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CHEERING AND APPLAUSE | 0:00:22 | 0:00:26 | |
Hello, I'm Frank Skinner and welcome to Room 101, | 0:00:34 | 0:00:39 | |
the show where three guests explain what really winds them up, | 0:00:39 | 0:00:43 | |
in the hope that I'll condemn said thing to the grim environs of Room 101. | 0:00:43 | 0:00:48 | |
Our guests' choices have been sorted into categories | 0:00:48 | 0:00:51 | |
and, in each round, only one item can be chosen. | 0:00:51 | 0:00:53 | |
The final decision is mine. | 0:00:53 | 0:00:56 | |
As an example, let's try and decide the worst from this group of three. | 0:00:56 | 0:01:00 | |
I should say they're not all that easy. | 0:01:11 | 0:01:14 | |
So let's meet the guests. | 0:01:14 | 0:01:15 | |
Joining me tonight are presenter Lauren Laverne, | 0:01:15 | 0:01:19 | |
actor Larry Lamb and comedian David O'Doherty. | 0:01:19 | 0:01:21 | |
CHEERING AND APPLAUSE | 0:01:21 | 0:01:24 | |
Right then, let's get the first category. | 0:01:27 | 0:01:30 | |
Modern Life. | 0:01:35 | 0:01:37 | |
So let's see what Lauren Laverne doesn't like about modern life. | 0:01:37 | 0:01:41 | |
OK. Look at this, this is what I don't like about modern life. | 0:01:47 | 0:01:50 | |
Oh, look, this is fine. Is this fine? | 0:01:50 | 0:01:53 | |
Is this fine? | 0:01:53 | 0:01:55 | |
No, this isn't fine. I hate fake tan. | 0:01:55 | 0:01:58 | |
Do you really? | 0:01:58 | 0:01:59 | |
I hate fake tan. Look. | 0:01:59 | 0:02:02 | |
That is deeply un-fine and needs to go in Room 101. | 0:02:02 | 0:02:06 | |
But you quite like applying them, liberally. | 0:02:06 | 0:02:09 | |
It has become normal to dye our skin from the top of our head | 0:02:09 | 0:02:14 | |
to our toes, all year round. | 0:02:14 | 0:02:16 | |
We look back into history and we look at people with their... | 0:02:16 | 0:02:19 | |
in the 17th century, with their powdered wigs | 0:02:19 | 0:02:22 | |
and their beauty spot and corsets and we laugh at them. | 0:02:22 | 0:02:25 | |
And, like, right now, we're walking around | 0:02:25 | 0:02:28 | |
looking like a nation of Oompa Loompas. | 0:02:28 | 0:02:30 | |
It's insane and it must end. | 0:02:30 | 0:02:32 | |
I know, it's like seasonal fruit. | 0:02:32 | 0:02:35 | |
When I was a young man, you had to wait for things like sprouts. | 0:02:35 | 0:02:40 | |
I heard a rumour that there was one magazine cover star | 0:02:40 | 0:02:44 | |
who wanted to fake-tan the baby | 0:02:44 | 0:02:46 | |
for the "meeting the baby" shoot, at two weeks old! | 0:02:46 | 0:02:51 | |
Can't be right. | 0:02:51 | 0:02:52 | |
Yeah, I mean, surely the obvious thing is to just dip them, isn't it? | 0:02:52 | 0:02:56 | |
I mean, I have to defend, certainly spray tan, is that it is | 0:02:56 | 0:03:01 | |
probably healthier than actual sun-tanning and it's quicker. | 0:03:01 | 0:03:05 | |
I like to think that what's happened is that man has taken nature | 0:03:05 | 0:03:09 | |
and improved it, you know. Like with, say, Nesquik. | 0:03:09 | 0:03:12 | |
I had a spray tan once in my life. I did it for... | 0:03:14 | 0:03:16 | |
I did it for professional reasons. | 0:03:16 | 0:03:19 | |
I had to do a show where you did five things you've never done before, | 0:03:19 | 0:03:22 | |
so I went for a spray tan, and the woman said to me, | 0:03:22 | 0:03:25 | |
"So how strong do you want to go?" | 0:03:25 | 0:03:27 | |
And I thought, you know, builders. | 0:03:27 | 0:03:30 | |
They sprayed me and I was amazed. | 0:03:30 | 0:03:33 | |
I don't know, people here probably have had spray tans, | 0:03:33 | 0:03:37 | |
I thought it stayed, but it was... I got out of bed the next morning, | 0:03:37 | 0:03:40 | |
my fitted sheet looked like the Turin Shroud. | 0:03:40 | 0:03:44 | |
The flamingos in Dublin Zoo were... They weren't pink any more, | 0:03:44 | 0:03:50 | |
they were losing their pinkness, | 0:03:50 | 0:03:52 | |
so they had to add some pink dye to the food they were giving them. | 0:03:52 | 0:03:55 | |
So maybe that's it - | 0:03:55 | 0:03:56 | |
maybe people who work as air hostesses just drink a lot of Fanta. | 0:03:56 | 0:04:01 | |
I went in one of these standy-up ones, where you... | 0:04:01 | 0:04:04 | |
-The stand and tan. -No, no, this was like bars on the wall and you stand in there, | 0:04:04 | 0:04:08 | |
they play Europop and you dance naked. | 0:04:08 | 0:04:10 | |
It has its pluses. | 0:04:10 | 0:04:13 | |
I'd never been before, and they give you two little golden cones | 0:04:13 | 0:04:16 | |
to put in your eyes so your eyes don't burn out. | 0:04:16 | 0:04:19 | |
So I wedged those in, so I got these two pointy bits | 0:04:19 | 0:04:22 | |
and I went in there, I said, "I'll have 18 minutes." | 0:04:22 | 0:04:25 | |
That was the max you could have. | 0:04:25 | 0:04:27 | |
I got very burnt. | 0:04:27 | 0:04:28 | |
Particularly in one particular area where... | 0:04:28 | 0:04:31 | |
Not normally exposed to the sun at all. | 0:04:31 | 0:04:34 | |
And when I went back, I said, | 0:04:34 | 0:04:36 | |
"I couldn't have three of those gold cones, could I?" | 0:04:36 | 0:04:40 | |
OK, so let's see what Larry Lamb doesn't like about modern life. | 0:04:43 | 0:04:48 | |
High fives. | 0:05:00 | 0:05:02 | |
Ah! | 0:05:02 | 0:05:04 | |
-Eh? -I'm with you. | 0:05:04 | 0:05:05 | |
Oh, dear. Oh, dear. Oh, dear. | 0:05:05 | 0:05:07 | |
I mean, talk about a fad. | 0:05:07 | 0:05:10 | |
It drives me crazy, everybody's doing it, you just | 0:05:10 | 0:05:12 | |
sort of expect the Queen, the Pope, everybody to be high-fiving. | 0:05:12 | 0:05:15 | |
You've got President Obama. It seems to be the way that people, | 0:05:15 | 0:05:18 | |
somehow or other, have accepted they've got to sort of show that | 0:05:18 | 0:05:22 | |
they're kind of hip to what's going on when they greet each other. | 0:05:22 | 0:05:26 | |
-Aren't they a lovely, warm greeting? -No. | 0:05:26 | 0:05:28 | |
It just makes me feel really angry when they do it. | 0:05:28 | 0:05:31 | |
I don't want to do it, no. | 0:05:31 | 0:05:33 | |
What do you do when people do it to you? Do you just go, "Argh, no!"? | 0:05:33 | 0:05:36 | |
-Yeah, no, I don't... -Do you join in? If someone goes, "Hey, Larry," what do you do? | 0:05:36 | 0:05:40 | |
No. "How are you doing?" | 0:05:40 | 0:05:42 | |
-Oh, you've directly challenged their... -Absolute direct challenge. | 0:05:42 | 0:05:45 | |
..greeting. | 0:05:45 | 0:05:47 | |
I met Arnold Schwarzenegger, and I'd never heard of a low five, | 0:05:47 | 0:05:50 | |
and he went... | 0:05:50 | 0:05:52 | |
And I sort of shook hands with him sideways. | 0:05:52 | 0:05:54 | |
It was really pathetic. He gave me a withering look. | 0:05:54 | 0:05:58 | |
But it's a very American thing, isn't it? | 0:05:58 | 0:06:01 | |
It is. Well, I'm not anti... | 0:06:01 | 0:06:03 | |
And I kind of, they're more expressive, because I think | 0:06:03 | 0:06:06 | |
the standard British greeting, instead of the high five, is... | 0:06:06 | 0:06:09 | |
There are worse things that have come from America. | 0:06:10 | 0:06:14 | |
I mean, you know, the drive-by shooting, for example. | 0:06:14 | 0:06:18 | |
This clip illustrates that if you are going to high-five someone, | 0:06:18 | 0:06:21 | |
make sure that they're kind of ready for it, | 0:06:21 | 0:06:24 | |
and a white stick is something to look out for. | 0:06:24 | 0:06:29 | |
We'll see. We'll see where it goes. I am pumped. | 0:06:35 | 0:06:40 | |
As you should be. | 0:06:40 | 0:06:42 | |
Well, I'm giving you a high five. | 0:06:42 | 0:06:44 | |
Congratulations, there it is. | 0:06:44 | 0:06:46 | |
Anyway, let's have a look at David's choice in the Modern Life category. | 0:06:50 | 0:06:55 | |
TENSE MUSIC | 0:06:55 | 0:07:01 | |
Frank, this is a big one, | 0:07:01 | 0:07:05 | |
the thing I hate more than possibly anything else... | 0:07:05 | 0:07:10 | |
..is fake tension in light entertainment television programmes. | 0:07:13 | 0:07:17 | |
CHEERING AND APPLAUSE | 0:07:17 | 0:07:20 | |
From my memory, it would have started... | 0:07:24 | 0:07:26 | |
I remember Eurovisions in the 1980s, | 0:07:26 | 0:07:29 | |
it was possibly an accident originally that the man reading out | 0:07:29 | 0:07:32 | |
the results for the Swiss jury just went, "And 12 points goes to... | 0:07:32 | 0:07:38 | |
"..Malta." | 0:07:43 | 0:07:44 | |
And all of Europe went, "Ooh!" | 0:07:44 | 0:07:47 | |
Well, I seem to... It's been around longer than that. | 0:07:49 | 0:07:52 | |
Doesn't the King use it in The King's Speech? | 0:07:52 | 0:07:55 | |
Oh, yeah. | 0:07:57 | 0:07:58 | |
I think when he said, "We are currently at war with..." | 0:07:58 | 0:08:01 | |
And the whole nation's going, "Who?! Who are we at war with?" | 0:08:02 | 0:08:06 | |
I think I hate it because I am so easily emotionally manipulated, | 0:08:06 | 0:08:10 | |
so I'm, "Oh, really? Who's going to be knocked out of Celebrity Fly Fishing this week?" | 0:08:10 | 0:08:14 | |
I think the worst bit is when they really try to tease them. | 0:08:16 | 0:08:20 | |
They'll lead them one way and then the other, | 0:08:20 | 0:08:22 | |
so you get the look into the eye and they say, "I'm sorry, it's bad news. | 0:08:22 | 0:08:27 | |
"You're going to have to spend a bit longer with me. Ha-ha! | 0:08:27 | 0:08:30 | |
"At least long enough for me to tell you that you're going home. | 0:08:30 | 0:08:35 | |
"When you get home, pack your suitcase and come right back here! | 0:08:35 | 0:08:38 | |
"Only then will I finally admit that I'm truly sorry that | 0:08:38 | 0:08:42 | |
"I didn't tell you straightaway | 0:08:42 | 0:08:45 | |
"that you're in the next round!" | 0:08:45 | 0:08:47 | |
It's... I mean, it's cruel. | 0:08:47 | 0:08:49 | |
But I love it. | 0:08:49 | 0:08:51 | |
I think the brilliant thing about that tension moment, | 0:08:55 | 0:08:58 | |
that dramatic pause, | 0:08:58 | 0:08:59 | |
is that you can make almost anything sound really, really exciting. | 0:08:59 | 0:09:03 | |
There was one more ingredient to this battle, our secret ingredient, | 0:09:04 | 0:09:08 | |
the theme on which our chefs will offer their succulent variations. | 0:09:08 | 0:09:13 | |
Today's secret ingredient is... | 0:09:14 | 0:09:17 | |
..potatoes! | 0:09:22 | 0:09:24 | |
But there's no real drama on television, | 0:09:31 | 0:09:34 | |
so they turn reality television into drama. That's the problem, you know. | 0:09:34 | 0:09:38 | |
That's a bitter actor speaking there, Larry. | 0:09:38 | 0:09:41 | |
Me and Larry agree. Put it there! | 0:09:41 | 0:09:44 | |
Anyway, I now come to my choice, and in the Modern Life category, | 0:09:50 | 0:09:54 | |
what I'm going to put in Room 101 is... | 0:09:54 | 0:09:57 | |
TENSE MUSIC | 0:09:57 | 0:10:01 | |
HE WHISTLES | 0:10:01 | 0:10:06 | |
I'll tell you after the break. | 0:10:13 | 0:10:16 | |
Sorry... Oh, BBC. | 0:10:20 | 0:10:22 | |
OK, so I am going to put fake tans into Room 101. | 0:10:24 | 0:10:28 | |
CHEERING AND APPLAUSE | 0:10:28 | 0:10:31 | |
OK, let's move on to the next category. | 0:10:41 | 0:10:44 | |
Going Out. What does Larry Lamb not like about going out? | 0:10:49 | 0:10:54 | |
Confusing loo signs. | 0:11:02 | 0:11:05 | |
The bane of people my age, I'm sure, you know. | 0:11:05 | 0:11:09 | |
Bad enough to be constantly in a rush needing to get there, | 0:11:09 | 0:11:13 | |
but going in the wrong one almost, you know, ready to explode, | 0:11:13 | 0:11:18 | |
is just terribly embarrassing | 0:11:18 | 0:11:20 | |
and it seems to happen more and more and more. | 0:11:20 | 0:11:23 | |
-Yeah. -Sometimes, it's just because you catch things at the wrong angle | 0:11:23 | 0:11:27 | |
and you're so anxious to get in there, and the door's half-open, half-closed, and you just see it. | 0:11:27 | 0:11:32 | |
-But... -Just save it for the jury, will you? | 0:11:32 | 0:11:34 | |
It even got worse for me on the internal signs on one of these new-fangled ones | 0:11:36 | 0:11:43 | |
on a big sort of super-train in England, funnily enough, | 0:11:43 | 0:11:47 | |
one of these revolving ones. | 0:11:47 | 0:11:50 | |
And I got myself all safely stowed and ready settled... | 0:11:50 | 0:11:53 | |
-You didn't lock. -..everything ready, and pressed the button that closes | 0:11:53 | 0:11:57 | |
and it was the wrong one, and I'm sitting there | 0:11:57 | 0:12:00 | |
and this person is standing in front of the door just staring at me, | 0:12:00 | 0:12:04 | |
and I'm staring at him, saying, "Hello, I'm Archie Mitchell. | 0:12:04 | 0:12:08 | |
"How you doing?" I mean, unreal. | 0:12:08 | 0:12:11 | |
It's a great reveal, though. | 0:12:11 | 0:12:13 | |
-It's a great reveal, and that's the kind of... -Larry Lamb! | 0:12:13 | 0:12:15 | |
It's the terror of it. Gradually, you think, "It's opening, it's opening, it's opening!" | 0:12:15 | 0:12:20 | |
-I know, but if ever they bring back Stars In Their Eyes... -Yeah! | 0:12:20 | 0:12:23 | |
In case you're not familiar with these signs, | 0:12:24 | 0:12:27 | |
here's a few toilet signs. | 0:12:27 | 0:12:30 | |
This one, I think, is very clever, this first one. | 0:12:30 | 0:12:32 | |
Don't you think that's good, Larry? That's inventive. | 0:12:36 | 0:12:38 | |
It's good. It's good. I get that. | 0:12:38 | 0:12:41 | |
-So you're OK with that one? -I'm all right with that one. | 0:12:41 | 0:12:44 | |
This one, I think's a bit trickier. | 0:12:44 | 0:12:46 | |
People from the 18th century and in flying wheelchairs. | 0:12:49 | 0:12:55 | |
Is that disabled? | 0:12:55 | 0:12:57 | |
I thought it was just someone who had one of those Space Hopper things. | 0:12:57 | 0:13:01 | |
What about this one? This is... | 0:13:01 | 0:13:04 | |
See, that, to me, looks like a giant with a quiff | 0:13:06 | 0:13:11 | |
creeping up on a man at a urinal. | 0:13:11 | 0:13:13 | |
Can you see that? | 0:13:13 | 0:13:15 | |
Just about to bite him on the bottom. | 0:13:15 | 0:13:18 | |
So I've got to say, Larry, that I... | 0:13:18 | 0:13:22 | |
If that's his willy, what on earth is that thing on the other side?! | 0:13:22 | 0:13:25 | |
That's his bottom. | 0:13:25 | 0:13:27 | |
Good Lord! Unbelievable. | 0:13:27 | 0:13:28 | |
I've only ever been in a ladies toilet once and that was... | 0:13:30 | 0:13:33 | |
We were on a very, very good conga. | 0:13:33 | 0:13:36 | |
The sort of conga you have to get the bus back to where you began from. | 0:13:36 | 0:13:41 | |
The problem is that if you do get confused about toilets, | 0:13:43 | 0:13:47 | |
it can go very, very wrong. | 0:13:47 | 0:13:50 | |
SHE SPEAKS IN DUTCH | 0:13:50 | 0:13:53 | |
Oh. Oh. | 0:13:56 | 0:13:58 | |
Erm... | 0:14:01 | 0:14:03 | |
AUDIENCE GROANS | 0:14:07 | 0:14:10 | |
This isn't a urinal, is it? | 0:14:10 | 0:14:12 | |
SHE LAUGHS | 0:14:13 | 0:14:15 | |
I think it is, man. | 0:14:15 | 0:14:16 | |
Ah, Christ. | 0:14:16 | 0:14:18 | |
Whoa. | 0:14:19 | 0:14:20 | |
Could happen to anyone. | 0:14:23 | 0:14:24 | |
OK. What doesn't David like about going out? | 0:14:27 | 0:14:32 | |
I have a big problem with ostentatious dressers | 0:14:37 | 0:14:41 | |
who don't like people looking at them. | 0:14:41 | 0:14:44 | |
This comes from an incident in Spar, the popular shop, recently. | 0:14:44 | 0:14:50 | |
I'm doing pretty well, and there was a man, a very fashionable man | 0:14:50 | 0:14:56 | |
in his 20s with the sort of little trousers and little shoes, | 0:14:56 | 0:15:00 | |
and he had a trenchcoat on and a sort of a little moustachey thing. | 0:15:00 | 0:15:06 | |
And then round his neck, he had a stoat, and then | 0:15:06 | 0:15:11 | |
an old lady kind of lady killer, one with the arms and the head, like... | 0:15:11 | 0:15:16 | |
..who was staring at the other people in... | 0:15:17 | 0:15:20 | |
Can I say, I'm not totally sure they have arms. | 0:15:20 | 0:15:23 | |
With his... Well, of course they have arms. | 0:15:23 | 0:15:26 | |
What are they, just a tube? They roll around, stoats. | 0:15:26 | 0:15:30 | |
Are they not legs? | 0:15:30 | 0:15:31 | |
Legs are arms. | 0:15:31 | 0:15:34 | |
Oh, I see what this is, | 0:15:34 | 0:15:35 | |
this is the argument as to whether dogs have arms and legs. | 0:15:35 | 0:15:38 | |
-Yes. -Or whether they have four legs in the first place. -They have four legs, surely. | 0:15:38 | 0:15:44 | |
Not in Ireland. In Ireland, we're very clear about this. | 0:15:44 | 0:15:48 | |
You see a table - there are the arms, there are the legs. | 0:15:48 | 0:15:51 | |
The man with the stoat, he looked over at me as if to say, | 0:15:55 | 0:16:00 | |
"I'm just trying to live my life, leave me alone." | 0:16:00 | 0:16:03 | |
And I think what annoyed me about it was that when I was growing up, | 0:16:03 | 0:16:07 | |
people who dressed in the most outlandish costumes were goths, | 0:16:07 | 0:16:11 | |
you know, or were punks, and they were trying to shock the world. | 0:16:11 | 0:16:14 | |
And they were saying, "Look at me, I don't care!" You know? "Ha-ha! | 0:16:14 | 0:16:19 | |
"That's right, I've put an egg in my hair." | 0:16:19 | 0:16:22 | |
And this was someone... | 0:16:22 | 0:16:23 | |
I remember that fashion. | 0:16:23 | 0:16:26 | |
This was someone from my crappy generation, | 0:16:26 | 0:16:30 | |
who just couldn't make up their mind whether it was meant to be | 0:16:30 | 0:16:33 | |
a cool thing they wanted people to look at, or just like, | 0:16:33 | 0:16:36 | |
"Don't look... Look at me! Don't look... Look at me! Don't look at me." | 0:16:36 | 0:16:40 | |
That was the annoying thing. | 0:16:40 | 0:16:42 | |
He might have been being savaged. | 0:16:42 | 0:16:44 | |
OK, what doesn't Lauren Laverne like about going out? | 0:16:46 | 0:16:50 | |
Look at that, Frank. Square plates. | 0:16:56 | 0:16:59 | |
Square plates, because when a square plate arrives, | 0:17:01 | 0:17:06 | |
what it immediately tells you is that you're in a restaurant | 0:17:06 | 0:17:10 | |
that is not quite as good a restaurant as it thinks it is. | 0:17:10 | 0:17:13 | |
I mean, don't get me wrong, everything doesn't have to be fancy, | 0:17:13 | 0:17:17 | |
but I think, actually, that's my point. | 0:17:17 | 0:17:19 | |
It's the stuff in the middle. | 0:17:19 | 0:17:21 | |
I like a really properly fancy, really lovely restaurant, | 0:17:21 | 0:17:24 | |
and I love, like, a bag of chips on the beach, you can't go past that. | 0:17:24 | 0:17:27 | |
I think those two extremes are fantastic. | 0:17:27 | 0:17:29 | |
But this in the middle, with the square plates, | 0:17:29 | 0:17:32 | |
and the food in little piles. | 0:17:32 | 0:17:34 | |
Why, why is this? | 0:17:34 | 0:17:37 | |
I don't know. I think there's a lot of KFC regulars here going... | 0:17:37 | 0:17:42 | |
"What is that?" | 0:17:42 | 0:17:43 | |
But on a practical level, have you ever chased peas | 0:17:45 | 0:17:48 | |
with a knife and fork round a circular plate? | 0:17:48 | 0:17:51 | |
I've been lapped by a cherry tomato. | 0:17:51 | 0:17:53 | |
I think the theory is, | 0:17:53 | 0:17:56 | |
it's supposed to represent like a frame for a work of art. | 0:17:56 | 0:17:59 | |
Yeah, that's the problem, it's food going into art, isn't it? | 0:17:59 | 0:18:03 | |
Food going into art makes fart, though, Larry. | 0:18:03 | 0:18:06 | |
That's not something anybody wants to think about when they're having their dinner. | 0:18:06 | 0:18:13 | |
It also says to me, | 0:18:13 | 0:18:15 | |
"After this meal, you are still going to be quite hungry." | 0:18:15 | 0:18:19 | |
I went to quite a posh restaurant, right, and they gave me - I'm not kidding you - | 0:18:19 | 0:18:24 | |
gave me a chopping board with the ingredients for a sandwich on it, | 0:18:24 | 0:18:28 | |
but they just hadn't made you the flippin' sandwich. | 0:18:28 | 0:18:31 | |
And it was like, "Hang on, I'm giving you 12 quid for this. | 0:18:31 | 0:18:35 | |
"Can you not take it back and make us a sandwich? I have to make my own?" | 0:18:35 | 0:18:39 | |
Are you sure you weren't working there at the time? | 0:18:39 | 0:18:42 | |
OK, well, I think that looks nice, personally, | 0:18:42 | 0:18:47 | |
but you've made your point. | 0:18:47 | 0:18:50 | |
OK, well, as I come to look at these things, | 0:18:50 | 0:18:53 | |
I like the sort of non-uniformity of the square plate, | 0:18:53 | 0:18:58 | |
I like that it's challenging the norm. | 0:18:58 | 0:19:01 | |
I think that David staring is just a little bit taking the mickey, | 0:19:01 | 0:19:06 | |
and I can understand those people getting upset. | 0:19:06 | 0:19:09 | |
Larry, you've won me over. | 0:19:09 | 0:19:11 | |
I didn't realise it, I thought they were just imagination, | 0:19:11 | 0:19:14 | |
but they can be traumatic, I realise that now. | 0:19:14 | 0:19:16 | |
So I am going to put misleading loo signs into Room 101. | 0:19:16 | 0:19:22 | |
CHEERING AND APPLAUSE | 0:19:22 | 0:19:25 | |
For the old folks. | 0:19:25 | 0:19:27 | |
Let's take a look at the next category. | 0:19:34 | 0:19:36 | |
Seems quite broad. What kind of people wind up David? | 0:19:44 | 0:19:49 | |
People who phone you and ask you to do surveys, er... | 0:19:55 | 0:20:01 | |
over the phone. | 0:20:01 | 0:20:03 | |
The reason I say this is because I used to do this job. | 0:20:03 | 0:20:08 | |
The last job I had was ringing people | 0:20:08 | 0:20:11 | |
and asking them to rate their clingfilm out of ten. | 0:20:11 | 0:20:15 | |
Really, what information are you possibly going to get from them? | 0:20:15 | 0:20:19 | |
And you don't care, as the person doing it, | 0:20:19 | 0:20:21 | |
cos you're being paid 3.60 an hour to do it, | 0:20:21 | 0:20:24 | |
so you just write down whatever you fancy | 0:20:24 | 0:20:26 | |
and they just say whatever's going to get you | 0:20:26 | 0:20:29 | |
off the phone as quickly as possible. | 0:20:29 | 0:20:31 | |
Also, what will you learn about clingfilm from this conversation? | 0:20:31 | 0:20:35 | |
I'll tell you what information we learn, it was always the same. | 0:20:35 | 0:20:38 | |
"How would you rate your clingfilm out of ten?" | 0:20:38 | 0:20:40 | |
"I'd give it five out of ten." "Why are you dropping the five marks?" | 0:20:40 | 0:20:44 | |
"Cos it's difficult to find the start." | 0:20:44 | 0:20:46 | |
If anyone had done proper research, | 0:20:48 | 0:20:50 | |
would there be any green or yellow sweets at all? | 0:20:50 | 0:20:54 | |
Do you know anyone, if you offer them a selection of sweets, | 0:20:55 | 0:20:58 | |
and there's green and yellow, who'll go, "I love the yellows!" | 0:20:58 | 0:21:01 | |
Never, ever. If they'd been done... Am I right about this? | 0:21:01 | 0:21:05 | |
-AUDIENCE: Yeah. -If there'd been research, | 0:21:05 | 0:21:07 | |
there would be no green and yellow sweets, just black, red, | 0:21:07 | 0:21:10 | |
maybe orange for that kind of wacky outsider character. | 0:21:10 | 0:21:12 | |
I like the green ones! | 0:21:12 | 0:21:14 | |
The yellow ones, correct, they're made of wee. | 0:21:14 | 0:21:18 | |
What about, while we're on the sweet subject, | 0:21:18 | 0:21:21 | |
what about the sort of liquorice cylinder in liquorice allsorts? | 0:21:21 | 0:21:25 | |
Yeah! | 0:21:25 | 0:21:27 | |
-Now, why do they exi...? You don't like those? -Lovely! | 0:21:27 | 0:21:30 | |
Well, for starters, it's called "liquor-iss". | 0:21:30 | 0:21:33 | |
-Is it?! -I'd say "liquor-iss". | 0:21:33 | 0:21:35 | |
-Not in England, we don't. -Really? | 0:21:35 | 0:21:39 | |
We pronounce the SS... We pronounce the C-E, "Sh". | 0:21:39 | 0:21:44 | |
You say "liquor-iss"? | 0:21:44 | 0:21:45 | |
-I've never heard that before. -Oh, well, I'll take "not-ish" in the future. | 0:21:45 | 0:21:50 | |
LAUGHTER AND APPLAUSE | 0:21:50 | 0:21:52 | |
OK. What kind of people wind up Larry Lamb? | 0:21:53 | 0:21:59 | |
Hold on a minute. | 0:22:03 | 0:22:06 | |
What is it, Larry? | 0:22:08 | 0:22:09 | |
People who don't put things back in the right place. | 0:22:09 | 0:22:13 | |
Ah! | 0:22:13 | 0:22:14 | |
-Like a remote. -Yes. | 0:22:14 | 0:22:16 | |
Like a phone, that's very handy | 0:22:16 | 0:22:18 | |
until somebody's had it in the lavatory and left it in there | 0:22:18 | 0:22:21 | |
and you're running round, trying to find it, | 0:22:21 | 0:22:23 | |
or the remote control's buried under a sofa, | 0:22:23 | 0:22:26 | |
and nobody ever, ever thinks to put it back. | 0:22:26 | 0:22:30 | |
That drives me bonkers. | 0:22:30 | 0:22:33 | |
Are you saying, Larry, that people in your house... | 0:22:33 | 0:22:36 | |
use the phone whilst on the lavatory? | 0:22:36 | 0:22:38 | |
Oh, ho, ho. Oh, absolutely. | 0:22:38 | 0:22:40 | |
I don't mind if they use the phone whilst they're on the lavatory, | 0:22:40 | 0:22:43 | |
but don't leave it because something distracts you, go off and leave it in there. | 0:22:43 | 0:22:47 | |
-Cos it's probably... -Can I say, I mind. | 0:22:47 | 0:22:50 | |
-OK, and the remote? -And the remote controls... | 0:22:51 | 0:22:54 | |
-That is tricky. -Endless, endless. | 0:22:54 | 0:22:57 | |
Or the battery - somehow or other, somebody's flipped the thing off the back | 0:22:57 | 0:23:01 | |
and one of the batteries has gone missing, | 0:23:01 | 0:23:03 | |
or they've borrowed the battery for something else | 0:23:03 | 0:23:06 | |
and so you've two remote controls and one set of batteries. | 0:23:06 | 0:23:09 | |
So you've got to take the batteries out to put in that one | 0:23:09 | 0:23:12 | |
to turn it on and take them back so you can tune it in. | 0:23:12 | 0:23:15 | |
I mean, we've had this in my house, I have to tell you. | 0:23:15 | 0:23:18 | |
Absolute madness! | 0:23:18 | 0:23:20 | |
I can tell this is the voice of experience. | 0:23:20 | 0:23:23 | |
You said, "What do you want to put in 101?" That's one of the things! | 0:23:23 | 0:23:27 | |
Right. Well, let's hope it ends up in 101 and not next door in 102. | 0:23:27 | 0:23:31 | |
Speaking of the bathroom, how are you with toilet rolls? | 0:23:34 | 0:23:38 | |
The people who will finish the toilet roll, right... | 0:23:38 | 0:23:41 | |
..and leave that cardboard core there and go away! | 0:23:42 | 0:23:47 | |
Why don't they automatically just take a roll and put it back on? | 0:23:47 | 0:23:51 | |
-I hate that. -Me, too! | 0:23:51 | 0:23:54 | |
I want a toilet roll to be all soft and cuddly. | 0:23:54 | 0:23:57 | |
I don't want to see its stark inner workings. | 0:23:57 | 0:24:00 | |
It's like when you go to the theatre - | 0:24:01 | 0:24:03 | |
-I don't want to see the wall at the back. -It's the principle of it - | 0:24:03 | 0:24:06 | |
why, when you've finished it, don't you replace it? | 0:24:06 | 0:24:09 | |
Oh, man. It takes all the glamour out of going to the toilet. | 0:24:09 | 0:24:12 | |
Absolutely! | 0:24:12 | 0:24:13 | |
-Absolutely. No joy. -I'm with you. | 0:24:13 | 0:24:16 | |
Especially if you don't notice and then it's like, | 0:24:16 | 0:24:18 | |
"CAN YOU GET ME A ROLL OF TOILET PAPER?" All of that going on. | 0:24:18 | 0:24:22 | |
I've used the cardboard before now. | 0:24:22 | 0:24:24 | |
-Absolutely. -I have! -The best thing to do is... | 0:24:24 | 0:24:26 | |
It goes to a natural point if you unravel. | 0:24:26 | 0:24:29 | |
GROANING | 0:24:29 | 0:24:30 | |
Or...you can dip it in water and soften it up. | 0:24:30 | 0:24:34 | |
If you can reach the sink. | 0:24:34 | 0:24:36 | |
If I could reach the sink, I'd just use my hands and then rinse. | 0:24:36 | 0:24:40 | |
GROANING | 0:24:40 | 0:24:41 | |
I'm talking about in an emergency! | 0:24:41 | 0:24:44 | |
Absolutely! | 0:24:44 | 0:24:45 | |
This is the domestic Bear Grylls, that's what's going on. | 0:24:45 | 0:24:49 | |
OK, what kind of people don't Lauren Laverne like? | 0:24:50 | 0:24:55 | |
Hm. | 0:25:01 | 0:25:02 | |
I don't like music snobs. | 0:25:02 | 0:25:04 | |
-Really? -Yeah, really. -And you a 6Music person, as well. | 0:25:04 | 0:25:09 | |
Well, you know, I like your kind of more alternative, | 0:25:09 | 0:25:12 | |
maybe a little bit odder, more quirky music, | 0:25:12 | 0:25:14 | |
but I think music snobbery is a lose-lose situation. | 0:25:14 | 0:25:18 | |
I've never met actually any musician who is a music snob. | 0:25:18 | 0:25:22 | |
Really? | 0:25:22 | 0:25:23 | |
They're people who think they know better than everyone, | 0:25:23 | 0:25:26 | |
I suppose like all other snobs, | 0:25:26 | 0:25:28 | |
but actually they've usually got rubbish taste. | 0:25:28 | 0:25:30 | |
They take the joy out of something that's meant to be brilliant. | 0:25:30 | 0:25:34 | |
I got accused of being a music snob recently. | 0:25:34 | 0:25:37 | |
A friend of mine said she was going to see Take That, | 0:25:37 | 0:25:40 | |
and I said I wouldn't go and see Take That | 0:25:40 | 0:25:42 | |
if they were playing in my kitchen. | 0:25:42 | 0:25:44 | |
And not only that, but I live in an open-plan flat. | 0:25:44 | 0:25:47 | |
I wouldn't need to actually go through a door. | 0:25:47 | 0:25:50 | |
That's because I don't like Take That. | 0:25:50 | 0:25:53 | |
-Why does that make me a bad person? -Not liking Take That doesn't make you a bad person. | 0:25:53 | 0:25:57 | |
It's, you know, you don't have to like any kind of music... | 0:25:57 | 0:26:00 | |
It's also attached to this kind of idea that really annoys me | 0:26:00 | 0:26:04 | |
that, you know, people get angry about music that they don't like. | 0:26:04 | 0:26:07 | |
Imagine that it's something else, say ice cream. | 0:26:07 | 0:26:11 | |
You don't like pistachio ice cream - | 0:26:11 | 0:26:13 | |
you don't rage about the fact that it exists! | 0:26:13 | 0:26:15 | |
"Pistachio ice cream is an insult to strawberry ice cream! | 0:26:15 | 0:26:19 | |
"That's the one I like! Pistachio should be un-invented!" | 0:26:19 | 0:26:22 | |
You don't make that argument, why would you do this? | 0:26:22 | 0:26:25 | |
Music is like ice cream - | 0:26:25 | 0:26:26 | |
people are trying to make a nice thing that people will like. | 0:26:26 | 0:26:29 | |
If you don't like it, fine. Go and have another flavour. | 0:26:29 | 0:26:33 | |
Ooh, I don't know. I mean, it's not just music. | 0:26:34 | 0:26:38 | |
In comedy, David, you get snobbery as well. | 0:26:38 | 0:26:40 | |
Certain types of comics are seen as fashionable and others not, | 0:26:40 | 0:26:45 | |
and certain types of jokes. | 0:26:45 | 0:26:46 | |
For example, if I walk down the street | 0:26:46 | 0:26:49 | |
and I see a really attractive woman, right? | 0:26:49 | 0:26:52 | |
I always like to go... | 0:26:52 | 0:26:55 | |
HONK! HONK! | 0:26:55 | 0:26:56 | |
Some people condemn that as juvenile. | 0:27:00 | 0:27:03 | |
When sampling first came out - you know, when people used to sample bits of other people's records - | 0:27:04 | 0:27:10 | |
there was a lot of snobbery about that. | 0:27:10 | 0:27:12 | |
People would say, "That is outrageous!" | 0:27:12 | 0:27:14 | |
And now we absolutely accept it. | 0:27:14 | 0:27:15 | |
I think that that was the earliest form of recycling. | 0:27:15 | 0:27:19 | |
When we came up with the theme music for this show, I said, | 0:27:19 | 0:27:23 | |
"Well, why pay someone to do a new one? | 0:27:23 | 0:27:26 | |
"Why don't we just make do and do a bit of DIY?" | 0:27:26 | 0:27:29 | |
This is what I wanted the theme for this show to be like. Room 1-0... | 0:27:29 | 0:27:32 | |
MUSIC: "The One Show" Theme | 0:27:32 | 0:27:34 | |
Room 1-0... | 0:27:34 | 0:27:35 | |
# One... # | 0:27:35 | 0:27:36 | |
Room 1-0... | 0:27:36 | 0:27:38 | |
# One... # | 0:27:38 | 0:27:39 | |
I think it would've been, er... | 0:27:39 | 0:27:41 | |
APPLAUSE | 0:27:41 | 0:27:44 | |
But the snobbery can go the other way. I went to see Legally Blonde. | 0:27:48 | 0:27:52 | |
You know the musical, Legally Blonde? | 0:27:52 | 0:27:54 | |
And on the way in, a young woman came up to me and said, | 0:27:54 | 0:27:57 | |
"I don't think this is for you." | 0:27:57 | 0:27:59 | |
Can you believe that? And I... It brought out the worst in me. | 0:28:01 | 0:28:04 | |
I said, "I don't think it's JUST for idiots." | 0:28:04 | 0:28:07 | |
APPLAUSE | 0:28:07 | 0:28:11 | |
OK, well, it's.. This is... | 0:28:13 | 0:28:16 | |
Cos I agree... | 0:28:16 | 0:28:18 | |
I agree that, er, market researchers, | 0:28:18 | 0:28:22 | |
if they don't use the information, are just wrong. | 0:28:22 | 0:28:25 | |
I think that musical snobbery can be a terrible sort of straitjacket. | 0:28:25 | 0:28:29 | |
But I have to say, when we got to the toilet rolls, Larry... | 0:28:29 | 0:28:33 | |
It's worked out here that it's the toilet theme that wins in this show. | 0:28:33 | 0:28:39 | |
And I am going to put... | 0:28:39 | 0:28:41 | |
people who don't put things back in the right place into Room 101. | 0:28:41 | 0:28:45 | |
CHEERING AND APPLAUSE | 0:28:45 | 0:28:48 | |
Let's take a look at the next category. | 0:28:57 | 0:28:59 | |
This is the Wildcard round, because sometimes | 0:29:05 | 0:29:08 | |
we feel we constrain you too much in your hatred and dislikes. | 0:29:08 | 0:29:12 | |
So now there's no restraints, no category, | 0:29:12 | 0:29:15 | |
you can choose whatever you like. | 0:29:15 | 0:29:16 | |
And we're going to start with Larry. | 0:29:16 | 0:29:19 | |
What is Larry's wildcard? | 0:29:19 | 0:29:21 | |
I suppose it's going back to where we were with David, | 0:29:27 | 0:29:30 | |
it's people who actually go out in public in fancy dress. | 0:29:30 | 0:29:37 | |
-Ah. -It's that thing of... God, it's my old Captain Hook hat. | 0:29:37 | 0:29:44 | |
I suppose it's when you're an actor | 0:29:44 | 0:29:46 | |
and you get to dress up all the time, it's... | 0:29:46 | 0:29:48 | |
But look, you can't resist it, Larry! | 0:29:48 | 0:29:50 | |
-I know, exactly. -Oh, that's good. | 0:29:50 | 0:29:52 | |
It's silly to leave it all in the box. | 0:29:52 | 0:29:54 | |
Ooh, you've gone a bit camp in that hat. | 0:29:54 | 0:29:57 | |
Oh, I do! That's the thing. It depends. | 0:29:57 | 0:29:59 | |
You see, you get... Ooh, look at this one here! | 0:29:59 | 0:30:04 | |
Ooh! But, no... | 0:30:04 | 0:30:05 | |
I can see you're a man who's utterly governed by headgear. | 0:30:05 | 0:30:09 | |
Completely, sweetheart! | 0:30:09 | 0:30:11 | |
But no, the thing is, just as David was saying, | 0:30:11 | 0:30:15 | |
it's people wandering around in fancy dress. | 0:30:15 | 0:30:18 | |
I'll tell you what I like, I'm not very keen on the hire shop. | 0:30:18 | 0:30:22 | |
I think if you go to a fancy dress party or wear fancy dress, | 0:30:22 | 0:30:26 | |
it should be stuff you just find at home. | 0:30:26 | 0:30:29 | |
That seems to be the craic. | 0:30:29 | 0:30:30 | |
Like, I had this... I thought this was a very clever idea, | 0:30:30 | 0:30:33 | |
to go to a fancy dress party dressed as my girlfriend, right? | 0:30:33 | 0:30:39 | |
At least that's what I told her when she came home early. | 0:30:39 | 0:30:42 | |
Larry, now, I'm not taking the mick now, | 0:30:44 | 0:30:47 | |
but are you not tempted to go to fancy dress things as a lamb? | 0:30:47 | 0:30:52 | |
Ooh, ooh, if only you knew how far off the beam you are there. | 0:30:54 | 0:31:00 | |
We've got a clip from a local news story about a man who did go to | 0:31:00 | 0:31:05 | |
a fancy dress party as Larry the Lamb and things went horribly wrong. | 0:31:05 | 0:31:11 | |
About a month ago, Peter Buck was out celebrating | 0:31:11 | 0:31:15 | |
on a fancy dress bus party for a birthday. | 0:31:15 | 0:31:17 | |
But when a bit of his Larry the Lamb costume came loose, | 0:31:17 | 0:31:21 | |
he and some friends decided to burn it off with a lighter. | 0:31:21 | 0:31:24 | |
In moments, his entire outfit was alight. | 0:31:24 | 0:31:28 | |
It was here outside the Drunken Duck where Pete's costume burst into flames. | 0:31:28 | 0:31:33 | |
In a panic, he ran out into the street. | 0:31:33 | 0:31:36 | |
A passing car had to swerve to avoid hitting him. | 0:31:36 | 0:31:39 | |
Now, fortunately for Pete, one of the friends out with him | 0:31:39 | 0:31:42 | |
that night was firefighter Paul Bisson, | 0:31:42 | 0:31:44 | |
who, as it happens, was dressed as Jesus Christ on the night. | 0:31:44 | 0:31:48 | |
He chased after Pete, telling him to stop, drop and roll, | 0:31:48 | 0:31:51 | |
but eventually had to bear-hug him to help put out the flames. | 0:31:51 | 0:31:55 | |
I should say, for those of you at home who are worried, | 0:32:01 | 0:32:04 | |
that he had a few burns on his arms, but he's perfectly all right now. | 0:32:04 | 0:32:08 | |
Especially with a bit of mint sauce. | 0:32:08 | 0:32:11 | |
OK, let's have a look what is Lauren's wild card. | 0:32:11 | 0:32:16 | |
Flags. | 0:32:23 | 0:32:24 | |
You don't like flags? | 0:32:26 | 0:32:28 | |
Nothing good has ever come from a flag. | 0:32:28 | 0:32:31 | |
Wars, nationalism, racism, | 0:32:31 | 0:32:35 | |
Geri Halliwell at the BRITs that time. | 0:32:35 | 0:32:37 | |
Nothing good has ever come out of a flag. | 0:32:37 | 0:32:41 | |
And linesmen. | 0:32:41 | 0:32:42 | |
Well, I don't know, I mean... | 0:32:42 | 0:32:44 | |
It would be tough for a linesman if you put flags in Room 101. | 0:32:44 | 0:32:47 | |
They'd have to run up and down going... | 0:32:47 | 0:32:49 | |
Well, all right, maybe there's practical problems for it, | 0:32:49 | 0:32:52 | |
but I mean, I think they're divisive, I think they're bad for humankind. | 0:32:52 | 0:32:56 | |
Broadly, I'm not saying they weren't necessary in the past, | 0:32:56 | 0:33:00 | |
but I think now, it's time to move on | 0:33:00 | 0:33:02 | |
and, you know, we're all on one little quite vulnerable planet, | 0:33:02 | 0:33:06 | |
we all need to work together as a people. | 0:33:06 | 0:33:08 | |
I mean, I'd maybe allow, like, a plain white flag with the name | 0:33:08 | 0:33:12 | |
of each country written across, in a pre-globally agreed font. | 0:33:12 | 0:33:17 | |
In regulation font size. | 0:33:17 | 0:33:19 | |
You wouldn't see anybody waving that and starting a war with it. | 0:33:19 | 0:33:22 | |
Nobody would be making them into beach towels. | 0:33:22 | 0:33:25 | |
I've got some examples of what are brilliant flags. | 0:33:25 | 0:33:27 | |
This is the Sicilian flag. | 0:33:27 | 0:33:30 | |
You know, I think I saw that act in cabaret. | 0:33:32 | 0:33:35 | |
It's Sicily, so it's probably just the Mafia cut off her legs. | 0:33:35 | 0:33:39 | |
Well, they actually added a leg. | 0:33:39 | 0:33:42 | |
Or as you'd say in Ireland, they added an arm. | 0:33:42 | 0:33:44 | |
This was the flag for Benin, in Africa. | 0:33:51 | 0:33:55 | |
Ooh! You see, this is what I'm talking about. | 0:33:56 | 0:33:59 | |
-This is exactly it. -I mean, that's just looking for trouble. | 0:33:59 | 0:34:02 | |
Also, it looks like the man on the right was trying to tippy-toe past. | 0:34:02 | 0:34:06 | |
He wasn't even looking for trouble. "Oh, he hasn't seen me... | 0:34:07 | 0:34:11 | |
"Ow!" | 0:34:11 | 0:34:12 | |
OK, I'm taking that on board. | 0:34:13 | 0:34:16 | |
What is David's wildcard? | 0:34:16 | 0:34:20 | |
It's not Alex from the One Show? | 0:34:26 | 0:34:28 | |
It is being 35 years old. | 0:34:30 | 0:34:34 | |
I've recently become 35 | 0:34:34 | 0:34:36 | |
and I realise age ain't nothing but a number, | 0:34:36 | 0:34:39 | |
but it is also a very accurate barometer of how old you are. | 0:34:39 | 0:34:44 | |
And 35 is the first truly disappointing age. | 0:34:46 | 0:34:50 | |
You just never hear of 35-year-olds doing anything | 0:34:50 | 0:34:54 | |
particularly innovative or interesting. | 0:34:54 | 0:34:56 | |
You're not young any more, and anyway, | 0:34:56 | 0:34:58 | |
if you look at the news, it's, "This seven-year-old | 0:34:58 | 0:35:01 | |
"has invented the internet on crisps," or whatever it is. | 0:35:01 | 0:35:04 | |
But 35-year-olds, it's always much darker, | 0:35:04 | 0:35:06 | |
it's always - "The suspect, | 0:35:06 | 0:35:08 | |
"35, exposed himself to the mourners in the pet cemetery," | 0:35:08 | 0:35:12 | |
or whatever it happens to be. | 0:35:12 | 0:35:14 | |
But I should say that Van Gogh painted the Sunflowers | 0:35:14 | 0:35:18 | |
when he was 35. | 0:35:18 | 0:35:19 | |
And look how he turned out! | 0:35:19 | 0:35:21 | |
Well, I don't know about... I don't have terrible sympathy, | 0:35:22 | 0:35:27 | |
as I am about 20 years older. | 0:35:27 | 0:35:29 | |
-I know, but... -No, you don't know. | 0:35:29 | 0:35:32 | |
-I realise... -You think you know. | 0:35:32 | 0:35:33 | |
I'll tell you what I've started to get just lately, Larry - | 0:35:33 | 0:35:37 | |
and see if we're brothers in this - I've started to find | 0:35:37 | 0:35:40 | |
-that my throat is getting slightly affected by breeze. -By breeze? | 0:35:40 | 0:35:43 | |
-Yeah. -You start feeling cold in places you never felt cold. | 0:35:43 | 0:35:47 | |
-No, I'm on about it actually moves, my throat. -Oh, does it? | 0:35:47 | 0:35:51 | |
-I occasionally wear a dicky bow as a wind break. -Do you? | 0:35:51 | 0:35:54 | |
I would say 30 is probably the cut-off point. | 0:35:54 | 0:35:59 | |
I think you're being a bit optimistic, 35. | 0:35:59 | 0:36:01 | |
I always thought I was fairly washed-up... | 0:36:04 | 0:36:06 | |
I went to a Club 18-30 do. I got completely mixed up, | 0:36:06 | 0:36:11 | |
I went as Alfred Lord Tennyson. | 0:36:11 | 0:36:13 | |
For the first time, I had a creaky knee and I went to the doctor, | 0:36:16 | 0:36:21 | |
and rather than prescribing a cure or anything, he just went, | 0:36:21 | 0:36:24 | |
"You're 35!" | 0:36:24 | 0:36:27 | |
But that is what happens. | 0:36:27 | 0:36:29 | |
I did my back in. I was standing backstage | 0:36:29 | 0:36:32 | |
and a young comedian came up and said, "Are you all right?" | 0:36:32 | 0:36:34 | |
I said, "No, my back's killing me." | 0:36:34 | 0:36:36 | |
He said, "What happened?" I suddenly realised that when you get older, | 0:36:36 | 0:36:40 | |
injuries don't come with an anecdote any more. | 0:36:40 | 0:36:43 | |
They used to be, "I fell off a horse," or "I was climbing a wall drunk." | 0:36:43 | 0:36:46 | |
Now, "I woke up one morning and it just hurt." | 0:36:46 | 0:36:49 | |
-"What happened?" "It was erosion." -Exactly! | 0:36:49 | 0:36:53 | |
You used to work in marketing. | 0:36:55 | 0:36:57 | |
18 to 35 is, that's... Isn't that a classic category? | 0:36:57 | 0:37:03 | |
Well, the categories that we worked on, in my tele-marketing era, | 0:37:03 | 0:37:08 | |
was the zero to 18, and they're... They like brightly coloured things. | 0:37:08 | 0:37:12 | |
And then there's 18 to 34, | 0:37:12 | 0:37:14 | |
and they're the key demographic, because they're the people | 0:37:14 | 0:37:17 | |
who feel emotion and fall in love and take risks. | 0:37:17 | 0:37:20 | |
And then there's just 35 to death. | 0:37:20 | 0:37:23 | |
We all like Michael Buble and driving gloves. | 0:37:24 | 0:37:27 | |
OK. Well, this is... It's an interesting one, this. | 0:37:30 | 0:37:34 | |
I can't go with fancy dress, because I love dressing up so much. | 0:37:34 | 0:37:38 | |
It's a joyous thing, | 0:37:38 | 0:37:39 | |
and I love to see it at the Test Match and all that. | 0:37:39 | 0:37:42 | |
And David has got a terrible sadness about him in this, | 0:37:42 | 0:37:47 | |
-but I'm going to put flags into Room 101. -Hooray! | 0:37:47 | 0:37:52 | |
CHEERING AND APPLAUSE | 0:37:52 | 0:37:54 | |
And that brings us to the end of the show, | 0:38:02 | 0:38:05 | |
and my most persuasive guest tonight was Lauren, so well done, Lauren. | 0:38:05 | 0:38:09 | |
You are the winner. | 0:38:09 | 0:38:11 | |
And as winner, you get one free, | 0:38:14 | 0:38:17 | |
unchallenged choice that goes straight into Room 101. | 0:38:17 | 0:38:21 | |
-Ooh, adult animals. -OK! I know what you mean. | 0:38:21 | 0:38:24 | |
-Baby animals are lovely. -Yeah. -Adult animals, I can... | 0:38:24 | 0:38:27 | |
Yeah, exactly. | 0:38:27 | 0:38:29 | |
I like animals, but you need a cut-off point. | 0:38:29 | 0:38:32 | |
OK, adult animals will go into Room 101. | 0:38:32 | 0:38:35 | |
Well, thanks very much to Lauren, to David and to Larry, and thank YOU. | 0:38:39 | 0:38:44 | |
And goodnight. | 0:38:44 | 0:38:46 | |
CHEERING AND APPLAUSE | 0:38:46 | 0:38:49 | |
Subtitles by Red Bee Media Ltd | 0:39:08 | 0:39:11 |