... Oh, yes, that's what I need to do. | 0:26:46 | 0:26:49 | |
You look like the world's worst burlesque dancer. | 0:26:49 | 0:26:52 | |
SARA: I've seen worse. | 0:26:52 | 0:26:54 | |
So, in the Second World War, | 0:26:54 | 0:26:56 | |
there was a very great shortage of sugar, | 0:26:56 | 0:26:59 | |
and there was a big surplus of carrots, | 0:26:59 | 0:27:01 | |
and so they put it about that carrots helped you see in the dark. | 0:27:01 | 0:27:04 | |
I bloody love carrots, me. | 0:27:04 | 0:27:05 | |
So they made sort of ice creams, as it were, | 0:27:05 | 0:27:07 | |
-out of carrots, to try and make them attractive to children. -OK. | 0:27:07 | 0:27:10 | |
There is a certain amount of sugar in them. | 0:27:10 | 0:27:12 | |
-They tasted a little sweet, didn't they? -Yeah, it was lovely. | 0:27:12 | 0:27:15 | |
And there was a Group Captain, John Cunningham, | 0:27:15 | 0:27:17 | |
who was responsible for very daring night raids over Germany, | 0:27:17 | 0:27:20 | |
and they gave it out that what allowed him to do it | 0:27:20 | 0:27:23 | |
was the fact that he ate carrots. | 0:27:23 | 0:27:25 | |
In fact, what they were really doing was disguising the fact | 0:27:25 | 0:27:27 | |
-that they had on-board aircraft... -Rabbits. -..radar. | 0:27:27 | 0:27:32 | |
They had radar on board. | 0:27:32 | 0:27:34 | |
They didn't want the Germans to know. | 0:27:34 | 0:27:35 | |
The Germans knew we had ground radar, | 0:27:35 | 0:27:37 | |
not that we had radar on board airplanes. | 0:27:37 | 0:27:39 | |
So they sold the carrot story to the Germans as well? | 0:27:39 | 0:27:42 | |
That was the idea, both to get children to eat their carrots | 0:27:42 | 0:27:44 | |
and maybe to get the Germans to believe that it was carrots | 0:27:44 | 0:27:47 | |
that allowed our bombers to see over those... | 0:27:47 | 0:27:50 | |
Wouldn't it have been more beneficial | 0:27:50 | 0:27:52 | |
if they'd said the reason our pilots are so good at seeing at night | 0:27:52 | 0:27:55 | |
is because they eat slightly undercooked chicken? | 0:27:55 | 0:27:58 | |
You should have been working in British Intelligence. | 0:28:00 | 0:28:03 | |
-POSH VOICE: -"You're just the kind of chap we need, Whitehall." | 0:28:03 | 0:28:07 | |
Now, how does the "what the hell" effect work? | 0:28:07 | 0:28:11 | |
MUSIC: TALES OF THE UNEXPECTED THEME | 0:28:12 | 0:28:14 | |
-Yes? -This is relevant to people who are dieting | 0:28:14 | 0:28:17 | |
or sometimes people who have substance abuse problems | 0:28:17 | 0:28:20 | |
and things like that. | 0:28:20 | 0:28:21 | |
So it's when you are being quite strict with yourself. | 0:28:21 | 0:28:24 | |
Stop talking about me for a second, yes. | 0:28:24 | 0:28:26 | |
It's when you're being very strict with yourself | 0:28:26 | 0:28:28 | |
and you think you've slipped up in a slight way, so you're really hungry | 0:28:28 | 0:28:32 | |
and you have a biscuit when you're on a diet | 0:28:32 | 0:28:34 | |
and then you go, "I've ruined the diet now, | 0:28:34 | 0:28:35 | |
"I'm going to finish that packet of biscuits and do some crack..." | 0:28:35 | 0:28:38 | |
Oh, tell me about it. | 0:28:38 | 0:28:40 | |
And they properly leap in and start again tomorrow. | 0:28:40 | 0:28:42 | |
You're so right - you've fallen off the wagon... | 0:28:42 | 0:28:44 | |
-I've done everything wrong now, I'll get a tattoo... -Yeah. | 0:28:44 | 0:28:47 | |
Those people who say, "I was very good yesterday, | 0:28:47 | 0:28:49 | |
"I've been good today, so tomorrow - Black Forest gateau for breakfast." | 0:28:49 | 0:28:53 | |
Yeah, oh. | 0:28:53 | 0:28:54 | |
I mean, that is certainly a "what the hell" effect, | 0:28:54 | 0:28:57 | |
there's no question about that. | 0:28:57 | 0:28:58 | |
There is another "what the hell" effect, | 0:28:58 | 0:29:00 | |
but yours, I think, counts, unquestionably. | 0:29:00 | 0:29:03 | |
This is used by Dan Ariely | 0:29:03 | 0:29:05 | |
and his partners at Duke University in North Carolina. | 0:29:05 | 0:29:08 | |
And what it describes is how, when someone has | 0:29:08 | 0:29:11 | |
overcome their initial reluctance to cheat, | 0:29:11 | 0:29:14 | |
subsequent dishonest behaviour gets easier. | 0:29:14 | 0:29:16 | |
And he tested this with college students who were solving | 0:29:16 | 0:29:19 | |
maths problems for money, and when his back was turned, | 0:29:19 | 0:29:22 | |
they could cheat, and the more they saw they got away with it, | 0:29:22 | 0:29:26 | |
the more they cheated. But what was interesting is, | 0:29:26 | 0:29:28 | |
the scores were not inflated by a few students, | 0:29:28 | 0:29:31 | |
who were cheating a lot, but many students cheating a little. | 0:29:31 | 0:29:34 | |
Cheating, in that sense, is infectious. | 0:29:34 | 0:29:36 | |
You go, "What the hell, I can do it," so you do it. | 0:29:36 | 0:29:38 | |
Is that like that thing when you're telling a lie, | 0:29:38 | 0:29:40 | |
and you're telling a story about what happened on the weekend and... | 0:29:40 | 0:29:43 | |
Oooh, and it gets further and further... | 0:29:43 | 0:29:45 | |
And then you embellish it a little bit. And then you think, "I got away with that. | 0:29:45 | 0:29:48 | |
"I might just add a little bit more to it." | 0:29:48 | 0:29:50 | |
And then suddenly it's this big, fanciful story because | 0:29:50 | 0:29:52 | |
of that tiny, little... | 0:29:52 | 0:29:54 | |
The awful thing is, because it is a lie it is stored in a different | 0:29:54 | 0:29:56 | |
part of your memory so when, so when a week later someone says, | 0:29:56 | 0:29:59 | |
"Tell that marvellous story about that time you," and you're going, "Shit, what did I say?" | 0:29:59 | 0:30:04 | |
But animals, interestingly, animals can cheat. | 0:30:04 | 0:30:06 | |
Koko, who is a wonderful gorilla in California, | 0:30:06 | 0:30:09 | |
once tore a steel sink off a wall | 0:30:09 | 0:30:11 | |
and then used sign language | 0:30:11 | 0:30:14 | |
-to tell her handlers that the cat had done it. -Yes. | 0:30:14 | 0:30:18 | |
A real child-like fib. "It wasn't me, it was the cat." | 0:30:20 | 0:30:22 | |
The closer you get to human beings, the more of a liar you become. | 0:30:22 | 0:30:25 | |
And perhaps an even more famous chimp, Nim Chimpsky, | 0:30:25 | 0:30:28 | |
about whom a film was made, who has a really developed sign language, | 0:30:28 | 0:30:31 | |
she used to duck out of sign language lessons | 0:30:31 | 0:30:33 | |
by saying she needed to go to the loo when she didn't. | 0:30:33 | 0:30:36 | |
She'd say, "I have to go for a pee," like that, | 0:30:36 | 0:30:38 | |
she'd go off and you'd see her not going for a pee. Or him, rather. | 0:30:38 | 0:30:41 | |
So animals are capable of deception. | 0:30:41 | 0:30:43 | |
So maybe we should only eat animals that can lie. | 0:30:43 | 0:30:46 | |
Well, lying seems to be a sign of intelligence, | 0:30:46 | 0:30:48 | |
I'm glad to say, as an inveterate liar myself. | 0:30:48 | 0:30:51 | |
Ariely, this man who did the work on the "what the hell" effect, | 0:30:51 | 0:30:54 | |
he found people who score higher on psychological tests | 0:30:54 | 0:30:57 | |
for creativity are more likely to engage in dishonesty. | 0:30:57 | 0:30:59 | |
Anyway, there we are. | 0:30:59 | 0:31:01 | |
We are who we are because we cheat. | 0:31:01 | 0:31:03 | |
The "what the hell" effect describes how, after the first lie, | 0:31:03 | 0:31:06 | |
the others just keep coming. | 0:31:06 | 0:31:07 | |
Be truthful, how do you rate your own driving, generosity and ability to conduct an adult relationship? | 0:31:07 | 0:31:12 | |
I was reading about how we all over-estimate our input into things, so they were asking couples | 0:31:12 | 0:31:17 | |
what percentage of the housework do you do? | 0:31:17 | 0:31:20 | |
-And it would add up to about 130%. -Yeah. | 0:31:20 | 0:31:22 | |
Because everyone, even if they know they only do a little bit, | 0:31:22 | 0:31:25 | |
they still think that's more or its worth more. | 0:31:25 | 0:31:28 | |
Everyone thinks they do more than their partner. | 0:31:28 | 0:31:30 | |
-Everyone thinks they're a good driver. -Everyone. | 0:31:30 | 0:31:32 | |
Everyone thinks they're better than average. | 0:31:32 | 0:31:34 | |
-I'll be a great driver, I'll be a great dad. -I don't. | 0:31:34 | 0:31:37 | |
-You don't think any of those things? -No, I can't drive. I don't think of myself as a good driver. | 0:31:37 | 0:31:41 | |
-You haven't passed your test? -No. -Then that's fair enough. You probably are a crap driver then. | 0:31:41 | 0:31:46 | |
-Yeah. -Do you think you're good in bed? | 0:31:46 | 0:31:48 | |
I haven't passed that test either. | 0:31:48 | 0:31:51 | |
Failed on three minors and a major. | 0:31:52 | 0:31:55 | |
-With emergency stop. -Yeah. | 0:31:55 | 0:31:57 | |
Ah, that's the worst. That is the worst. | 0:31:59 | 0:32:02 | |
I kept changing lanes when I shouldn't. | 0:32:02 | 0:32:04 | |
LAUGHTER AND GROANS | 0:32:04 | 0:32:07 | |
Yeah. We all do have a high view of ourselves... | 0:32:07 | 0:32:12 | |
Dear God almighty. | 0:32:12 | 0:32:14 | |
We tend to think we're better at things like donating to charity, | 0:32:14 | 0:32:17 | |
voting, maintaining a successful relationship, | 0:32:17 | 0:32:20 | |
volunteering for unpleasant lab experiments. | 0:32:20 | 0:32:22 | |
But, I'm glad to tell you that Institute for Child Study at Toronto University | 0:32:22 | 0:32:26 | |
claims that toddlers who tell lies | 0:32:26 | 0:32:28 | |
early on are more likely to do well in later life. | 0:32:28 | 0:32:31 | |
The complex brain processes involved in formulating | 0:32:31 | 0:32:34 | |
a lie are an indicator of a child's intelligence. | 0:32:34 | 0:32:37 | |
So it doesn't necessarily mean if you lie your way through life you'll do better. | 0:32:37 | 0:32:41 | |
-No. -It just means if you can lie early, then you're quite creative and you can get through life. | 0:32:41 | 0:32:45 | |
-Yes. -I'm saying this in case my daughter is watching. | 0:32:45 | 0:32:47 | |
-Good point. -Don't want to get the wrong idea, absolutely. | 0:32:49 | 0:32:51 | |
So, now I want you to be thoroughly dishonest by pretending | 0:32:51 | 0:32:54 | |
you don't know you're going to get a klaxon, | 0:32:54 | 0:32:56 | |
because it's General Ignorance time. Fingers on buzzers, please. | 0:32:56 | 0:32:59 | |
What are deserts mostly from? | 0:32:59 | 0:33:01 | |
-MUSIC: TALES OF THE UNEXPECTED THEME -Yes, Sara? -Sand. | 0:33:01 | 0:33:03 | |
-ALARM BLARES -Oh, thank you. | 0:33:03 | 0:33:05 | |
What? What? | 0:33:05 | 0:33:07 | |
-You'd think, wouldn't you? -Yeah. -Not the case. No. | 0:33:07 | 0:33:10 | |
Only one-third of the world's land surface is desert | 0:33:10 | 0:33:13 | |
and only a small proportion of that is sand. | 0:33:13 | 0:33:15 | |
North American deserts are around 2% sand. | 0:33:15 | 0:33:18 | |
No more than that. There's Monument Valley. | 0:33:18 | 0:33:20 | |
Globally, on average, only 20% of all deserts are sand, a fifth. | 0:33:20 | 0:33:23 | |
The remainder is made of rock, shingle, salt or even snow. | 0:33:23 | 0:33:26 | |
-And camels. -And camels. | 0:33:26 | 0:33:28 | |
-Yes, camel poo. -There's lots of cigarettes all over the desert. | 0:33:28 | 0:33:31 | |
The driest desert in the world is...? | 0:33:31 | 0:33:34 | |
-The Gobi Desert. -No. | 0:33:34 | 0:33:36 | |
-Any thoughts? -AUDIENCE MEMBER: -Antarctica. | 0:33:36 | 0:33:38 | |
There is an argument for saying the Antarctic is a dry desert. | 0:33:38 | 0:33:41 | |
-It doesn't rain there. -Yeah, it doesn't, | 0:33:41 | 0:33:44 | |
but the Atacama is considered the driest land desert. | 0:33:44 | 0:33:46 | |
Some weather stations there have recorded no rain whatsoever, | 0:33:46 | 0:33:49 | |
-not one. -What a boring job, being in that weather station. | 0:33:49 | 0:33:53 | |
The largest desert on Earth is Antarctica, | 0:33:53 | 0:33:56 | |
even though much of it is under snow. | 0:33:56 | 0:33:59 | |
But the one area that is the driest, man who shouts a lot, | 0:33:59 | 0:34:02 | |
are the McMurdo Dry Valleys. | 0:34:02 | 0:34:06 | |
Is that his Red Indian name? | 0:34:06 | 0:34:08 | |
Yeah. And they consist mostly of... | 0:34:08 | 0:34:10 | |
They consist... | 0:34:12 | 0:34:14 | |
Man Who Shout A Lot. | 0:34:14 | 0:34:16 | |
The McMurdo Dry Valleys are so dry | 0:34:18 | 0:34:21 | |
that dead animals mummify rather than decay. | 0:34:21 | 0:34:23 | |
-What is that? What animal is it? -A seal. | 0:34:23 | 0:34:26 | |
If it's dehydrated it might come back to life if you get it wet. | 0:34:26 | 0:34:29 | |
Yeah, if you get it wet and it rains... | 0:34:29 | 0:34:33 | |
-Like Knorr chicken soup. -Ball on the tail. I'm doing ball on the tail. -I can see. | 0:34:35 | 0:34:39 | |
It seems that if you want to identify a desert, | 0:34:39 | 0:34:43 | |
the best way to do so involves looking for the rain, not for sand. | 0:34:43 | 0:34:46 | |
How did the Vikings bury their dead? | 0:34:46 | 0:34:48 | |
On a boat. On fire. | 0:34:48 | 0:34:50 | |
-Oh, on a boat on fire. -ALARM BLARES | 0:34:50 | 0:34:53 | |
Jack, Jack, Jack, Jack, Jack, Jack, Jack. No. | 0:34:53 | 0:34:56 | |
In the ground...? | 0:34:56 | 0:34:58 | |
Yeah. More or less. | 0:34:58 | 0:35:00 | |
I feel a bit sad about how tentative I was about that. | 0:35:08 | 0:35:11 | |
The myth of the burning longboat is very, very recent - 19th century. | 0:35:11 | 0:35:14 | |
In fact, there is one story of Baldur, a god, | 0:35:14 | 0:35:17 | |
who was apparently burned like that, | 0:35:17 | 0:35:19 | |
the rest of it is pretty much Ladyboy...Ladybird book stuff. | 0:35:19 | 0:35:22 | |
-I love the Ladyboy books. -Did I say "Ladyboy books"? | 0:35:22 | 0:35:24 | |
Ladybird books. | 0:35:24 | 0:35:26 | |
-They didn't have horns either, did they? -No, they didn't have horns. | 0:35:26 | 0:35:29 | |
The late 19th century was a period of enormous European rediscovery | 0:35:29 | 0:35:33 | |
of their ancient myths and so on, or at least | 0:35:33 | 0:35:35 | |
not just rediscovery but making up. In the case of Britain it was Arthurian legend | 0:35:35 | 0:35:40 | |
and druidic legend, a lot of which was totally nonsense. | 0:35:40 | 0:35:43 | |
And there was a Swedish illustrator called Gustav Malmstrom, and he | 0:35:43 | 0:35:47 | |
did these horned helmets and dragons' wings on the heroes' headgear. | 0:35:47 | 0:35:51 | |
And his Saga became an international hit and made the Vikings' name. | 0:35:51 | 0:35:54 | |
And a Vikingr was a pirate or raider. A viking was a raiding expedition. | 0:35:54 | 0:35:58 | |
A vikingr would go on a viking. | 0:35:58 | 0:35:59 | |
And Vik or Vike is old Norse for a bay of a fjord. | 0:35:59 | 0:36:04 | |
And Reykjavik means a 'smoky bay', for example. | 0:36:04 | 0:36:07 | |
Reyki, Auld Reekie is the old smoky town, Edinburgh, in Scottish. | 0:36:07 | 0:36:11 | |
I've also heard once that kind of socialist atmosphere that | 0:36:11 | 0:36:15 | |
pervades Sweden kind of also came from the Vikings, | 0:36:15 | 0:36:18 | |
because there was just enough alcohol to keep everyone happy, | 0:36:18 | 0:36:23 | |
so you were just, there's a Swedish word called Largon, | 0:36:23 | 0:36:26 | |
which means not too much and not too little. | 0:36:26 | 0:36:28 | |
And if you, when you gave out the vodka to all of the people rowing on the ships... | 0:36:28 | 0:36:32 | |
-The aquavit. -The aquavit, yes. Not to much that someone down the back wouldn't get enough, | 0:36:32 | 0:36:36 | |
and not too little that they'd be unhappy that they didn't get enough. | 0:36:36 | 0:36:39 | |
So it was just evenly shared out over everyone | 0:36:39 | 0:36:42 | |
that was rowing and that's pervaded Swedish culture and that's why they are now... | 0:36:42 | 0:36:46 | |
-Sharey people. -Pissed. | 0:36:46 | 0:36:48 | |
Lightly pissed, sharey people. | 0:36:50 | 0:36:52 | |
Yes, Vikings sometimes buried their dead in a boat, but always on land. | 0:36:52 | 0:36:56 | |
Which bit of whale did they use to make a whalebone corset? | 0:36:56 | 0:37:00 | |
-I'm going to take a punt and say the jaw. -Not the jaw. | 0:37:00 | 0:37:04 | |
Penis? | 0:37:04 | 0:37:05 | |
Not the penis. | 0:37:05 | 0:37:07 | |
-Is it not part of a whale? -The wishbone. | 0:37:07 | 0:37:09 | |
It is part of the whale. | 0:37:09 | 0:37:11 | |
Not the wish... Did you say the wishbone? | 0:37:11 | 0:37:13 | |
-That's a huge tug of war. -So for a corset... Is it the ribs? | 0:37:13 | 0:37:18 | |
MAN SHOUTS OUT | 0:37:18 | 0:37:19 | |
ALARM BLARES | 0:37:19 | 0:37:21 | |
Who said the ribs? | 0:37:22 | 0:37:24 | |
I did, I said it first. | 0:37:24 | 0:37:26 | |
-Oh, sorry about that, no, not the ribs. -No worries. | 0:37:26 | 0:37:28 | |
I think Shouty Man had it again. | 0:37:28 | 0:37:31 | |
MAN SHOUTS OUT | 0:37:31 | 0:37:33 | |
SARA: That isn't how you get on the show. | 0:37:33 | 0:37:35 | |
This is not that thing with James Corden on Sky 1, | 0:37:35 | 0:37:38 | |
thank you very much indeed. | 0:37:38 | 0:37:39 | |
My show. | 0:37:41 | 0:37:42 | |
Oh, yes! | 0:37:42 | 0:37:44 | |
Whoops. | 0:37:48 | 0:37:50 | |
-More's the pity. -The show now four series on. | 0:37:51 | 0:37:54 | |
More's the pity. | 0:37:54 | 0:37:56 | |
I wish it were, The Shouty Show. | 0:37:56 | 0:37:59 | |
-With the drunk cricketer. -Yeah, that one, exactly. | 0:38:00 | 0:38:03 | |
No, as I think they were shouting, "The baleen." | 0:38:03 | 0:38:05 | |
-Does that mean anything? -The thing in the mouth. | 0:38:05 | 0:38:07 | |
-Yeah, the sieve in the mouth. -That sieves the... -Oh, I see. | 0:38:07 | 0:38:10 | |
There are two types of whale - baleen whale and toothed whale - | 0:38:10 | 0:38:13 | |
and the blue whale is an example of a baleen whale there. | 0:38:13 | 0:38:15 | |
The baleen is in fact keratin, | 0:38:15 | 0:38:17 | |
the same thing that our hair is made of, our fingernails, | 0:38:17 | 0:38:20 | |
or rhinoceros horn is. | 0:38:20 | 0:38:22 | |
So it's wonderfully pliable. | 0:38:22 | 0:38:24 | |
It was the plastic of the 19th century, essentially. | 0:38:24 | 0:38:27 | |
-Right. -There was a Mr JA Sevey trading out of Boston | 0:38:27 | 0:38:30 | |
who offered 54 different whalebone products. | 0:38:30 | 0:38:32 | |
Whips, parasols, umbrellas, fishing rods, canes, hat, divining rods, | 0:38:32 | 0:38:35 | |
riding crops, ferrules, brushes, mattress stuffing, | 0:38:35 | 0:38:38 | |
back-supporters, suspenders, billiard cushion springs, | 0:38:38 | 0:38:41 | |
pen-holders, shoehorns, tongue scrapers and policemen's clubs. | 0:38:41 | 0:38:44 | |
-All possible. -That is a good Saturday night. | 0:38:44 | 0:38:47 | |
Empty your pockets out. | 0:38:47 | 0:38:50 | |
But real whalebone was used for something else. | 0:38:50 | 0:38:53 | |
It was a cheap substitute for ivory. | 0:38:53 | 0:38:55 | |
And you probably know of the carving that was done on it | 0:38:55 | 0:38:58 | |
that sailors used to do, which had a particular name? | 0:38:58 | 0:39:01 | |
I do not know of the name of that. | 0:39:01 | 0:39:03 | |
Oh, we'll have to ask Shouty Man again. | 0:39:03 | 0:39:05 | |
-AUDIENCE MEMBER: -Scrimshaw! -Scrimshaw is the right answer, yes. | 0:39:05 | 0:39:08 | |
-He's very clever, Shouty Man. -He is. | 0:39:08 | 0:39:10 | |
-He's a very smart shouty man. -He's a smart shouty man. | 0:39:10 | 0:39:13 | |
It may be a whole series of organised shouty men, | 0:39:13 | 0:39:15 | |
I don't know, but we're very impressed by them. | 0:39:15 | 0:39:18 | |
They may have to get a score at the end, | 0:39:18 | 0:39:19 | |
that's what's worrying me. | 0:39:19 | 0:39:21 | |
Yes, scrimshaw is...you know that very carved whalebone effect? | 0:39:21 | 0:39:24 | |
It's sometimes done on horns. I mean, amazing, some of it. | 0:39:24 | 0:39:27 | |
Even a whole desk was once done out of whalebone, | 0:39:27 | 0:39:30 | |
because whales are big animals. | 0:39:30 | 0:39:31 | |
I'd love to think that there were cases of people wearing | 0:39:31 | 0:39:34 | |
a whalebone corset. | 0:39:34 | 0:39:35 | |
And just being out at a party and going... "I'm really hungry. | 0:39:35 | 0:39:40 | |
"Oh, there's a spare prawn in here." | 0:39:40 | 0:39:43 | |
Yes, it would be lovely, wouldn't it? | 0:39:43 | 0:39:45 | |
Of course the baleen is used, it's this huge sieved area, it sucks | 0:39:45 | 0:39:48 | |
in this huge amount of water, filled with krill and plankton and so on. | 0:39:48 | 0:39:52 | |
Then the baleens sort of mesh together | 0:39:52 | 0:39:54 | |
and it pushes all the water out and all the food is left clinging | 0:39:54 | 0:39:58 | |
to this filter, which it then sucks into its mouth. And it's fantastically efficient. | 0:39:58 | 0:40:02 | |
So it would be the equivalent of going up in your whalebone corset | 0:40:02 | 0:40:05 | |
to the buffet and just going... SUCKING | 0:40:05 | 0:40:06 | |
Letting out the bits you don't want. | 0:40:06 | 0:40:08 | |
Yes, most whalebone was not bone but baleen, | 0:40:08 | 0:40:11 | |
the 19th-century equivalent of plastic. | 0:40:11 | 0:40:13 | |
Can you name a blue sea creature? | 0:40:13 | 0:40:15 | |
-MUSIC: THE TWILIGHT ZONE THEME -Alan? Oh. | 0:40:15 | 0:40:18 | |
Yes, Jack? | 0:40:18 | 0:40:20 | |
Shouty Man, drop it like it's hot. | 0:40:20 | 0:40:22 | |
Mine! | 0:40:25 | 0:40:26 | |
Is he going to fall for our trap? | 0:40:29 | 0:40:31 | |
-AUDIENCE MEMBER: -A blue whale! | 0:40:31 | 0:40:33 | |
Is the right answer! | 0:40:33 | 0:40:35 | |
Yes, I love this guy! | 0:40:35 | 0:40:37 | |
That's the fastest I've ever been on the draw as well. | 0:40:40 | 0:40:43 | |
-That was quick, and still wasn't... -I broke my buzzer. -You did. | 0:40:43 | 0:40:46 | |
'I don't believe it!' | 0:40:46 | 0:40:48 | |
You've broken your carrot now. | 0:40:48 | 0:40:50 | |
We thought you might be so afraid you'd say, "Not the blue whale." | 0:40:50 | 0:40:53 | |
-No, I was pretty sure about that one. -It is blue. | 0:40:53 | 0:40:55 | |
It's not very blue, but it's blue enough to call blue. | 0:40:55 | 0:40:57 | |
-It's bluer than most things, innit? -It is. -It's all relative. | 0:40:57 | 0:41:00 | |
The colour spectrum is different under water. | 0:41:00 | 0:41:02 | |
It's quite a common... a common qualor... | 0:41:02 | 0:41:04 | |
It's quite a common colour amongst... | 0:41:04 | 0:41:06 | |
The gibberish blokes can understand all of that. | 0:41:06 | 0:41:08 | |
-Absolutely. -SARA: A dory is blue. | 0:41:08 | 0:41:10 | |
There's the blue marlin, which is pretty blue. | 0:41:10 | 0:41:12 | |
-A dory is blue. -Yes. The blue starfish you can see is jolly blue. | 0:41:12 | 0:41:16 | |
Blue marlin there. | 0:41:16 | 0:41:17 | |
Blue Man Group. | 0:41:17 | 0:41:19 | |
And the beautiful blue angel there, the glaucus atlantica. | 0:41:21 | 0:41:24 | |
The blue angel, as well as being a Marlene Dietrich film, | 0:41:24 | 0:41:28 | |
is a very interesting fish, in as much as it's venomous, | 0:41:28 | 0:41:31 | |
but its venom is second hand. | 0:41:31 | 0:41:33 | |
It feeds on the Portuguese Man of War, | 0:41:33 | 0:41:35 | |
and ingests its poison so that it becomes venomous itself. | 0:41:35 | 0:41:38 | |
Isn't that clever? | 0:41:38 | 0:41:41 | |
-Cunning! -Very cunning, very cunning. | 0:41:41 | 0:41:43 | |
So the grey whale is pretty grey, the humpback is pretty grey. | 0:41:43 | 0:41:47 | |
The sperm whale is dark grey/black, but the blue whale, | 0:41:47 | 0:41:50 | |
as you can see, is jolly blue. There it is, bottom right. | 0:41:50 | 0:41:53 | |
I see it. | 0:41:53 | 0:41:54 | |
Yeh-hey. Your favourite whale. | 0:41:54 | 0:41:56 | |
Would we lie to you? Blue whales are blue, pretty much. | 0:41:56 | 0:41:59 | |
Well, that's our last tissue in our box of lies. | 0:41:59 | 0:42:03 | |
It's time for the unvarnished truth with the scores. | 0:42:03 | 0:42:06 | |
And it's pretty bally fascinating. | 0:42:06 | 0:42:08 | |
In last place, with minus... | 0:42:08 | 0:42:11 | |
Oh, dear. Minus 19, | 0:42:11 | 0:42:13 | |
but with a tremendous performance | 0:42:13 | 0:42:15 | |
and a wonderful last rally, Jack Whitehall. | 0:42:15 | 0:42:18 | |
With minus 11, an entirely creditable third place, | 0:42:24 | 0:42:28 | |
she knew so much, Sara, Sara Pascoe. | 0:42:28 | 0:42:31 | |
I get all the buzzers, I got two. I got two. | 0:42:35 | 0:42:38 | |
On minus 8, second place, Alan Davies. | 0:42:38 | 0:42:41 | |
Minus 8, pretty pleased. | 0:42:41 | 0:42:43 | |
And a staggeringly secure first place, | 0:42:46 | 0:42:49 | |
-on plus 14, Adam Hills. -Oh, my goodness. | 0:42:49 | 0:42:52 | |
And tonight, of course, a special award of minus 39 | 0:42:59 | 0:43:02 | |
for the shouty man in the audience! | 0:43:02 | 0:43:04 | |
Yes, it only remains for me to thank Adam, Jack, Sara and Alan | 0:43:09 | 0:43:14 | |
and leave you with the last words of Spanish Prime Minister | 0:43:14 | 0:43:17 | |
General Ramon Maria Narvaez. | 0:43:17 | 0:43:20 | |
"I do not have to forgive my enemies, | 0:43:20 | 0:43:23 | |
"I have had them all shot." | 0:43:23 | 0:43:25 | |
Good night. | 0:43:25 | 0:43:27 | |
CHEERING AND APPLAUSE | 0:43:27 | 0:43:30 |