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CHEERING AND APPLAUSE | 0:00:28 | 0:00:31 | |
Goooooood.... | 0:00:31 | 0:00:34 | |
..rest ye merry, merry, merry, merry, merry, merry gentlemen, | 0:00:34 | 0:00:38 | |
let nothing you dismay | 0:00:38 | 0:00:40 | |
and welcome to the QI Christmas panto, | 0:00:40 | 0:00:42 | |
with an evening of Merriment. | 0:00:42 | 0:00:44 | |
Let's see who's under my tree. | 0:00:44 | 0:00:47 | |
It's Baron Hardup, Johnny Vegas. | 0:00:47 | 0:00:50 | |
And here's Buttons Bill Bailey. | 0:00:54 | 0:00:56 | |
Widow Twankey, Jenny Eclair. | 0:01:00 | 0:01:03 | |
And a horse's arse, Alan Davies. | 0:01:06 | 0:01:09 | |
So, let's hear your panto noises. | 0:01:13 | 0:01:17 | |
Johnny goes... | 0:01:17 | 0:01:18 | |
-BUZZER: -"OH, YES, IT IS." | 0:01:18 | 0:01:20 | |
Bill goes... | 0:01:21 | 0:01:23 | |
-BUZZER: -"OH, NO, IT ISN'T." | 0:01:23 | 0:01:25 | |
Jenny goes... | 0:01:25 | 0:01:26 | |
-BUZZER: -"HE'S BEHIND YOU!" | 0:01:26 | 0:01:28 | |
And Alan goes... | 0:01:28 | 0:01:29 | |
-BUZZER: -"WHY IS THAT MAN WEARING A DRESS, MUMMY?" | 0:01:29 | 0:01:32 | |
Good question. Have a sweet, dear. | 0:01:34 | 0:01:38 | |
Right, now, I've sent you all a Christmas card and here they are. | 0:01:38 | 0:01:42 | |
I've got one for Johnny. And one for Jenny. | 0:01:42 | 0:01:45 | |
-Thank you. -One for Bill. And there's one for Alan. | 0:01:45 | 0:01:49 | |
-Thank you. -Now, my question is quite simple - | 0:01:49 | 0:01:52 | |
whose card is most like the first card ever sent? | 0:01:52 | 0:01:57 | |
-Well, mine's like that. -Yeah. | 0:01:57 | 0:01:59 | |
-OK, well, I've got a robin. -You've got a robin. | 0:01:59 | 0:02:01 | |
-A lovely cock robin. -Cock - maybe. How do you know it's a cock robin? | 0:02:01 | 0:02:05 | |
Er, well, um... | 0:02:05 | 0:02:08 | |
I mean, I don't mean cock robin... | 0:02:08 | 0:02:10 | |
Is that what Batman said? | 0:02:10 | 0:02:11 | |
That's terrible. ALAN LAUGHS | 0:02:17 | 0:02:20 | |
-He likes that - you like that, don't you? -I like that. | 0:02:20 | 0:02:22 | |
He's very pleased with himself. Have another sweet. | 0:02:22 | 0:02:25 | |
-Sorry? -"How do you know it's a cock, Robin?" | 0:02:27 | 0:02:29 | |
I didn't actually... | 0:02:29 | 0:02:30 | |
"How do you know it's a cock, Robin?" | 0:02:30 | 0:02:33 | |
So you've got the robin and the robin is certainly | 0:02:33 | 0:02:35 | |
a traditional Christmas card picture and image. | 0:02:35 | 0:02:37 | |
-You've got a Roman statue? -In a Christmas jumper. | 0:02:37 | 0:02:40 | |
Which seems unlikely, though, of course, | 0:02:40 | 0:02:43 | |
-the Roman Empire had hundreds of years as a Christian empire... -No. | 0:02:43 | 0:02:46 | |
-But you still... -If it had been a Christmas toga, maybe, but no. | 0:02:46 | 0:02:51 | |
That's not the original Christmas card. | 0:02:51 | 0:02:52 | |
Well, fair point. | 0:02:52 | 0:02:54 | |
You've got a little baby. | 0:02:54 | 0:02:55 | |
I'm struggling to think this is the original. | 0:02:55 | 0:02:58 | |
It's very close to my upbringing. | 0:02:59 | 0:03:01 | |
-But it's not... -"I saw this and thought of you." | 0:03:03 | 0:03:07 | |
Well, we saw that and thought of you, Alan. | 0:03:07 | 0:03:09 | |
There we are. It does look a bit like me. | 0:03:09 | 0:03:10 | |
It looks very like you. | 0:03:10 | 0:03:12 | |
I would say that is Alan Davies, there. | 0:03:12 | 0:03:15 | |
-In a production of Puss In Boots. -Puss In Boots. | 0:03:15 | 0:03:17 | |
In 1916. | 0:03:19 | 0:03:21 | |
So was that the very first Christmas card? | 0:03:21 | 0:03:23 | |
No, it wasn't, but we were just fascinated to see Alan in it | 0:03:23 | 0:03:27 | |
and to see that you were working in panto then | 0:03:27 | 0:03:31 | |
and wondered, you know, whether you had a good experience? | 0:03:31 | 0:03:34 | |
-Loved it. -You loved it, yeah. | 0:03:34 | 0:03:36 | |
It's demanding, cos it's five shows a day. | 0:03:36 | 0:03:38 | |
Yes, five. That's what they always say. | 0:03:38 | 0:03:40 | |
But financially, it's the best gig of the year, so... | 0:03:40 | 0:03:43 | |
And can I say, I don't think we're getting the best out of my costume. | 0:03:43 | 0:03:46 | |
Show the ladies and gentlemen. | 0:03:46 | 0:03:47 | |
Look, I've got a tail. | 0:03:47 | 0:03:49 | |
-Hey! AUDIENCE: -Hey! | 0:03:49 | 0:03:50 | |
And I've got...I've got feet and everything. | 0:03:50 | 0:03:53 | |
-But it's all out of sight below the desk, Stephen. -Yes. | 0:03:54 | 0:03:57 | |
It looks like you're just wearing a pair of large grey trousers, | 0:03:57 | 0:04:00 | |
for no reason at all. | 0:04:00 | 0:04:02 | |
They are retaining all the moisture, that's all I'd like to say... | 0:04:02 | 0:04:05 | |
-Is it a ventriloquist's donkey? -It is now. | 0:04:05 | 0:04:07 | |
-Oh, yeah... -"Happy new year." | 0:04:07 | 0:04:09 | |
-That's a scary-looking... -"Rubbish Stephen, more points." | 0:04:09 | 0:04:12 | |
You look like you're wearing boiler lagging. | 0:04:12 | 0:04:14 | |
-You do! You've been lagged. -I've been lagged. | 0:04:14 | 0:04:16 | |
All right, so yes, that was one Christmas card, it was 1916. | 0:04:16 | 0:04:20 | |
I vote the robin as the early one. | 0:04:20 | 0:04:22 | |
Robins were very early on Christmas cards. | 0:04:22 | 0:04:25 | |
It's probably the most common depiction of Christmas, isn't it? | 0:04:25 | 0:04:28 | |
Do you know why they were common? | 0:04:28 | 0:04:29 | |
-Why were they considered a symbol of Christmas? -Uh... | 0:04:29 | 0:04:33 | |
What it is, is that when the first Christmas cards were delivered, | 0:04:33 | 0:04:36 | |
they were delivered by postmen who wore red tunics | 0:04:36 | 0:04:39 | |
and were known as "red breasts". | 0:04:39 | 0:04:41 | |
-Oh, yes. -Robin red breasts. | 0:04:41 | 0:04:43 | |
And so the sight of the postman coming up the path in the snow... | 0:04:43 | 0:04:47 | |
..was a harbinger of doom. | 0:04:47 | 0:04:48 | |
..was a harbinger of doom, of doom / Christmas. | 0:04:48 | 0:04:51 | |
-A harbinger of postal orders. -Yeah. | 0:04:51 | 0:04:53 | |
That's the most commonly accepted theory. | 0:04:53 | 0:04:55 | |
What is also interesting is that in the last...20 years, maybe, | 0:04:55 | 0:05:00 | |
the number of robins on Christmas cards in Britain | 0:05:00 | 0:05:02 | |
has declined enormously. | 0:05:02 | 0:05:04 | |
Well, that's because that one looks like he's been doing Charlie. | 0:05:04 | 0:05:07 | |
No, that... | 0:05:10 | 0:05:11 | |
It just looks like he's been abusing drugs. | 0:05:11 | 0:05:13 | |
-BILL: -It does, doesn't it? | 0:05:15 | 0:05:17 | |
-JOHNNY: -He's the reason you can't get in a cubicle. | 0:05:19 | 0:05:22 | |
Only you would notice, only you. | 0:05:22 | 0:05:23 | |
I'm perhaps one of the last humans in Britain | 0:05:23 | 0:05:26 | |
who use cubicles to have a poo. | 0:05:26 | 0:05:29 | |
And at Christmas, the thought of a little robin red breast in there | 0:05:29 | 0:05:33 | |
-just going... -HE SNIFFS | 0:05:33 | 0:05:35 | |
-HIGH-PITCHED: -"I'll be out in a minute." | 0:05:35 | 0:05:37 | |
..whilst I'm touching Christmas cloth. | 0:05:38 | 0:05:41 | |
Oh, gracious. | 0:05:41 | 0:05:42 | |
-BILL: -# "Touching Christmas cloth..." | 0:05:42 | 0:05:44 | |
HE HUMS TUNE OF "JINGLE BELLS" | 0:05:44 | 0:05:47 | |
This is already going slightly out of control. | 0:05:47 | 0:05:49 | |
I think he's just... He's been at the Gold Top, that's all that is, | 0:05:49 | 0:05:52 | |
he's been at the Gold Top on your doorstep. | 0:05:52 | 0:05:54 | |
-Yes, that's right. -That's true, yes. | 0:05:54 | 0:05:56 | |
I think the first picture on a Christmas card | 0:05:56 | 0:06:00 | |
was a furious middle-aged woman scrubbing at a roasting tray | 0:06:00 | 0:06:05 | |
with a think bubble coming out of her head | 0:06:05 | 0:06:07 | |
which reads, "The ungrateful shits!" | 0:06:07 | 0:06:10 | |
It would be... it would be very accurate. | 0:06:12 | 0:06:14 | |
I'll just finish my robin point, which was reasonably interesting, | 0:06:14 | 0:06:17 | |
-at least to me, if no-one else. -Yes. | 0:06:17 | 0:06:19 | |
And that is, that over the last ten years, | 0:06:19 | 0:06:22 | |
the number of robins appearing in Christmas cards... | 0:06:22 | 0:06:25 | |
YAWNING | 0:06:25 | 0:06:27 | |
Over the last ten years, the number of robins | 0:06:27 | 0:06:29 | |
appearing on Christmas cards has declined by a quarter. | 0:06:29 | 0:06:33 | |
But the number of robins in Britain, as the real birds, | 0:06:33 | 0:06:36 | |
has increased by nearly a half. | 0:06:36 | 0:06:38 | |
-Exponentially. -Yeah. -Oh, right. | 0:06:38 | 0:06:40 | |
And the question of how you sex them, | 0:06:40 | 0:06:41 | |
-how you tell them apart, it's not easy at all. -No. | 0:06:41 | 0:06:44 | |
But it's something to do with the hairline they have there, | 0:06:44 | 0:06:47 | |
where the red turns into grey. | 0:06:47 | 0:06:48 | |
That one on the right is wearing Just For Men. | 0:06:48 | 0:06:51 | |
It's said that if it's a kind of quite strong V, | 0:06:53 | 0:06:55 | |
it's likely to be a female. | 0:06:55 | 0:06:56 | |
And if it's more of a U, it's a male, | 0:06:56 | 0:06:58 | |
but even ornithologists find it difficult. | 0:06:58 | 0:07:00 | |
-No, it's very true, it's impossible. -Yeah. So, we'll turn to Jenny. | 0:07:00 | 0:07:04 | |
What did Romans do at Christmas time? | 0:07:04 | 0:07:06 | |
Rome...? What did Romans...? | 0:07:06 | 0:07:07 | |
-Well, they would feast and fornicate and puke up afterwards. -Exactly. | 0:07:07 | 0:07:12 | |
Nothing's changed, really, over the years, has it? | 0:07:12 | 0:07:15 | |
-That's Christmas, basically. -That's Christmas, yeah. | 0:07:15 | 0:07:17 | |
-Christmas tends to happen... -Once a year. | 0:07:17 | 0:07:21 | |
Once a year. | 0:07:21 | 0:07:24 | |
-Thank you. -I'm trying to help. | 0:07:24 | 0:07:26 | |
APPLAUSE You are. | 0:07:26 | 0:07:28 | |
-She can't get points for that. -No points for that. | 0:07:28 | 0:07:30 | |
You think that's too obvious? It's not for me... | 0:07:30 | 0:07:33 | |
A perfectly legitimate point has been scored. | 0:07:33 | 0:07:35 | |
-Christmas is for life... -All right. -..not just for... | 0:07:35 | 0:07:37 | |
Oh, hang on, no, no. | 0:07:37 | 0:07:40 | |
-There are midwinter feasts - Christmas is one. -Pagan feasts. -Yeah. | 0:07:40 | 0:07:42 | |
-And the Roman one was Saturnalia. -Saturnalia. -Saturnalia, | 0:07:42 | 0:07:46 | |
after the god Saturn. | 0:07:46 | 0:07:47 | |
-And there you can see... -Oh, the debauchery. | 0:07:47 | 0:07:49 | |
You can see him throwing up in the middle, in fact. | 0:07:49 | 0:07:52 | |
We did that in the stockroom at Argos. | 0:07:52 | 0:07:54 | |
At Christmas. | 0:07:56 | 0:07:58 | |
But the card that is closest to the first card ever sent | 0:07:58 | 0:08:02 | |
is Johnny's. | 0:08:02 | 0:08:03 | |
-Oh, the drinking baby. -Baby with a drink? | 0:08:03 | 0:08:06 | |
It was similar to the first card, | 0:08:06 | 0:08:08 | |
which had a whole family with drinks, including a baby there. | 0:08:08 | 0:08:11 | |
-That's the original. JOHNNY: -Let me get this straight. | 0:08:11 | 0:08:14 | |
For years, I've thought that I was raised | 0:08:14 | 0:08:16 | |
in an unstable environment, | 0:08:16 | 0:08:17 | |
when actually my dad, every day, | 0:08:17 | 0:08:20 | |
has just been trying to promote the original Christmas card. | 0:08:20 | 0:08:22 | |
Yes, there you are, exactly. Exactly. | 0:08:22 | 0:08:25 | |
JOHNNY LAUGHS | 0:08:25 | 0:08:27 | |
It was designed by John Callcott Horsley, | 0:08:27 | 0:08:30 | |
Royal... Royal Acad... No, now I'm going to have one of these moments... | 0:08:30 | 0:08:34 | |
-Royal Acadamadition. -A Royal Acadamadition. | 0:08:34 | 0:08:36 | |
A Royal Academician. ALAN BABBLES | 0:08:36 | 0:08:38 | |
It was designed by John Callcott Horsley, RA. | 0:08:38 | 0:08:41 | |
And he... | 0:08:41 | 0:08:43 | |
-Very good. -Nice. -Safe. | 0:08:44 | 0:08:45 | |
And, as you see, it depicts a family | 0:08:45 | 0:08:47 | |
all toasting Christmas and the New Year, | 0:08:47 | 0:08:50 | |
including the toddler, there, in green, in front, | 0:08:50 | 0:08:53 | |
and there's on the left a sign of feeding the poor, | 0:08:53 | 0:08:55 | |
and on the right, a sign of clothing the naked, | 0:08:55 | 0:08:58 | |
-all the good things you should do on Christmas. -Ah, yes. | 0:08:58 | 0:09:00 | |
-If you see any naked people, clothe them. -Yes. | 0:09:00 | 0:09:02 | |
Do not approach them. | 0:09:05 | 0:09:06 | |
No. So there we are. | 0:09:06 | 0:09:08 | |
Now, the Queen has a Christmas message, as do we. | 0:09:08 | 0:09:13 | |
In fact, as we approach the end of series 13, | 0:09:13 | 0:09:18 | |
it's time for us to reveal that every episode of QI, | 0:09:18 | 0:09:21 | |
every single one, since the very first, | 0:09:21 | 0:09:24 | |
has included a secret message which nobody has spotted. | 0:09:24 | 0:09:28 | |
Where do you think it's hidden? | 0:09:28 | 0:09:30 | |
Is it on your face? | 0:09:30 | 0:09:32 | |
Have you just encrypted | 0:09:35 | 0:09:37 | |
some of your delightful laughter lines into some...? | 0:09:37 | 0:09:40 | |
Perhaps it's in Klingon. | 0:09:40 | 0:09:42 | |
HE SPEAKS KLINGON | 0:09:42 | 0:09:44 | |
-Merry Christmas. -It's not on my face. | 0:09:44 | 0:09:47 | |
Is it in the credits or the theme tune? | 0:09:47 | 0:09:51 | |
-Theme tune. -The theme tune? -Ah! -The theme tune. | 0:09:51 | 0:09:53 | |
-BILL: -What? No! | 0:09:53 | 0:09:54 | |
Yes. It's in code. | 0:09:54 | 0:09:55 | |
-What sort of code do you think it might be in? -Morse code. | 0:09:55 | 0:09:58 | |
-Morse code is the right answer. -No, really?! -Yes. Yes! | 0:09:58 | 0:10:02 | |
JENNY LAUGHS, APPLAUSE | 0:10:02 | 0:10:05 | |
It was composed by the prolific Howard Goodall, | 0:10:09 | 0:10:12 | |
whom people will know from Vicar of Dibley and Blackadder | 0:10:12 | 0:10:15 | |
and many other theme tunes, as well as serious work, | 0:10:15 | 0:10:18 | |
and his colleague, Simon Nathan, decoded this, | 0:10:18 | 0:10:22 | |
and this is what it actually says. | 0:10:22 | 0:10:25 | |
And that is actually a decoding of the... | 0:10:25 | 0:10:27 | |
HE KNOCKS ON DESK ..the long and the shorts, | 0:10:27 | 0:10:30 | |
the minims and the crochets, if you like, in musical terms. | 0:10:30 | 0:10:33 | |
And it does come out as www.alan0andstephenhero.com. | 0:10:33 | 0:10:38 | |
And that...that is... | 0:10:38 | 0:10:41 | |
I know, I'm sorry. I didn't... | 0:10:41 | 0:10:44 | |
APPLAUSE | 0:10:44 | 0:10:46 | |
-BILL: -He never told you. -No... | 0:10:50 | 0:10:52 | |
Years, you've been, like, in the stocks. | 0:10:52 | 0:10:55 | |
Oh. Poor Alan. | 0:10:55 | 0:10:59 | |
Well, I didn't know it until I was told either, Alan. | 0:10:59 | 0:11:02 | |
It's not my... | 0:11:02 | 0:11:03 | |
-A STUDIO LIGHT BLOWS Oh! -My God! | 0:11:03 | 0:11:05 | |
-What happened there? -What the hell was that?! | 0:11:06 | 0:11:08 | |
-It was a light. -BILL: -Was it a lamp? | 0:11:08 | 0:11:10 | |
-It might be a lamp. -No, no, he's got a bad ankle, | 0:11:10 | 0:11:12 | |
I'm just taking him out. | 0:11:12 | 0:11:13 | |
I can't afford to keep him. | 0:11:15 | 0:11:17 | |
LAUGHTER AND APPLAUSE | 0:11:17 | 0:11:20 | |
Wow. | 0:11:20 | 0:11:21 | |
I absolutely shat myself. | 0:11:22 | 0:11:25 | |
ABSOLUTELY shat yourself? My God. | 0:11:25 | 0:11:27 | |
So where were we? Where were we? Where were we? | 0:11:29 | 0:11:31 | |
Oh, we were with this, www.alan0andstephenhero.com. | 0:11:31 | 0:11:35 | |
-Yeah, let's move on from that. -You might find, ladies and gentlemen, | 0:11:35 | 0:11:38 | |
including panelistas, | 0:11:38 | 0:11:40 | |
that that is a real URL, | 0:11:40 | 0:11:42 | |
a real web address, that you can find a little QI Easter egg in | 0:11:42 | 0:11:45 | |
if you visit it. | 0:11:45 | 0:11:46 | |
Wow, if you've got nothing better to do with your lives. | 0:11:46 | 0:11:49 | |
I think it's a jolly exciting thing to do with your life. | 0:11:50 | 0:11:53 | |
Yes, it is, of course. | 0:11:53 | 0:11:54 | |
-BUZZER: -"OH, NO, IT ISN'T..." | 0:11:54 | 0:11:56 | |
So this... | 0:11:57 | 0:11:58 | |
-BUZZER: -"OH, YES, IT IS." | 0:11:58 | 0:12:00 | |
LAUGHTER AND APPLAUSE I knew there'd be trouble. | 0:12:00 | 0:12:03 | |
I mentioned to you that that hidden code was discovered by Simon Nathan. | 0:12:07 | 0:12:11 | |
He's in the audience. Where are you? | 0:12:11 | 0:12:12 | |
-Is he wearing an anorak? -There he is, over there. | 0:12:12 | 0:12:15 | |
He's not wearing an anorak. APPLAUSE | 0:12:15 | 0:12:17 | |
Well done. Thank you very much. | 0:12:17 | 0:12:19 | |
There you are. | 0:12:20 | 0:12:22 | |
-Other TV shows have also hidden Morse code inside them. -Have they? | 0:12:22 | 0:12:27 | |
Yeah. Do you know of one? | 0:12:27 | 0:12:28 | |
One quite well-known example, pretty obvious when you think about it. | 0:12:28 | 0:12:31 | |
-Loose Women. -BILL: -Morse. | 0:12:31 | 0:12:33 | |
-Morse. -Of course. -Morse, yeah. | 0:12:33 | 0:12:34 | |
The composer, Barrington Pheloung, liked to... | 0:12:34 | 0:12:38 | |
-Never! -That's his name, yes. | 0:12:38 | 0:12:40 | |
Barrington Pheloung, nice chap. Very nice fellow. | 0:12:40 | 0:12:43 | |
He used to hide the name of the murderer very often | 0:12:43 | 0:12:45 | |
in the opening... | 0:12:45 | 0:12:47 | |
HE HUMS BEAT ..there. | 0:12:47 | 0:12:48 | |
Yes. Wasn't it like this? | 0:12:48 | 0:12:50 | |
-Hang on, I've actually, look, look... -Oh, hello. | 0:12:50 | 0:12:52 | |
Right. It was like this, wasn't it? | 0:12:52 | 0:12:56 | |
HE PLAYS NOTES | 0:12:56 | 0:12:57 | |
-Yes. -He'd tap it out and then when the murderer appeared, he went... | 0:12:57 | 0:13:00 | |
SINISTER MUSICAL STING | 0:13:00 | 0:13:02 | |
LAUGHTER AND APPLAUSE | 0:13:03 | 0:13:06 | |
And you went, "That's him!" | 0:13:06 | 0:13:08 | |
They never understood why everybody could guess the murderer, could they? | 0:13:10 | 0:13:13 | |
Another one which used Morse might surprise you. | 0:13:13 | 0:13:16 | |
It had titles that came over | 0:13:16 | 0:13:18 | |
as a sort of ticker-tape kind of thing at the end, | 0:13:18 | 0:13:21 | |
with a piccolo giving the tune of a famous sitcom. | 0:13:21 | 0:13:24 | |
BILL WHISTLES | 0:13:24 | 0:13:27 | |
-Some Mothers Do 'Ave 'Em. -Some Mothers Do 'Ave 'Em. | 0:13:27 | 0:13:30 | |
-That one. -That one. -Exactly. -I'll stop whistling now. | 0:13:30 | 0:13:33 | |
That was brilliant, you're right, that was the tune. | 0:13:33 | 0:13:35 | |
And there's a building that gives off Morse code, | 0:13:35 | 0:13:37 | |
a very famous building in Hollywood. | 0:13:37 | 0:13:39 | |
-How? Tapping it? -Well, it's got a light flashing at the top. | 0:13:39 | 0:13:42 | |
-It's not sound. -Oh, I thought it was... | 0:13:42 | 0:13:44 | |
Because of course, Morse code can be visual as well. | 0:13:44 | 0:13:46 | |
There it is. Capitol Records. It's like a stack of discs. | 0:13:46 | 0:13:50 | |
And it flashes out this message here, | 0:13:50 | 0:13:52 | |
"Hollywood", in Morse code - very simple. | 0:13:52 | 0:13:55 | |
But in 2013, it changed to announce Katy Perry's new album Prism | 0:13:55 | 0:13:59 | |
and its release date came out in Morse code. | 0:13:59 | 0:14:02 | |
Nobody noticed. | 0:14:02 | 0:14:04 | |
Not like the demographic of Katy Perry's fans, not... | 0:14:05 | 0:14:09 | |
They're not really into Morse. I'm just...just saying, just saying. | 0:14:09 | 0:14:13 | |
Bletchley and Katy Perry, | 0:14:13 | 0:14:15 | |
-there's no real cross-over, is there? -Not really. | 0:14:15 | 0:14:17 | |
There's 200,000 fans sitting there with carrier pigeons. | 0:14:17 | 0:14:21 | |
"If only I'd known it was Morse." | 0:14:23 | 0:14:26 | |
In 2004, Morse code added its first addition since World War II, | 0:14:26 | 0:14:31 | |
which is di-dah-dah-di-dah-di. | 0:14:31 | 0:14:34 | |
See if you can guess what it is? | 0:14:34 | 0:14:35 | |
It's an addition to the Morse alphabet. | 0:14:35 | 0:14:37 | |
It's going to be a hashtag or an @ sign. | 0:14:37 | 0:14:39 | |
It's an @ sign, well done. | 0:14:39 | 0:14:40 | |
Exactly right, so that people can spot e-mail addresses. | 0:14:40 | 0:14:43 | |
Samuel Morse invented Morse code, as you probably know. | 0:14:43 | 0:14:46 | |
But do you know anything about him, other than that he was the inventor of Morse code? | 0:14:46 | 0:14:50 | |
He had another job, which was rather interesting. | 0:14:50 | 0:14:52 | |
He was a painter and he liked, or was commissioned, to paint... | 0:14:52 | 0:14:58 | |
-Dot-dot-dot, dash... -..to paint paintings... | 0:14:58 | 0:15:01 | |
Dot-dot-dot-dot-dot-dot... | 0:15:01 | 0:15:04 | |
He wasn't a pointillist, but he was commissioned to paint paintings. | 0:15:04 | 0:15:07 | |
It seems very odd, why would he be commissioned to paint paintings? | 0:15:07 | 0:15:10 | |
Whoa! There's a fly on my hand! | 0:15:10 | 0:15:12 | |
Argh! | 0:15:15 | 0:15:16 | |
LAUGHTER AND APPLAUSE | 0:15:16 | 0:15:18 | |
Oh! | 0:15:18 | 0:15:19 | |
Oh...! | 0:15:20 | 0:15:22 | |
You've killed it, Alan! | 0:15:23 | 0:15:25 | |
-I never thought I'd get it in a million years! -How could you?! | 0:15:25 | 0:15:28 | |
It was just looking for somewhere to sleep | 0:15:28 | 0:15:30 | |
-and you just killed it, you...you brute! -I'm so sorry. | 0:15:30 | 0:15:33 | |
Never mind. Merry Christmas, everybody. | 0:15:33 | 0:15:36 | |
Samuel Morse was a painter | 0:15:37 | 0:15:39 | |
and he was commissioned to paint paintings. | 0:15:39 | 0:15:41 | |
-Paint paintings. -Because he lived in an era | 0:15:41 | 0:15:43 | |
when there were no catalogues. | 0:15:43 | 0:15:45 | |
-Of course. -Of museums, for example. So he painted... | 0:15:45 | 0:15:48 | |
-The Argos catalogue. -He painted one famous... | 0:15:48 | 0:15:51 | |
He painted one famous painting, six foot by nine, | 0:15:51 | 0:15:54 | |
of the most well-known exhibits at the Louvre Museum. | 0:15:54 | 0:15:59 | |
So you could see them if you hadn't visited it. | 0:15:59 | 0:16:02 | |
You can see the Mona Lisa, down there, famously. | 0:16:02 | 0:16:05 | |
-The best-known of... -He was quite good, wasn't he? | 0:16:05 | 0:16:07 | |
-Yeah, he was. -So as a sort of copyist... | 0:16:07 | 0:16:09 | |
Yeah. To give you an idea of what was in the museum, | 0:16:09 | 0:16:11 | |
the best-known ones there, if you didn't have a chance of getting to Paris, for example. | 0:16:11 | 0:16:15 | |
So next time you think of Samuel Morse, | 0:16:15 | 0:16:17 | |
-you can think of that as well as the dots and dashes. -Oh. | 0:16:17 | 0:16:20 | |
I will - I'll think of him as...as a public spirited... | 0:16:20 | 0:16:23 | |
-I think that's genuinely interesting. -Thank you. | 0:16:23 | 0:16:26 | |
-Yes. -That's all we hope for. Good. | 0:16:26 | 0:16:29 | |
So by that logic, he invented the internet? | 0:16:29 | 0:16:31 | |
-He didn't. -He didn't? -No. | 0:16:38 | 0:16:40 | |
-BILL: -Wait, the fly's coming back to life! | 0:16:40 | 0:16:42 | |
Hold that thought, though. | 0:16:44 | 0:16:45 | |
I have to hold these thoughts, I have nothing else. | 0:16:45 | 0:16:48 | |
No, they're good thoughts. Thank you. | 0:16:48 | 0:16:49 | |
Anyway... We'll move on, we'll move on. | 0:16:49 | 0:16:51 | |
And we may come back to that. | 0:16:51 | 0:16:53 | |
I very much doubt it, but we may. | 0:16:53 | 0:16:54 | |
Describe the plot of, or sing a song from the popular musical, | 0:16:57 | 0:17:01 | |
"The Bathrooms Are Coming". | 0:17:01 | 0:17:03 | |
# The bathrooms are coming | 0:17:05 | 0:17:07 | |
# Thank God, I need a shit! # | 0:17:07 | 0:17:09 | |
-Nice. -Bill, can you do me | 0:17:11 | 0:17:13 | |
CISTERNS Are Doing It For Themselves? | 0:17:13 | 0:17:16 | |
Oh, very good. APPLAUSE | 0:17:16 | 0:17:18 | |
# The bathrooms are coming Lock up your pipes | 0:17:20 | 0:17:23 | |
# The bathrooms are coming Where are your knives? | 0:17:23 | 0:17:26 | |
# Kill, kill, kill them They'll be coming | 0:17:26 | 0:17:29 | |
# Kill them, kill them | 0:17:29 | 0:17:31 | |
# The bathrooms are coming for your lives... # | 0:17:31 | 0:17:34 | |
AUDIENCE CLAPPING ALONG | 0:17:34 | 0:17:36 | |
# They're coming for your souls... # | 0:17:36 | 0:17:38 | |
# I've had it installed now | 0:17:40 | 0:17:44 | |
# And there's nothing to pay till September | 0:17:44 | 0:17:47 | |
# I'm on an HP high | 0:17:51 | 0:17:56 | |
# And ain't no debt collector ever gonna bring me down | 0:17:56 | 0:18:01 | |
# Water may be very hot | 0:18:02 | 0:18:05 | |
# Don't let the grout go mouldy on me... # | 0:18:05 | 0:18:09 | |
APPLAUSE | 0:18:09 | 0:18:11 | |
It was country and western. | 0:18:13 | 0:18:15 | |
BILL PLAYS A TUNE | 0:18:15 | 0:18:16 | |
If you're going to do country and western, it'll be... | 0:18:16 | 0:18:19 | |
# Fixed shower head, driving me wild | 0:18:19 | 0:18:23 | |
# Can't find my crevices no matter how hard I tried | 0:18:25 | 0:18:30 | |
-# I'm going to put my leg up... # -No, don't! | 0:18:31 | 0:18:34 | |
-# Pull my junk to the side... # -Oh...! | 0:18:35 | 0:18:37 | |
BILL PLAYS AN END NOTE | 0:18:39 | 0:18:41 | |
Thank you. | 0:18:43 | 0:18:44 | |
Well, that was a big surprise, thank you very much. | 0:18:44 | 0:18:47 | |
Do you know what that might be? The Bathrooms Are Coming? | 0:18:47 | 0:18:50 | |
-The Bathrooms Are Coming? -Written by a Broadway musical composer. | 0:18:50 | 0:18:53 | |
But not for Broadway. | 0:18:53 | 0:18:54 | |
-Was it a bathroom company? -A commercial or something? | 0:18:54 | 0:18:58 | |
Yes. American Standard, they were called, | 0:18:58 | 0:19:00 | |
and this was one of many, many, many industrial musicals, | 0:19:00 | 0:19:04 | |
which had their heyday in between 1950 and 1980, | 0:19:04 | 0:19:07 | |
30 years of exciting musicals | 0:19:07 | 0:19:09 | |
for conventions of various companies and their salesmen, all over America. | 0:19:09 | 0:19:13 | |
And they would write specialist musicals just for the salesmen, | 0:19:13 | 0:19:16 | |
just for the conventioners, not for the members of the public. | 0:19:16 | 0:19:19 | |
But they had big budgets and they were written by Broadway, | 0:19:19 | 0:19:22 | |
serious Broadway composers, who hid their names, I think. | 0:19:22 | 0:19:25 | |
-Yeah. -But that's an example of one, The Bathrooms Are Coming. | 0:19:25 | 0:19:28 | |
An original musical, presented by American Standard, as you can see. | 0:19:28 | 0:19:31 | |
The Sound of Selling. | 0:19:31 | 0:19:33 | |
B F Goodrich's 1966 sales meeting musical. | 0:19:33 | 0:19:36 | |
Isn't that exciting? | 0:19:36 | 0:19:37 | |
-The Saga of the Dingbat. -The Saga of the Dingbat? | 0:19:37 | 0:19:40 | |
-This is the weirdest thing I've ever seen. -Isn't it? | 0:19:40 | 0:19:42 | |
-Truly astonishing. -Mental, innit? -These were huge. -What's going on? | 0:19:42 | 0:19:45 | |
Well, when it started in the '50s, by about 1955, | 0:19:45 | 0:19:48 | |
-America... -..had gone mad. | 0:19:48 | 0:19:51 | |
..made two-thirds of the world's goods. | 0:19:51 | 0:19:53 | |
Two-thirds of manufacturing industry in the world was American. | 0:19:53 | 0:19:56 | |
Was this at the height of, | 0:19:56 | 0:19:57 | |
"This week's show was brought to you by Lorimar cigarettes..."? | 0:19:57 | 0:20:00 | |
-There was all that sponsorship going on... -Yeah. | 0:20:00 | 0:20:02 | |
..on the Ed Sullivan Show and things like that, yeah. | 0:20:02 | 0:20:05 | |
-So wait, hang on, if you want to hang on a second. -Excellent! | 0:20:05 | 0:20:07 | |
# If you've a hankering for knowledge | 0:20:07 | 0:20:10 | |
# But can't be arsed with college | 0:20:10 | 0:20:12 | |
# Then this is the show for you. # Something like that, I don't know. | 0:20:12 | 0:20:17 | |
Yeah. That's the one! | 0:20:17 | 0:20:18 | |
That's the QI show. APPLAUSE | 0:20:18 | 0:20:19 | |
# This really Quite Interesting show! # | 0:20:19 | 0:20:24 | |
-Something like that. -Yes, The Quite Interesting Show. | 0:20:24 | 0:20:27 | |
We've got our own musical. APPLAUSE | 0:20:27 | 0:20:29 | |
Thank you, Bill. | 0:20:31 | 0:20:33 | |
# Alan, Alan, Alan, Alan Alan, Alan, Alan, Alan | 0:20:33 | 0:20:36 | |
# Alan, Alan, Alan, Alan I'm aghast! # | 0:20:36 | 0:20:38 | |
-LAUGHTER -# And he's won! No, he's last. # | 0:20:38 | 0:20:42 | |
You know. | 0:20:42 | 0:20:43 | |
We could, we could do this, I don't know, | 0:20:44 | 0:20:46 | |
-like funded by some kind of light bulb company... -Yeah. | 0:20:46 | 0:20:49 | |
-LAUGHTER -..and put it on ice. | 0:20:49 | 0:20:52 | |
-Yes. -Yes! | 0:20:52 | 0:20:53 | |
Don't need to skate properly - | 0:20:53 | 0:20:55 | |
just skate out, deliver your lines and skate off. | 0:20:55 | 0:20:58 | |
-QI on Ice. -On Ice. -Q Ice! -Just, just... | 0:20:59 | 0:21:03 | |
Stephen, don't look at your cards, think about it just for a second. | 0:21:03 | 0:21:06 | |
-Please! -Quite pleased with that - Q Ice. | 0:21:06 | 0:21:09 | |
We've got reality shows filling arenas, QI on Ice. | 0:21:09 | 0:21:12 | |
-Do you think that would work? -I think so. -No. | 0:21:12 | 0:21:14 | |
I would... Wouldn't you pay to see yourself...? | 0:21:14 | 0:21:17 | |
Would I pay to see myself on ice? | 0:21:17 | 0:21:19 | |
-Skate out... -LAUGHTER | 0:21:19 | 0:21:20 | |
-BILL: -In a horse costume! -In a horse costume! | 0:21:20 | 0:21:23 | |
-No, I will not part with any money under any circumstances. -Come on! | 0:21:23 | 0:21:26 | |
So... | 0:21:26 | 0:21:27 | |
QI on Ice, just think about it, just overnight, | 0:21:29 | 0:21:32 | |
don't write it off straight away. | 0:21:32 | 0:21:33 | |
I'll put it on... on ice. | 0:21:33 | 0:21:36 | |
LAUGHTER So... | 0:21:36 | 0:21:38 | |
Here are some lines from musicals, | 0:21:38 | 0:21:39 | |
in this golden era of the industrial musical, as it was called, | 0:21:39 | 0:21:42 | |
and you have to tell me who the company was, really. | 0:21:42 | 0:21:45 | |
-Go on. -"I can sell a wiener! My school..." -Sausages! | 0:21:45 | 0:21:48 | |
Yes, wieners are sausages. | 0:21:48 | 0:21:50 | |
-But it goes a little further, you see. -Oh, I see. | 0:21:51 | 0:21:54 | |
"My school supplies are cleaner! I sell candy!" | 0:21:54 | 0:21:56 | |
-So, OK, can sell a sausage and candy? -Wal-Mart. | 0:21:56 | 0:21:59 | |
-Wal-Mart. -You're in the right area, it's a very well-known brand, | 0:21:59 | 0:22:02 | |
sells things, from early in the morning to quite late at night. | 0:22:02 | 0:22:05 | |
-7-Eleven. -7-Eleven is the right answer. That was a good clue! | 0:22:05 | 0:22:08 | |
-Well, you know... -That was a bit of a hint, wasn't it? I was helping you. | 0:22:08 | 0:22:11 | |
This one you won't necessarily know the name of the company, but it's, | 0:22:11 | 0:22:15 | |
"Any cola tastes so much colier. Holy water is somewhat holier." | 0:22:15 | 0:22:19 | |
-They weren't trying, really, then, were they? -No! | 0:22:19 | 0:22:21 | |
LAUGHTER | 0:22:21 | 0:22:22 | |
-Something that contains liquids. -Very much phoning it in! | 0:22:22 | 0:22:25 | |
-It's the Scott paper cup company, that's what it is. -Oh, right. | 0:22:25 | 0:22:28 | |
This one is weird, because it makes Mad Men | 0:22:28 | 0:22:29 | |
look positively modern in its attitude towards women and bosses. | 0:22:29 | 0:22:33 | |
"Though our boss never beats us, for that he'd never do | 0:22:33 | 0:22:38 | |
"It always looks as though he does 'cause we are black and blue. | 0:22:38 | 0:22:43 | |
"With ribbons! Ribbons! Ribbons! Ribbons!" | 0:22:43 | 0:22:46 | |
Typewriters, typewriters, isn't it? | 0:22:46 | 0:22:47 | |
-Monroe Calculators. -Oh! -Yeah. | 0:22:47 | 0:22:50 | |
"I really enjoyed my appendectomy. Loved my hysterectomy." | 0:22:50 | 0:22:53 | |
LAUGHTER | 0:22:53 | 0:22:55 | |
-Um... -BUPA? | 0:22:57 | 0:22:58 | |
-It's Surg-O-Pack, who are disposable surgical implements and so on. -Right. | 0:22:58 | 0:23:04 | |
-Implying that you sort of did it yourself, really, sort of... -Yeah! | 0:23:04 | 0:23:08 | |
Exactly. "I gave myself a lovely hysterectomy." | 0:23:08 | 0:23:11 | |
Yes, I draw it on - how hard can it be? Yeah. | 0:23:11 | 0:23:13 | |
Well, there you are. Industrial musicals were made to motivate. | 0:23:13 | 0:23:17 | |
Whose music do cats like best? | 0:23:17 | 0:23:19 | |
Um, is he, that cat, listening to Purr-ple Rain perhaps? | 0:23:21 | 0:23:26 | |
GROANING Purr-ple Rain! | 0:23:26 | 0:23:28 | |
You've made a cat joke! I liked it. No, no, good. | 0:23:28 | 0:23:31 | |
It looks like he's in Old Smokey, | 0:23:31 | 0:23:33 | |
-he looks like he's in an electric chair being... -Oh! | 0:23:33 | 0:23:36 | |
LAUGHTER | 0:23:36 | 0:23:38 | |
Sparky, I think, rather than Smokey, wasn't it? | 0:23:38 | 0:23:41 | |
They're electrocuting that cat. He's not listening to anything. | 0:23:41 | 0:23:44 | |
-Is it jazz? -Is it...? No. Well, not jazz, actually. | 0:23:44 | 0:23:47 | |
Perhaps unsurprisingly, | 0:23:47 | 0:23:49 | |
cats are not that interested in human music of any kind. | 0:23:49 | 0:23:53 | |
-They're pretty much indifferent to it. -Really? -Yeah. | 0:23:53 | 0:23:57 | |
But they do like music specially composed for them. | 0:23:57 | 0:24:00 | |
-Do they like birdsong? -Cat music is... | 0:24:00 | 0:24:02 | |
Well, it sounds like mouse and bird and indeed cat sounds. | 0:24:02 | 0:24:06 | |
SOFT MUSIC PLAYS | 0:24:06 | 0:24:08 | |
-These are cats enjoying themselves, are they? -Yeah. | 0:24:10 | 0:24:13 | |
-Wow. -Not being tormented? | 0:24:13 | 0:24:16 | |
No! No cats were tormented in the making of this sequence. | 0:24:16 | 0:24:18 | |
-If you listen to the music... -It's quite lovely. | 0:24:18 | 0:24:21 | |
PIANO TINKLING | 0:24:21 | 0:24:22 | |
-It has slight calls and slight birds and purring things. -It's got hums. | 0:24:22 | 0:24:26 | |
Yeah, cat noises in it as well. MUSIC CONTINUES | 0:24:26 | 0:24:29 | |
Yeah, but is it true that cats don't meow to other cats, only to humans? | 0:24:29 | 0:24:33 | |
BIRDSONG ON MUSIC | 0:24:33 | 0:24:34 | |
LAUGHTER | 0:24:34 | 0:24:36 | |
-I don't know. -I'm being genuine! I was told this. -No, I'm fascinated! | 0:24:36 | 0:24:39 | |
-I don't know. -I'll go along with that! -Yeah, yeah? | 0:24:39 | 0:24:41 | |
I've had cats and then, you don't see them meow. | 0:24:41 | 0:24:43 | |
-They just kind of hiss, they just grunt. -Yeah. | 0:24:43 | 0:24:46 | |
Their body language says enough. | 0:24:46 | 0:24:47 | |
-They hiss if they're fighting. -They go up very close to them | 0:24:47 | 0:24:50 | |
and going, "Yeah, you get the food, I'll go out the back." Yeah. | 0:24:50 | 0:24:53 | |
They're just whispering and hissing and all sorts of other noises. | 0:24:53 | 0:24:56 | |
Yeah, but it's only with humans | 0:24:56 | 0:24:57 | |
-that they go, "Meow." -Yeah. -"Meow." -You're right. | 0:24:57 | 0:25:00 | |
Younger cats are more receptive | 0:25:00 | 0:25:02 | |
to that sort of music than middle-aged ones, | 0:25:02 | 0:25:04 | |
and, some like it so much, they rub their faces against the speakers. | 0:25:04 | 0:25:07 | |
-AUDIENCE MEMBER: Aw! -They get very, very excited by it. | 0:25:07 | 0:25:10 | |
-The same cat music composer... -Well, we've all done that! | 0:25:10 | 0:25:12 | |
..is working with the Smithsonian National Zoo | 0:25:12 | 0:25:15 | |
-on cotton-top tamarins... -Aw! -..who like silence more than music. | 0:25:15 | 0:25:20 | |
-How do they get the funding? -Yes! | 0:25:20 | 0:25:22 | |
LAUGHTER | 0:25:22 | 0:25:23 | |
But isn't...? Shouldn't there be a cut-off point where you're suddenly | 0:25:23 | 0:25:27 | |
going, "Oh, the cat doesn't like my music, I'll change my music." | 0:25:27 | 0:25:30 | |
And then, you go, "Well, the cat can't work my cooker." | 0:25:30 | 0:25:33 | |
-I'll devise a cooker that the cat can use. -Yeah. | 0:25:33 | 0:25:35 | |
And then, essentially, you end up living in the cat's house. | 0:25:35 | 0:25:38 | |
LAUGHTER | 0:25:38 | 0:25:40 | |
And you're sitting there on a bed of dead robins, | 0:25:40 | 0:25:43 | |
wondering why they don't feature on Christmas cards any more. | 0:25:43 | 0:25:48 | |
Isn't there a point where we should maintain the human/pet relationship? | 0:25:48 | 0:25:52 | |
You're right, you've painted a nightmare scenario there. | 0:25:52 | 0:25:55 | |
Well, I just don't know how big the roof will be. | 0:25:55 | 0:25:58 | |
No! No none of us, none of us does. LAUGHTER | 0:25:58 | 0:26:01 | |
-Um... -When you come home and you go through a flap, | 0:26:01 | 0:26:05 | |
you know it's gone too far. | 0:26:05 | 0:26:06 | |
LAUGHTER | 0:26:06 | 0:26:08 | |
Anyway, cats prefer their own music | 0:26:09 | 0:26:11 | |
to Atomic Kitten or Cat Stevens. JENNY LAUGHS | 0:26:11 | 0:26:14 | |
Now time for a short interval. Who wants an ice cream? | 0:26:14 | 0:26:17 | |
-Yes, please. -Me, me, pick me. -Oh, there we are. Yeah, go on. | 0:26:17 | 0:26:20 | |
There, take a couple. | 0:26:20 | 0:26:21 | |
-We've got some left over, of course. -Thank you very much. Wow! | 0:26:21 | 0:26:24 | |
-There you go. -Johnny? -Oh, yes, please. Thank you, my love. | 0:26:24 | 0:26:28 | |
Chocolate, I've got chocolate, I don't really like chocolate. | 0:26:28 | 0:26:30 | |
-I've got raisin, I don't like raisin. -Do you want to swap? -Yes. | 0:26:30 | 0:26:33 | |
-No, I'd like vanilla, please. -Oh? | 0:26:33 | 0:26:35 | |
-LAUGHTER -Do you like chocolate? | 0:26:35 | 0:26:37 | |
-Do you want to swap? -Yes! -You can have another flavour. | 0:26:37 | 0:26:39 | |
-I've got strawberry. -That'll do me! -All right. | 0:26:39 | 0:26:42 | |
-Oh, you already had a bit! -Yes! | 0:26:42 | 0:26:44 | |
LAUGHTER | 0:26:44 | 0:26:46 | |
How else would I know I didn't like it!? | 0:26:46 | 0:26:49 | |
-Well, do what I did - just sniff it and lick it. -Don't do that! | 0:26:49 | 0:26:52 | |
-People who sniff... -Don't take a lump out! | 0:26:54 | 0:26:57 | |
You must have very warm hands, cos this is already melted! | 0:26:57 | 0:27:01 | |
I'm having a hot flush! | 0:27:01 | 0:27:03 | |
-APPLAUSE -It's one of my super-powers! | 0:27:03 | 0:27:06 | |
-Mine's turned into a slushy! -Yes! | 0:27:06 | 0:27:08 | |
You're going to a dinner party and they've forgotten to get | 0:27:08 | 0:27:11 | |
the ice cream out of the freezer, just hold it against my neck! | 0:27:11 | 0:27:13 | |
-LAUGHTER -And it's spoon soft in seconds! | 0:27:13 | 0:27:16 | |
-Well, there's barely any... -THEY BOTH SHOUT | 0:27:16 | 0:27:18 | |
LAUGHTER DROWNS THEM OUT | 0:27:18 | 0:27:21 | |
-Right... -I don't want to do this in front of Stephen. -No. | 0:27:21 | 0:27:23 | |
But the next time we're having ice cream, just... | 0:27:23 | 0:27:27 | |
LAUGHTER | 0:27:27 | 0:27:29 | |
-Don't have her on my team! -Do you have any HRT-flavoured ice cream? | 0:27:29 | 0:27:33 | |
-No, this is delicious. Thank you very much. -Good. | 0:27:34 | 0:27:36 | |
This is what I think life will be like in a nursing home. | 0:27:36 | 0:27:39 | |
LOUD LAUGHTER | 0:27:39 | 0:27:41 | |
APPLAUSE Anyway... | 0:27:41 | 0:27:43 | |
What flavour have you got?! | 0:27:43 | 0:27:44 | |
-Bingo! -So what was the biggest nuisance | 0:27:44 | 0:27:47 | |
-in the Victorian theatre? -I like peas! I had a fly in mine. | 0:27:47 | 0:27:51 | |
-What was the biggest nuisance...? -I've got to tell this. | 0:27:51 | 0:27:53 | |
What was the biggest nuisance in the Victorian theatre? | 0:27:53 | 0:27:56 | |
-No... -What was the biggest nuisance in the Victorian theatre? | 0:27:56 | 0:27:59 | |
-APPLAUSE -Please! | 0:27:59 | 0:28:01 | |
SHOUTS: What was the biggest nuisance in the Victorian theatre? | 0:28:01 | 0:28:06 | |
CHEERING AND APPLAUSE | 0:28:06 | 0:28:09 | |
Yeah? | 0:28:12 | 0:28:14 | |
Any thoughts? | 0:28:14 | 0:28:16 | |
Ice-cream? | 0:28:16 | 0:28:17 | |
-I, genuinely... -Don't worry, you don't need to press them. | 0:28:17 | 0:28:20 | |
-Was it people interrupting? -That was one of them. | 0:28:20 | 0:28:23 | |
Was it the infamous female flasher | 0:28:23 | 0:28:27 | |
who'd invade a Victorian stage without her bloomers, | 0:28:27 | 0:28:31 | |
and she was called Fanny by Gaslight. | 0:28:31 | 0:28:33 | |
-Was it her? -It wasn't that, no. | 0:28:33 | 0:28:36 | |
Was it things going wrong, like machinery? | 0:28:36 | 0:28:38 | |
Well, those were all bad things, they are bad today, | 0:28:38 | 0:28:41 | |
but what is actually still one of the worst things that can happen? | 0:28:41 | 0:28:44 | |
-People eating sweets. -That's bad. -Was it a bulb breaking? | 0:28:44 | 0:28:46 | |
If you're in the audience, | 0:28:46 | 0:28:47 | |
what is one of the most annoying things for you, not just... | 0:28:47 | 0:28:50 | |
Cholera. | 0:28:50 | 0:28:52 | |
LAUGHTER | 0:28:52 | 0:28:54 | |
Being stabbed in the neck by someone. | 0:28:54 | 0:28:56 | |
You're stretching, Bill. It's good that you're thinking. | 0:28:56 | 0:28:59 | |
TB. | 0:28:59 | 0:29:01 | |
Rickets. | 0:29:01 | 0:29:03 | |
LAUGHTER | 0:29:03 | 0:29:04 | |
If you stayed in for a very long time. No, what it is... | 0:29:04 | 0:29:07 | |
Let's imagine, for example, the Victoria Theatre, in London. | 0:29:07 | 0:29:10 | |
-Yeah. -It had 2,200 people. When it came to the interval? | 0:29:10 | 0:29:15 | |
-Oh, the lavatories? -The lavatories. | 0:29:15 | 0:29:17 | |
-How many lavatories do you think it had? -Four. -Two. -One. | 0:29:17 | 0:29:19 | |
-One lavatory. -One lavatory, 2,200 people. | 0:29:19 | 0:29:22 | |
-This is an issue, isn't it? It's not good. -Nothing's changed. | 0:29:22 | 0:29:27 | |
Well, things were even more problematic up north, | 0:29:27 | 0:29:30 | |
certainly in the Theatre Royal in Newcastle, in the Victorian era, | 0:29:30 | 0:29:33 | |
where they actually installed lead lining on the floor of the balcony | 0:29:33 | 0:29:38 | |
because urine was dropping down on to the people in the stalls, | 0:29:38 | 0:29:41 | |
because people just peed where they sat | 0:29:41 | 0:29:44 | |
cos there was nowhere else to go. | 0:29:44 | 0:29:46 | |
-GEORDIE ACCENT: -Lovely, lovely Geordies! | 0:29:46 | 0:29:48 | |
LAUGHTER | 0:29:48 | 0:29:49 | |
Now, now, careful, careful. Just be careful, that's all I'm saying. | 0:29:49 | 0:29:52 | |
-Aye aye, we'll piss on't floor! -It's pretty grim. That was in 1837. | 0:29:52 | 0:29:56 | |
That was a serious problem and it's still a problem today, is it not? | 0:29:56 | 0:29:59 | |
-I think particularly for women? -Absolutely. | 0:29:59 | 0:30:02 | |
-Sometimes you just have to invade the men's. -Yeah. | 0:30:02 | 0:30:05 | |
We always hear of these Japanese funnels | 0:30:05 | 0:30:06 | |
-that are supposed to allow women... -The Shewees. -..yeah, to stand up, | 0:30:06 | 0:30:10 | |
-but they haven't caught on. -I just go for the side swipe. -OK. | 0:30:10 | 0:30:12 | |
LAUGHTER | 0:30:12 | 0:30:14 | |
-Am I going to be able to picture this? -It's sort of a dance move... | 0:30:14 | 0:30:18 | |
-and a relief. -Oh, yes. | 0:30:18 | 0:30:21 | |
But I'm not going to demonstrate it now. | 0:30:21 | 0:30:23 | |
This is a nice programme. | 0:30:23 | 0:30:25 | |
But is not the male urinal, couldn't you not... | 0:30:25 | 0:30:28 | |
I mean, is that usable as a lady? | 0:30:28 | 0:30:31 | |
I can't see what is wrong with just going sort of like that. | 0:30:31 | 0:30:37 | |
-A squat, like that. -Yeah. | 0:30:37 | 0:30:39 | |
Or you could hold yourself up between two parked cars. | 0:30:39 | 0:30:42 | |
LAUGHTER | 0:30:42 | 0:30:44 | |
Yes. | 0:30:44 | 0:30:45 | |
Not that I've ever done that! | 0:30:45 | 0:30:48 | |
Weren't the girl guides taught to pee standing up, as a form of... | 0:30:48 | 0:30:53 | |
Self-defence? | 0:30:53 | 0:30:54 | |
LAUGHTER | 0:30:54 | 0:30:57 | |
What changed then were intervals. | 0:30:57 | 0:31:00 | |
Intervals came more or less in time to coincide with the desire | 0:31:00 | 0:31:02 | |
of people to, you know... | 0:31:02 | 0:31:04 | |
They had what they called the Broadway Bladder, | 0:31:04 | 0:31:06 | |
which is supposedly 75 minutes, | 0:31:06 | 0:31:08 | |
which is the maximum, averagely, that people can go without having a pee. | 0:31:08 | 0:31:13 | |
And cinemas often had intermissions in our childhood. | 0:31:13 | 0:31:16 | |
Do you remember any particular ones? | 0:31:16 | 0:31:18 | |
-Zulu, I saw Zulu... -Zulu had an intermission. | 0:31:18 | 0:31:20 | |
..and it was very frightening and there were masses of Zulus | 0:31:20 | 0:31:23 | |
-coming over the hill, and then they had a break... -Yeah. | 0:31:23 | 0:31:25 | |
-..and when we came back, wasn't quite so frightening after that. -No. | 0:31:25 | 0:31:28 | |
Well, the one I remember best was | 0:31:28 | 0:31:30 | |
where there's a car going along some green towards a cliff | 0:31:30 | 0:31:33 | |
and then suddenly they're going, "Argh!" as they go over the cliff, | 0:31:33 | 0:31:36 | |
just going straight down and then it just goes - Intermission. | 0:31:36 | 0:31:39 | |
And my brother and I were absolutely, just terrified, | 0:31:39 | 0:31:41 | |
and we had our choc-ices and our Kia Ora orange drink, | 0:31:41 | 0:31:44 | |
and all these other things, and came back, and then it picked it up from | 0:31:44 | 0:31:47 | |
there again, the car goes down and then suddenly it flies. | 0:31:47 | 0:31:50 | |
# Um Chitty, um Chitty, Chitty-Chitty Bang Bang, we love you. # | 0:31:50 | 0:31:54 | |
And it was just the most heroic moment in all cinema | 0:31:54 | 0:31:56 | |
and we went back again and again and again. | 0:31:56 | 0:31:59 | |
-Nothing will ever recapture that moment. -No? -So wonderful. | 0:31:59 | 0:32:02 | |
I was happy then, you know. | 0:32:02 | 0:32:04 | |
LAUGHTER | 0:32:04 | 0:32:05 | |
And now this. This! | 0:32:05 | 0:32:07 | |
-Aah, that's a lovely story. -Thank you, yes. -And quite interesting. | 0:32:07 | 0:32:11 | |
Yeah, well, we hope. | 0:32:11 | 0:32:13 | |
Other films, The Godfather, Sound of Music, | 0:32:13 | 0:32:15 | |
they all had intermissions too. Really big movies. | 0:32:15 | 0:32:17 | |
Hitchcock said, "The length of a film should be directly related | 0:32:17 | 0:32:20 | |
"to the endurance of the human bladder." | 0:32:20 | 0:32:22 | |
-About seven minutes with me, then. -Oh, dear. | 0:32:22 | 0:32:25 | |
Now, who's the worst person to sit next at a silent movie? | 0:32:25 | 0:32:28 | |
ALAN BURPS | 0:32:28 | 0:32:29 | |
Alan Davies. | 0:32:29 | 0:32:31 | |
I rather bolted my ice-cream. I'm very sorry. | 0:32:31 | 0:32:34 | |
You did, didn't you? Disgusting! | 0:32:34 | 0:32:36 | |
STEPHEN TUTS | 0:32:36 | 0:32:37 | |
-Alan, have you? Did you? Could you? -No, I just, I slightly belched. | 0:32:37 | 0:32:41 | |
-Would it be someone telling you the plot? -Someone talking? | 0:32:41 | 0:32:44 | |
-Telling the plot, yes, kind of. That is very annoying. -Yes. | 0:32:44 | 0:32:47 | |
How were plots laid out in silent movies? | 0:32:47 | 0:32:50 | |
-Obviously there was no dialogue as such. -Cards? -Cards. | 0:32:50 | 0:32:53 | |
-Cards were showed. -Cards would come, these captions, which would... | 0:32:53 | 0:32:56 | |
-Oh, reading out the captions. -Reading out the captions. -Memoing. | 0:32:56 | 0:32:59 | |
The number one annoyance in the days of silent movies, apparently. | 0:32:59 | 0:33:02 | |
There were various others. | 0:33:02 | 0:33:03 | |
They were very concerned about how people should behave | 0:33:03 | 0:33:06 | |
so they put out these things. | 0:33:06 | 0:33:07 | |
And the cinemas themselves had these cards at the beginning, telling | 0:33:07 | 0:33:11 | |
people, as you can see - "Loud talking and whistling not allowed." | 0:33:11 | 0:33:15 | |
"Please applaud with hands only." | 0:33:15 | 0:33:17 | |
LAUGHTER | 0:33:17 | 0:33:18 | |
I suppose it means don't cat-call and don't, you know, stamp your feet. | 0:33:18 | 0:33:21 | |
Or slap your buttocks together or something. | 0:33:21 | 0:33:24 | |
And "Madam, how would you like to sit behind the hat you are wearing?" | 0:33:24 | 0:33:28 | |
-That's another issue. -Yes. | 0:33:28 | 0:33:30 | |
So people would actually go, "Look out!" | 0:33:30 | 0:33:32 | |
-and would all shout, "Look out!" -Yes, probably, exactly. Annoying. | 0:33:32 | 0:33:36 | |
-Yeah. -But then watching films in America is great, though, | 0:33:36 | 0:33:40 | |
in New York particularly, because the whole crowd get involved, | 0:33:40 | 0:33:42 | |
and they all shout. | 0:33:42 | 0:33:44 | |
I went to see Lord of the Rings in New York. | 0:33:44 | 0:33:47 | |
Just the best experience, cos in the fight scenes, | 0:33:47 | 0:33:50 | |
people are shouting out, "Kick that Orc's ass!" | 0:33:50 | 0:33:53 | |
LAUGHTER | 0:33:53 | 0:33:54 | |
-"Go get it! Damn!" -It's true, they do. | 0:33:54 | 0:33:57 | |
-"Damn you, that Orc!" -It's fantastic. | 0:33:57 | 0:33:59 | |
Well, there are certain other bits of cinema etiquette which | 0:33:59 | 0:34:02 | |
now are very common, which is | 0:34:02 | 0:34:04 | |
if you happen to know how a film turns out, you're not | 0:34:04 | 0:34:07 | |
supposed to tell anybody on social media, or at least if you do... | 0:34:07 | 0:34:10 | |
-No spoilers. -..and you blog or review, you put in capital letters? | 0:34:10 | 0:34:13 | |
-Spoiler alert. -Spoiler alert. | 0:34:13 | 0:34:15 | |
And yet, there's a thing called the Spoiler Paradox. | 0:34:15 | 0:34:18 | |
-Do you know about this? -It's more fun if you know what's happening? | 0:34:18 | 0:34:20 | |
It's more fun if you know. | 0:34:20 | 0:34:22 | |
If you actually know how a film turns out, | 0:34:22 | 0:34:24 | |
you are more likely to enjoy it, quite appreciably. | 0:34:24 | 0:34:27 | |
The films I like the most are the ones where you've no expectation, | 0:34:27 | 0:34:30 | |
you haven't been tainted in advance in any way | 0:34:30 | 0:34:33 | |
and then it all unfolds before you. | 0:34:33 | 0:34:34 | |
-I think I prefer that. -I forget anyway. People tell me stuff. | 0:34:34 | 0:34:39 | |
Anyway, make sure you mind your manners at the movies. | 0:34:39 | 0:34:42 | |
Now, Christmas comes and goes, but one thing that's never | 0:34:42 | 0:34:47 | |
out of season is General Ignorance, so fingers on buzzers, please. | 0:34:47 | 0:34:50 | |
It's a moonlit Christmas night in the city, and you can see just fine. | 0:34:50 | 0:34:56 | |
But then the moon goes behind a cloud. | 0:34:56 | 0:34:58 | |
What happens next? | 0:34:58 | 0:35:00 | |
-BILL'S BUZZER: -'Oh, no, it isn't!' | 0:35:00 | 0:35:02 | |
You turn into a wolf. | 0:35:02 | 0:35:03 | |
LAUGHTER | 0:35:03 | 0:35:05 | |
-Wouldn't that be when the moon came out? Or maybe not. -Yes. | 0:35:05 | 0:35:08 | |
Oh, yeah. | 0:35:08 | 0:35:10 | |
That's right. That's why it's not working out for me. | 0:35:10 | 0:35:12 | |
-The moon goes behind a cloud. JOHNNY'S BUZZER: -Oh, yes, it is! | 0:35:12 | 0:35:16 | |
Does it actually become brighter? | 0:35:16 | 0:35:17 | |
Yes. Very good. Spot on. | 0:35:17 | 0:35:20 | |
APPLAUSE | 0:35:20 | 0:35:23 | |
Extra extra points if you can tell me why? | 0:35:23 | 0:35:27 | |
There's already light bouncing off the earth. | 0:35:27 | 0:35:29 | |
Ah ah ah ah ah, yes. | 0:35:29 | 0:35:31 | |
I mentioned we were in the city there. | 0:35:31 | 0:35:33 | |
London is burning huge amounts of light. | 0:35:33 | 0:35:35 | |
If the moon goes behind a cloud and the clouds are covering the sky, | 0:35:35 | 0:35:38 | |
then the light bounces back from the clouds and it increases, | 0:35:38 | 0:35:43 | |
it magnifies the light by a considerable amount. | 0:35:43 | 0:35:45 | |
Whereas if it's a completely cloudless night, even with a bright | 0:35:45 | 0:35:49 | |
big full moon, that's less light than you get in the reflection. | 0:35:49 | 0:35:53 | |
And this has been found to be true even in the countryside. | 0:35:53 | 0:35:56 | |
Ice-cream makes you intelligent! | 0:35:56 | 0:35:58 | |
LAUGHTER | 0:35:58 | 0:36:00 | |
The brightest area was in Schipliden in the Netherlands, | 0:36:00 | 0:36:04 | |
where the sky was 10,000 times lighter than the darkest night sky. | 0:36:04 | 0:36:09 | |
Tomatoes were grown there and the greenhouse lights were on. | 0:36:09 | 0:36:12 | |
-Good lord. -Too incredible for words. | 0:36:12 | 0:36:15 | |
Right, time for some Christmas music. | 0:36:15 | 0:36:17 | |
What did the boys in the NYPD choir sing? | 0:36:17 | 0:36:22 | |
-BILL'S BUZZER: -'Oh, no, it isn't!' | 0:36:22 | 0:36:24 | |
Galway Bay. | 0:36:24 | 0:36:25 | |
KLAXON | 0:36:25 | 0:36:27 | |
-D'oh! -Don't you know by now? | 0:36:27 | 0:36:29 | |
Oh, I thought I'd take one for the team. | 0:36:29 | 0:36:31 | |
Firstly they can't have done, | 0:36:31 | 0:36:33 | |
because there is no NYPD choir at all. | 0:36:33 | 0:36:36 | |
The NYPD people they brought in for the video were the pipe band | 0:36:36 | 0:36:39 | |
in fact, of the New York Police Department. | 0:36:39 | 0:36:42 | |
And we're talking about the Pogues' Shane MacGowan singing | 0:36:42 | 0:36:44 | |
Fairytale of New York, the great Christmas single. | 0:36:44 | 0:36:47 | |
-Yes, the greatest Christmas song. -Ever. -Brilliant, yeah. | 0:36:47 | 0:36:50 | |
-It's a very thin competition now, isn't it, really? -Eh? | 0:36:50 | 0:36:52 | |
It's pretty thin competition. | 0:36:52 | 0:36:54 | |
Well, it's Mistletoe and Wine and that. | 0:36:54 | 0:36:56 | |
LAUGHTER | 0:36:56 | 0:36:58 | |
So the pipe band came in and they didn't know Galway Bay. | 0:36:58 | 0:37:00 | |
-Right. -They were supposed to sing it. | 0:37:00 | 0:37:02 | |
And so instead they sang the Mickey Mouse Club | 0:37:02 | 0:37:06 | |
and it was slightly slowed down | 0:37:06 | 0:37:08 | |
and it fitted to the words of Galway Bay, apparently, | 0:37:08 | 0:37:11 | |
so you couldn't tell. | 0:37:11 | 0:37:13 | |
But there are more points if you can tell me, Shane MacGowan's band, | 0:37:13 | 0:37:17 | |
The Pogues, of course, | 0:37:17 | 0:37:18 | |
-why is it called The Pogues and what does that mean? -Oh, I know this. | 0:37:18 | 0:37:21 | |
Oh, we revised it. I knew it would come up! | 0:37:21 | 0:37:25 | |
No, I DID once know this. | 0:37:25 | 0:37:27 | |
Well, it's Pog mo thoin. That means "kiss my arse". | 0:37:27 | 0:37:30 | |
-That's it. That's it. -Kiss my arse in Irish. Rather pleasing. | 0:37:30 | 0:37:34 | |
I had one night out with him and my thumb has never been the same again. | 0:37:34 | 0:37:37 | |
I can't bend it properly. | 0:37:37 | 0:37:39 | |
I'm just picturing a night out with Johnny Vegas and Shane MacGowan. | 0:37:39 | 0:37:43 | |
-That is something. -He was reading a book on architecture | 0:37:43 | 0:37:46 | |
and I was just in a foul mood and we got drinking together. | 0:37:46 | 0:37:49 | |
-Good times! -And I, yeah, I fell and I couldn't get up. | 0:37:49 | 0:37:54 | |
I fell in a little gully and my head was trapped, | 0:37:54 | 0:37:58 | |
so I just laid there for three hours going, "Help!" | 0:37:58 | 0:38:00 | |
LAUGHTER | 0:38:00 | 0:38:01 | |
And then I fell asleep after saying, | 0:38:01 | 0:38:04 | |
"Some kind of neighbours you are," in my sleep. | 0:38:04 | 0:38:07 | |
-Well, that's absolutely amazing. -Yeah. | 0:38:07 | 0:38:10 | |
Now, on which bank holiday is it most likely to snow? | 0:38:10 | 0:38:14 | |
Easter Monday. | 0:38:14 | 0:38:16 | |
Is the right answer. | 0:38:16 | 0:38:18 | |
No!!! | 0:38:18 | 0:38:19 | |
APPLAUSE | 0:38:19 | 0:38:21 | |
Yes! Come on! | 0:38:21 | 0:38:23 | |
Very good. | 0:38:23 | 0:38:25 | |
Bloody hell. I'm impressed. | 0:38:25 | 0:38:28 | |
Absolutely. | 0:38:28 | 0:38:30 | |
Statistically it is more likely to snow at an Easter bank holiday | 0:38:30 | 0:38:33 | |
than it is over the Christmas, even though it moves. | 0:38:33 | 0:38:35 | |
Well, the weather here is rubbish, isn't it? | 0:38:35 | 0:38:37 | |
I was out with the old man on a hot June day | 0:38:37 | 0:38:40 | |
and there were lots of people driving in their open-top cars | 0:38:40 | 0:38:44 | |
down the King's Road, as they would. | 0:38:44 | 0:38:46 | |
And the old man, who knows everything, said, | 0:38:46 | 0:38:49 | |
"Do you know that there are only six days a year | 0:38:49 | 0:38:51 | |
"where people with open-top sports cars could put their tops down." | 0:38:51 | 0:38:54 | |
-Wow. -That made me feel better... -And that was one of them? -Yeah, yeah. | 0:38:54 | 0:38:57 | |
There's so few good days in this country, | 0:38:57 | 0:39:00 | |
and so that's why I thought it was quite likely to be on Easter Monday. | 0:39:00 | 0:39:03 | |
That's true, cos we, as a nation, we, per capita, | 0:39:03 | 0:39:06 | |
own more convertible cars than any other country in Europe. | 0:39:06 | 0:39:11 | |
-No, that's so hopeful! -Durrr! | 0:39:11 | 0:39:13 | |
-Optimistic. -Oh, bless us. -Driving with an umbrella, yeah. | 0:39:13 | 0:39:16 | |
Yeah, December averaged 3.9 days of snow and March had 4.2. | 0:39:16 | 0:39:22 | |
You are more likely to see a white Easter than a white Christmas. | 0:39:22 | 0:39:25 | |
Can you give me a line from the world's first panto? | 0:39:25 | 0:39:29 | |
Go on, go on... | 0:39:30 | 0:39:32 | |
He's behind you. | 0:39:32 | 0:39:34 | |
KLAXON | 0:39:34 | 0:39:35 | |
-Yay! -Oh, you MADE me do that! | 0:39:35 | 0:39:38 | |
-Why did you do that? -It's your buzzer, isn't it? | 0:39:38 | 0:39:40 | |
She did so well on Easter Monday | 0:39:40 | 0:39:42 | |
and you've just sabotaged it out of spite! | 0:39:42 | 0:39:45 | |
Anyway, no, first pantoMIME, what were pantomimes originally? | 0:39:45 | 0:39:49 | |
-Oh, silent. -They WERE silent. -They were mime. | 0:39:49 | 0:39:53 | |
Yeah, unlike mimes, oddly enough. | 0:39:53 | 0:39:54 | |
The pantomime was a character in a Roman play, who represented | 0:39:54 | 0:39:58 | |
all kinds of mythological things and he never spoke. | 0:39:58 | 0:40:01 | |
-Wow. -Terrifying. | 0:40:01 | 0:40:03 | |
You'd be hard pressed to shift tickets for that, though, | 0:40:03 | 0:40:05 | |
wouldn't you? | 0:40:05 | 0:40:07 | |
LAUGHTER | 0:40:07 | 0:40:08 | |
My God, look at that. That's an Ood and Lady GaGa. | 0:40:08 | 0:40:12 | |
Well, isn't it Zoidberg from Futurama? | 0:40:12 | 0:40:16 | |
Nothing screams "festive" like a shin-kicking contest | 0:40:16 | 0:40:19 | |
between two people for whom life has gone very wrong. | 0:40:19 | 0:40:25 | |
The first pantomimes were silent and only had one person in the cast. | 0:40:25 | 0:40:28 | |
So let's take a look at the scores. | 0:40:28 | 0:40:31 | |
Oh, my actual actual. | 0:40:31 | 0:40:33 | |
In fourth place, a brilliant first appearance, | 0:40:33 | 0:40:35 | |
and actually an incredibly high score by any QI standards. | 0:40:35 | 0:40:38 | |
-On minus two it's Jenny Eclair! -Did quite well. | 0:40:38 | 0:40:41 | |
APPLAUSE | 0:40:41 | 0:40:44 | |
In third place, with minus one, Bill Bailey! | 0:40:47 | 0:40:50 | |
APPLAUSE | 0:40:50 | 0:40:52 | |
I still don't understand why. | 0:40:52 | 0:40:55 | |
When two giants meet at Christmas, who can it be? | 0:40:56 | 0:40:59 | |
Who's the winner, who's the winner here? | 0:40:59 | 0:41:01 | |
In second place, with eight points, it's... | 0:41:01 | 0:41:04 | |
Johnny Vegas! | 0:41:04 | 0:41:06 | |
APPLAUSE | 0:41:06 | 0:41:09 | |
Oh, my stars, the winner on 11 is Alan Davies! | 0:41:09 | 0:41:13 | |
APPLAUSE | 0:41:13 | 0:41:15 | |
QI JINGLE PLAYS | 0:41:15 | 0:41:18 | |
So, that's all from Jenny, Johnny, Bill and Alan, | 0:41:20 | 0:41:23 | |
but before we go, I have one more trick up my sleeve. | 0:41:23 | 0:41:26 | |
Right, let's see. | 0:41:26 | 0:41:29 | |
Now, here's the box in which I keep my luggage. | 0:41:29 | 0:41:33 | |
There we go, like so. | 0:41:33 | 0:41:36 | |
Let's see. That's... | 0:41:36 | 0:41:38 | |
Now, in my luggage I keep a very Christmassy item. | 0:41:39 | 0:41:44 | |
It's what everyone should keep in their luggage, really. | 0:41:44 | 0:41:48 | |
It's a big surprise. | 0:41:48 | 0:41:50 | |
APPLAUSE | 0:41:50 | 0:41:53 | |
-Do you need a hand? -Thank you. | 0:41:53 | 0:41:56 | |
There you go. | 0:41:56 | 0:41:57 | |
Splendid. | 0:41:57 | 0:41:59 | |
-Oh, hello, Scott? -I have a surprise for you, Stephen. -Oh, no. | 0:41:59 | 0:42:02 | |
My name is Scott Penrose. I am the President of the Magic Circle, | 0:42:02 | 0:42:06 | |
and if you're a member of the Magic Circle, | 0:42:06 | 0:42:08 | |
you have to have taken a test. | 0:42:08 | 0:42:10 | |
And throughout this series of QI, you've been doing various | 0:42:10 | 0:42:13 | |
-magical experiments, so it's with a great deal of pleasure... -No! | 0:42:13 | 0:42:16 | |
..to announce that Stephen Fry is now formally | 0:42:16 | 0:42:19 | |
a member of The Magic Circle. | 0:42:19 | 0:42:21 | |
Oh, my God! APPLAUSE | 0:42:21 | 0:42:23 | |
MUSIC: Magic Moments by Perry Como | 0:42:23 | 0:42:25 | |
Merry Christmas, everybody! | 0:42:59 | 0:43:01 | |
CHEERING AND APPLAUSE | 0:43:01 | 0:43:04 |