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CHEERING AND APPLAUSE | 0:00:22 | 0:00:24 | |
How very kind. | 0:00:31 | 0:00:33 | |
How lovely. Thank you very much... | 0:00:33 | 0:00:37 | |
and welcome to QI, where tonight, | 0:00:37 | 0:00:40 | |
we are turning positively negative, | 0:00:40 | 0:00:42 | |
in the "Not Nearly, Nearly Not, Neither and No" show. | 0:00:42 | 0:00:46 | |
So let's meet our naysayers - | 0:00:46 | 0:00:49 | |
the never-knowingly under-funny Gyles Brandreth. | 0:00:49 | 0:00:52 | |
APPLAUSE | 0:00:52 | 0:00:56 | |
And the nearly perfect Jimmy Carr. APPLAUSE | 0:00:56 | 0:01:00 | |
Thanks very much! | 0:01:00 | 0:01:02 | |
The not-half-bad Victoria Coren Mitchell. | 0:01:05 | 0:01:09 | |
APPLAUSE | 0:01:09 | 0:01:12 | |
And no, no, no, no, no... | 0:01:14 | 0:01:19 | |
yes. | 0:01:19 | 0:01:20 | |
It's Alan Davies! | 0:01:20 | 0:01:21 | |
CHEERING AND APPLAUSE | 0:01:21 | 0:01:25 | |
And why not hear their buzzers? Jimmy goes... | 0:01:28 | 0:01:32 | |
# Na na na na, na na na na na | 0:01:32 | 0:01:34 | |
# Na na na na na, na na na na na. # | 0:01:34 | 0:01:37 | |
And Victoria goes... | 0:01:37 | 0:01:39 | |
# No no # No-no, no no | 0:01:39 | 0:01:41 | |
# No-no, no no | 0:01:41 | 0:01:43 | |
# No no There's no limit. # | 0:01:43 | 0:01:45 | |
And Gyles goes... | 0:01:45 | 0:01:47 | |
# Na na na na na na na na na | 0:01:47 | 0:01:50 | |
# Na na na na na na na na na. # | 0:01:50 | 0:01:53 | |
You look like the games teacher at a school's disco. | 0:01:54 | 0:01:57 | |
And Alan goes... | 0:01:59 | 0:02:01 | |
# No, no, a thousand times no | 0:02:01 | 0:02:04 | |
# I'd rather die than say yes. # | 0:02:04 | 0:02:06 | |
I like yours best, actually. I thought that was very nice. | 0:02:09 | 0:02:11 | |
And so to the first question, | 0:02:11 | 0:02:13 | |
and it's important you don't listen un-carefully to this one. | 0:02:13 | 0:02:17 | |
Alan, don't you not want some points or not? | 0:02:17 | 0:02:21 | |
ALAN GROANS Gyles is writing it down. | 0:02:25 | 0:02:27 | |
Well, that's very difficult to say yes or no to! | 0:02:27 | 0:02:30 | |
-What do you reckon? -There are three negatives. -Ah, yes. | 0:02:30 | 0:02:33 | |
"Don't you not want some points or not?" "Do you not...?" | 0:02:33 | 0:02:37 | |
-Do you not want some points... -Or not? -Do you not...? -Do you not...? | 0:02:37 | 0:02:43 | |
-We also don't know whether he does or not. -Yes. | 0:02:43 | 0:02:47 | |
"Don't you not want some points, or not?" | 0:02:47 | 0:02:49 | |
-Do NOT not want points... -So, here's the thing... | 0:02:49 | 0:02:52 | |
-It's true to say that I do not NOT want points. -Yes. -Or not? | 0:02:52 | 0:02:57 | |
So "or not" would mean that you...do. | 0:02:57 | 0:02:59 | |
-"Do you want points or not?" -Yes, but... | 0:02:59 | 0:03:02 | |
-The answer is... -Is... | 0:03:02 | 0:03:03 | |
LAUGHTER | 0:03:04 | 0:03:07 | |
-Well, it's two questions! -No, it's just one question with one answer. | 0:03:07 | 0:03:11 | |
But I'll just tell you now - | 0:03:11 | 0:03:12 | |
one answer has a klaxon, and one doesn't. There. | 0:03:12 | 0:03:15 | |
-Do you think I'm giving too much away here? -Can we help him? | 0:03:17 | 0:03:21 | |
The show's nearly over. I'm filibustering. | 0:03:21 | 0:03:23 | |
-Gyles, Gyles. -Sometimes with these really taxing questions, | 0:03:23 | 0:03:26 | |
-the thing to do is to translate them into another language. -OK. | 0:03:26 | 0:03:29 | |
-Because that makes it simpler. -Oh, right. -Because, as we know, | 0:03:29 | 0:03:32 | |
-you asked the question in English. -I did, yes. | 0:03:32 | 0:03:34 | |
English - there are 500,000 words in the Oxford English Dictionary, | 0:03:34 | 0:03:37 | |
it is the largest language in the world. | 0:03:37 | 0:03:38 | |
-Well, there's more than a million now, in fact. -Ah, well, indeed, | 0:03:38 | 0:03:41 | |
including all the words you've introduced since the series began. | 0:03:41 | 0:03:44 | |
-Perfectly true. -In my edition - 500,000 words. | 0:03:44 | 0:03:46 | |
The German language only has about 150,000 words, | 0:03:46 | 0:03:49 | |
-and the French have fewer than 100,000 words. -Yes. -OK? | 0:03:49 | 0:03:51 | |
-Including "le weekend". -Yes. ALAN BUZZES | 0:03:51 | 0:03:54 | |
-Oh, yes? Have you thought about it? -Yes. | 0:03:54 | 0:03:58 | |
Yes is the right answer! | 0:03:58 | 0:04:00 | |
APPLAUSE | 0:04:00 | 0:04:03 | |
-Yes? -Yes isn't the right answer. -Oh! | 0:04:09 | 0:04:11 | |
-It's not a yes/no question. -No, that's what I thought. | 0:04:11 | 0:04:14 | |
But, fundamentally, yes is better than no. | 0:04:14 | 0:04:16 | |
-In your life, maybe. -Yes, I was enjoying Gyles'... | 0:04:16 | 0:04:18 | |
But, curiously, the answer would have been different... | 0:04:18 | 0:04:21 | |
I didn't mean I would come back to it. | 0:04:21 | 0:04:23 | |
-I wasn't enjoying it that much. -But interestingly, the answer in French | 0:04:25 | 0:04:29 | |
would have been yes. | 0:04:29 | 0:04:31 | |
Oh, no - no! | 0:04:31 | 0:04:32 | |
In French you could have said, "I don't know," | 0:04:32 | 0:04:35 | |
which is "je ne sais pas", which is a double negative. | 0:04:35 | 0:04:38 | |
Ah. Or... But if you translate it... What did you originally say? | 0:04:38 | 0:04:42 | |
Is it too early to lose the will to live? | 0:04:44 | 0:04:46 | |
I'm extremely concerned, Sandi, that you, | 0:04:48 | 0:04:50 | |
a role model for women everywhere, | 0:04:50 | 0:04:52 | |
should, in fleshing out the double negative, | 0:04:52 | 0:04:54 | |
come out with the statement, "Broadly, yes is better than no"! | 0:04:54 | 0:04:57 | |
That's not what I'll be telling my daughter! | 0:04:57 | 0:04:59 | |
APPLAUSE AND LAUGHTER | 0:05:01 | 0:05:03 | |
There's a lot of these in pop, aren't there? | 0:05:07 | 0:05:09 | |
A lot of these in pop and rock lyrics. | 0:05:09 | 0:05:10 | |
-Yes. -There's lots of I Can't Get No Satisfaction. | 0:05:10 | 0:05:13 | |
Yes, there is. And if it's a positive double negative, | 0:05:13 | 0:05:16 | |
-like Tom Jones' It's Not Unusual, that's fine. OK? -Why is that fine? | 0:05:16 | 0:05:19 | |
Well, it never used to be a problem, the double negative, | 0:05:19 | 0:05:22 | |
and then, in the 18th century, they became obsessed with mathematics, | 0:05:22 | 0:05:24 | |
-and it's to do with mathematics. -Oh. | 0:05:24 | 0:05:26 | |
So they began to codify the language as being illogical | 0:05:26 | 0:05:29 | |
if it didn't fit with mathematical thinking. So, in mathematics, | 0:05:29 | 0:05:32 | |
-minus a minus is a plus. -Oh, do do this in Danish! -OK. | 0:05:32 | 0:05:36 | |
Yes. SHE SPEAKS IN DANISH | 0:05:36 | 0:05:40 | |
No, I won't do it now. APPLAUSE | 0:05:40 | 0:05:45 | |
If you do that, I'd think I'd had a stroke. | 0:05:45 | 0:05:47 | |
I always think that there's a body been found, | 0:05:47 | 0:05:49 | |
as soon as I hear Danish. | 0:05:49 | 0:05:50 | |
You can almost feel the wind on the bridge. | 0:05:53 | 0:05:55 | |
I tell you what, it's a hell of a contortion | 0:05:55 | 0:05:57 | |
if you can feel wind on your bridge. | 0:05:57 | 0:05:59 | |
I'm trying to think what position you'd have to be in... | 0:06:05 | 0:06:08 | |
I don't know, but I'm going to try and sketch it. | 0:06:08 | 0:06:11 | |
Just pass it along when you've done. | 0:06:12 | 0:06:15 | |
Anybody know the difference between no and nay? | 0:06:15 | 0:06:18 | |
Is it like the French non and si, | 0:06:18 | 0:06:21 | |
where si is a yes if somebody is expecting the answer no? | 0:06:21 | 0:06:25 | |
Yeah, you're exactly right. | 0:06:25 | 0:06:26 | |
It's to do with the type of question that you get. | 0:06:26 | 0:06:28 | |
So there used to be, in early modern English - | 0:06:28 | 0:06:30 | |
so we're talking, sort of, late 15th to late 17th century - | 0:06:30 | 0:06:33 | |
two affirmatives, yes and yea, | 0:06:33 | 0:06:34 | |
and two negatives, which were no and nay, | 0:06:34 | 0:06:37 | |
and so subtle the rules that even the people at the time thought, | 0:06:37 | 0:06:40 | |
"I have no idea how this works." | 0:06:40 | 0:06:41 | |
But, basically, yes and no were responses to | 0:06:41 | 0:06:43 | |
questions posed in the negative. | 0:06:43 | 0:06:44 | |
So, "Will he not go?" | 0:06:44 | 0:06:46 | |
The answer is, "Yes, he will," or "No, he will not." | 0:06:46 | 0:06:48 | |
But if you positively frame a question, "Will he go?", | 0:06:48 | 0:06:51 | |
the answer is, "Yea, he will," or "Nay, he will not." | 0:06:51 | 0:06:54 | |
-Are you allowed to say "nay" without saying "sirrah"? -That's right. | 0:06:54 | 0:06:57 | |
-GYLES: -Or, indeed, prefacing it with "hey nonny, no nay"? | 0:06:57 | 0:07:00 | |
-VICTORIA: -Yes. | 0:07:00 | 0:07:01 | |
I'll be docking points from anybody who gets it wrong | 0:07:01 | 0:07:05 | |
from now on. Is that clear? | 0:07:05 | 0:07:06 | |
-Yes, but not... -No, not exactly. | 0:07:08 | 0:07:10 | |
-Yes, but not entirely. Is that correct? -Yes and no. | 0:07:10 | 0:07:12 | |
-Yea. -Yea. | 0:07:12 | 0:07:13 | |
-KLAXON -What? | 0:07:13 | 0:07:15 | |
It was positively phrased, so the answer, in fact - | 0:07:17 | 0:07:20 | |
Victoria is entirely right - is yea is the answer. | 0:07:20 | 0:07:22 | |
-It's yea, is the answer? -Yes. | 0:07:22 | 0:07:24 | |
And so, yea... | 0:07:24 | 0:07:25 | |
Yea is the equivalent... | 0:07:25 | 0:07:26 | |
Yea is the equivalent of yes, | 0:07:26 | 0:07:29 | |
but nay is not the equivalent of no - that's what we've learnt. | 0:07:29 | 0:07:31 | |
-No. So... VICTORIA: -No! | 0:07:31 | 0:07:33 | |
LAUGHTER | 0:07:33 | 0:07:35 | |
Yea is yes if the answer yes is expected. | 0:07:35 | 0:07:38 | |
Yea and nay are for positively-framed questions, | 0:07:38 | 0:07:40 | |
and yes and no... I'm losing... Honestly, I can't... | 0:07:40 | 0:07:43 | |
-LAUGHTER AND APPLAUSE -What we've learned is nothing. | 0:07:43 | 0:07:45 | |
-Ah! -We weren't really paying attention. | 0:07:45 | 0:07:47 | |
-That was the problem. -I know, exactly. | 0:07:47 | 0:07:48 | |
But what I can tell you is that there's really | 0:07:48 | 0:07:50 | |
nothing wrong with double negatives. | 0:07:50 | 0:07:51 | |
Only arbitrary pedants believe there isn't...not. | 0:07:51 | 0:07:56 | |
Now it's time for my favourite subject in all the world - not. | 0:07:56 | 0:08:00 | |
It's sport. GYLES GROANS | 0:08:00 | 0:08:03 | |
-Yea, sport! -Yea, sport(!) OK. GYLES: -Nay! | 0:08:03 | 0:08:05 | |
Why is the person on the right such a loser? | 0:08:05 | 0:08:09 | |
Oh, isn't this interesting? | 0:08:09 | 0:08:11 | |
-I don't know yet. -No, no, no, no... -LAUGHTER | 0:08:11 | 0:08:14 | |
Just because he's not got any badges and ribbons on, | 0:08:14 | 0:08:16 | |
he's obviously been in a court martial - | 0:08:16 | 0:08:18 | |
he's had them stripped off him. | 0:08:18 | 0:08:20 | |
That's why he's the loser. | 0:08:20 | 0:08:21 | |
You are in the right area. | 0:08:21 | 0:08:23 | |
Is he standing in for someone? | 0:08:23 | 0:08:25 | |
-Well... -Oh, is it a centaur? | 0:08:25 | 0:08:28 | |
Is he half-man, half-horse? | 0:08:28 | 0:08:31 | |
Actually, the other guy's riding a horse and he's actually the horse, | 0:08:31 | 0:08:34 | |
and those are fake legs. | 0:08:34 | 0:08:35 | |
Oh, that's my favourite, but no. | 0:08:35 | 0:08:38 | |
So, he's a sort of nearly man. | 0:08:38 | 0:08:40 | |
-An understudy? -I don't think we can call them that any more. | 0:08:40 | 0:08:43 | |
APPLAUSE | 0:08:46 | 0:08:49 | |
The idea, Jimmy, that you would teach me | 0:08:52 | 0:08:54 | |
to be politically correct... | 0:08:54 | 0:08:57 | |
-I'm so sorry. -You're so fantastic. | 0:08:57 | 0:08:59 | |
I've started a new thing on the show which is my random Scandinavian, | 0:08:59 | 0:09:02 | |
and this is my "randy Scandi", this guy. | 0:09:02 | 0:09:05 | |
He took part in the 1948 Olympics. | 0:09:05 | 0:09:06 | |
His name is Sergeant Gehnall Persson. | 0:09:06 | 0:09:08 | |
He was in the Swedish Equestrian team, | 0:09:08 | 0:09:11 | |
and they easily won gold in the dressage | 0:09:11 | 0:09:13 | |
and then they were stripped of the medal, | 0:09:13 | 0:09:16 | |
because the French, who came second, | 0:09:16 | 0:09:17 | |
noticed that he was wearing a sergeant's cap. | 0:09:17 | 0:09:20 | |
So you were in the right area, absolutely, Gyles. | 0:09:20 | 0:09:22 | |
In those days, Olympic equestrianism was open | 0:09:22 | 0:09:25 | |
only to officers and gentlemen. | 0:09:25 | 0:09:27 | |
It was an amateur sport, | 0:09:27 | 0:09:28 | |
and other ranks were considered to be professionals. | 0:09:28 | 0:09:31 | |
So what had happened - he'd been given a bogus promotion | 0:09:31 | 0:09:33 | |
to being a lieutenant, just for the Games, | 0:09:33 | 0:09:35 | |
but he forgot to change his hat. | 0:09:35 | 0:09:38 | |
-Oh! -But it's a happy ending - | 0:09:38 | 0:09:40 | |
the gentleman rule was changed, and he went on to win gold | 0:09:40 | 0:09:43 | |
at the next two Olympics, just as a sergeant, | 0:09:43 | 0:09:46 | |
and he didn't have to be a lieutenant. | 0:09:46 | 0:09:47 | |
So, here's the thing that I think, OK? | 0:09:47 | 0:09:49 | |
I would like to see the amateur ethos brought back to sport. | 0:09:49 | 0:09:51 | |
-What do you think about that? -Oh, yes. -Oh, 100%. | 0:09:51 | 0:09:53 | |
The amateur thing with sport is... | 0:09:53 | 0:09:54 | |
They've ruined it now, haven't they? They've ruined the Olympics. | 0:09:54 | 0:09:57 | |
-Have they? -Well, I think... | 0:09:57 | 0:09:58 | |
You can't have Eddie the Eagle or Eric the Eel or any of those, | 0:09:58 | 0:10:01 | |
-kind of, the fun ones... -No! Can I say? | 0:10:01 | 0:10:03 | |
Drugs are the making of the Olympics. | 0:10:03 | 0:10:07 | |
Don't you think? I mean, you know... | 0:10:07 | 0:10:08 | |
Isn't it an exciting idea - who can go faster and faster and faster? | 0:10:08 | 0:10:11 | |
Then, maybe you need two Games. | 0:10:11 | 0:10:13 | |
-You need a clean one and you need a drug-addled... -Yeah, exactly. | 0:10:13 | 0:10:16 | |
-So, do you...? -What do people watch most? | 0:10:16 | 0:10:18 | |
Lance Armstrong made a very interesting point | 0:10:18 | 0:10:20 | |
in that documentary they made about him. | 0:10:20 | 0:10:21 | |
He basically said, "Yes, I was on drugs - so was everyone else. | 0:10:21 | 0:10:24 | |
-"I was the best on drugs." -Yeah. | 0:10:24 | 0:10:27 | |
I also think that the drugs should be more interesting. | 0:10:27 | 0:10:29 | |
Does anybody know what the very first-ever substance-abuse case | 0:10:29 | 0:10:33 | |
in the Olympics dealt with? | 0:10:33 | 0:10:35 | |
-Well, it was a very high-class affair. -Oh... | 0:10:35 | 0:10:36 | |
The first person banned for substance abuse? | 0:10:36 | 0:10:38 | |
-Sherry. -You're very close. | 0:10:38 | 0:10:39 | |
-Yes? -Was it absinthe? | 0:10:39 | 0:10:40 | |
-No. -Oh, sorry, I wasn't answering. | 0:10:40 | 0:10:42 | |
I was just hoping someone could bring a sherry. | 0:10:42 | 0:10:45 | |
Was it an animal that was doped? | 0:10:45 | 0:10:46 | |
-No. -A human? | 0:10:46 | 0:10:47 | |
It's a fantastic American swimmer called Eleanor Holm. | 0:10:47 | 0:10:50 | |
She was suspended from the American Olympic swim team in 1936 for | 0:10:50 | 0:10:54 | |
drinking too much champagne. | 0:10:54 | 0:10:55 | |
-No... -Now, who...? | 0:10:55 | 0:10:57 | |
That's good. | 0:10:58 | 0:10:59 | |
How much champagne is too much champagne? | 0:10:59 | 0:11:01 | |
-I think it's... -That's all relative. | 0:11:01 | 0:11:02 | |
You wouldn't think it would particularly | 0:11:02 | 0:11:04 | |
improve her performance. | 0:11:04 | 0:11:05 | |
I mean, she was happy. | 0:11:05 | 0:11:06 | |
You've only got to go backwards and forwards with swimming - | 0:11:06 | 0:11:09 | |
you've got to keep yourself busy. | 0:11:09 | 0:11:10 | |
Bubbles could have helped keeping her up, and afloat. | 0:11:10 | 0:11:13 | |
The first time I went dog racing, | 0:11:15 | 0:11:16 | |
I went with a friend of mine and he was betting on the second favourite. | 0:11:16 | 0:11:19 | |
He said, "It's always good to back the second favourite | 0:11:19 | 0:11:21 | |
"cos often someone's slipped the favourite a pie." | 0:11:21 | 0:11:24 | |
And that's... | 0:11:24 | 0:11:27 | |
The dog... Is the dog like, "I can't run. I've... I'm, oh... | 0:11:27 | 0:11:30 | |
"Oh..." | 0:11:30 | 0:11:32 | |
That was delicious, though. | 0:11:32 | 0:11:33 | |
That's how you nobble a dog race - | 0:11:33 | 0:11:34 | |
you slip a meat pie to the dog, and then it eats it, | 0:11:34 | 0:11:37 | |
and, I mean, you can imagine it doesn't run so fast. | 0:11:37 | 0:11:40 | |
That would probably work on this show, do you not think? | 0:11:40 | 0:11:42 | |
Many's the time I've been slipped a pie, Sandi. | 0:11:42 | 0:11:46 | |
So from a nearly man, to the world's biggest nobody. | 0:11:46 | 0:11:49 | |
What did these guys do when they realised their cox was too big? | 0:11:49 | 0:11:53 | |
I presume they threw him overboard. | 0:11:55 | 0:11:58 | |
Kind of. It's a really sweet story, this. | 0:11:58 | 0:12:02 | |
So we all know what the cox does. | 0:12:02 | 0:12:04 | |
-The cox tells them... -He steers the boat. | 0:12:04 | 0:12:05 | |
-Steers the boat, yes. -Stops them from rowing into things. | 0:12:05 | 0:12:08 | |
From "coxswain", literally a boat servant. | 0:12:08 | 0:12:10 | |
Also shouts "row", which doesn't seem necessary in any other sport. | 0:12:10 | 0:12:15 | |
No-one in the 100 metres has got a guy on the side going, | 0:12:15 | 0:12:17 | |
"Left, right, left, right." | 0:12:17 | 0:12:20 | |
-So this boy is the cox? -He BECAME the cox. | 0:12:20 | 0:12:23 | |
He was the replacement. This is... | 0:12:23 | 0:12:24 | |
First of all, I love these outfits. Can I just say? | 0:12:24 | 0:12:26 | |
If every sport wore these... | 0:12:26 | 0:12:27 | |
-Yes, is it unusual to do it in your underpants? -I think they're sweet. | 0:12:27 | 0:12:30 | |
-They look gorgeous. -They're anatomically correct. | 0:12:30 | 0:12:33 | |
Not necessarily. | 0:12:33 | 0:12:34 | |
This is the Dutch cox pair from the 1900 Olympics. | 0:12:34 | 0:12:37 | |
So what happened was they got through to the final | 0:12:37 | 0:12:39 | |
and they had an overweight cox called Hermanus Brockmann, | 0:12:39 | 0:12:42 | |
and they thought it was going to cost them the gold. | 0:12:42 | 0:12:44 | |
So they had noticed that the French crews were using children as coxes, | 0:12:44 | 0:12:48 | |
and so they decided to get one of their own, | 0:12:48 | 0:12:50 | |
and they plucked one from a crowd - this boy. | 0:12:50 | 0:12:52 | |
He'd already been discarded, actually, by the French | 0:12:52 | 0:12:54 | |
as being too heavy. | 0:12:54 | 0:12:56 | |
He's between seven and ten years old, | 0:12:56 | 0:12:58 | |
nobody knows his name, | 0:12:58 | 0:12:59 | |
but with him coxing they won the gold, | 0:12:59 | 0:13:02 | |
and then he vanished back into the crowd. | 0:13:02 | 0:13:04 | |
He is an Olympic gold medallist, | 0:13:04 | 0:13:07 | |
and nobody knows his name. | 0:13:07 | 0:13:09 | |
-Isn't it the sweetest story? -Incredible. | 0:13:09 | 0:13:11 | |
Also, the idea that he was telling his friends, | 0:13:11 | 0:13:13 | |
"I went and I saw the rowing, it was amazing." | 0:13:13 | 0:13:15 | |
"Where did you sit?" "I had a great seat! | 0:13:15 | 0:13:17 | |
"Yeah, I was in the boat." | 0:13:18 | 0:13:20 | |
He's the only anonymous gold winner ever in the Olympics. | 0:13:20 | 0:13:23 | |
The medal was given to the overweight cox | 0:13:23 | 0:13:26 | |
who didn't actually row, Hermanus Brockmann, he got the gold medal. | 0:13:26 | 0:13:29 | |
And he was disappointed that it wasn't made of chocolate. | 0:13:29 | 0:13:31 | |
I think that's the main disappointment | 0:13:32 | 0:13:34 | |
of all gold medal-winners in the Olympics. | 0:13:34 | 0:13:36 | |
"Oh, seriously?" | 0:13:36 | 0:13:38 | |
Yes, indeed. They sacked their cox and got a lad in to do his job. | 0:13:38 | 0:13:42 | |
And now for something that's not quite the full shilling. | 0:13:42 | 0:13:46 | |
So, I have got three bottles of wine. | 0:13:46 | 0:13:49 | |
I've got a very nicely aged Chateau Brandreth. | 0:13:49 | 0:13:53 | |
-Ooh! How lovely. -I'll pass that to you down there. | 0:13:53 | 0:13:55 | |
I've got a - this is rather lovely - Jimicar Valley White. | 0:13:55 | 0:13:58 | |
Fruity and fresh. I'll just pass that. | 0:13:58 | 0:14:00 | |
Very excellent with cheese. | 0:14:00 | 0:14:02 | |
And this one... | 0:14:02 | 0:14:04 | |
What are you saying about Jimmy's material? | 0:14:04 | 0:14:06 | |
Cheesy and fruity? Oh, fair enough. | 0:14:06 | 0:14:08 | |
This one goes down very well, I hear. | 0:14:08 | 0:14:11 | |
It's a 1966 Alan Davies Piteous Whine. | 0:14:11 | 0:14:15 | |
There we go. So, Victoria, you know nothing about these wines. | 0:14:15 | 0:14:19 | |
Let us imagine that you care for all wines | 0:14:19 | 0:14:21 | |
-in a rather similar manner. -Mm-hmm. | 0:14:21 | 0:14:22 | |
-I can make that leap of the imagination. -Thank you very much. | 0:14:22 | 0:14:25 | |
Which one would you purchase, based on the price? | 0:14:25 | 0:14:28 | |
On those prices, I mean, all of them. I'd still get change... | 0:14:28 | 0:14:31 | |
People who have wine stoppers - what's the point of that? | 0:14:33 | 0:14:36 | |
-What are they for? -Indeed, what are they for? | 0:14:36 | 0:14:40 | |
APPLAUSE | 0:14:40 | 0:14:42 | |
-If you mean genuinely, what would I do? -Yes, genuinely. | 0:14:44 | 0:14:47 | |
I'm not a wine snob. If I didn't know anything about them, | 0:14:47 | 0:14:49 | |
I'd buy the cheapest one. | 0:14:49 | 0:14:50 | |
Would you buy the one that's £5.50? | 0:14:50 | 0:14:51 | |
Yeah, why not? I don't know what the extra 50p will get me. | 0:14:51 | 0:14:54 | |
I was told by somebody who knows about wine that you should | 0:14:54 | 0:14:56 | |
consider the duty on the wine. | 0:14:56 | 0:14:58 | |
-Oh, right. -So if a bottle... | 0:14:58 | 0:15:00 | |
If the duty says £4 on a bottle and the bottle is £5, | 0:15:00 | 0:15:04 | |
-you're really paying for a £1 bottle of wine. -Wow. | 0:15:04 | 0:15:07 | |
But if it's £6, you're paying for a £2 bottle of wine, | 0:15:07 | 0:15:09 | |
-so it's therefore twice as good. -Ooh. | 0:15:09 | 0:15:11 | |
-So, even though it's only £1 more... -Ah. | 0:15:11 | 0:15:13 | |
-And I have followed that advice ever since. -Was that man...? | 0:15:13 | 0:15:16 | |
So, this guy buying a £1 bottle of wine, | 0:15:16 | 0:15:18 | |
was he outside a shop at the time? Was he? | 0:15:18 | 0:15:21 | |
Was he in the park drinking, perchance? | 0:15:21 | 0:15:23 | |
He was... He was already drunk. | 0:15:23 | 0:15:26 | |
Anybody else? Anybody? What would you go for, Jimmy? | 0:15:26 | 0:15:28 | |
Second-cheapest, always. | 0:15:28 | 0:15:29 | |
Right, so you'd go for the 5.99? | 0:15:29 | 0:15:31 | |
Well, yeah. Well, you know... | 0:15:31 | 0:15:33 | |
In restaurants, people never choose the cheapest one, | 0:15:33 | 0:15:35 | |
and they don't feel they can afford the most expensive | 0:15:35 | 0:15:37 | |
because that's usually about £600, | 0:15:37 | 0:15:39 | |
so they go for the one above the cheapest, | 0:15:39 | 0:15:41 | |
-which would be the 5.99. -Except, except... | 0:15:41 | 0:15:43 | |
And then once you've had one bottle, just get the house. | 0:15:43 | 0:15:45 | |
But also, is there not...? | 0:15:45 | 0:15:46 | |
If there's only a penny difference, you see, | 0:15:46 | 0:15:48 | |
is there not a psychological advantage there? | 0:15:48 | 0:15:50 | |
It is, this is the thing. It's called psychological pricing, | 0:15:50 | 0:15:52 | |
and most... It's also known as charm pricing or magical pricing, | 0:15:52 | 0:15:55 | |
pretty pricing. | 0:15:55 | 0:15:57 | |
Most people would go for the 5.99... | 0:15:57 | 0:15:59 | |
They wouldn't be so cheap, Victoria. | 0:15:59 | 0:16:01 | |
They'd go for the 5.99, and there seems to be a subconscious thing | 0:16:01 | 0:16:05 | |
that we prefer precise prices to round ones. | 0:16:05 | 0:16:07 | |
That seems to be a thing. | 0:16:07 | 0:16:09 | |
And also, it's called a left-digit anchor effect, | 0:16:09 | 0:16:11 | |
so the 5.99, it's still in the £5 bracket, | 0:16:11 | 0:16:14 | |
it's not quite in the £6 bracket, | 0:16:14 | 0:16:15 | |
and therefore, we seem more likely... | 0:16:15 | 0:16:17 | |
-Are we still falling for this, people? -I know! | 0:16:17 | 0:16:19 | |
Isn't there a theory on this, | 0:16:19 | 0:16:20 | |
that it started because they wanted to make sure | 0:16:20 | 0:16:22 | |
that they weren't being ripped off by their vendors? | 0:16:22 | 0:16:24 | |
If you've got to give them a penny change, | 0:16:24 | 0:16:26 | |
it has to go through the till. | 0:16:26 | 0:16:28 | |
Yes, there was a theory about that, | 0:16:28 | 0:16:29 | |
but there are experiments that suggest | 0:16:29 | 0:16:31 | |
that you do better to price products at £5.99 than at £5.50, | 0:16:31 | 0:16:34 | |
because the 99 feels like a reduction. | 0:16:34 | 0:16:36 | |
It is odd that £6.01 sounds a lot more than £5.99. | 0:16:36 | 0:16:41 | |
-It sounds about 40 quid more. -Yes, it does, doesn't it? | 0:16:41 | 0:16:44 | |
Also, what a bore to have 99p in change. | 0:16:44 | 0:16:46 | |
That's the reason for not doing it. | 0:16:46 | 0:16:48 | |
Well, the Official Monster Raving Loony Party in this country | 0:16:48 | 0:16:51 | |
has proposed creation of a 99p coin to save change. | 0:16:51 | 0:16:54 | |
APPLAUSE | 0:16:54 | 0:16:56 | |
It's a very good idea. | 0:16:59 | 0:17:01 | |
Is this genuinely wine, or have they filled the bottle with water? | 0:17:02 | 0:17:05 | |
I haven't opened it to check. Why don't you unscrew it and see? | 0:17:05 | 0:17:08 | |
-This is wine. -This is wine. | 0:17:08 | 0:17:10 | |
It's Beaujolais. Have we got any glasses? | 0:17:10 | 0:17:13 | |
APPLAUSE | 0:17:13 | 0:17:14 | |
Do you think you've overpaid for that, or was that all right? | 0:17:19 | 0:17:21 | |
-No, I think that's all right. -That's not too shabby? | 0:17:21 | 0:17:23 | |
I think I've done well with the cheapest one. | 0:17:23 | 0:17:25 | |
I think in restaurants you should always order the house wine | 0:17:25 | 0:17:27 | |
because if they should... | 0:17:27 | 0:17:29 | |
LAUGHTER AND APPLAUSE | 0:17:29 | 0:17:32 | |
Oh, do you know what? Not terrible! | 0:17:32 | 0:17:34 | |
No, and weirdly, the next subject that I've got coming up | 0:17:34 | 0:17:37 | |
is the bacteria in people's mouths. | 0:17:37 | 0:17:39 | |
-You should always order the house wine... -Why's that? | 0:17:44 | 0:17:46 | |
..cos a restaurant ought to stand by its house wine. | 0:17:46 | 0:17:48 | |
If the house wine is not good then the food is not going to be good. | 0:17:48 | 0:17:51 | |
And, also, they buy so much of it they can get it at a better price. | 0:17:51 | 0:17:53 | |
Yes, so that is... | 0:17:53 | 0:17:54 | |
So, buy the house wine at 99 rather than... | 0:17:54 | 0:17:57 | |
Well, it depends on how expensive it is. | 0:17:57 | 0:17:59 | |
So a prestige good, a luxury good like, say, for example, | 0:17:59 | 0:18:01 | |
do you like handbags? Do you like luxury handbags? | 0:18:01 | 0:18:03 | |
-Of course, yes. -No. -No? | 0:18:03 | 0:18:05 | |
People are more likely to pay £900 for a luxury handbag | 0:18:05 | 0:18:08 | |
-than £899.99... -Oh, yes. | 0:18:08 | 0:18:10 | |
..cos you don't want it to be affordable, that's not the point. | 0:18:10 | 0:18:12 | |
-I genuinely... I don't understand about handbags. -OK. | 0:18:12 | 0:18:15 | |
And I'm... | 0:18:15 | 0:18:16 | |
I'm not really a proper girl, as I try to... | 0:18:16 | 0:18:19 | |
-GYLES: -Oh. | 0:18:19 | 0:18:20 | |
And Jimmy's fine with that. | 0:18:22 | 0:18:25 | |
A handbag is essential. | 0:18:25 | 0:18:27 | |
Do you carry a man-bag? | 0:18:27 | 0:18:28 | |
I don't carry a man-bag, but I discovered a handbag was essential | 0:18:28 | 0:18:30 | |
when I wrote a book about the Queen, | 0:18:30 | 0:18:33 | |
-and the Queen always has a handbag, one over her arm. -Mmm. | 0:18:33 | 0:18:36 | |
And when she moves her handbag from one wrist to the other wrist, | 0:18:36 | 0:18:42 | |
that is the cue for the equerry-in-waiting to move you on. | 0:18:42 | 0:18:46 | |
Oh. | 0:18:46 | 0:18:47 | |
-So, when you are next, Sandi, chatting with Her Majesty... -Yes. | 0:18:47 | 0:18:50 | |
..and thinking it's going rather well, | 0:18:50 | 0:18:52 | |
doing some of your amusing Danish stuff, erm... | 0:18:52 | 0:18:54 | |
LAUGHTER | 0:18:54 | 0:18:57 | |
Not tactful but... | 0:18:57 | 0:18:58 | |
-She can't get enough of it. -She can't. | 0:18:58 | 0:19:00 | |
She can't - her husband is a Dane. She loves all that. | 0:19:00 | 0:19:02 | |
She loves the Nordics. | 0:19:02 | 0:19:03 | |
-She loves all that. -Philip? | 0:19:03 | 0:19:05 | |
-Yeah. -I think he's Greek. | 0:19:05 | 0:19:06 | |
Oh, no, no. Oh, no, that's just a cover. | 0:19:06 | 0:19:09 | |
OK. LAUGHTER | 0:19:09 | 0:19:12 | |
-He's quite mad, you know. -No! | 0:19:12 | 0:19:14 | |
I had lunch with Her Majesty and she appeared to have nothing but | 0:19:14 | 0:19:16 | |
-dog biscuits in the bag. -Yeah, well... | 0:19:16 | 0:19:19 | |
But, anyway, that is the trick. | 0:19:19 | 0:19:20 | |
So, just watch out when she moves the bag from one wrist to | 0:19:20 | 0:19:23 | |
the other, you know it's your time to step away. | 0:19:23 | 0:19:26 | |
-Move along. -Move along. | 0:19:26 | 0:19:28 | |
Erm, in The Meaning Of Liff, which is a fabulous book, | 0:19:28 | 0:19:30 | |
a Kibblesworth, which is a village in Tyne and Wear, | 0:19:30 | 0:19:33 | |
is defined as "the footling amount of money | 0:19:33 | 0:19:35 | |
"by which a price is less than a sensible number", | 0:19:35 | 0:19:37 | |
which I like. | 0:19:37 | 0:19:39 | |
Shall we put the bottles away? Do you want to give me...? | 0:19:39 | 0:19:42 | |
-Give me yours! -I AM putting it away! | 0:19:42 | 0:19:43 | |
No, give me yours, sweetheart. APPLAUSE | 0:19:43 | 0:19:46 | |
I'll keep it safe. | 0:19:49 | 0:19:51 | |
So, I got 99 problems, but the pence ain't one. | 0:19:51 | 0:19:54 | |
Now. Just... That's for the younger people. | 0:19:54 | 0:19:57 | |
Here is a not-unknotty poser for you to consider. | 0:19:59 | 0:20:03 | |
What's a really unfortunate name to have on the internet? | 0:20:03 | 0:20:06 | |
I was thinking of that one of, like, there's a... | 0:20:06 | 0:20:09 | |
There's a Pen Island that has a website. | 0:20:09 | 0:20:11 | |
Oh! Yes! | 0:20:11 | 0:20:13 | |
-Is that right? -Which doesn't look great. | 0:20:13 | 0:20:15 | |
-No. -What? -Pen Island. | 0:20:15 | 0:20:17 | |
Oh, Pen Island! OK. | 0:20:17 | 0:20:19 | |
There's actually a company that I've worked for | 0:20:20 | 0:20:22 | |
called Bound And Gagged Comedy, | 0:20:22 | 0:20:24 | |
and if you type in "bound and gagged" - ooh! | 0:20:24 | 0:20:28 | |
I found that once. I googled "big carthorse" - and, my word! | 0:20:28 | 0:20:33 | |
That could take your eye out. | 0:20:33 | 0:20:35 | |
Sorry - for what legitimate reason were you googling "big carthorse"? | 0:20:35 | 0:20:40 | |
I get lonely. | 0:20:41 | 0:20:43 | |
Anyway, there are all sorts of names that don't work. | 0:20:46 | 0:20:48 | |
There's a man called Christopher Null, who is from Texas, | 0:20:48 | 0:20:51 | |
and he finds that computers regularly reject anything, | 0:20:51 | 0:20:54 | |
because "null", in lots of programming languages, | 0:20:54 | 0:20:57 | |
basically means "this space is intentionally left blank". | 0:20:57 | 0:21:00 | |
Now, here is the good thing - | 0:21:00 | 0:21:01 | |
Mr Null is a prominent tech journalist, | 0:21:01 | 0:21:04 | |
as I think you can tell by his thrusting photograph, | 0:21:04 | 0:21:07 | |
and the easiest thing, apparently, | 0:21:07 | 0:21:09 | |
is to put a full stop after the name, is the best way. | 0:21:09 | 0:21:11 | |
There are all sorts of names like that - | 0:21:11 | 0:21:13 | |
computers go, "Well, I don't know." | 0:21:13 | 0:21:15 | |
Oh, I see. As in null and void? | 0:21:15 | 0:21:16 | |
-Yes. -So you type in "null" and nothing appears? | 0:21:16 | 0:21:18 | |
-Yes... -He's the Invisible Man! That's what he looks like. | 0:21:18 | 0:21:20 | |
Yes, that is indeed what he looks like. | 0:21:20 | 0:21:22 | |
But he's not on his own, there've been hundreds of people in China | 0:21:22 | 0:21:25 | |
who've had to change their names | 0:21:25 | 0:21:26 | |
because the computer codes don't exist | 0:21:26 | 0:21:28 | |
and they don't have the Chinese sign for it. | 0:21:28 | 0:21:29 | |
And therefore they don't exist so they've had to change their name, | 0:21:29 | 0:21:32 | |
otherwise they can't apply for a driving licence, or whatever. | 0:21:32 | 0:21:35 | |
-And what are these people called? -I don't know the names of all of them, | 0:21:35 | 0:21:38 | |
because there are several hundred of them. | 0:21:38 | 0:21:40 | |
-There are a lot of Chinese people, that is a matter of fact. -Yeah. | 0:21:40 | 0:21:42 | |
There was a British feminist called Margaret Sandra and, in 1979, | 0:21:42 | 0:21:46 | |
she dropped her surname because she got very irritated. | 0:21:46 | 0:21:49 | |
She went to buy a tumble dryer and she wasn't allowed to buy it | 0:21:49 | 0:21:51 | |
unless her husband signed the form. | 0:21:51 | 0:21:54 | |
-Ah! -So she became enraged, and she doesn't have a surname. | 0:21:54 | 0:21:56 | |
But the result is, if you don't... | 0:21:56 | 0:21:58 | |
-Wet clothes. -Yes. | 0:21:58 | 0:22:00 | |
If you don't have a surname on a computer, | 0:22:00 | 0:22:02 | |
you can't easily claim benefits | 0:22:02 | 0:22:03 | |
or you can't book online or you can't... | 0:22:03 | 0:22:05 | |
There's all sorts of things you can't do. | 0:22:05 | 0:22:07 | |
So what does...? Poor Bono and Cher, it must be all kinds of... | 0:22:07 | 0:22:10 | |
-Must be hell. -The poor things. | 0:22:10 | 0:22:12 | |
-Just being them, actually. -They've got no white goods at all. | 0:22:12 | 0:22:15 | |
Poor Sting can't get a driver's licence. | 0:22:15 | 0:22:18 | |
Down there at the water's edge, bashing their clothes on rocks. | 0:22:18 | 0:22:21 | |
"Why are you doing that?" "I can't get a washing machine!" | 0:22:21 | 0:22:25 | |
-This makes me feel... -The Edge is no help. | 0:22:27 | 0:22:29 | |
APPLAUSE | 0:22:33 | 0:22:35 | |
My favourite story about getting names wrong - | 0:22:37 | 0:22:39 | |
there was a British student called Adam Armstrong, | 0:22:39 | 0:22:41 | |
and he had his Ryanair seat accidentally booked | 0:22:41 | 0:22:44 | |
in the wrong name, | 0:22:44 | 0:22:45 | |
so the airline was going to charge him £220 administration fee | 0:22:45 | 0:22:48 | |
to correct this error, and he didn't want to pay the money, | 0:22:48 | 0:22:50 | |
so he changed his name by deed poll, | 0:22:50 | 0:22:53 | |
which is free, OK, | 0:22:53 | 0:22:56 | |
and he got a new passport for £103. | 0:22:56 | 0:22:58 | |
Way cheaper - instead of paying Ryanair for a clerical error, | 0:23:00 | 0:23:03 | |
change your name. | 0:23:03 | 0:23:06 | |
There's a lesson, though I have no idea what it is. | 0:23:06 | 0:23:09 | |
And now, for a total non-event - | 0:23:09 | 0:23:11 | |
who's the best person to invite to a "Don't Come" party? | 0:23:11 | 0:23:14 | |
-Oh! -Yes. -A "Don't Come" party? | 0:23:14 | 0:23:17 | |
It's an actual thing that is used now by charities... | 0:23:17 | 0:23:20 | |
-Oh, I think I know what it is then. -Yes. | 0:23:20 | 0:23:22 | |
It is where, in order to raise money, they say, | 0:23:22 | 0:23:27 | |
"If you give us £1,000, we will not hold this occasion." | 0:23:27 | 0:23:31 | |
You don't therefore need to spend money on having your hair done, | 0:23:31 | 0:23:33 | |
-buying a new frock, hiring a car... -Yeah. -..taking part in the raffle, | 0:23:33 | 0:23:37 | |
buying a balloon, getting the drugs behind the fountain... | 0:23:37 | 0:23:41 | |
None of these things need to happen. | 0:23:41 | 0:23:43 | |
It's a cheap, cheap evening. | 0:23:43 | 0:23:45 | |
Behind the fountain? | 0:23:45 | 0:23:47 | |
And, what, did this come out of people going, | 0:23:47 | 0:23:49 | |
"I would pay not to go to that event"? | 0:23:49 | 0:23:51 | |
-Yes. -Yes. So people that want to stay at home. | 0:23:51 | 0:23:53 | |
I would pay not to hear Gyles' after-dinner speech. | 0:23:53 | 0:23:56 | |
I'm not saying that. I... | 0:23:56 | 0:23:59 | |
APPLAUSE | 0:23:59 | 0:24:02 | |
And you can make the thing sound | 0:24:02 | 0:24:03 | |
as extravagant and glamorous as you like, | 0:24:03 | 0:24:05 | |
and then don't have it. | 0:24:05 | 0:24:07 | |
You say it's at a fantastically expensive hotel | 0:24:07 | 0:24:09 | |
and there's going to be champagne, but don't come, | 0:24:09 | 0:24:11 | |
and then you get more money because people don't want to go anywhere. | 0:24:11 | 0:24:14 | |
-So, a "Never Event" is different. -Yes. | 0:24:14 | 0:24:16 | |
OK, and do we know what that is? | 0:24:16 | 0:24:17 | |
Is that an event that was never going to happen? | 0:24:17 | 0:24:20 | |
No. It's the official name used by hospital administrators | 0:24:20 | 0:24:23 | |
to describe errors that are wholly avoidable, | 0:24:23 | 0:24:26 | |
so should never occur. | 0:24:26 | 0:24:29 | |
Like, I should think using a meat cleaver on a patient would be... | 0:24:29 | 0:24:33 | |
Before we rush to judgment, we don't know what's the matter with him. | 0:24:33 | 0:24:36 | |
-No. -That might be necessary. | 0:24:36 | 0:24:38 | |
But, curiously, these Never Events do occur. | 0:24:38 | 0:24:41 | |
I was hosting the British Funeral Directors' awards recently... | 0:24:41 | 0:24:45 | |
We've got to get you a new agent, dude. | 0:24:48 | 0:24:50 | |
It was quite quiet, initially. | 0:24:51 | 0:24:53 | |
-I hope you opened with that. -It took place at the end of the day - | 0:24:56 | 0:24:59 | |
they'd had their trade show in the same venue, | 0:24:59 | 0:25:02 | |
and so around the edges of the room there were coffins, caskets, | 0:25:02 | 0:25:07 | |
people looking not unlike this fellow, sort of sitting up in them. | 0:25:07 | 0:25:10 | |
Were you picking a new home? | 0:25:10 | 0:25:12 | |
AUDIENCE MURMURS DISAPPROVINGLY | 0:25:12 | 0:25:14 | |
-No! It's all right. -Can I say...? -He's old and he'll be dead soon. | 0:25:17 | 0:25:20 | |
I'm sorry if I was... | 0:25:20 | 0:25:22 | |
Can I tell you something, Jimmy? | 0:25:22 | 0:25:24 | |
I don't think you realise how this is getting to me, | 0:25:24 | 0:25:27 | |
because this morning, this very morning, | 0:25:27 | 0:25:29 | |
I received a letter through the post | 0:25:29 | 0:25:31 | |
inviting me to be the new face of the Stannah stairlift. | 0:25:31 | 0:25:35 | |
-Take it! -APPLAUSE | 0:25:37 | 0:25:40 | |
The worst thing about this is... | 0:25:44 | 0:25:46 | |
..my wife said, "I think we should consider this." | 0:25:48 | 0:25:51 | |
Then - this is a true story - | 0:25:52 | 0:25:55 | |
I then phoned them up and I said, | 0:25:55 | 0:25:58 | |
"Have you thought of Nigel Havers?" | 0:25:58 | 0:26:00 | |
It turned out they had. I was about 17th on the list. | 0:26:02 | 0:26:05 | |
I'm afraid this is not the first invitation | 0:26:06 | 0:26:08 | |
of its kind I've received, | 0:26:08 | 0:26:10 | |
because I also - this is maybe how they got hold of my name - | 0:26:10 | 0:26:13 | |
I was considered for being the new figure stretched out on the floor | 0:26:13 | 0:26:19 | |
reaching for the alarm. | 0:26:19 | 0:26:21 | |
"Help, I've fallen, and I can't get up"? | 0:26:23 | 0:26:25 | |
That one. But June Whitfield has got that gig at the moment. | 0:26:25 | 0:26:28 | |
But I have had this brilliant idea, | 0:26:30 | 0:26:32 | |
which I've now begun to discuss with them, | 0:26:32 | 0:26:34 | |
because my problem is that I go upstairs | 0:26:34 | 0:26:35 | |
and can't remember why I've gone upstairs. | 0:26:35 | 0:26:37 | |
-Yes. -So my idea is this - | 0:26:37 | 0:26:40 | |
I attach to the arm of the stairlift | 0:26:40 | 0:26:43 | |
an old-fashioned tape recorder, | 0:26:43 | 0:26:45 | |
I sit in the chair, I press the two buttons, | 0:26:45 | 0:26:47 | |
I tell myself why I am going upstairs. | 0:26:47 | 0:26:51 | |
-And I go up. -APPLAUSE | 0:26:51 | 0:26:54 | |
It's like the worst Beckett play ever. | 0:27:01 | 0:27:04 | |
And the tape, years later it will be handed down the generations | 0:27:05 | 0:27:09 | |
with all the reasons why Uncle Gyles went up the stairs for ten years. | 0:27:09 | 0:27:15 | |
"For a shit." | 0:27:15 | 0:27:17 | |
Never Events you may not wish to attend | 0:27:24 | 0:27:26 | |
include Gyles Brandreth addressing funeral directors. | 0:27:26 | 0:27:30 | |
These are both improbable pictures of George I, | 0:27:30 | 0:27:33 | |
so what on earth happened here? | 0:27:33 | 0:27:36 | |
Oh, he had his wig made into a moustache. | 0:27:36 | 0:27:38 | |
I can give you a clue - they're separate "George I"s. | 0:27:41 | 0:27:44 | |
The one on the left is Matt Lucas. | 0:27:44 | 0:27:46 | |
I'm pretty sure that's Matt Lucas. | 0:27:46 | 0:27:48 | |
I do think they all look like Samuel Pepys - everyone in a wig like that. | 0:27:48 | 0:27:51 | |
-Yes, those wigs, there, there's a thing. -Yeah. | 0:27:51 | 0:27:53 | |
Well, I can tell you, George I of Britain on the left. | 0:27:53 | 0:27:55 | |
Yes, cos he's dressed up like... He was German, of course. | 0:27:55 | 0:27:57 | |
He was German. | 0:27:57 | 0:27:59 | |
In fact, he only spoke German when he first became king. | 0:27:59 | 0:28:01 | |
GYLES SPEAKS GERMAN | 0:28:01 | 0:28:03 | |
You don't have to do it in German. It's perfectly fine to... | 0:28:03 | 0:28:06 | |
How did he become king? | 0:28:06 | 0:28:07 | |
Well, that is the extraordinary thing, | 0:28:07 | 0:28:09 | |
because there were 51 candidates to become the next king. | 0:28:09 | 0:28:12 | |
Why did they choose George? | 0:28:12 | 0:28:13 | |
All of them were ahead of him - were closer in line to the throne. | 0:28:13 | 0:28:16 | |
Because we like a German. | 0:28:16 | 0:28:18 | |
Because the others were all Catholics. | 0:28:18 | 0:28:19 | |
Ah, of course. | 0:28:19 | 0:28:21 | |
He was the only Protestant, | 0:28:21 | 0:28:22 | |
and the Act was designed to ensure that Protestants came to the throne. | 0:28:22 | 0:28:25 | |
-The Act of Settlement? -Yeah. | 0:28:25 | 0:28:27 | |
It must have been like an upset on the X Factor, | 0:28:27 | 0:28:29 | |
-when the outsider comes in. -Yes, yes, it was exactly like that. | 0:28:29 | 0:28:32 | |
Start kicking Catholics off the X Factor, | 0:28:32 | 0:28:34 | |
that'll stir up the ratings. | 0:28:34 | 0:28:35 | |
Arbitrarily. | 0:28:37 | 0:28:39 | |
-We've got it back to the old rules. -Yes. | 0:28:39 | 0:28:42 | |
So, the other George I, | 0:28:42 | 0:28:43 | |
also another king who took office against the odds, he's my random... | 0:28:43 | 0:28:46 | |
-Is he your...? Is he going to be Danish? -He is, he's a randy Scandi. | 0:28:46 | 0:28:49 | |
-He is a randy Scandi. -Yes, yes! | 0:28:49 | 0:28:51 | |
He was Prince William of Denmark, and he became King of Greece in... | 0:28:51 | 0:28:54 | |
Yup. That's... Excuse me! | 0:28:54 | 0:28:55 | |
Yes? | 0:28:55 | 0:28:57 | |
-He's alive! -Almost... | 0:28:58 | 0:29:01 | |
You may recall that I mentioned earlier - | 0:29:01 | 0:29:03 | |
and there was, sort of, ribald laughter - | 0:29:03 | 0:29:05 | |
-that the Duke of Edinburgh was Danish. -Yes. | 0:29:05 | 0:29:07 | |
The Duke of Edinburgh is Danish | 0:29:07 | 0:29:08 | |
because he is a direct descendant of this man. | 0:29:08 | 0:29:10 | |
-OK, fair enough. -And... | 0:29:10 | 0:29:12 | |
So, surprisingly, at the end of the Greek War of Independence, | 0:29:12 | 0:29:14 | |
so 1829... | 0:29:14 | 0:29:15 | |
LAUGHTER | 0:29:15 | 0:29:18 | |
..Greece was in chaos. Who can imagine such a thing? | 0:29:18 | 0:29:20 | |
-Greece in chaos?! -I know. It was the most extraordinary thing. | 0:29:20 | 0:29:23 | |
-What now with the who, how? -I know. | 0:29:23 | 0:29:25 | |
They had this guy called King Otto, and he was hopeless, | 0:29:25 | 0:29:27 | |
and they didn't like him, so he was overthrown | 0:29:27 | 0:29:29 | |
and they had a referendum to decide his successor. | 0:29:29 | 0:29:32 | |
And there was Prince William of Denmark | 0:29:32 | 0:29:34 | |
and Prince Alfred, who was the second son of Queen Victoria. | 0:29:34 | 0:29:37 | |
There were 240,000 votes counted and Prince William got six, OK? | 0:29:37 | 0:29:42 | |
The Greeks voted 95% of them that they wanted | 0:29:42 | 0:29:45 | |
the British Prince, Prince Alfred. | 0:29:45 | 0:29:47 | |
How touching. | 0:29:47 | 0:29:48 | |
But there was a treaty that banned British royals from | 0:29:48 | 0:29:50 | |
taking the Greek throne, so Prince William got it. | 0:29:50 | 0:29:53 | |
He got it. | 0:29:53 | 0:29:54 | |
-With six votes?! -With six votes, yes. | 0:29:54 | 0:29:56 | |
Oh... | 0:29:56 | 0:29:57 | |
That's democracy and royalty working together. | 0:29:57 | 0:30:01 | |
They did try a lot of other royals as well, | 0:30:01 | 0:30:02 | |
before they came down to these final two to put in the mix. | 0:30:02 | 0:30:05 | |
They did, and what I like is there were 93 votes in the referendum | 0:30:05 | 0:30:08 | |
for a republic and one to bring back King Otto. | 0:30:08 | 0:30:10 | |
I mean, we have no idea who that was. | 0:30:10 | 0:30:11 | |
-And they took it... -I think it might have been Otto. | 0:30:11 | 0:30:15 | |
Otto's loyal butler. | 0:30:15 | 0:30:18 | |
So, anyway, your chances of ascending the throne may be | 0:30:18 | 0:30:21 | |
better than you thought, | 0:30:21 | 0:30:22 | |
and here's another coronation that was not without its controversies. | 0:30:22 | 0:30:25 | |
Have a careful look at this and tell me what's not all right. | 0:30:25 | 0:30:28 | |
First of all, do we know which coronation it is? | 0:30:28 | 0:30:31 | |
-It's Queen Victoria. -So, does anybody know what went wrong? | 0:30:31 | 0:30:34 | |
They crowned the wrong woman. | 0:30:34 | 0:30:37 | |
A lady called Karen was crowned. She ruled for 80 years. | 0:30:37 | 0:30:40 | |
In a way, it's almost what happened. It's five hours, it was. | 0:30:40 | 0:30:42 | |
First of all, the Archbishop of Canterbury | 0:30:42 | 0:30:44 | |
forced the coronation ring onto the wrong finger - | 0:30:44 | 0:30:46 | |
caused her severe pain, | 0:30:46 | 0:30:48 | |
and they couldn't get it off afterwards. | 0:30:48 | 0:30:50 | |
And three years later, | 0:30:50 | 0:30:51 | |
he did exactly the same thing at her wedding. | 0:30:51 | 0:30:53 | |
He was just not ring-savvy, the Archbishop of Canterbury. | 0:30:53 | 0:30:56 | |
Then the Bishop of Bath and Wells | 0:30:56 | 0:30:57 | |
accidentally turned over two pages in the service book, | 0:30:57 | 0:31:00 | |
and he cut out the whole section where they made her Queen. | 0:31:00 | 0:31:03 | |
What do you mean, "the whole section"? | 0:31:05 | 0:31:07 | |
That's surely the whole coronation, isn't it? | 0:31:07 | 0:31:09 | |
But the coronation was invalid, | 0:31:09 | 0:31:11 | |
and in fact she had left the Abbey before they realised | 0:31:11 | 0:31:14 | |
and she had to come back and do it again. | 0:31:14 | 0:31:16 | |
I love that, they had to do a retake. | 0:31:16 | 0:31:18 | |
And then, as the Lords were being presented to her, | 0:31:18 | 0:31:21 | |
the elderly, rather aptly named Lord Rolle, became globally famous | 0:31:21 | 0:31:25 | |
for tripping over on the steps leading to the throne | 0:31:25 | 0:31:28 | |
and rolling all the way down. | 0:31:28 | 0:31:29 | |
Apparently she didn't endear herself to the public until that moment, | 0:31:30 | 0:31:34 | |
and when Lord Rolle fell down the stairs | 0:31:34 | 0:31:36 | |
she got up and tried to help him, | 0:31:36 | 0:31:37 | |
and after that they thought, "Oh, she's..." | 0:31:37 | 0:31:39 | |
-Because she was very young, wasn't she? -Yeah, she was a teenager. | 0:31:39 | 0:31:42 | |
I mean, it must have been an unbelievable thing. | 0:31:42 | 0:31:44 | |
Now, here's a substance you may be not unfamiliar with, | 0:31:44 | 0:31:47 | |
even if you don't think you're not. | 0:31:47 | 0:31:51 | |
What might you use Nobel's... | 0:31:51 | 0:31:52 | |
This whole episode's giving me a headache. | 0:31:52 | 0:31:55 | |
What might you use Nobel's Safety Powder for? | 0:31:55 | 0:31:58 | |
JIMMY BUZZES Yes? | 0:31:58 | 0:32:00 | |
Is that not the original name for dynamite? | 0:32:00 | 0:32:03 | |
It is. Absolutely right. It's the original name for dynamite. | 0:32:03 | 0:32:05 | |
-You're absolutely right. -That's the... That's the... Yeah. | 0:32:05 | 0:32:09 | |
He was the one that made it kind of safe. | 0:32:09 | 0:32:11 | |
Well, it was safer than the alternative explosives, | 0:32:11 | 0:32:14 | |
and in the end he called it dynamite, | 0:32:14 | 0:32:15 | |
which is from the ancient Greek for "power", | 0:32:15 | 0:32:17 | |
but dynamite is less likely to blow up while you're handling it. | 0:32:17 | 0:32:20 | |
Why did he want to blow up pretty Japanese girls? | 0:32:20 | 0:32:23 | |
Sorry? | 0:32:23 | 0:32:25 | |
We've just seen the photograph - I mean, the picture. | 0:32:25 | 0:32:27 | |
-Let's go back. Let's go back and have a look. -Yeah. | 0:32:27 | 0:32:29 | |
Is that not a geisha of some kind? | 0:32:29 | 0:32:31 | |
I'm going to guess that that's a mock-up for amusement purposes. | 0:32:31 | 0:32:34 | |
-Oh, for today. -Yes. -Oh, it's not the original advertisement. | 0:32:34 | 0:32:37 | |
No, I don't think suggesting... LAUGHTER | 0:32:37 | 0:32:39 | |
Well, the idea that someone would be, you know, | 0:32:39 | 0:32:41 | |
flicking through What Quarry magazine, going, | 0:32:41 | 0:32:45 | |
"This stuff looks... This looks pretty good." | 0:32:45 | 0:32:48 | |
-"I'll get some of that." -Oh, that's a bit disappointing. | 0:32:48 | 0:32:50 | |
You'd have to have serious cellulite to want to | 0:32:50 | 0:32:52 | |
put dynamite to it, I'd think. | 0:32:52 | 0:32:54 | |
There was no Botox. Yes. | 0:32:54 | 0:32:55 | |
-That'd be quite a thing. -Some people will do anything. | 0:32:55 | 0:32:57 | |
-They sell embalming fluid as a beauty cream. -Do they? | 0:32:57 | 0:32:59 | |
-GYLES: -I know that, actually. | 0:32:59 | 0:33:00 | |
Well, yeah, from your friends in the funeral business. | 0:33:00 | 0:33:04 | |
I was wondering what was keeping you looking so fresh. | 0:33:04 | 0:33:07 | |
-He's got a bucket of it. -Yeah. | 0:33:07 | 0:33:09 | |
So he went on and called it dynamite, | 0:33:13 | 0:33:15 | |
and then he made the even safer "blasting gelatine", | 0:33:15 | 0:33:17 | |
which is an explosive jelly which is known as gelignite. | 0:33:17 | 0:33:20 | |
Well, isn't there the thing on him where he... | 0:33:20 | 0:33:22 | |
-there was a false obituary or a premature obituary of his? -Yeah. | 0:33:22 | 0:33:26 | |
That had basically said, this guy was, you know, | 0:33:26 | 0:33:28 | |
he'd profited from death and then he set up the Peace Prize. | 0:33:28 | 0:33:31 | |
So they say. Nobody can find such an obituary, so it may be | 0:33:31 | 0:33:34 | |
one of those things, those stories that we tell... | 0:33:34 | 0:33:36 | |
It'd be in an old paper. Who can be bothered to look? | 0:33:36 | 0:33:38 | |
But there's quite a lot of stories like that about him. | 0:33:38 | 0:33:41 | |
There's a story that there's no Nobel Maths Prize, | 0:33:41 | 0:33:43 | |
in order to punish all mathematicians, | 0:33:43 | 0:33:45 | |
because one of them had eloped with his wife. | 0:33:45 | 0:33:47 | |
It's not true because... | 0:33:47 | 0:33:49 | |
He wasn't married. | 0:33:49 | 0:33:50 | |
He never got married. | 0:33:50 | 0:33:51 | |
He had lots of long-term romantic relationships | 0:33:51 | 0:33:53 | |
but nobody left him for a mathematician. It isn't true. | 0:33:53 | 0:33:56 | |
There's no Nobel Prize for Maths | 0:33:56 | 0:33:57 | |
because there wasn't any reason why there should be one. | 0:33:57 | 0:34:00 | |
There's no Nobel Prize for PE, or... | 0:34:00 | 0:34:03 | |
Biology or Geography. | 0:34:03 | 0:34:05 | |
There isn't even, actually, a Nobel for Economics. | 0:34:05 | 0:34:07 | |
The Economics Nobel isn't a Nobel Prize. | 0:34:07 | 0:34:09 | |
It's the Swedish bank, the Riksbank, | 0:34:09 | 0:34:12 | |
they give it in memory of Alfred Nobel, | 0:34:12 | 0:34:14 | |
and it's given at the same ceremony. | 0:34:14 | 0:34:15 | |
Is that a double negative and it is a Nobel Prize? | 0:34:15 | 0:34:18 | |
It isn't, because it's in memory of him, | 0:34:18 | 0:34:21 | |
-rather than it was one of the ones which he founded. -Right. | 0:34:21 | 0:34:23 | |
Can I say? The way you share this information with us, | 0:34:23 | 0:34:25 | |
I love hearing you just giving us facts. | 0:34:25 | 0:34:28 | |
There's a kind of erotic charge in the room. | 0:34:28 | 0:34:30 | |
LAUGHTER | 0:34:30 | 0:34:32 | |
I knew one day I'd turn - I never thought it'd be you, Gyles. | 0:34:32 | 0:34:35 | |
-LAUGHTER AND APPLAUSE -OK, who's... | 0:34:35 | 0:34:38 | |
I think it's just nice for you to | 0:34:38 | 0:34:41 | |
be in a room that isn't full of coffins, isn't it? | 0:34:41 | 0:34:43 | |
-GYLES: -Yeah, yeah! | 0:34:43 | 0:34:45 | |
-Less funereal. -Yes! | 0:34:45 | 0:34:47 | |
But soon, Gyles. Soon. | 0:34:47 | 0:34:48 | |
At which point, we turn our attention-deficit | 0:34:50 | 0:34:53 | |
to that slush fund of negative knowledge - | 0:34:53 | 0:34:55 | |
the General Ignorance round. | 0:34:55 | 0:34:57 | |
Fingers not unadjacent to buzzers, if you please. | 0:34:57 | 0:35:00 | |
Name some common Egyptian characters. | 0:35:00 | 0:35:03 | |
-Yes? -The Eye of Horus. | 0:35:06 | 0:35:09 | |
KLAXON | 0:35:09 | 0:35:11 | |
What are the chances? | 0:35:12 | 0:35:14 | |
I want to know why the Eye of Horus isn't a common Egyptian character. | 0:35:14 | 0:35:17 | |
Because it's a hieroglyph, | 0:35:17 | 0:35:19 | |
and hieroglyphs were only used for special occasions. | 0:35:19 | 0:35:22 | |
-GYLES: -Ah. -So they were not common, in fact. | 0:35:22 | 0:35:24 | |
Well, I think you'll find | 0:35:24 | 0:35:25 | |
that there were many special occasions in Egyptian life. | 0:35:25 | 0:35:28 | |
Yes, obviously. The thing is, | 0:35:28 | 0:35:29 | |
the normal everyday form of writing in Egyptian was hieratic. | 0:35:29 | 0:35:32 | |
So it's a simplified version. | 0:35:32 | 0:35:33 | |
It's a much more cursive version - there it is. | 0:35:33 | 0:35:35 | |
That's a rarefied klaxon. | 0:35:35 | 0:35:37 | |
I think, frankly, Victoria, they've set you up there. | 0:35:37 | 0:35:42 | |
It can only be described as a trap. | 0:35:42 | 0:35:44 | |
You have them on Only Connect, do you not, hieroglyphs? | 0:35:44 | 0:35:47 | |
-Yeah, we do. -Yes. -In our first series, it was Greek letters, | 0:35:47 | 0:35:51 | |
and people wrote in and said, | 0:35:51 | 0:35:53 | |
"We like the show, but we find that pretentious." | 0:35:53 | 0:35:55 | |
So we began series three with an apology, saying, | 0:35:55 | 0:35:57 | |
"We'd like to say sorry to anyone that's been enjoying the show, | 0:35:57 | 0:36:00 | |
"but found the Greek letters a bit pretentious. We've listened, | 0:36:00 | 0:36:02 | |
"it's your BBC, you've reached out, we've heard you. | 0:36:02 | 0:36:05 | |
"Please choose your Egyptian hieroglyph." | 0:36:05 | 0:36:08 | |
Well, they're for special occasions, you see. | 0:36:10 | 0:36:12 | |
The thing is, they can have multiple meanings. | 0:36:12 | 0:36:14 | |
So, sometimes they just represent the thing they're drawing, | 0:36:14 | 0:36:17 | |
so it could be a saw of some kind, it could be a tool, | 0:36:17 | 0:36:19 | |
it could be something else. | 0:36:19 | 0:36:20 | |
So the nose hieroglyph, for example, means smell or joy or contempt. | 0:36:20 | 0:36:24 | |
But no vowels. Again, they're like Only Connect, you have a round, | 0:36:24 | 0:36:27 | |
-don't you, with no vowels? -We do. | 0:36:27 | 0:36:28 | |
There are no vowels in Ancient Egyptian hieroglyphs, | 0:36:28 | 0:36:30 | |
so we have no idea how it would have sounded. | 0:36:30 | 0:36:32 | |
So, King Ramses could be King Rameesees. We don't know. | 0:36:32 | 0:36:34 | |
But that's impossible because, you know... | 0:36:34 | 0:36:36 | |
Well, maybe I suppose you can manage without vowels, | 0:36:36 | 0:36:39 | |
-because when it comes to diction, vowels for volume... -Right. | 0:36:39 | 0:36:42 | |
..consonants for clarity. | 0:36:42 | 0:36:44 | |
As in the exercise that is performed by actors, | 0:36:44 | 0:36:47 | |
you repeat the following: | 0:36:47 | 0:36:48 | |
"Hip bath, hip bath, | 0:36:48 | 0:36:50 | |
"lavatory, lavatory, | 0:36:50 | 0:36:52 | |
"bidet, bidet, | 0:36:52 | 0:36:54 | |
"douche!" | 0:36:54 | 0:36:55 | |
LAUGHTER AND APPLAUSE | 0:36:55 | 0:36:58 | |
Are these all things...? | 0:37:01 | 0:37:02 | |
Are these all things you're advertising? | 0:37:02 | 0:37:04 | |
APPLAUSE | 0:37:04 | 0:37:06 | |
Just tell us about your sponsorships, please. | 0:37:08 | 0:37:10 | |
Can I say? People of your generation probably don't know what a bidet is, | 0:37:10 | 0:37:13 | |
but they are all bathroom appliances of one kind or another. | 0:37:13 | 0:37:17 | |
-That you're advertising. -Hip bath, hip bath, | 0:37:17 | 0:37:19 | |
lavatory, lavatory... | 0:37:19 | 0:37:20 | |
bidet, bidet, douche! | 0:37:20 | 0:37:23 | |
-VICTORIA: -Douche! | 0:37:23 | 0:37:24 | |
-Douche! -I didn't like the way you looked at me when you said "douche". | 0:37:24 | 0:37:27 | |
Now... | 0:37:27 | 0:37:28 | |
-When this goes out in America, that means something else there. -Yeah. | 0:37:28 | 0:37:31 | |
The average ancient Egyptian wrote not in hieroglyphics but hieratics. | 0:37:31 | 0:37:35 | |
Now, what would happen if you dropped a penny | 0:37:35 | 0:37:38 | |
from the Empire State Building? | 0:37:38 | 0:37:40 | |
Oh, no, this is about killing people, isn't it? | 0:37:40 | 0:37:43 | |
-OK. -Nothing. It wouldn't kill someone if it hit them. | 0:37:43 | 0:37:47 | |
It would not kill somebody. | 0:37:47 | 0:37:49 | |
-It's too light. -It's too light, absolutely. | 0:37:49 | 0:37:52 | |
-It's like you could drop a duckling, and it would float. -A duckling? | 0:37:52 | 0:37:56 | |
It's incredibly light, and also... | 0:37:56 | 0:37:58 | |
Wouldn't a duckling fly? Oh, because a duckling can't fly yet. | 0:37:58 | 0:38:01 | |
It can't fly, but they can fall out of nests and float to the ground, | 0:38:01 | 0:38:05 | |
-and you know how I know this? -Yes? | 0:38:05 | 0:38:07 | |
Because I had a roof terrace that had a pond on it, | 0:38:07 | 0:38:10 | |
-and some ducks came and moved in... -Oh! | 0:38:10 | 0:38:13 | |
..had ducklings, and they all threw themselves off the roof. | 0:38:13 | 0:38:17 | |
-Oh! -Three storeys up. | 0:38:17 | 0:38:19 | |
-Quickly, say there's a happy ending! -And I ran down the stairs, | 0:38:19 | 0:38:22 | |
and they were all wandering about in the car park. | 0:38:22 | 0:38:25 | |
Did they get hit by a car? | 0:38:26 | 0:38:28 | |
No, somebody rounded them up and put them in a box | 0:38:28 | 0:38:30 | |
and took them back up the stairs, whereupon they did it again. | 0:38:30 | 0:38:33 | |
-Oh, no! -What was it about living with you | 0:38:33 | 0:38:35 | |
that made them want to jump off a roof? | 0:38:35 | 0:38:37 | |
That's just what they do. | 0:38:37 | 0:38:38 | |
Because they're so light, | 0:38:38 | 0:38:40 | |
they won't plummet to the ground and die - they'll float. | 0:38:40 | 0:38:42 | |
It's the same with the coins - they're fantastically lightweight, | 0:38:42 | 0:38:45 | |
and they also have too much air-resistance. | 0:38:45 | 0:38:47 | |
But if you had a whole bag of them...? | 0:38:47 | 0:38:49 | |
If you really, really wanted to kill somebody... | 0:38:52 | 0:38:55 | |
that is perfectly possible. | 0:38:55 | 0:38:57 | |
A pen would make it. That would drill a hole in your head. | 0:38:57 | 0:39:00 | |
-That is not a good thing. -Bad news. | 0:39:00 | 0:39:02 | |
But, in fact, it's an academic question, | 0:39:02 | 0:39:04 | |
because the coins mostly don't hit the ground at all. | 0:39:04 | 0:39:06 | |
What happens is the design and height of the building | 0:39:06 | 0:39:08 | |
creates so much strong updraught, | 0:39:08 | 0:39:10 | |
that the tossed coins tend to be pushed back towards the building, | 0:39:10 | 0:39:13 | |
and they land on the ledges and roofs of the lower floors, | 0:39:13 | 0:39:16 | |
where the maintenance crew say, "Thank you", | 0:39:16 | 0:39:19 | |
and collect them all up. | 0:39:19 | 0:39:22 | |
Indeed. This is not connected with the pennies, | 0:39:22 | 0:39:24 | |
but can I just tell you | 0:39:24 | 0:39:25 | |
about one of my favourite creatures in the world? | 0:39:25 | 0:39:28 | |
It's called the hero ant. | 0:39:28 | 0:39:30 | |
It's a cliff-dwelling ant in Madagascar. | 0:39:30 | 0:39:32 | |
Not a looker. Not a looker, I'll be honest. | 0:39:32 | 0:39:35 | |
It's got the most fantastic way of removing predators from the nest. | 0:39:35 | 0:39:38 | |
It grabs them and holds them and then jumps off the cliff, | 0:39:38 | 0:39:42 | |
and then when it hits the bottom it lands softly, | 0:39:42 | 0:39:45 | |
and then it lets go and climbs back up to the cave. | 0:39:45 | 0:39:48 | |
-Don't you think that's fantastic? -That's rather fantastic. | 0:39:48 | 0:39:51 | |
I mean, you probably shouldn't try it with a home intruder. | 0:39:51 | 0:39:53 | |
-No. -That's worth mentioning. But, yeah, for safety. | 0:39:53 | 0:39:56 | |
A coin dropped from the Empire State Building | 0:39:56 | 0:39:59 | |
would never reach the ground, and if it did, it wouldn't do any damage. | 0:39:59 | 0:40:02 | |
Finally, a quick health check. | 0:40:02 | 0:40:03 | |
Put your hand up if you haven't got haemorrhoids at the moment. | 0:40:03 | 0:40:06 | |
Put my hand up where? | 0:40:06 | 0:40:08 | |
KLAXON | 0:40:11 | 0:40:13 | |
Really? | 0:40:15 | 0:40:17 | |
I don't mind getting the buzzer, but when you're so gleeful... | 0:40:23 | 0:40:26 | |
Yes! So... | 0:40:26 | 0:40:27 | |
I've always got... I've had haemorrhoids for about 25 years. | 0:40:27 | 0:40:30 | |
The thing is, everybody's got them. We are born with haemorrhoids. | 0:40:30 | 0:40:33 | |
There isn't anybody who doesn't have them. | 0:40:33 | 0:40:35 | |
They're cushions, they're sort of made of veins | 0:40:35 | 0:40:37 | |
which are a normal part of the anatomy, like your eyelids or lips, | 0:40:37 | 0:40:40 | |
possibly not quite so pretty. | 0:40:40 | 0:40:42 | |
And they're there to stop the stools leaking out of your bottom. | 0:40:42 | 0:40:45 | |
They explained all this to me when I went to the audition for the job. | 0:40:45 | 0:40:49 | |
It's only when they become enlarged or inflamed | 0:40:51 | 0:40:53 | |
that they cause problems, but we have them all the time - | 0:40:53 | 0:40:55 | |
we all have haemorrhoids all the time. | 0:40:55 | 0:40:57 | |
Well, you know what? I think... Shall we go Embarrassing Bodies? | 0:40:57 | 0:41:00 | |
Will I whip one out? So we've all got them at all times? | 0:41:00 | 0:41:03 | |
We do, but there's a myth that if you sit on a cold surface | 0:41:03 | 0:41:06 | |
or, conversely, on a radiator, it causes piles, | 0:41:06 | 0:41:09 | |
and that's simply not true. | 0:41:09 | 0:41:10 | |
-And spicy food - not true. -What causes...? | 0:41:10 | 0:41:12 | |
Well, there is another old wives' tale | 0:41:12 | 0:41:14 | |
about reading on the loo, can cause them. | 0:41:14 | 0:41:16 | |
-That may be true. -What do you have to read? | 0:41:16 | 0:41:19 | |
Is it like a spell? An incantation? | 0:41:19 | 0:41:22 | |
No, it's sitting or standing for too long - strains your rectum. | 0:41:22 | 0:41:25 | |
-Yes, you mustn't push. -No. No. | 0:41:25 | 0:41:28 | |
And also, never resist the call to stool. | 0:41:28 | 0:41:31 | |
Is that another way of warming up for an actor? | 0:41:34 | 0:41:36 | |
Harry Hill told me that with his medical hat on - | 0:41:37 | 0:41:40 | |
"Oh, you must never resist the call to stool." | 0:41:40 | 0:41:42 | |
I like that. That's very good. | 0:41:42 | 0:41:43 | |
They think Napoleon may have lost the battle of Waterloo | 0:41:43 | 0:41:46 | |
because he had a terrible attack of piles | 0:41:46 | 0:41:48 | |
which made him not sleep the night before. | 0:41:48 | 0:41:49 | |
Well, they captured the moment, didn't they? | 0:41:49 | 0:41:52 | |
That is a man with piles. | 0:41:52 | 0:41:54 | |
Most definitely! | 0:41:54 | 0:41:56 | |
That's the power of Instagram for you. | 0:41:56 | 0:41:58 | |
"Your horse is ready." SHE SHUDDERS | 0:41:58 | 0:42:01 | |
And David Livingstone, | 0:42:01 | 0:42:02 | |
thought to have died on the banks of the Zambezi from burst haemorrhoids. | 0:42:02 | 0:42:06 | |
-Oh, no! -If a haemorrhoid bursts in the forest... | 0:42:06 | 0:42:09 | |
It's lovely that we're at the haemorrhoids section | 0:42:11 | 0:42:14 | |
of the show, anyway. | 0:42:14 | 0:42:15 | |
Yes, absolutely. So, let's have a look at the scores. | 0:42:15 | 0:42:19 | |
And in first place, with -1 point, it's Gyles. | 0:42:19 | 0:42:24 | |
CHEERING AND APPLAUSE | 0:42:24 | 0:42:28 | |
In second place, with -5, Alan. | 0:42:30 | 0:42:33 | |
CHEERING AND APPLAUSE | 0:42:33 | 0:42:36 | |
And in third place, with -8, Victoria. | 0:42:39 | 0:42:41 | |
CHEERING AND APPLAUSE | 0:42:41 | 0:42:43 | |
-21... | 0:42:46 | 0:42:48 | |
Jimmy! | 0:42:48 | 0:42:49 | |
CHEERING AND APPLAUSE | 0:42:49 | 0:42:52 | |
So, it's thanks to Victoria, Jimmy, Gyles and Alan, | 0:42:59 | 0:43:02 | |
and I'll leave you with this - in the 1950s, | 0:43:02 | 0:43:04 | |
the American philosophy professor Sidney Morgenbesser | 0:43:04 | 0:43:07 | |
went to a lecture by the English linguistics expert JL Austin, | 0:43:07 | 0:43:11 | |
who claimed that, while some languages use double negatives | 0:43:11 | 0:43:15 | |
to make a positive, | 0:43:15 | 0:43:16 | |
no language uses a double positive to make a negative. | 0:43:16 | 0:43:19 | |
And from the back of the room | 0:43:19 | 0:43:21 | |
came Morgenbesser's distinctive New York drawl, "Yeah, yeah". | 0:43:21 | 0:43:25 | |
Goodnight. | 0:43:26 | 0:43:27 |