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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. -Yes, that's right. -True. | 0:05:52 | 0:05:55 | |
I'll just finish my robin point, which was reasonably interesting, | 0:05:55 | 0:05:58 | |
-at least to me, if no-one else. -Yes. | 0:05:58 | 0:06:00 | |
And that is, that over the last ten years, | 0:06:00 | 0:06:03 | |
the number of robins appearing in Christmas cards... | 0:06:03 | 0:06:06 | |
YAWNING | 0:06:06 | 0:06:08 | |
Over the last ten years, the number of robins | 0:06:08 | 0:06:11 | |
appearing on Christmas cards has declined by a quarter. | 0:06:11 | 0:06:14 | |
But the number of robins in Britain, as the real birds, | 0:06:14 | 0:06:17 | |
has increased by nearly a half. | 0:06:17 | 0:06:19 | |
-Exponentially. -Yeah. -Oh, right. | 0:06:19 | 0:06:21 | |
So, we'll turn to Jenny. | 0:06:21 | 0:06:23 | |
What did Romans do at Christmas time? | 0:06:23 | 0:06:25 | |
Rome...? What did Romans...? | 0:06:25 | 0:06:27 | |
-Well, they would feast and fornicate and puke up afterwards. -Exactly. | 0:06:27 | 0:06:31 | |
Nothing's changed, really, over the years, has it? | 0:06:31 | 0:06:35 | |
-That's Christmas, basically. -That's Christmas, yeah. | 0:06:35 | 0:06:37 | |
-Christmas tends to happen... -Once a year. | 0:06:37 | 0:06:41 | |
Once a year. | 0:06:41 | 0:06:44 | |
-Thank you. -I'm trying to help. | 0:06:44 | 0:06:46 | |
APPLAUSE You are. | 0:06:46 | 0:06:47 | |
-She can't get points for that. -No points for that. | 0:06:47 | 0:06:50 | |
You think that's too obvious? It's not for me... | 0:06:50 | 0:06:52 | |
A perfectly legitimate point has been scored. | 0:06:52 | 0:06:54 | |
-Christmas is for life... -All right. -..not just for... | 0:06:54 | 0:06:57 | |
Oh, hang on, no, no. | 0:06:57 | 0:06:59 | |
-There are midwinter feasts - Christmas is one. -Pagan feasts. -Yeah. | 0:06:59 | 0:07:02 | |
-And the Roman one was Saturnalia. -Saturnalia. -Saturnalia, | 0:07:02 | 0:07:05 | |
after the god Saturn. | 0:07:05 | 0:07:07 | |
-And there you can see... -Oh, the debauchery. | 0:07:07 | 0:07:09 | |
You can see him throwing up in the middle, in fact. | 0:07:09 | 0:07:11 | |
We did that in the stockroom at Argos. | 0:07:11 | 0:07:14 | |
At Christmas. | 0:07:16 | 0:07:18 | |
But the card that is closest to the first card ever sent | 0:07:18 | 0:07:21 | |
is Johnny's. | 0:07:21 | 0:07:23 | |
-Oh, the drinking baby. -Baby with a drink? | 0:07:23 | 0:07:26 | |
It was similar to the first card, | 0:07:26 | 0:07:28 | |
which had a whole family with drinks, including a baby there. | 0:07:28 | 0:07:31 | |
-That's the original. JOHNNY: -Let me get this straight. | 0:07:31 | 0:07:33 | |
For years, I've thought that I was raised | 0:07:33 | 0:07:36 | |
in an unstable environment, | 0:07:36 | 0:07:37 | |
when actually my dad, every day, | 0:07:37 | 0:07:40 | |
has just been trying to promote the original Christmas card. | 0:07:40 | 0:07:42 | |
Yes, there you are, exactly. Exactly. | 0:07:42 | 0:07:45 | |
JOHNNY LAUGHS | 0:07:45 | 0:07:46 | |
It was designed by John Callcott Horsley, | 0:07:46 | 0:07:49 | |
Royal... Royal Acad... No, now I'm going to have one of these moments... | 0:07:49 | 0:07:54 | |
-Royal Acadamadition. -A Royal Acadamadition. | 0:07:54 | 0:07:56 | |
A Royal Academician. ALAN BABBLES | 0:07:56 | 0:07:58 | |
It was designed by John Callcott Horsley, RA. | 0:07:58 | 0:08:01 | |
And he... | 0:08:01 | 0:08:02 | |
-Very good. -Nice. -Safe. | 0:08:04 | 0:08:05 | |
And, as you see, it depicts a family | 0:08:05 | 0:08:07 | |
all toasting Christmas and the New Year, | 0:08:07 | 0:08:10 | |
including the toddler, there, in green, in front, | 0:08:10 | 0:08:12 | |
and there's on the left a sign of feeding the poor, | 0:08:12 | 0:08:15 | |
and on the right, a sign of clothing the naked, | 0:08:15 | 0:08:17 | |
-all the good things you should do on Christmas. -Ah, yes. | 0:08:17 | 0:08:20 | |
-If you see any naked people, clothe them. -Yes. | 0:08:20 | 0:08:22 | |
Do not approach them. | 0:08:24 | 0:08:26 | |
No. So there we are. | 0:08:26 | 0:08:28 | |
Now, the Queen has a Christmas message, as do we. | 0:08:28 | 0:08:33 | |
In fact, as we approach the end of series 13, | 0:08:33 | 0:08:37 | |
it's time for us to reveal that every episode of QI, | 0:08:37 | 0:08:41 | |
every single one, since the very first, | 0:08:41 | 0:08:43 | |
has included a secret message which nobody has spotted. | 0:08:43 | 0:08:48 | |
Where do you think it's hidden? | 0:08:48 | 0:08:50 | |
Is it on your face? | 0:08:50 | 0:08:52 | |
Have you just encrypted | 0:08:55 | 0:08:57 | |
some of your delightful laughter lines into some...? | 0:08:57 | 0:09:00 | |
Perhaps it's in Klingon. | 0:09:00 | 0:09:01 | |
HE SPEAKS KLINGON | 0:09:01 | 0:09:04 | |
-Merry Christmas. -It's not on my face. | 0:09:04 | 0:09:07 | |
Is it in the credits or the theme tune? | 0:09:07 | 0:09:10 | |
-Theme tune. -The theme tune? -Ah! -The theme tune. | 0:09:10 | 0:09:12 | |
-BILL: -What? No! | 0:09:12 | 0:09:14 | |
Yes. It's in code. | 0:09:14 | 0:09:15 | |
-What sort of code do you think it might be in? -Morse code. | 0:09:15 | 0:09:18 | |
-Morse code is the right answer. -No, really?! -Yes. Yes! | 0:09:18 | 0:09:21 | |
JENNY LAUGHS, APPLAUSE | 0:09:21 | 0:09:25 | |
It was composed by the prolific Howard Goodall, | 0:09:28 | 0:09:32 | |
whom people will know from Vicar of Dibley and Blackadder | 0:09:32 | 0:09:35 | |
and many other theme tunes, as well as serious work, | 0:09:35 | 0:09:38 | |
and his colleague, Simon Nathan, decoded this, | 0:09:38 | 0:09:42 | |
and this is what it actually says. | 0:09:42 | 0:09:44 | |
And that is actually a decoding of the... | 0:09:44 | 0:09:47 | |
HE KNOCKS ON DESK ..the long and the shorts, | 0:09:47 | 0:09:49 | |
the minims and the crochets, if you like, in musical terms. | 0:09:49 | 0:09:52 | |
And it does come out as www.alan0andstephenhero.com. | 0:09:52 | 0:09:57 | |
And that...that is... | 0:09:57 | 0:10:01 | |
I know, I'm sorry. I didn't... | 0:10:01 | 0:10:04 | |
APPLAUSE | 0:10:04 | 0:10:05 | |
-BILL: -He never told you. -No... | 0:10:09 | 0:10:12 | |
Years, you've been, like, in the stocks. | 0:10:12 | 0:10:15 | |
Oh. Poor Alan. | 0:10:15 | 0:10:19 | |
Well, I didn't know it until I was told either, Alan. | 0:10:19 | 0:10:21 | |
It's not my... | 0:10:21 | 0:10:22 | |
-A STUDIO LIGHT BLOWS Oh! -My God! | 0:10:22 | 0:10:24 | |
-What happened there? -What the hell was that?! | 0:10:26 | 0:10:28 | |
-It was a light. -BILL: -Was it a lamp? | 0:10:28 | 0:10:30 | |
-It might be a lamp. -No, no, he's got a bad ankle, | 0:10:30 | 0:10:32 | |
I'm just taking him out. | 0:10:32 | 0:10:33 | |
I can't afford to keep him. | 0:10:35 | 0:10:36 | |
LAUGHTER AND APPLAUSE | 0:10:36 | 0:10:39 | |
Wow. | 0:10:39 | 0:10:41 | |
I absolutely shat myself. | 0:10:42 | 0:10:45 | |
ABSOLUTELY shat yourself? My God. | 0:10:45 | 0:10:47 | |
So where were we? Where were we? Where were we? | 0:10:48 | 0:10:51 | |
Oh, we were with this, www.alan0andstephenhero.com. | 0:10:51 | 0:10:55 | |
-Yeah, let's move on from that. -You might find, ladies and gentlemen, | 0:10:55 | 0:10:58 | |
including panelistas, | 0:10:58 | 0:11:00 | |
that that is a real URL, | 0:11:00 | 0:11:02 | |
a real web address, that you can find a little QI Easter egg in | 0:11:02 | 0:11:05 | |
if you visit it. | 0:11:05 | 0:11:06 | |
Wow, if you've got nothing better to do with your lives. | 0:11:06 | 0:11:09 | |
I think it's a jolly exciting thing to do with your life. | 0:11:10 | 0:11:12 | |
Yes, it is, of course. | 0:11:12 | 0:11:13 | |
-BUZZER: -"OH, NO, IT ISN'T..." | 0:11:13 | 0:11:15 | |
So this... | 0:11:17 | 0:11:18 | |
-BUZZER: -"OH, YES, IT IS." | 0:11:18 | 0:11:20 | |
LAUGHTER AND APPLAUSE I knew there'd be trouble. | 0:11:20 | 0:11:23 | |
I mentioned to you that that hidden code was discovered by Simon Nathan. | 0:11:27 | 0:11:30 | |
He's in the audience. Where are you? | 0:11:30 | 0:11:32 | |
-Is he wearing an anorak? -There he is, over there. | 0:11:32 | 0:11:34 | |
He's not wearing an anorak. APPLAUSE | 0:11:34 | 0:11:36 | |
Well done. Thank you very much. | 0:11:36 | 0:11:39 | |
There you are. | 0:11:40 | 0:11:41 | |
-Other TV shows have also hidden Morse code inside them. -Have they? | 0:11:41 | 0:11:47 | |
Yeah. Do you know of one? | 0:11:47 | 0:11:48 | |
One quite well-known example, pretty obvious when you think about it. | 0:11:48 | 0:11:51 | |
-Loose Women. -BILL: -Morse. | 0:11:51 | 0:11:52 | |
-Morse. -Of course. -Morse, yeah. | 0:11:52 | 0:11:54 | |
The composer, Barrington Pheloung, liked to... | 0:11:54 | 0:11:58 | |
-Never! -That's his name, yes. | 0:11:58 | 0:12:00 | |
Barrington Pheloung, nice chap. Very nice fellow. | 0:12:00 | 0:12:03 | |
He used to hide the name of the murderer very often | 0:12:03 | 0:12:05 | |
in the opening... | 0:12:05 | 0:12:06 | |
HE HUMS BEAT ..there. | 0:12:06 | 0:12:08 | |
Yes. Wasn't it like this? | 0:12:08 | 0:12:10 | |
-Hang on, I've actually, look, look... -Oh, hello. | 0:12:10 | 0:12:12 | |
Right. It was like this, wasn't it? | 0:12:12 | 0:12:15 | |
HE PLAYS NOTES | 0:12:15 | 0:12:17 | |
-Yes. -He'd tap it out and then when the murderer appeared, he went... | 0:12:17 | 0:12:19 | |
SINISTER MUSICAL STING | 0:12:19 | 0:12:21 | |
LAUGHTER AND APPLAUSE | 0:12:23 | 0:12:26 | |
And you went, "That's him!" | 0:12:26 | 0:12:28 | |
They never understood why everybody could guess the murderer, could they? | 0:12:30 | 0:12:33 | |
Another one which used Morse might surprise you. | 0:12:33 | 0:12:36 | |
It had titles that came over | 0:12:36 | 0:12:37 | |
as a sort of ticker-tape kind of thing at the end, | 0:12:37 | 0:12:40 | |
with a piccolo giving the tune of a famous sitcom. | 0:12:40 | 0:12:44 | |
BILL WHISTLES | 0:12:44 | 0:12:47 | |
-Some Mothers Do 'Ave 'Em. -Some Mothers Do 'Ave 'Em. | 0:12:47 | 0:12:50 | |
-That one. -That one. -Exactly. -I'll stop whistling now. | 0:12:50 | 0:12:52 | |
That was brilliant, you're right, that was the tune. | 0:12:52 | 0:12:55 | |
And there's a building that gives off Morse code, | 0:12:55 | 0:12:57 | |
a very famous building in Hollywood. | 0:12:57 | 0:12:59 | |
-How? Tapping it? -Well, it's got a light flashing at the top. | 0:12:59 | 0:13:02 | |
-It's not sound. -Oh, I thought it was... | 0:13:02 | 0:13:04 | |
Because of course, Morse code can be visual as well. | 0:13:04 | 0:13:06 | |
There it is. Capitol Records. It's like a stack of discs. | 0:13:06 | 0:13:09 | |
And it flashes out this message here, | 0:13:09 | 0:13:12 | |
"Hollywood", in Morse code - very simple. | 0:13:12 | 0:13:14 | |
But in 2013, it changed to announce Katy Perry's new album Prism | 0:13:14 | 0:13:19 | |
and its release date came out in Morse code. | 0:13:19 | 0:13:22 | |
Nobody noticed. | 0:13:22 | 0:13:23 | |
Not like the demographic of Katy Perry's fans, not... | 0:13:25 | 0:13:29 | |
They're not really into Morse. I'm just...just saying, just saying. | 0:13:29 | 0:13:33 | |
In 2004, Morse code added its first addition since World War II, | 0:13:33 | 0:13:37 | |
which is di-dah-dah-di-dah-di. | 0:13:37 | 0:13:40 | |
See if you can guess what it is? | 0:13:40 | 0:13:42 | |
It's an addition to the Morse alphabet. | 0:13:42 | 0:13:44 | |
It's going to be a hashtag or an @ sign. | 0:13:44 | 0:13:45 | |
It's an @ sign, well done. | 0:13:45 | 0:13:47 | |
Exactly right, so that people can swap e-mail addresses. | 0:13:47 | 0:13:50 | |
Samuel Morse invented Morse code, as you probably know. | 0:13:50 | 0:13:53 | |
But do you know anything about him, other than that he was the inventor of Morse code? | 0:13:53 | 0:13:57 | |
He had another job, which was rather interesting. | 0:13:57 | 0:13:59 | |
He was a painter and he liked, or was commissioned, to paint... | 0:13:59 | 0:14:05 | |
-Dot-dot-dot, dash... -..to paint paintings... | 0:14:05 | 0:14:08 | |
Dot-dot-dot-dot-dot-dot... | 0:14:08 | 0:14:11 | |
He wasn't a pointillist, but he was commissioned to paint paintings. | 0:14:11 | 0:14:14 | |
It seems very odd, why would he be commissioned to paint paintings? | 0:14:14 | 0:14:17 | |
Whoa! There's a fly on my hand! | 0:14:17 | 0:14:19 | |
Argh! | 0:14:22 | 0:14:23 | |
LAUGHTER AND APPLAUSE | 0:14:23 | 0:14:25 | |
Oh! | 0:14:25 | 0:14:26 | |
Oh...! | 0:14:27 | 0:14:29 | |
You've killed it, Alan! | 0:14:30 | 0:14:32 | |
-I never thought I'd get it in a million years! -How could you?! | 0:14:32 | 0:14:35 | |
It was just looking for somewhere to sleep | 0:14:35 | 0:14:37 | |
-and you just killed it, you...you brute! -I'm so sorry. | 0:14:37 | 0:14:40 | |
Never mind. Merry Christmas, everybody. | 0:14:40 | 0:14:43 | |
Samuel Morse was a painter | 0:14:44 | 0:14:46 | |
and he was commissioned to paint paintings. | 0:14:46 | 0:14:48 | |
-Paint paintings. -Because he lived in an era | 0:14:48 | 0:14:50 | |
when there were no catalogues. | 0:14:50 | 0:14:52 | |
-Of course. -Of museums, for example. So he painted... | 0:14:52 | 0:14:55 | |
-The Argos catalogue. -He painted one famous... | 0:14:55 | 0:14:58 | |
He painted one famous painting, six foot by nine, | 0:14:58 | 0:15:01 | |
of the most well-known exhibits at the Louvre Museum. | 0:15:01 | 0:15:06 | |
So you could see them if you hadn't visited it. | 0:15:06 | 0:15:09 | |
You can see the Mona Lisa, down there, famously. | 0:15:09 | 0:15:12 | |
-The best-known of... -He was quite good, wasn't he? | 0:15:12 | 0:15:14 | |
-Yeah, he was. -So as a sort of copyist... | 0:15:14 | 0:15:16 | |
Yeah. To give you an idea of what was in the museum, | 0:15:16 | 0:15:18 | |
the best-known ones there, if you didn't have a chance of getting to Paris, for example. | 0:15:18 | 0:15:22 | |
So next time you think of Samuel Morse, | 0:15:22 | 0:15:24 | |
-you can think of that as well as the dots and dashes. -Oh. | 0:15:24 | 0:15:27 | |
I will - I'll think of him as...as a public spirited... | 0:15:27 | 0:15:30 | |
-I think that's genuinely interesting. -Thank you. | 0:15:30 | 0:15:33 | |
-Yes. -That's all we hope for. Good. | 0:15:33 | 0:15:36 | |
So by that logic, he invented the internet? | 0:15:36 | 0:15:38 | |
-He didn't. -He didn't? -No. | 0:15:45 | 0:15:47 | |
-BILL: -Wait, the fly's coming back to life! | 0:15:47 | 0:15:49 | |
Hold that thought, though. | 0:15:51 | 0:15:52 | |
I have to hold these thoughts, I have nothing else. | 0:15:52 | 0:15:55 | |
No, they're good thoughts. Thank you. | 0:15:55 | 0:15:56 | |
Anyway... We'll move on, we'll move on. | 0:15:56 | 0:15:58 | |
And we may come back to that. | 0:15:58 | 0:16:00 | |
I very much doubt it, but we may. | 0:16:00 | 0:16:01 | |
Describe the plot of, or sing a song from the popular musical, | 0:16:04 | 0:16:08 | |
"The Bathrooms Are Coming". | 0:16:08 | 0:16:10 | |
# The bathrooms are coming | 0:16:12 | 0:16:14 | |
# Thank God, I need a shit! # | 0:16:14 | 0:16:16 | |
-Nice. -Bill, can you do me | 0:16:18 | 0:16:20 | |
CISTERNS Are Doing It For Themselves? | 0:16:20 | 0:16:23 | |
Oh, very good. APPLAUSE | 0:16:23 | 0:16:25 | |
# The bathrooms are coming Lock up your pipes | 0:16:27 | 0:16:30 | |
# The bathrooms are coming Where are your knives? | 0:16:30 | 0:16:33 | |
# Kill, kill, kill them They'll be coming | 0:16:33 | 0:16:36 | |
# Kill them, kill them | 0:16:36 | 0:16:38 | |
# The bathrooms are coming for your lives... # | 0:16:38 | 0:16:41 | |
AUDIENCE CLAPPING ALONG | 0:16:41 | 0:16:43 | |
# They're coming for your souls... # | 0:16:43 | 0:16:45 | |
# I've had it installed now | 0:16:47 | 0:16:51 | |
# And there's nothing to pay till September | 0:16:51 | 0:16:54 | |
# I'm on an HP high | 0:16:58 | 0:17:03 | |
# And ain't no debt collector ever gonna bring me down | 0:17:03 | 0:17:08 | |
# Water may be very hot | 0:17:09 | 0:17:12 | |
# Don't let the grout go mouldy on me... # | 0:17:12 | 0:17:16 | |
APPLAUSE | 0:17:16 | 0:17:18 | |
It was country and western. | 0:17:20 | 0:17:22 | |
BILL PLAYS A TUNE | 0:17:22 | 0:17:23 | |
If you're going to do country and western, it'll be... | 0:17:23 | 0:17:26 | |
# Fixed shower head, driving me wild | 0:17:26 | 0:17:30 | |
# Can't find my crevices no matter how hard I tried | 0:17:32 | 0:17:37 | |
-# I'm going to put my leg up... # -No, don't! | 0:17:38 | 0:17:41 | |
-# Pull my junk to the side... # -Oh...! | 0:17:42 | 0:17:44 | |
BILL PLAYS AN END NOTE | 0:17:46 | 0:17:48 | |
Thank you. | 0:17:50 | 0:17:51 | |
Well, that was a big surprise, thank you very much. | 0:17:51 | 0:17:54 | |
Do you know what that might be? The Bathrooms Are Coming? | 0:17:54 | 0:17:57 | |
-The Bathrooms Are Coming? -Written by a Broadway musical composer. | 0:17:57 | 0:18:00 | |
But not for Broadway. | 0:18:00 | 0:18:01 | |
-Was it a bathroom company? -A commercial or something? | 0:18:01 | 0:18:05 | |
Yes. American Standard, they were called, | 0:18:05 | 0:18:07 | |
and this was one of many, many, many industrial musicals, | 0:18:07 | 0:18:11 | |
which had their heyday in between 1950 and 1980, | 0:18:11 | 0:18:14 | |
30 years of exciting musicals | 0:18:14 | 0:18:16 | |
for conventions of various companies and their salesmen, all over America. | 0:18:16 | 0:18:20 | |
And they would write specialist musicals just for the salesmen, | 0:18:20 | 0:18:23 | |
just for the conventioners, not for the members of the public. | 0:18:23 | 0:18:26 | |
But they had big budgets and they were written by Broadway, | 0:18:26 | 0:18:29 | |
serious Broadway composers, who hid their names, I think. | 0:18:29 | 0:18:32 | |
-Yeah. -But that's an example of one, The Bathrooms Are Coming. | 0:18:32 | 0:18:35 | |
An original musical, presented by American Standard, as you can see. | 0:18:35 | 0:18:38 | |
The Sound of Selling. | 0:18:38 | 0:18:40 | |
B F Goodrich's 1966 sales meeting musical. | 0:18:40 | 0:18:43 | |
Isn't that exciting? | 0:18:43 | 0:18:44 | |
-The Saga of the Dingbat. -The Saga of the Dingbat? | 0:18:44 | 0:18:47 | |
-This is the weirdest thing I've ever seen. -Isn't it? | 0:18:47 | 0:18:49 | |
-Truly astonishing. -Mental, innit? -These were huge. -What's going on? | 0:18:49 | 0:18:52 | |
Well, when it started in the '50s, by about 1955, | 0:18:52 | 0:18:55 | |
-America... -..had gone mad. | 0:18:55 | 0:18:58 | |
..made two-thirds of the world's goods. | 0:18:58 | 0:19:00 | |
Two-thirds of manufacturing industry in the world was American. | 0:19:00 | 0:19:03 | |
Was this at the height of, | 0:19:03 | 0:19:04 | |
"This week's show was brought to you by Lorimar cigarettes..."? | 0:19:04 | 0:19:07 | |
-There was all that sponsorship going on... -Yeah. | 0:19:07 | 0:19:09 | |
..on the Ed Sullivan Show and things like that, yeah. | 0:19:09 | 0:19:12 | |
-So wait, hang on, if you want to hang on a second. -Excellent! | 0:19:12 | 0:19:14 | |
# If you've a hankering for knowledge | 0:19:14 | 0:19:17 | |
# But can't be arsed with college | 0:19:17 | 0:19:19 | |
# Then this is the show for you. # Something like that, I don't know. | 0:19:19 | 0:19:24 | |
Yeah. That's the one! | 0:19:24 | 0:19:25 | |
That's the QI show. APPLAUSE | 0:19:25 | 0:19:26 | |
# This really Quite Interesting show! # | 0:19:26 | 0:19:31 | |
-Something like that. -Yes, The Quite Interesting Show. | 0:19:31 | 0:19:34 | |
We've got our own musical. APPLAUSE | 0:19:34 | 0:19:36 | |
Thank you, Bill. | 0:19:38 | 0:19:40 | |
# Alan, Alan, Alan, Alan Alan, Alan, Alan, Alan | 0:19:40 | 0:19:43 | |
# Alan, Alan, Alan, Alan I'm aghast! # | 0:19:43 | 0:19:45 | |
-LAUGHTER -# And he's won! No, he's last. # | 0:19:45 | 0:19:49 | |
You know. | 0:19:49 | 0:19:50 | |
Now time for a short interval. Who wants an ice cream? | 0:19:51 | 0:19:54 | |
-Yes, please. -Me, me, pick me. -Oh, there we are. Yeah, go on. | 0:19:54 | 0:19:57 | |
There, take a couple. | 0:19:57 | 0:19:58 | |
-We've got some left over, of course. -Thank you very much. Wow! | 0:19:58 | 0:20:01 | |
-There you go. -Johnny? -Oh, yes, please. Thank you, my love. | 0:20:01 | 0:20:05 | |
Chocolate, I've got chocolate, I don't really like chocolate. | 0:20:05 | 0:20:08 | |
-I've got raisin, I don't like raisin. -Do you want to swap? -Yes. | 0:20:08 | 0:20:10 | |
-No, I'd like vanilla, please. -Oh? | 0:20:10 | 0:20:12 | |
-LAUGHTER -Do you like chocolate? | 0:20:12 | 0:20:14 | |
-Do you want to swap? -Yes! -You can have another flavour. | 0:20:14 | 0:20:16 | |
-I've got strawberry. -That'll do me! -All right. | 0:20:16 | 0:20:19 | |
-Oh, you already had a bit! -Yes! | 0:20:19 | 0:20:21 | |
LAUGHTER | 0:20:21 | 0:20:23 | |
How else would I know I didn't like it!? | 0:20:23 | 0:20:26 | |
-Well, do what I did - just sniff it and lick it. -Don't do that! | 0:20:26 | 0:20:29 | |
-People who sniff... -Don't take a lump out! | 0:20:31 | 0:20:34 | |
You must have very warm hands, cos this is already melted! | 0:20:34 | 0:20:38 | |
I'm having a hot flush! | 0:20:38 | 0:20:40 | |
-APPLAUSE -It's one of my super-powers! | 0:20:40 | 0:20:43 | |
-Mine's turned into a slushy! -Yes! | 0:20:43 | 0:20:45 | |
You're going to a dinner party and they've forgotten to get | 0:20:45 | 0:20:48 | |
the ice cream out of the freezer, just hold it against my neck! | 0:20:48 | 0:20:50 | |
-LAUGHTER -And it's spoon soft in seconds! | 0:20:50 | 0:20:53 | |
-Well, there's barely any... -THEY BOTH SHOUT | 0:20:53 | 0:20:56 | |
LAUGHTER DROWNS THEM OUT | 0:20:56 | 0:20:58 | |
-Right... -I don't want to do this in front of Stephen. -No. | 0:20:58 | 0:21:01 | |
But the next time we're having ice cream, just... | 0:21:01 | 0:21:04 | |
LAUGHTER | 0:21:04 | 0:21:06 | |
-Don't have her on my team! -Do you have any HRT-flavoured ice cream? | 0:21:06 | 0:21:10 | |
-No, this is delicious. Thank you very much. -Good. | 0:21:11 | 0:21:14 | |
This is what I think life will be like in a nursing home. | 0:21:14 | 0:21:16 | |
LOUD LAUGHTER | 0:21:16 | 0:21:18 | |
APPLAUSE Anyway... | 0:21:18 | 0:21:20 | |
What flavour have you got?! | 0:21:20 | 0:21:22 | |
-Bingo! -So what was the biggest nuisance | 0:21:22 | 0:21:24 | |
-in the Victorian theatre? -I like peas! I had a fly in mine. | 0:21:24 | 0:21:28 | |
-What was the biggest nuisance...? -I've got to tell this. | 0:21:28 | 0:21:30 | |
What was the biggest nuisance in the Victorian theatre? | 0:21:30 | 0:21:33 | |
-No... -What was the biggest nuisance in the Victorian theatre? | 0:21:33 | 0:21:36 | |
-APPLAUSE -Please! | 0:21:36 | 0:21:38 | |
SHOUTS: What was the biggest nuisance in the Victorian theatre? | 0:21:38 | 0:21:43 | |
CHEERING AND APPLAUSE | 0:21:43 | 0:21:47 | |
Yeah? | 0:21:49 | 0:21:51 | |
Any thoughts? | 0:21:51 | 0:21:53 | |
Ice-cream? | 0:21:53 | 0:21:54 | |
-I, genuinely... -Don't worry, you don't need to press them. | 0:21:54 | 0:21:57 | |
-Was it people interrupting? -That was one of them. | 0:21:57 | 0:22:00 | |
Was it the infamous female flasher | 0:22:00 | 0:22:04 | |
who'd invade a Victorian stage without her bloomers, | 0:22:04 | 0:22:09 | |
and she was called Fanny by Gaslight. | 0:22:09 | 0:22:11 | |
-Was it her? -It wasn't that, no. | 0:22:11 | 0:22:13 | |
Was it things going wrong, like machinery? | 0:22:13 | 0:22:16 | |
Well, those were all bad things, they are bad today, | 0:22:16 | 0:22:18 | |
but what is actually still one of the worst things that can happen? | 0:22:18 | 0:22:21 | |
-People eating sweets. -That's bad. -Was it a bulb breaking? | 0:22:21 | 0:22:23 | |
If you're in the audience, | 0:22:23 | 0:22:25 | |
what is one of the most annoying things for you, not just... | 0:22:25 | 0:22:27 | |
Cholera. | 0:22:27 | 0:22:29 | |
LAUGHTER | 0:22:29 | 0:22:31 | |
Being stabbed in the neck by someone. | 0:22:31 | 0:22:34 | |
You're stretching, Bill. It's good that you're thinking. | 0:22:34 | 0:22:36 | |
TB. | 0:22:36 | 0:22:39 | |
Rickets. | 0:22:39 | 0:22:40 | |
LAUGHTER | 0:22:40 | 0:22:41 | |
If you stayed in for a very long time. No, what it is... | 0:22:41 | 0:22:44 | |
Let's imagine, for example, the Victoria Theatre, in London. | 0:22:44 | 0:22:47 | |
-Yeah. -It had 2,200 people. When it came to the interval? | 0:22:47 | 0:22:52 | |
-Oh, the lavatories? -The lavatories. | 0:22:52 | 0:22:54 | |
-How many lavatories do you think it had? -Four. -Two. -One. | 0:22:54 | 0:22:56 | |
-One lavatory. -One lavatory, 2,200 people. | 0:22:56 | 0:23:00 | |
-This is an issue, isn't it? It's not good. -Nothing's changed. | 0:23:00 | 0:23:04 | |
Well, things were even more problematic up north, | 0:23:04 | 0:23:07 | |
certainly in the Theatre Royal in Newcastle, in the Victorian era, | 0:23:07 | 0:23:11 | |
where they actually installed lead lining on the floor of the balcony | 0:23:11 | 0:23:15 | |
because urine was dropping down on to the people in the stalls, | 0:23:15 | 0:23:19 | |
because people just peed where they sat | 0:23:19 | 0:23:21 | |
cos there was nowhere else to go. | 0:23:21 | 0:23:23 | |
-GEORDIE ACCENT: -Lovely, lovely Geordies! | 0:23:23 | 0:23:25 | |
LAUGHTER | 0:23:25 | 0:23:26 | |
Now, now, careful, careful. Just be careful, that's all I'm saying. | 0:23:26 | 0:23:29 | |
Aye aye, we'll piss on't floor! | 0:23:29 | 0:23:31 | |
It's pretty grim. That was in 1837. That was a serious problem. | 0:23:31 | 0:23:34 | |
What changed then were intervals. | 0:23:34 | 0:23:36 | |
Intervals came more or less in time to coincide with the desire | 0:23:36 | 0:23:39 | |
of people to, you know... | 0:23:39 | 0:23:41 | |
They had what they called the Broadway Bladder, | 0:23:41 | 0:23:43 | |
which is supposedly 75 minutes, | 0:23:43 | 0:23:45 | |
which is the maximum, averagely, that people can go without having a pee. | 0:23:45 | 0:23:50 | |
And cinemas often had intermissions in our childhood. | 0:23:50 | 0:23:53 | |
Do you remember any particular ones? | 0:23:53 | 0:23:54 | |
-Zulu, I saw Zulu... -Zulu had an intermission. | 0:23:54 | 0:23:56 | |
..and it was very frightening and there were masses of Zulus | 0:23:56 | 0:23:59 | |
-coming over the hill, and then they had a break... -Yeah. | 0:23:59 | 0:24:02 | |
-..and when we came back, wasn't quite so frightening after that. -No. | 0:24:02 | 0:24:05 | |
Other films, The Godfather, Sound of Music, | 0:24:05 | 0:24:07 | |
they all had intermissions too. Really big movies. | 0:24:07 | 0:24:09 | |
Hitchcock said, "The length of a film should be directly related | 0:24:09 | 0:24:12 | |
"to the endurance of the human bladder." | 0:24:12 | 0:24:14 | |
About seven minutes with me, then. | 0:24:14 | 0:24:18 | |
Now, Christmas comes and goes, but one thing that's never | 0:24:18 | 0:24:22 | |
out of season is General Ignorance, so fingers on buzzers, please. | 0:24:22 | 0:24:26 | |
On which bank holiday is it most likely to snow? | 0:24:26 | 0:24:29 | |
Easter Monday. | 0:24:29 | 0:24:31 | |
Is the right answer. | 0:24:31 | 0:24:33 | |
No!!! | 0:24:33 | 0:24:34 | |
APPLAUSE | 0:24:34 | 0:24:36 | |
Yes! Come on! | 0:24:36 | 0:24:38 | |
Very good. | 0:24:38 | 0:24:40 | |
Bloody hell. I'm impressed. | 0:24:40 | 0:24:43 | |
Absolutely. | 0:24:43 | 0:24:45 | |
Statistically it is more likely to snow at an Easter bank holiday | 0:24:45 | 0:24:48 | |
than it is over the Christmas. | 0:24:48 | 0:24:50 | |
Yeah, December averaged 3.9 days of snow and March had 4.2. | 0:24:50 | 0:24:57 | |
You are more likely to see a white Easter than a white Christmas. | 0:24:57 | 0:25:00 | |
Can you give me a line from the world's first panto? | 0:25:00 | 0:25:04 | |
Go on, go on... | 0:25:05 | 0:25:07 | |
He's behind you. | 0:25:07 | 0:25:08 | |
KLAXON | 0:25:08 | 0:25:10 | |
-Yay! -Oh, you MADE me do that! | 0:25:10 | 0:25:12 | |
-Why did you do that? -It's your buzzer, isn't it? | 0:25:12 | 0:25:15 | |
She did so well on Easter Monday | 0:25:15 | 0:25:17 | |
and you've just sabotaged it out of spite! | 0:25:17 | 0:25:20 | |
Anyway, no, first pantoMIME, what were pantomimes originally? | 0:25:20 | 0:25:24 | |
-Oh, silent. -They WERE silent. -They were mime. | 0:25:24 | 0:25:27 | |
Yeah, unlike mimes, oddly enough. | 0:25:27 | 0:25:29 | |
The pantomime was a character in a Roman play, who represented | 0:25:29 | 0:25:33 | |
all kinds of mythological things and he never spoke. | 0:25:33 | 0:25:36 | |
-Wow. -Terrifying. | 0:25:36 | 0:25:38 | |
You'd be hard pressed to shift tickets for that, though, | 0:25:38 | 0:25:40 | |
wouldn't you? | 0:25:40 | 0:25:42 | |
LAUGHTER | 0:25:42 | 0:25:43 | |
My God, look at that. That's an Ood and Lady GaGa. | 0:25:43 | 0:25:47 | |
Well, isn't it Zoidberg from Futurama? | 0:25:47 | 0:25:50 | |
Nothing screams "festive" like a shin-kicking contest | 0:25:50 | 0:25:54 | |
between two people for whom life has gone very wrong. | 0:25:54 | 0:25:59 | |
The first pantomimes were silent and only had one person in the cast. | 0:25:59 | 0:26:03 | |
So let's take a look at the scores. | 0:26:03 | 0:26:05 | |
Oh, my actual actual. | 0:26:05 | 0:26:07 | |
In fourth place, a brilliant first appearance, | 0:26:07 | 0:26:10 | |
and actually an incredibly high score by any QI standards. | 0:26:10 | 0:26:13 | |
-On minus two it's Jenny Eclair! -Did quite well. | 0:26:13 | 0:26:16 | |
APPLAUSE | 0:26:16 | 0:26:19 | |
In third place, with minus one, Bill Bailey! | 0:26:22 | 0:26:25 | |
APPLAUSE | 0:26:25 | 0:26:27 | |
I still don't understand why. | 0:26:27 | 0:26:30 | |
When two giants meet at Christmas, who can it be? | 0:26:31 | 0:26:34 | |
Who's the winner, who's the winner here? | 0:26:34 | 0:26:35 | |
In second place, with eight points, it's... | 0:26:35 | 0:26:38 | |
Johnny Vegas! | 0:26:38 | 0:26:41 | |
APPLAUSE | 0:26:41 | 0:26:44 | |
Oh, my stars, the winner on 11 is Alan Davies! | 0:26:44 | 0:26:48 | |
APPLAUSE | 0:26:48 | 0:26:50 | |
QI JINGLE PLAYS | 0:26:50 | 0:26:53 | |
So, that's all from Jenny, Johnny, Bill and Alan, | 0:26:54 | 0:26:57 | |
but before we go, I have one more trick up my sleeve. | 0:26:57 | 0:27:00 | |
Right, let's see. | 0:27:00 | 0:27:03 | |
Now, here's the box in which I keep my luggage. | 0:27:03 | 0:27:07 | |
There we go, like so. | 0:27:07 | 0:27:11 | |
Let's see. That's... | 0:27:11 | 0:27:13 | |
Now, in my luggage I keep a very Christmassy item. | 0:27:14 | 0:27:19 | |
It's what everyone should keep in their luggage, really. | 0:27:19 | 0:27:23 | |
It's a big surprise. | 0:27:23 | 0:27:25 | |
APPLAUSE | 0:27:25 | 0:27:27 | |
-Do you need a hand? -Thank you. | 0:27:27 | 0:27:30 | |
There you go. | 0:27:30 | 0:27:32 | |
Splendid. | 0:27:32 | 0:27:34 | |
-Oh, hello, Scott? -I have a surprise for you, Stephen. -Oh, no. | 0:27:34 | 0:27:37 | |
My name is Scott Penrose. I am the President of the Magic Circle, | 0:27:37 | 0:27:40 | |
and if you're a member of the Magic Circle, | 0:27:40 | 0:27:42 | |
you have to have taken a test. | 0:27:42 | 0:27:45 | |
And throughout this series of QI, you've been doing various | 0:27:45 | 0:27:47 | |
-magical experiments, so it's with a great deal of pleasure... -No! | 0:27:47 | 0:27:51 | |
..to announce that Stephen Fry is now formally | 0:27:51 | 0:27:53 | |
a member of The Magic Circle. | 0:27:53 | 0:27:55 | |
Oh, my God! | 0:27:55 | 0:27:57 | |
APPLAUSE | 0:27:57 | 0:27:59 | |
MUSIC: Magic Moments by Perry Como | 0:27:59 | 0:28:01 | |
Merry Christmas, everybody! | 0:28:33 | 0:28:35 | |
CHEERING AND APPLAUSE | 0:28:35 | 0:28:39 |