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Hello, I'm Frank Skinner, and welcome to Room 101, the show where | 0:00:32 | 0:00:36 | |
three guests battle to banish their betes noires to the notorious vault. | 0:00:36 | 0:00:40 | |
Let's meet this week's guests. | 0:00:40 | 0:00:41 | |
Joining me tonight are Pointless know-it-all Richard Osman, | 0:00:41 | 0:00:44 | |
broadcaster Joan Bakewell, and comedian Roisin Conaty. | 0:00:44 | 0:00:48 | |
Right, then, let's have our first category. | 0:00:55 | 0:00:57 | |
Nature. | 0:01:02 | 0:01:03 | |
So I'd like to see what Joan Bakewell doesn't like about nature. | 0:01:03 | 0:01:07 | |
Gardening. | 0:01:12 | 0:01:14 | |
Oh. | 0:01:14 | 0:01:15 | |
Gardening. This represents my feelings about gardening. | 0:01:15 | 0:01:19 | |
LAUGHTER | 0:01:21 | 0:01:23 | |
-Brilliant. -Who could like it after that? | 0:01:23 | 0:01:26 | |
That cost four grand! | 0:01:26 | 0:01:28 | |
I think it was worth it. So, what is it, Joan? | 0:01:28 | 0:01:31 | |
Well, gardening is housework out of doors. There's no difference. | 0:01:31 | 0:01:35 | |
Now, housework indoors has been streamlined, so it doesn't require | 0:01:37 | 0:01:41 | |
as much effort as it once did, but gardening, you've got to get down | 0:01:41 | 0:01:45 | |
on your knees on rubber mats that don't protect your knees, | 0:01:45 | 0:01:48 | |
you've got to wear clumsy gloves, | 0:01:48 | 0:01:50 | |
you've got hedge trimmers and wheelbarrows. | 0:01:50 | 0:01:52 | |
It's hard work. It's too hard work. | 0:01:52 | 0:01:54 | |
They don't reward the effort you put into it. | 0:01:54 | 0:01:58 | |
What about if you grow vegetables? | 0:01:58 | 0:02:00 | |
Then they... That's the gift that keeps on giving. | 0:02:00 | 0:02:02 | |
It's still hard work. | 0:02:02 | 0:02:04 | |
It's just easier to buy them at the shop, you know. | 0:02:04 | 0:02:07 | |
Some people love it, though, don't they? | 0:02:08 | 0:02:10 | |
Well, yes, but they love all sorts of strange things. | 0:02:10 | 0:02:13 | |
That is true. That's a whole other show, though, Joan. | 0:02:13 | 0:02:16 | |
Yeah, and it's probably on a bit later at night. | 0:02:16 | 0:02:19 | |
I just quite like that gardening is one of those things that we | 0:02:20 | 0:02:23 | |
haven't managed to make faster. | 0:02:23 | 0:02:25 | |
You buy something and say, "That is going to look lovely in May. | 0:02:25 | 0:02:28 | |
"That's going to look amazing." | 0:02:28 | 0:02:29 | |
You're going, "The rest of the year, it's just going to look like just some shrub." | 0:02:29 | 0:02:33 | |
It'll look lovely for a month. You think, "I'm going to put all that effort in, just for a month?" | 0:02:33 | 0:02:37 | |
A load of twigs, standing there, doing nothing. | 0:02:37 | 0:02:39 | |
That's everything in life. That's like, "Oh, I'm just going to | 0:02:39 | 0:02:42 | |
"cook this dinner and then eat it. Huh, what a waste of time." | 0:02:42 | 0:02:46 | |
"Shouldn't fall in love with this person. | 0:02:46 | 0:02:47 | |
"I won't be in love in ten years." Everything's only for a month. | 0:02:47 | 0:02:50 | |
Well, that's my second and third choice gone now. | 0:02:50 | 0:02:53 | |
A friend of mine was saying the other day someone knocked | 0:02:55 | 0:02:58 | |
on his door and said, "Have you lost your wallet?" | 0:02:58 | 0:03:00 | |
-He said, "I just saw a fox steal it." -What? | 0:03:00 | 0:03:02 | |
And the fox had walked into his front door, got up | 0:03:02 | 0:03:05 | |
onto this thing, taken it, | 0:03:05 | 0:03:06 | |
and walked down the road with his wallet. | 0:03:06 | 0:03:08 | |
I bet you that was foxy bingo. | 0:03:08 | 0:03:10 | |
LAUGHTER | 0:03:10 | 0:03:12 | |
Anyway, let's see what Richard Osman doesn't like about nature. | 0:03:12 | 0:03:15 | |
This is zoo filler. | 0:03:20 | 0:03:22 | |
Now, what is zoo filler? | 0:03:22 | 0:03:24 | |
Zoo filler is all the rubbish animals in the zoo. | 0:03:24 | 0:03:27 | |
LAUGHTER | 0:03:27 | 0:03:31 | |
APPLAUSE | 0:03:31 | 0:03:33 | |
When you go to a zoo, historically, | 0:03:35 | 0:03:38 | |
there's only five animals you go to the zoo to see. | 0:03:38 | 0:03:41 | |
There used to be four, there's now five. | 0:03:41 | 0:03:43 | |
You go to a zoo to see the lions, to see the tigers, | 0:03:43 | 0:03:47 | |
to see the monkeys, to see the penguins, and now, | 0:03:47 | 0:03:51 | |
in the last five or six years, to see the meerkats. | 0:03:51 | 0:03:55 | |
And that's it. | 0:03:55 | 0:03:57 | |
And everywhere around those five animals | 0:03:57 | 0:03:59 | |
they've got all sorts of things. | 0:03:59 | 0:04:01 | |
They've got fish. You want to see a pike? | 0:04:01 | 0:04:04 | |
So, hold on, I've got a lion over here, and a tiger over here. | 0:04:04 | 0:04:07 | |
I tell you what, why don't I spend ten minutes looking at a pike? | 0:04:07 | 0:04:10 | |
And before you get to the monkey enclosure, | 0:04:10 | 0:04:12 | |
they've got a moth exhibit. You might go and see the moths. | 0:04:12 | 0:04:16 | |
You just think, zoos know they can't just have five animals | 0:04:16 | 0:04:19 | |
because that's not a day out and they can't charge you £23.50. | 0:04:19 | 0:04:21 | |
They know that. So they pack the stuff with stoats and stuff. | 0:04:21 | 0:04:25 | |
They could hide them. | 0:04:25 | 0:04:27 | |
If they hid the big five and you had to seek them out, | 0:04:27 | 0:04:30 | |
that would be a day out. | 0:04:30 | 0:04:31 | |
The truth is they do cos you go along to a zoo, you never see | 0:04:31 | 0:04:34 | |
a lion or a tiger because they're asleep 20 hours a day. | 0:04:34 | 0:04:36 | |
The one animal that's not sleeping is the Amazonian stoat. | 0:04:36 | 0:04:39 | |
He's awake the whole time. "Come and look at me." | 0:04:39 | 0:04:42 | |
Not interested. Even when you're being fed, we're not interested. | 0:04:42 | 0:04:45 | |
You didn't mention giraffes. They're essential. | 0:04:45 | 0:04:48 | |
-Do you think? -Oh, yeah. | 0:04:48 | 0:04:50 | |
Oh, what's the point? | 0:04:50 | 0:04:52 | |
-They're very tall, that's the point. -Yeah, but you know what? | 0:04:52 | 0:04:54 | |
Who isn't these days? | 0:04:54 | 0:04:56 | |
LAUGHTER | 0:04:56 | 0:04:58 | |
I think I've gone into the zoo in the past thinking, | 0:04:58 | 0:05:00 | |
"I want to see the monkeys". | 0:05:00 | 0:05:02 | |
I went to Cotswold Wildlife Park, and I went specifically to see | 0:05:02 | 0:05:06 | |
the monkeys, and then I saw a giant tortoise, | 0:05:06 | 0:05:09 | |
which I wouldn't normally expect to see, | 0:05:09 | 0:05:11 | |
and I was really excited about it. It was really massive. | 0:05:11 | 0:05:15 | |
It's kind of like when you watch... When I first started watching | 0:05:15 | 0:05:18 | |
Pointless, I watched it for Alexander Armstrong, | 0:05:18 | 0:05:20 | |
and then it turned out there was another creature on it. | 0:05:20 | 0:05:24 | |
I like some of the signs that you get in zoos. | 0:05:26 | 0:05:29 | |
What about this? My favourite ever "danger" sign. | 0:05:29 | 0:05:32 | |
LAUGHTER | 0:05:34 | 0:05:36 | |
Oh, how wonderful. | 0:05:40 | 0:05:43 | |
-It makes it look like fun, whatever's happening. -Well... | 0:05:43 | 0:05:47 | |
Unless you're the one in the wheelchair. | 0:05:47 | 0:05:49 | |
I like to think the crocodile has burped and she's going uphill. | 0:05:49 | 0:05:52 | |
LAUGHTER | 0:05:52 | 0:05:54 | |
Here's a thing, now, how are you with snakes? | 0:05:57 | 0:05:59 | |
-Do you find those exciting? -God, no. Snakes, you stand for ten minutes, going, | 0:05:59 | 0:06:03 | |
"Where is it? Is that it in the back?" | 0:06:03 | 0:06:05 | |
Cos they're so well camouflaged, and then you see it and think, "Oh, there it is." | 0:06:05 | 0:06:09 | |
-They don't move. -They are asleep for 22 hours a day, snakes. | 0:06:09 | 0:06:11 | |
Yeah. Here's a long...a long snake. | 0:06:11 | 0:06:15 | |
AUDIENCE GASPS | 0:06:32 | 0:06:34 | |
That was great from the crowd. | 0:06:46 | 0:06:49 | |
Some proper physical jumping in their seats. | 0:06:49 | 0:06:52 | |
Oh, my God. | 0:06:52 | 0:06:53 | |
Do you like the shop at the zoo? That's always a good bit. | 0:06:53 | 0:06:56 | |
I do like the shop. It's interesting, you know, the cuddly toys they get, | 0:06:56 | 0:07:00 | |
they are lions, tigers, penguins, monkeys and meerkats. | 0:07:00 | 0:07:02 | |
They're not doing cuddly toys of the moths. | 0:07:02 | 0:07:05 | |
This is my own personal favourite at London Zoo. | 0:07:05 | 0:07:08 | |
LAUGHTER | 0:07:10 | 0:07:12 | |
If you saw me coming from behind a hedgerow, | 0:07:16 | 0:07:18 | |
could you possibly think I was a lion? | 0:07:18 | 0:07:20 | |
That would certainly scare the foxes. | 0:07:22 | 0:07:24 | |
OK, then. So what doesn't Roisin like about nature? | 0:07:24 | 0:07:29 | |
AUDIENCE COOS | 0:07:33 | 0:07:35 | |
The most predictable reaction of the evening. | 0:07:35 | 0:07:38 | |
-Bambi. -OK. | 0:07:38 | 0:07:40 | |
I think Bambi should go in Room 101, | 0:07:40 | 0:07:42 | |
because Bambi was the first cartoon that started off a whole | 0:07:42 | 0:07:45 | |
generation of sad cartoons, and I hate sad cartoons. | 0:07:45 | 0:07:49 | |
Life's hard enough for kids, as you get older, | 0:07:49 | 0:07:52 | |
and I think children don't need to see animals dying on-screen. | 0:07:52 | 0:07:55 | |
People say it's good for them, it teaches them about the horrors of the world. It doesn't. | 0:07:55 | 0:08:00 | |
As you get older, if you lose a parent, you don't go, | 0:08:00 | 0:08:02 | |
"Oh, I'm glad I watched Bambi. | 0:08:02 | 0:08:04 | |
"Really, I knew what was going to happen". | 0:08:04 | 0:08:06 | |
It just gives you a really horrible | 0:08:06 | 0:08:08 | |
afternoon with children who have no sort of coping skills. | 0:08:08 | 0:08:10 | |
I was looking after some of my friends' children, | 0:08:10 | 0:08:14 | |
and I thought we'd watch The Lion King, and I fell asleep and woke | 0:08:14 | 0:08:16 | |
up to four six-year-olds screaming, "Mufasa's dead, Mufasa's dead!" | 0:08:16 | 0:08:20 | |
Spoiler alert! | 0:08:20 | 0:08:22 | |
So, yeah, I think Bambi should go in Room 101. | 0:08:24 | 0:08:27 | |
Well, in case... Has anyone here...not seen Bambi? | 0:08:27 | 0:08:32 | |
Oh, you've never seen Bambi. | 0:08:32 | 0:08:34 | |
The bit that everyone talks about is when Bambi's mum gets it early on. | 0:08:34 | 0:08:40 | |
-So... -I was gonna watch it this evening. | 0:08:40 | 0:08:43 | |
No, it's very early on. It's the sort of thing they put | 0:08:43 | 0:08:46 | |
in the trailer. | 0:08:46 | 0:08:47 | |
So, what's happened is | 0:08:47 | 0:08:49 | |
they're out and they're in the forest | 0:08:49 | 0:08:52 | |
and then we hear the sound of the hunter and the gun goes, | 0:08:52 | 0:08:56 | |
and they both run away and then Bambi stops, | 0:08:56 | 0:08:59 | |
looks over his shoulder | 0:08:59 | 0:09:00 | |
and realises that Mummy isn't with him any more. | 0:09:00 | 0:09:04 | |
BAMBI: Mother? | 0:09:07 | 0:09:09 | |
Mother! | 0:09:17 | 0:09:19 | |
Your mother can't be with you any more. | 0:09:24 | 0:09:27 | |
Can I point out that that is Bambi's father that appears at the end | 0:09:30 | 0:09:35 | |
and says, "Your mother can't be with you any more." | 0:09:35 | 0:09:38 | |
If I'm Bambi, I'm thinking, "Oh, that's it? | 0:09:38 | 0:09:40 | |
"That's the announcement of my mother's death? Thanks, Dad!" | 0:09:40 | 0:09:43 | |
There's no sense of him preparing for a life as a single parent. | 0:09:43 | 0:09:47 | |
-It's just off. -Did the dad killed the mum, is that the story? -No... | 0:09:47 | 0:09:52 | |
LAUGHTER | 0:09:52 | 0:09:54 | |
-It's not domestic violence. -Is it not? Is it definitely not? | 0:09:54 | 0:09:57 | |
It's a hunter. She was shot by a hunter. | 0:09:57 | 0:09:59 | |
Yeah, I think that's the Tarantino version. | 0:09:59 | 0:10:02 | |
Do we know that the hunter was not a hired hit man, for example? | 0:10:03 | 0:10:07 | |
-Is it cleared up in the film? -I wouldn't rule it out, anything. | 0:10:07 | 0:10:10 | |
I wouldn't rule it out. Put it in room 101. | 0:10:10 | 0:10:12 | |
I mean, it's desperately sad. | 0:10:14 | 0:10:16 | |
And the music isn't helping, is it? | 0:10:16 | 0:10:18 | |
Disney usually do Heigh-Ho or something. | 0:10:18 | 0:10:20 | |
-Even if you had your eyes shut you'd be crying. -Yeah. | 0:10:20 | 0:10:23 | |
I think it's fair to say Heigh-Ho would've been inappropriate. | 0:10:23 | 0:10:27 | |
The dwarfs dragging the carcass... | 0:10:29 | 0:10:31 | |
LAUGHTER | 0:10:31 | 0:10:34 | |
I went to see Bambi when I was six years old. | 0:10:36 | 0:10:39 | |
And you're protected as a child from, sort of, | 0:10:39 | 0:10:42 | |
all of the horrors of the world. And I watched this. | 0:10:42 | 0:10:46 | |
I'd never come across anything bad happening. | 0:10:46 | 0:10:48 | |
And then I just thought, "I've obviously missed a bit. | 0:10:48 | 0:10:51 | |
"The mum hasn't come back," | 0:10:51 | 0:10:52 | |
cos the stuff I was allowed to watch was the mum comes back. | 0:10:52 | 0:10:55 | |
So I left the cinema in bits. | 0:10:55 | 0:10:57 | |
And then I persuaded my nan to take me back the next week | 0:10:57 | 0:10:59 | |
cos I thought, "I need to see the bit where the mum comes back." | 0:10:59 | 0:11:02 | |
-So I went three times expecting... -What? | 0:11:02 | 0:11:04 | |
I persuaded different members of my family I had to go | 0:11:04 | 0:11:07 | |
-and see Bambi again. -Did you cry every time? -Every time. | 0:11:07 | 0:11:10 | |
You kept going back? Oh, it's like Cheryl with Ashley Cole. | 0:11:10 | 0:11:14 | |
LAUGHTER | 0:11:14 | 0:11:16 | |
I cried at Lady and the Tramp. | 0:11:17 | 0:11:19 | |
There's a bit in that where the dog gets run over. | 0:11:19 | 0:11:22 | |
And I really did cry at that. | 0:11:22 | 0:11:24 | |
Also, I went to see Liza Minnelli Live. | 0:11:24 | 0:11:29 | |
And she sang Lady and the Tramp. | 0:11:29 | 0:11:32 | |
And I really annoyed everyone around me | 0:11:32 | 0:11:36 | |
cos I couldn't resist doing the dog-based backing vocals. | 0:11:36 | 0:11:39 | |
So, she went, | 0:11:39 | 0:11:40 | |
# He's a tramp. # and I went, "Ruff-ruff-ruff!" | 0:11:40 | 0:11:43 | |
LAUGHTER | 0:11:43 | 0:11:45 | |
And I knew I was doing, but you know the chorus when they go, | 0:11:45 | 0:11:48 | |
# He's a tr-a-a-a-a-a-mp. # | 0:11:48 | 0:11:51 | |
It's impossible for me to listen to it. | 0:11:51 | 0:11:54 | |
Anyway, look, I think you've all argued your cases very well. | 0:11:54 | 0:11:58 | |
I think gardening now is something that I'm thinking I'm going | 0:11:58 | 0:12:01 | |
to move towards, as I reach a certain age where | 0:12:01 | 0:12:03 | |
gardening seems apt. | 0:12:03 | 0:12:05 | |
And I like the idea of being close to the land, | 0:12:05 | 0:12:08 | |
-and all that. -Yes. | 0:12:08 | 0:12:10 | |
-So I'm not going to put gardening in, Joan. -Right. | 0:12:10 | 0:12:13 | |
And I feel sorry for those animals. | 0:12:13 | 0:12:15 | |
Just because they're not in the headlines. | 0:12:15 | 0:12:17 | |
They're like character actors. | 0:12:17 | 0:12:19 | |
I feel sorry for them. It's the zoos I'm having a go at, not the animals. | 0:12:19 | 0:12:22 | |
I learn - I go to the zoo and I meet an animal I wasn't expecting | 0:12:22 | 0:12:26 | |
and then I go away and I Google it. | 0:12:26 | 0:12:28 | |
And that's fun, for me. | 0:12:28 | 0:12:31 | |
But I agree, I think so much can happen in a cartoon film. | 0:12:31 | 0:12:37 | |
You can make animals talk and all wondrous things. | 0:12:37 | 0:12:39 | |
Why not just give them one little place in their lives | 0:12:39 | 0:12:42 | |
where bad stuff doesn't happen? | 0:12:42 | 0:12:44 | |
So, I am going to put Bambi into Room 101. | 0:12:44 | 0:12:48 | |
APPLAUSE | 0:12:48 | 0:12:52 | |
OK, let's have our next category, please. | 0:13:00 | 0:13:03 | |
It is modern life. | 0:13:07 | 0:13:09 | |
What doesn't Richard Osman like about modern life? | 0:13:09 | 0:13:12 | |
It's cobblers, Frank. | 0:13:17 | 0:13:18 | |
It's cobblers, because they shouldn't exist in modern life. | 0:13:20 | 0:13:23 | |
You know, by and large, the high street, | 0:13:23 | 0:13:25 | |
you sort of know what shops are for. | 0:13:25 | 0:13:26 | |
What on earth is the cobbler doing there? | 0:13:26 | 0:13:29 | |
What are they up to? | 0:13:29 | 0:13:30 | |
Given nobody has had a pair of shoes fixed since about 1967... | 0:13:31 | 0:13:36 | |
what's going on in that shop? | 0:13:36 | 0:13:38 | |
Well, let's... How many people here would go | 0:13:38 | 0:13:42 | |
and have their shoes fixed at the cobblers? | 0:13:42 | 0:13:44 | |
We'll have a show of... Show of feet. Show of feet. That's loads. | 0:13:44 | 0:13:47 | |
Richard, you've got it all wrong, loads of people go to the cobblers. | 0:13:47 | 0:13:50 | |
Do you know what? I'm choosing not to look. | 0:13:50 | 0:13:52 | |
LAUGHTER | 0:13:52 | 0:13:54 | |
OK, then. Why are people having their shoes fixed? | 0:13:54 | 0:13:56 | |
What's going on in the world? No-one is wearing expensive enough shoes... | 0:13:56 | 0:14:00 | |
-Expensive shoes last for ever. -You don't wear high-heels...do you? | 0:14:00 | 0:14:03 | |
To be fair, they haven't invented the ceiling yet that would | 0:14:07 | 0:14:10 | |
allow me to wear high-heels. | 0:14:10 | 0:14:11 | |
You need to have heels renewed quite often. | 0:14:11 | 0:14:15 | |
Anyway, I don't think enough people are getting their shoes fixed | 0:14:15 | 0:14:18 | |
that these people are funding their shops, | 0:14:18 | 0:14:20 | |
so I'm deeply suspicious, is all I'm saying. | 0:14:20 | 0:14:23 | |
-Oh, they could be a front. -Well, of course they're a front. | 0:14:23 | 0:14:26 | |
I think it's a given they're a front, | 0:14:26 | 0:14:29 | |
but what are they a front for? | 0:14:29 | 0:14:30 | |
-A lot of cobblers also fix keys. -I know they do. | 0:14:30 | 0:14:34 | |
And that's part of my theory. | 0:14:34 | 0:14:35 | |
They're a front for cutting keys! | 0:14:37 | 0:14:39 | |
Oh, Frank. How naive. | 0:14:41 | 0:14:44 | |
What are the two things that cobblers' shops actually do? What do they actually do? | 0:14:44 | 0:14:49 | |
They cut your keys and they make house signs for you. | 0:14:49 | 0:14:52 | |
OK? So you're spending hundreds of pounds | 0:14:52 | 0:14:54 | |
making your house as secure as you possibly want, burglar alarms, | 0:14:54 | 0:14:57 | |
fitting all sorts of lock. | 0:14:57 | 0:14:59 | |
You're then going along to a man who pretends to fix shoes, | 0:14:59 | 0:15:01 | |
who you don't know, you're saying, "Here are my keys. | 0:15:01 | 0:15:04 | |
"I'll be back in an hour. | 0:15:04 | 0:15:06 | |
"And while I'm here, could you make a big, | 0:15:06 | 0:15:08 | |
"idiosyncratic sign to show you exactly where I live?" | 0:15:08 | 0:15:12 | |
And we wonder how they're funding themselves. | 0:15:12 | 0:15:14 | |
And then they wear your own shoes to burgle your house, | 0:15:14 | 0:15:17 | |
so they can't trace the footprints. | 0:15:17 | 0:15:19 | |
-Exactly. -It's like the best episode of The Wire EVER. | 0:15:19 | 0:15:22 | |
-Can I ask a personal question? -Of course you can. | 0:15:22 | 0:15:26 | |
-What size shoe do you take? -I take a 14. | 0:15:26 | 0:15:30 | |
AUDIENCE GASPS | 0:15:30 | 0:15:32 | |
How lovely to get a gasp for your shoe size. | 0:15:32 | 0:15:35 | |
So I'd have thought... | 0:15:35 | 0:15:37 | |
Are they quite hard to find, size 14s? | 0:15:37 | 0:15:40 | |
Well, I tend to sort of leave them by the door, so it's... | 0:15:40 | 0:15:43 | |
LAUGHTER | 0:15:44 | 0:15:47 | |
OK. Well, I'm worried about cobblers, but you argue it well. | 0:15:51 | 0:15:56 | |
So, what doesn't Roisin like about modern life? | 0:15:56 | 0:16:00 | |
Me. | 0:16:07 | 0:16:08 | |
Selfies. | 0:16:09 | 0:16:11 | |
Yes. | 0:16:11 | 0:16:12 | |
Er, "selfie" is a word used for people who take | 0:16:12 | 0:16:15 | |
photos of themself relentlessly and put them online. | 0:16:15 | 0:16:19 | |
I don't mind a selfie where people sort of look ridiculous, | 0:16:19 | 0:16:22 | |
-but the sort of vain... Like that... -Yeah, thanks. | 0:16:22 | 0:16:26 | |
But the sort of need people have to sort of document their own | 0:16:26 | 0:16:29 | |
existence to the point now they just take photos of themselves | 0:16:29 | 0:16:32 | |
looking nice, and, sort of, you have lots of young teenage girls | 0:16:32 | 0:16:35 | |
sort of pulling that face, doing that. | 0:16:35 | 0:16:38 | |
And anyone over 40 does take one like this, | 0:16:38 | 0:16:40 | |
sort of just looking into it. | 0:16:40 | 0:16:42 | |
And you know what's really upsetting, | 0:16:42 | 0:16:44 | |
is these people have got, like, 5,000 followers on Twitter, | 0:16:44 | 0:16:46 | |
and yet no-one to take a photo of them. | 0:16:46 | 0:16:49 | |
It's like at least have the decency to hide your own arm | 0:16:49 | 0:16:52 | |
so it looks like you were with someone | 0:16:52 | 0:16:54 | |
and someone else thought your dress was nice enough to photo. | 0:16:54 | 0:16:58 | |
-You can actually crop the pictures... -Totally. | 0:16:58 | 0:17:00 | |
-..and get your arm off. -It's the lack of intelligence that upsets me the most about selfies. | 0:17:00 | 0:17:04 | |
You know that famous Van Gogh self-portrait? | 0:17:04 | 0:17:08 | |
If you actually looked at the original version of that... | 0:17:08 | 0:17:11 | |
LAUGHTER | 0:17:11 | 0:17:14 | |
..that was actually a selfie. | 0:17:16 | 0:17:18 | |
Are you familiar with "hot dogs or legs"? | 0:17:18 | 0:17:20 | |
Sorry? | 0:17:20 | 0:17:21 | |
Hot dogs or legs. | 0:17:21 | 0:17:23 | |
-Are we familiar with hot dogs? -I'm familiar with both of those things but not as an option. | 0:17:23 | 0:17:26 | |
Not "Are you familiar with either hot dogs or legs," | 0:17:26 | 0:17:29 | |
the phenomenon of "hot dogs or legs"? No. | 0:17:29 | 0:17:32 | |
It's a selfie-based phenomenon. | 0:17:32 | 0:17:35 | |
So, what you have to do, people take a photo of themselves, maybe, | 0:17:35 | 0:17:40 | |
and you have to guess whether it is their legs or whether it's hot dogs. | 0:17:40 | 0:17:44 | |
Let me show you an example. | 0:17:45 | 0:17:47 | |
LAUGHTER | 0:17:48 | 0:17:51 | |
It's tricky, isn't it? I'll show you another one. | 0:17:51 | 0:17:55 | |
You'll get this one. | 0:17:55 | 0:17:57 | |
-What do you think? -Hot dogs. -Yes. | 0:18:00 | 0:18:02 | |
I think they've used the napkin to try and create a skirt... | 0:18:02 | 0:18:05 | |
Yeah. Went too far. | 0:18:05 | 0:18:07 | |
..to fool us. | 0:18:07 | 0:18:08 | |
This last one really... This confuses me. | 0:18:08 | 0:18:11 | |
I think that that's a leg and a hot dog. | 0:18:12 | 0:18:15 | |
LAUGHTER | 0:18:15 | 0:18:16 | |
-Because... -Yeah, it's a leg on the left, isn't it? | 0:18:16 | 0:18:19 | |
Yeah, that one on the right, you don't get a thighbone that | 0:18:19 | 0:18:22 | |
bends in like that normally. | 0:18:22 | 0:18:23 | |
-I think that's legs. -I think that's legs. -Yeah? -Yeah. | 0:18:23 | 0:18:27 | |
Can I just say - why are we doing the rest of the show? | 0:18:27 | 0:18:29 | |
Can we not just do this for half an hour? | 0:18:29 | 0:18:32 | |
I think I have a problem with photos in general. | 0:18:32 | 0:18:34 | |
-Really? -Yeah, I think we take too many photos to try | 0:18:34 | 0:18:38 | |
and document everything all the time. That's a whole other Room 101. | 0:18:38 | 0:18:41 | |
When people come back from holiday, I'll give you a piece of advice - | 0:18:41 | 0:18:44 | |
if they've got photos, tell them to choose their best three. | 0:18:44 | 0:18:46 | |
I'm not going through 100 photos. | 0:18:46 | 0:18:50 | |
Choose your best three, think about it, then I'll have a look. | 0:18:50 | 0:18:53 | |
One good thing about the selfie is I used to send texts for various | 0:18:56 | 0:19:01 | |
-reasons to various people. -Oh, dear. -Uh-oh. -No! | 0:19:01 | 0:19:04 | |
And then I thought, actually, I can save myself a lot of texting time. | 0:19:04 | 0:19:07 | |
I sort of use selfies in order to send messages. | 0:19:07 | 0:19:11 | |
So I've got a few examples that I use. | 0:19:11 | 0:19:14 | |
"I'm sorry I'm running late." | 0:19:14 | 0:19:16 | |
"Thanks for dinner." | 0:19:19 | 0:19:20 | |
And I haven't actually used this one yet, but I've got it in waiting. | 0:19:23 | 0:19:27 | |
Here it is. This is, "I'm having a heart attack". | 0:19:27 | 0:19:30 | |
They've saved me a hell of a lot of time, I must say. | 0:19:35 | 0:19:38 | |
Anyway, what doesn't Joan like about modern life? | 0:19:38 | 0:19:41 | |
Customer service surveys. | 0:19:47 | 0:19:50 | |
-Hmm. -No options. None of the options that we want. | 0:19:50 | 0:19:55 | |
You're given options from - disappointing, good, | 0:19:55 | 0:19:59 | |
very good, brilliant. | 0:19:59 | 0:20:00 | |
What you want to tell them is fired up with real hatred | 0:20:00 | 0:20:05 | |
of what the experience has been like, and there's no scope for that. | 0:20:05 | 0:20:09 | |
They only want you to tick these boxes, there's no human emotion here. | 0:20:09 | 0:20:13 | |
Most people don't do these surveys at all, | 0:20:13 | 0:20:16 | |
so the people who have sent this round get a distorted view | 0:20:16 | 0:20:19 | |
that everybody has to tick something, so they tick "good", | 0:20:19 | 0:20:23 | |
and they say, "This product is an absolute hit with the public." | 0:20:23 | 0:20:27 | |
It's completely deluded. | 0:20:27 | 0:20:29 | |
Isn't it nice that they care about our opinion? | 0:20:29 | 0:20:32 | |
No, they don't care. It's a marketing ploy. | 0:20:32 | 0:20:35 | |
If they cared they wouldn't... This is advertising speak. | 0:20:35 | 0:20:39 | |
This is to placate the managing director. | 0:20:39 | 0:20:42 | |
This is to please the shareholders. | 0:20:42 | 0:20:43 | |
This is nothing to do with the service they give you. | 0:20:43 | 0:20:46 | |
They want praise. | 0:20:46 | 0:20:48 | |
Everybody wants praise, but this is a deluded way of going about it, | 0:20:48 | 0:20:51 | |
because you convince people you're running a successful business | 0:20:51 | 0:20:54 | |
when all your customers are furious with the lack of standards. | 0:20:54 | 0:20:59 | |
So, in the interests of consumers I think these should go in Room 101. | 0:20:59 | 0:21:04 | |
APPLAUSE | 0:21:04 | 0:21:07 | |
This is my favourite ever complaint in a cafe or restaurant. | 0:21:07 | 0:21:11 | |
That's written in ketchup and mustard. | 0:21:11 | 0:21:15 | |
Wow. | 0:21:15 | 0:21:17 | |
That's what they call complaining with relish. | 0:21:17 | 0:21:19 | |
Can I end this on a happy note? | 0:21:22 | 0:21:24 | |
On the subject of customer service, I love this. | 0:21:24 | 0:21:28 | |
A man took his eight-year-old son on holiday to the Ritz Carlton Hotel | 0:21:28 | 0:21:33 | |
in Florida, and when he left they forgot his cuddly toy, Joshy. | 0:21:33 | 0:21:39 | |
The child was in bits, and the dad said, | 0:21:39 | 0:21:43 | |
"Well, the thing is, Joshy, you know, he's getting on now. | 0:21:43 | 0:21:47 | |
"He's having a vacation on his own." | 0:21:47 | 0:21:49 | |
So then he desperately phoned the hotel and said, "Is Joshy there?" | 0:21:49 | 0:21:53 | |
They said, "Yeah, we've got it." | 0:21:53 | 0:21:54 | |
And he said, "OK, well, can you hold on to it for a few days, | 0:21:54 | 0:21:57 | |
"cos I've told him that Joshy's on vacation?" | 0:21:57 | 0:22:00 | |
And they sent back a series of pictures of Joshy enjoying | 0:22:00 | 0:22:06 | |
the hotel facilities. | 0:22:06 | 0:22:08 | |
LAUGHTER AND APPLAUSE | 0:22:10 | 0:22:12 | |
LAUGHTER | 0:22:17 | 0:22:19 | |
So, you know what? I love that story. | 0:22:21 | 0:22:24 | |
OK. So, I don't feel I can put cobblers in, Richard. | 0:22:24 | 0:22:32 | |
I just think we'll miss them. | 0:22:32 | 0:22:34 | |
And selfies, as I think I've proved, | 0:22:34 | 0:22:36 | |
can be a great practical boon in life. | 0:22:36 | 0:22:39 | |
But I can see little or no good, you've argued it so well, Joan, | 0:22:39 | 0:22:43 | |
I am going to put customer service surveys into Room 101. | 0:22:43 | 0:22:47 | |
Next category, please. | 0:22:59 | 0:23:01 | |
Oh, it's the Audience Choice. | 0:23:06 | 0:23:08 | |
So, it means that someone here tonight has got something | 0:23:08 | 0:23:11 | |
they want to stick into Room 101. | 0:23:11 | 0:23:13 | |
I think Margaret Wynne should be here tonight. | 0:23:13 | 0:23:16 | |
Are you there, Margaret? | 0:23:16 | 0:23:18 | |
-Hello, Margaret. -Hello. -Now, what would you like to put into Room 101? | 0:23:18 | 0:23:22 | |
Well, I'd like to put in Room 101 people who pronounce the letter H | 0:23:22 | 0:23:29 | |
'haitch.' | 0:23:29 | 0:23:30 | |
APPLAUSE | 0:23:30 | 0:23:33 | |
Is this commonplace, this, Margaret? | 0:23:36 | 0:23:38 | |
It is quite common, yes. | 0:23:38 | 0:23:40 | |
OK. It's a bit of a trap, though, isn't it, | 0:23:40 | 0:23:42 | |
H, in that everything suggests it should be a 'h' | 0:23:42 | 0:23:47 | |
cos we've learnt so much from H that there should be a 'h'. | 0:23:47 | 0:23:50 | |
-And then, of all the letters not to have a 'h', it's H. -Yes. | 0:23:50 | 0:23:57 | |
I think it's brought it on itself, in so many ways. | 0:23:57 | 0:24:00 | |
Yeah, but you wouldn't say 'wouble U,' would you? | 0:24:00 | 0:24:03 | |
LAUGHTER | 0:24:03 | 0:24:05 | |
-Oh, we should say 'wouble U,' shouldn't we? -That would be amazing. | 0:24:05 | 0:24:08 | |
-That's much better. -I was watching Countdown this very week. | 0:24:08 | 0:24:13 | |
And a man on Countdown kept saying, "Constanant, please, Rachel. | 0:24:13 | 0:24:19 | |
"Constanant, vowel. Constanant." | 0:24:19 | 0:24:22 | |
And he wasn't corrected. On Countdown! | 0:24:22 | 0:24:26 | |
The very bastion of correct language. | 0:24:26 | 0:24:29 | |
So, you know, standards are dropping and we need people like you. | 0:24:29 | 0:24:33 | |
-Definitely. -Pedants. -Absolutely. Yes, absolutely. It... | 0:24:33 | 0:24:38 | |
It shows how ill-educated the person is who says 'haitch.' | 0:24:38 | 0:24:44 | |
Isn't it uneducated? | 0:24:44 | 0:24:45 | |
No, it's h-ill-educated, I think. | 0:24:45 | 0:24:47 | |
LAUGHTER | 0:24:47 | 0:24:49 | |
APPLAUSE | 0:24:49 | 0:24:50 | |
But the language changes. | 0:24:53 | 0:24:54 | |
There was a time where you always had to drop the H | 0:24:54 | 0:24:57 | |
when you talked about a hotel. You talked about 'an otel.' | 0:24:57 | 0:25:01 | |
-That was correct pronunciation. -Is that right? | 0:25:01 | 0:25:03 | |
'An otel,' you dropped the H. So, perhaps, we should drop the H. | 0:25:03 | 0:25:08 | |
No, I would never drop the H. | 0:25:08 | 0:25:10 | |
My husband and I had a conversation about it. | 0:25:10 | 0:25:13 | |
And we both decided it's 'a hotel.' | 0:25:13 | 0:25:16 | |
You sound like a fun couple. | 0:25:16 | 0:25:18 | |
LAUGHTER | 0:25:18 | 0:25:20 | |
I don't mind. I think people should speak as they want, by and large, | 0:25:21 | 0:25:24 | |
as long as they're understood. | 0:25:24 | 0:25:25 | |
The only thing I would change, there's only one thing | 0:25:25 | 0:25:28 | |
I say to everybody, is there is no such expression as 'would of.' | 0:25:28 | 0:25:31 | |
That's mine. You can't say it. | 0:25:31 | 0:25:33 | |
APPLAUSE | 0:25:33 | 0:25:35 | |
It's all down to etiquette. | 0:25:36 | 0:25:38 | |
Or, as my dad used to call it, 'etiquity.' | 0:25:38 | 0:25:40 | |
He honestly did. | 0:25:41 | 0:25:43 | |
I'll tell you what, Margaret, I love your passion about this. | 0:25:43 | 0:25:47 | |
And I love that you found someone else, clearly, who's also into it. | 0:25:47 | 0:25:51 | |
It must be like living with Roget. | 0:25:51 | 0:25:54 | |
So, you know what, I am going to put people | 0:25:54 | 0:25:57 | |
-who mispronounce H into Room 101. -Thank you. | 0:25:57 | 0:26:00 | |
Well done. | 0:26:06 | 0:26:07 | |
Well done, Margaret. OK, can we have the next category, please? | 0:26:09 | 0:26:13 | |
It's the wildcard category, which means no restraints, | 0:26:18 | 0:26:21 | |
you can pick anything at all you don't like. | 0:26:21 | 0:26:24 | |
So what is Roisin's wildcard? | 0:26:24 | 0:26:26 | |
Greeting cards with writing already in it. | 0:26:30 | 0:26:33 | |
-Right. -I can't bear them. | 0:26:33 | 0:26:35 | |
If you're going to bother buying and sending someone a card, | 0:26:35 | 0:26:38 | |
at least have the decency to write your own message. | 0:26:38 | 0:26:41 | |
Erm, and it's become, like, now they're like books. | 0:26:41 | 0:26:44 | |
You know those cards that have got pages of, like, | 0:26:44 | 0:26:46 | |
synthetic emotion that I can't compete with, so you're just like, | 0:26:46 | 0:26:51 | |
"To Mum, love, Roisin," like loads of stuff that's quite dramatic. | 0:26:51 | 0:26:54 | |
-Yes. -I don't buy them, and my sister does, | 0:26:54 | 0:26:57 | |
and then my mum reads that out as if it's from my sister, | 0:26:57 | 0:27:00 | |
and then reads mine out, like, "To Mum, love you". | 0:27:00 | 0:27:02 | |
She's like, "Oh, you could've made an effort". | 0:27:02 | 0:27:05 | |
I'm like, "She bought it... Clintons wrote that, not her." | 0:27:05 | 0:27:08 | |
And I just think it's a sign of how busy we are. | 0:27:08 | 0:27:10 | |
Some people put quotation marks around three | 0:27:10 | 0:27:14 | |
paragraphs of other people's words. | 0:27:14 | 0:27:17 | |
As in, "What he said. That'll do." | 0:27:17 | 0:27:20 | |
I like to write under the verse, | 0:27:20 | 0:27:23 | |
"This is a fair approximation of what I feel." | 0:27:23 | 0:27:25 | |
I'm always at a loss on what to write on cards, | 0:27:29 | 0:27:32 | |
so I'm kind of glad for a bit of help. | 0:27:32 | 0:27:35 | |
This is a card, | 0:27:35 | 0:27:37 | |
this is for people who've recently split up in a relationship, | 0:27:37 | 0:27:40 | |
and it says, "You're the strongest person I know." | 0:27:40 | 0:27:44 | |
I sent one of those to Geoff Capes. | 0:27:44 | 0:27:47 | |
Look, "And I totally believe in you." | 0:27:49 | 0:27:51 | |
How lovely. | 0:27:51 | 0:27:53 | |
It didn't really apply to anyone that I knew, | 0:27:53 | 0:27:56 | |
so I got a bit of Tipp-Ex... | 0:27:56 | 0:27:59 | |
and I just gave it a bit of a... | 0:27:59 | 0:28:01 | |
And now I can send them to loads of my friends. | 0:28:02 | 0:28:06 | |
LAUGHTER | 0:28:08 | 0:28:09 | |
See, you've just got to give it a bit of thought. | 0:28:11 | 0:28:13 | |
I just think we're losing honesty. | 0:28:13 | 0:28:15 | |
By buying a blank card and having the guts to write a badly spelt, | 0:28:15 | 0:28:19 | |
woefully articulated, | 0:28:19 | 0:28:21 | |
earnest message of something to someone should matter. | 0:28:21 | 0:28:25 | |
And I think buying a card that does it all I find really depressing. | 0:28:25 | 0:28:29 | |
We've got a picture of a card here. | 0:28:29 | 0:28:31 | |
This is a birthday card for a one-year-old. Get a load of this. | 0:28:31 | 0:28:34 | |
It's a fairly standard one. It's your first birthday. | 0:28:34 | 0:28:38 | |
Old-fashioned card, but cuddly and lovely. | 0:28:38 | 0:28:41 | |
Any one-year-old would be pleased to receive that. | 0:28:41 | 0:28:44 | |
And then on the back it says... | 0:28:44 | 0:28:46 | |
"Not suitable for children under three years due too small parts." | 0:28:48 | 0:28:51 | |
This is slightly sad, but a friend of mine was bereaved recently, | 0:28:53 | 0:28:58 | |
and I sent them this, "With deepest sympathy card", | 0:28:58 | 0:29:02 | |
and, er, I went for the... | 0:29:02 | 0:29:04 | |
You see, you condemn the selfie, they're so versatile. | 0:29:07 | 0:29:10 | |
OK, well, let's see what Joan's wildcard is. | 0:29:12 | 0:29:15 | |
Chewing gum. | 0:29:20 | 0:29:21 | |
AUDIENCE GROANS | 0:29:21 | 0:29:24 | |
How vile is it? | 0:29:24 | 0:29:26 | |
You mean generally or on pavements? | 0:29:26 | 0:29:28 | |
Altogether, because it loses its flavour after ten seconds, | 0:29:28 | 0:29:32 | |
then you've got a mouthful of rubber. | 0:29:32 | 0:29:33 | |
It doesn't do anything. | 0:29:33 | 0:29:35 | |
It just sticks there, and your jaw chews around at it, makes lots | 0:29:35 | 0:29:39 | |
of saliva, horrible, and you look ridiculous, so you spit it out. | 0:29:39 | 0:29:44 | |
Then it disfigures the environment. | 0:29:44 | 0:29:47 | |
It spoils the pavements, it sticks to people's shoes, | 0:29:47 | 0:29:49 | |
and it sets up these spots everywhere, | 0:29:49 | 0:29:52 | |
which are very expensive to remove, and are just a disgrace to the | 0:29:52 | 0:29:56 | |
environment, which we want to be beautiful. | 0:29:56 | 0:29:58 | |
So, it really is a threat to the fact that we would like our cities | 0:29:58 | 0:30:02 | |
to look good. | 0:30:02 | 0:30:04 | |
And people are irresponsible, just throwing it out. Dropping it. | 0:30:04 | 0:30:08 | |
The trouble is, as my mother told me, | 0:30:08 | 0:30:11 | |
if you swallow it, it sticks your insides up. | 0:30:11 | 0:30:15 | |
Did you used to pull it out, and do that with it? | 0:30:15 | 0:30:19 | |
Yes, I used to do that. | 0:30:19 | 0:30:20 | |
I've done that with catarrh. | 0:30:22 | 0:30:24 | |
Oh, my God. | 0:30:26 | 0:30:27 | |
Well, I have one thing that might win you over, Joan, | 0:30:28 | 0:30:32 | |
and this is something which I think is pretty impressive. | 0:30:32 | 0:30:36 | |
There is a man, and he's called Ben Wilson, | 0:30:36 | 0:30:39 | |
and Ben Wilson is known as the chewing gum man. | 0:30:39 | 0:30:42 | |
Now, we have a photograph of Ben, doing what he does. | 0:30:42 | 0:30:46 | |
Ben actually paints those chewing gum splodges on the pavement | 0:30:46 | 0:30:53 | |
which annoy you so much. Now, Ben is here tonight. Where is Ben? | 0:30:53 | 0:30:56 | |
-Hello, Ben, how are you? -Well done. | 0:30:56 | 0:30:59 | |
We have a couple of examples of your work, Ben, | 0:31:05 | 0:31:09 | |
just to give people an idea. | 0:31:09 | 0:31:10 | |
This is a scene from Archway in North London. | 0:31:10 | 0:31:14 | |
Wow. | 0:31:15 | 0:31:17 | |
And this is a full English breakfast. | 0:31:17 | 0:31:20 | |
And can I say, they're definitely sausages. | 0:31:22 | 0:31:25 | |
So, how did it all start, Ben? | 0:31:26 | 0:31:28 | |
Well, for years, I worked as an artist, | 0:31:28 | 0:31:32 | |
and I'd been painting a lot of pictures on billboards, | 0:31:32 | 0:31:36 | |
defacing the advertising because | 0:31:36 | 0:31:39 | |
advertisers have a monopoly over public space, | 0:31:39 | 0:31:42 | |
and it was a way to make creativity happen in a more spontaneous way. | 0:31:42 | 0:31:47 | |
And technically, if you paint on the chewing gum, | 0:31:47 | 0:31:50 | |
it's not criminal damage. | 0:31:50 | 0:31:52 | |
Oh, cos you're not painting on the pavement. | 0:31:52 | 0:31:55 | |
You're not painting on the pavement. | 0:31:55 | 0:31:57 | |
The City of London Police tried to get me on a criminal damage charge. | 0:31:57 | 0:32:00 | |
They did arrest me. But I won my case. | 0:32:00 | 0:32:02 | |
They couldn't make the charges stick. | 0:32:02 | 0:32:05 | |
Well, look, Ben has done something very wonderful, | 0:32:12 | 0:32:14 | |
because he has mounted some chewing gum on a brick, | 0:32:14 | 0:32:18 | |
and this shows us the life, basically, of Joan Bakewell. | 0:32:18 | 0:32:23 | |
If you can see that, | 0:32:24 | 0:32:26 | |
down there you've got Joan as a child with her family. | 0:32:26 | 0:32:29 | |
-Good heavens! -Then Joan in the '60s. | 0:32:29 | 0:32:31 | |
Then Joan as a '70s TV presenter, and then Joan, there she is, | 0:32:32 | 0:32:37 | |
-as she is now. -Wow. | 0:32:37 | 0:32:39 | |
And they're really good likenesses. That's fabulous. | 0:32:39 | 0:32:42 | |
What can I say? I can't retrieve my hatred of this kind of gum, | 0:32:46 | 0:32:50 | |
but can you get round faster? | 0:32:50 | 0:32:52 | |
But if people didn't spit it out, | 0:32:54 | 0:32:56 | |
-poor old Ben wouldn't have anything to paint. -No, no. | 0:32:56 | 0:32:58 | |
It's beautiful. What about a big hand for Ben? Fabulous art. | 0:32:58 | 0:33:02 | |
OK. So what is Richard's wildcard? | 0:33:05 | 0:33:08 | |
It is people telling me I'm tall. | 0:33:13 | 0:33:16 | |
Because, believe me, I know. I already know. | 0:33:21 | 0:33:25 | |
I'm reminded in my daily life - I bump my head on things, | 0:33:25 | 0:33:27 | |
I get tutted at in cinemas and what have you. | 0:33:27 | 0:33:30 | |
I don't need people endlessly coming up in the streets | 0:33:30 | 0:33:32 | |
and informing me of the fact. | 0:33:32 | 0:33:34 | |
I'm 6'7", or I'm 6'8" if I'm trying to get an upgrade on a plane, | 0:33:34 | 0:33:38 | |
but, lots of people come up to you in the street, | 0:33:38 | 0:33:40 | |
and people are interested if you're tall, | 0:33:40 | 0:33:43 | |
and it's exciting and people are lovely. | 0:33:43 | 0:33:44 | |
So, by and large, it's fine. | 0:33:44 | 0:33:46 | |
But it's the people who shout out of car windows, | 0:33:46 | 0:33:48 | |
"Hey, you're tall, mate!" | 0:33:48 | 0:33:50 | |
Are you approaching a low bridge when they call that? | 0:33:51 | 0:33:55 | |
It's a warning. | 0:33:55 | 0:33:56 | |
I'm approaching a high bridge. It looks like a low bridge. | 0:33:56 | 0:33:59 | |
So, people actually tell you that you're tall? | 0:34:00 | 0:34:03 | |
Oh, endlessly. | 0:34:03 | 0:34:05 | |
There's a class of people who delight in telling anyone they're different. | 0:34:05 | 0:34:09 | |
For most people, | 0:34:09 | 0:34:10 | |
differences are wonderful things and we celebrate them. | 0:34:10 | 0:34:12 | |
Most people are like that, but there are a group of people as well, | 0:34:12 | 0:34:15 | |
who, whatever it is in their brains, | 0:34:15 | 0:34:18 | |
will delight in letting you know that something about you is unusual. | 0:34:18 | 0:34:22 | |
I mean if your shoelace is undone, that's good. That's helpful. | 0:34:22 | 0:34:25 | |
If you're telling me I'm tall, I promise you, it's covered. | 0:34:25 | 0:34:28 | |
-The good thing is, you'd be a really good meeting point... -Yeah. | 0:34:28 | 0:34:34 | |
If there's a group of friends somewhere, we're going to find you. | 0:34:34 | 0:34:37 | |
I'm genuinely good for that, it has to be said. People don't lose me. | 0:34:37 | 0:34:40 | |
-I can go to Glastonbury and people know where I am. -That's great. | 0:34:40 | 0:34:43 | |
You're virtually a flag. | 0:34:43 | 0:34:45 | |
LAUGHTER | 0:34:45 | 0:34:47 | |
I was in a shop the other day, and people quite often ask me | 0:34:47 | 0:34:49 | |
to get things off high shelves... | 0:34:49 | 0:34:52 | |
-Do they really? -As I say, most people are lovely. | 0:34:52 | 0:34:54 | |
So I'm in a shop and there's a lady, must have been 70-odd, very, very short, and she said, | 0:34:54 | 0:34:58 | |
"You couldn't get me some eggs from up there, could you?" I said, "Oh, absolutely". | 0:34:58 | 0:35:02 | |
So I got them and gave them to her, and she just went, | 0:35:02 | 0:35:04 | |
"Is there anything I can get you from down here?" | 0:35:04 | 0:35:07 | |
LAUGHTER | 0:35:07 | 0:35:10 | |
I've invented something. It's called the height reversal platform. | 0:35:13 | 0:35:19 | |
-OK. -You're nine inches taller than me. -Uh-huh. | 0:35:19 | 0:35:23 | |
And it must be, for you, thinking, "God, what's it like for Frank | 0:35:23 | 0:35:27 | |
"being next to a man who's nine inches..?" | 0:35:27 | 0:35:30 | |
So the height reversal platform, if you'll come and join me, Richard, | 0:35:30 | 0:35:36 | |
means that we can show you what it would be like if you were me... | 0:35:36 | 0:35:40 | |
-OK. -..as it were. | 0:35:40 | 0:35:42 | |
So can you bring on the height reversal platform, please? | 0:35:42 | 0:35:45 | |
-OK. -I've got you. | 0:35:52 | 0:35:55 | |
-Yeah? -Yeah. | 0:35:55 | 0:35:57 | |
-So I stand on here, you step into those... -Ah. | 0:35:57 | 0:36:00 | |
This is what you're like to me. | 0:36:08 | 0:36:10 | |
-God, you're tall, aren't you? -Yeah. Can I try these? | 0:36:10 | 0:36:14 | |
There we go. | 0:36:14 | 0:36:15 | |
There you go. | 0:36:16 | 0:36:18 | |
People watching this will think, | 0:36:18 | 0:36:20 | |
"Yeah, God, that Richard Osman's dressed smart." | 0:36:20 | 0:36:23 | |
Or they might think, "Blimey, Michael Gove's tall." | 0:36:24 | 0:36:27 | |
Actually, it'd be interesting to see what would happen if we, er... | 0:36:34 | 0:36:37 | |
-If instead of balancing, it made things... -Reverse around. | 0:36:37 | 0:36:40 | |
-Yeah. -Let's blow people's minds, Frank. | 0:36:40 | 0:36:43 | |
LAUGHTER | 0:36:45 | 0:36:49 | |
Thank you, Richard. | 0:36:59 | 0:37:01 | |
The height reversal platform, ladies and gentlemen. | 0:37:01 | 0:37:04 | |
CHEERING | 0:37:04 | 0:37:07 | |
I love the removal men. | 0:37:09 | 0:37:10 | |
They're like something from Laurel and Hardy, aren't they? | 0:37:10 | 0:37:13 | |
So, Roisin, I've often been very glad of a bit of help with | 0:37:13 | 0:37:18 | |
a greetings card, I must admit. | 0:37:18 | 0:37:19 | |
Although the poetry's bad, it means I don't have to write stuff, | 0:37:19 | 0:37:23 | |
so I just can't put that into Room 101. | 0:37:23 | 0:37:26 | |
Joan, you argued so well, and I am anti-litter, very, very much so, | 0:37:26 | 0:37:30 | |
but I just thought Ben's art was so good, | 0:37:30 | 0:37:33 | |
I just don't feel I can put it in. | 0:37:33 | 0:37:35 | |
But, Richard, I do feel for you. | 0:37:35 | 0:37:37 | |
Can anyone watching just... He knows. He knows. | 0:37:37 | 0:37:40 | |
And consequently, I'm going to put | 0:37:40 | 0:37:42 | |
people telling Richard he's tall into Room 101. | 0:37:42 | 0:37:45 | |
And that brings us to the end of the show, | 0:37:57 | 0:37:59 | |
and well done, Richard, you were the most persuasive guest tonight, | 0:37:59 | 0:38:03 | |
so you are tonight's winner. | 0:38:03 | 0:38:05 | |
So, thank you very much to Richard Osman, to Joan Bakewell | 0:38:09 | 0:38:12 | |
and Roisin Conaty, and thank you, good night. | 0:38:12 | 0:38:14 |