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CHEERING AND APPLAUSE | 0:00:29 | 0:00:34 | |
Hello, I'm Frank Skinner, and welcome to Room 101, the show where | 0:00:34 | 0:00:38 | |
three guests battle to consign their pet peeves to the infamous vault. | 0:00:38 | 0:00:42 | |
Our guests' choices have been sorted into categories | 0:00:42 | 0:00:45 | |
and in each round, only one item can be chosen. | 0:00:45 | 0:00:47 | |
The final decision is mine. Let's meet this week's guests. | 0:00:47 | 0:00:50 | |
Joining me tonight are comedian Sue Perkins, Strictly judge | 0:00:50 | 0:00:53 | |
Bruno Tonioli and presenter Steve Jones. CHEERING AND APPLAUSE | 0:00:53 | 0:00:58 | |
OK, then, let's have our first category. | 0:01:05 | 0:01:07 | |
It's shopping. OK. | 0:01:12 | 0:01:15 | |
What does Bruno hate about shopping? | 0:01:15 | 0:01:17 | |
Argh! | 0:01:21 | 0:01:23 | |
Flat-pack furniture. Hell! Hell! Dangerous. | 0:01:23 | 0:01:28 | |
Very, very dangerous. | 0:01:28 | 0:01:30 | |
I think, it's actually easier to assemble a space shuttle. | 0:01:30 | 0:01:35 | |
Have you ever tried to put together, from a flat-pack furniture box, | 0:01:35 | 0:01:39 | |
a chest of drawers? | 0:01:39 | 0:01:40 | |
ALL: Yes. Yeah. | 0:01:40 | 0:01:42 | |
Well, you're a genius, because I nearly killed myself, I really did. | 0:01:42 | 0:01:46 | |
Cos, you know, the first thing... it comes... | 0:01:46 | 0:01:49 | |
there's all these kind of bits and pieces. I have no idea... | 0:01:49 | 0:01:52 | |
I'm very artistic, you see, you have to understand, so... | 0:01:52 | 0:01:54 | |
and you have to put them down in a very, very precise pattern, right? | 0:01:54 | 0:01:58 | |
Then you've got this piece of paper, says, "Take A", | 0:01:58 | 0:02:01 | |
which usually I put there, "and stick it to B", which is there. | 0:02:01 | 0:02:06 | |
Are you playing Twister? And then the key... | 0:02:06 | 0:02:10 | |
You've accidentally bought Twister. Can I ask you a question? | 0:02:10 | 0:02:13 | |
How many times have you done this process? Once. Never again. | 0:02:13 | 0:02:20 | |
Terrible. I don't think anybody would disagree. | 0:02:20 | 0:02:23 | |
There's a hellish ordeal to try and assemble one of these things, | 0:02:23 | 0:02:26 | |
but, what I would say, the sense of achievement you get | 0:02:26 | 0:02:29 | |
when you do actually assemble it and it's there in front of you, | 0:02:29 | 0:02:32 | |
you feel like a real man, you know. Normally I'm like... | 0:02:32 | 0:02:36 | |
I'm not going for that one. | 0:02:36 | 0:02:38 | |
Bruno, you must often feel like a real man. | 0:02:39 | 0:02:42 | |
Every day. If we can get one, we will. | 0:02:42 | 0:02:44 | |
We have a couple of examples of flat-packs that didn't work out. | 0:02:44 | 0:02:48 | |
These are genuine, not done for comedy, but genuine. | 0:02:48 | 0:02:51 | |
This is a chair. | 0:02:51 | 0:02:52 | |
I can see where they went wrong. Yeah, exactly. | 0:02:56 | 0:02:59 | |
And for those of you who still collect vinyl, | 0:02:59 | 0:03:02 | |
this is record shelving. | 0:03:02 | 0:03:04 | |
Yeah, but they're not... That's a classic. | 0:03:07 | 0:03:09 | |
I know, if that was my house, me | 0:03:09 | 0:03:11 | |
and my girlfriend would live with that for about three years. Yeah. | 0:03:11 | 0:03:15 | |
Here's one of my favourite bits of interior decoration. | 0:03:15 | 0:03:18 | |
This is a coat hanger that looks like a drunken octopus who | 0:03:18 | 0:03:21 | |
wants a fight. | 0:03:21 | 0:03:22 | |
Yeah, that's good. | 0:03:26 | 0:03:27 | |
OK. What doesn't Steve like about shopping? | 0:03:27 | 0:03:31 | |
Enforced present-buying. | 0:03:37 | 0:03:39 | |
As you can see from my face there, I'm pretty miffed about it already, | 0:03:39 | 0:03:42 | |
carrying all these presents. In this country, a few times a year, | 0:03:42 | 0:03:46 | |
we, the British people, are pretty much held to ransom | 0:03:46 | 0:03:49 | |
by these huge corporate mega... | 0:03:49 | 0:03:52 | |
mega-businesses that will prey on our insecurities and fears | 0:03:52 | 0:03:56 | |
in order to get us to buy their products. | 0:03:56 | 0:03:58 | |
You know, it's a case of, "come buy this tat that you don't need | 0:03:58 | 0:04:02 | |
"or your loved ones don't need in order to show them you love them. | 0:04:02 | 0:04:05 | |
"If you don't, you're a terrible person. | 0:04:05 | 0:04:07 | |
"You will burn in the lake of fire for all eternity." | 0:04:07 | 0:04:10 | |
"Ebenezer." Yeah. | 0:04:10 | 0:04:11 | |
I haven't actually seen that specific advert. | 0:04:11 | 0:04:15 | |
It's more in my dreams, but it doesn't just stop there. | 0:04:15 | 0:04:18 | |
It's kind of like... you know, here's a credit card, | 0:04:18 | 0:04:21 | |
to buy this junk you don't need with money you don't have. | 0:04:21 | 0:04:24 | |
It's just sickening, and it's materialism... rabid materialism, | 0:04:24 | 0:04:28 | |
and it has to stop. I do not subscribe to it. | 0:04:28 | 0:04:30 | |
You're not just thinking of Christmas. You're thinking of any... | 0:04:30 | 0:04:33 | |
I'm talking Valentine's Day, birthday presents, Christmas, | 0:04:33 | 0:04:36 | |
any other occasion you care to mention. | 0:04:36 | 0:04:37 | |
Oh. Curmudgeon. Curmudgeon. | 0:04:37 | 0:04:40 | |
Boo. | 0:04:40 | 0:04:42 | |
Let's talk about this. Let's take Valentine's Day. | 0:04:42 | 0:04:45 | |
OK. All right. OK? | 0:04:45 | 0:04:46 | |
Now, which one would you prefer, sir, madam, which do you prefer? | 0:04:46 | 0:04:50 | |
I'd like to take you out | 0:04:50 | 0:04:51 | |
for a romantic candlelit meal this evening, | 0:04:51 | 0:04:54 | |
because it's Valentine's Day and everybody else is doing it. | 0:04:54 | 0:04:57 | |
Or, would you prefer this? | 0:04:57 | 0:04:59 | |
I'd like to take you out for a candlelit meal | 0:04:59 | 0:05:02 | |
because it's July and I love you. | 0:05:02 | 0:05:05 | |
One has sentiment. The other doesn't. | 0:05:05 | 0:05:07 | |
Yes, I agree. That's my point. | 0:05:07 | 0:05:10 | |
I get a dozen red roses every Valentine... | 0:05:10 | 0:05:12 | |
I buy a dozen red roses, and they're quite expensive. | 0:05:12 | 0:05:16 | |
In fact I had a conversation, I actually had a genuine conversation | 0:05:16 | 0:05:20 | |
with two guys and one of them said, he said, "I've often wondered | 0:05:20 | 0:05:25 | |
"if you could get away with ten, because no-one ever counts them". | 0:05:25 | 0:05:29 | |
That is not romantic! | 0:05:31 | 0:05:33 | |
Your girlfriend is watching this. But this other guy said, | 0:05:33 | 0:05:36 | |
"Maybe," he said, "I must say, I'd be worried about nine." | 0:05:36 | 0:05:39 | |
LAUGHTER | 0:05:39 | 0:05:41 | |
Well, I grew up in Birmingham, | 0:05:41 | 0:05:43 | |
and at The Bullring Centre in Birmingham, | 0:05:43 | 0:05:46 | |
we were all pressured to buy everything from there. | 0:05:46 | 0:05:49 | |
# At the Bullring Shopping Centre... # | 0:05:54 | 0:05:56 | |
# At the Bullring Shopping Centre... # | 0:06:00 | 0:06:02 | |
# At the Bullring Shopping Centre... # | 0:06:07 | 0:06:09 | |
# At the Bullring Shopping Centre. # | 0:06:14 | 0:06:16 | |
And we did! LAUGHTER AND APPLAUSE | 0:06:18 | 0:06:21 | |
I should say, a friend of mine, Emily, said, | 0:06:23 | 0:06:27 | |
"I love that advert, but the fact that it's set in Birmingham | 0:06:27 | 0:06:30 | |
"makes it very hard to put a date on it." | 0:06:30 | 0:06:32 | |
LAUGHTER | 0:06:32 | 0:06:35 | |
I was disturbed by the fact she seemed to have scalped Limahl | 0:06:35 | 0:06:38 | |
and was wearing his hair as a pelt. | 0:06:38 | 0:06:40 | |
Like a trophy kill. | 0:06:40 | 0:06:42 | |
The baby looks about 51! | 0:06:42 | 0:06:44 | |
There's a pressure of all sorts, though. | 0:06:45 | 0:06:48 | |
Have you ever seen these houses that put up loads and loads | 0:06:48 | 0:06:51 | |
and loads of Christmas lights... Yeah. Yeah. ..in their street? | 0:06:51 | 0:06:54 | |
And then the neighbours think, "Oh, our house looks a bit drab". | 0:06:54 | 0:06:58 | |
I saw a fabulous example of this. | 0:06:58 | 0:07:00 | |
This is a genuine house where someone did their Christmas | 0:07:00 | 0:07:04 | |
lights this elaborately. Look at that. | 0:07:04 | 0:07:07 | |
And the neighbours, instead of trying to compete directly, | 0:07:07 | 0:07:11 | |
they did this. | 0:07:11 | 0:07:12 | |
LAUGHTER AND APPLAUSE | 0:07:15 | 0:07:17 | |
Here we have an example of | 0:07:21 | 0:07:22 | |
when you buy the wrong present for the person. | 0:07:22 | 0:07:25 | |
Books? Yeah. | 0:07:35 | 0:07:37 | |
Books for Christmas? | 0:07:37 | 0:07:39 | |
What the heck is that? | 0:07:39 | 0:07:41 | |
LAUGHTER | 0:07:41 | 0:07:43 | |
I don't get books! That's not toys, that's books. | 0:07:43 | 0:07:48 | |
Sweet. Very, very sweet. That's fair enough. Yeah. | 0:07:50 | 0:07:53 | |
I'm disappointed in you, Steve. | 0:07:53 | 0:07:55 | |
My notes on you say you're a very well-known present-er. | 0:07:55 | 0:07:59 | |
HE LAUGHS | 0:07:59 | 0:08:01 | |
What does Sue hate about shopping? | 0:08:06 | 0:08:09 | |
I hate catalogues. Oh. | 0:08:13 | 0:08:17 | |
Because basically they are | 0:08:17 | 0:08:19 | |
environmentally very unfriendly... so they're like a dossier wrapped | 0:08:19 | 0:08:22 | |
in a condom that gets delivered to you, and there's basically 40 pages | 0:08:22 | 0:08:26 | |
of one nymphet in clogs, and you get to one and you think, oh, she looks | 0:08:26 | 0:08:30 | |
nice, and she's in a field, and she's wearing like a hessian smock, | 0:08:30 | 0:08:34 | |
and there's a sort of autumnal light catching her shoulders, | 0:08:34 | 0:08:37 | |
and she's clutching a lamb, and you think, "That looks great". | 0:08:37 | 0:08:40 | |
So you buy it, by filling out the convenient 407-digit code | 0:08:40 | 0:08:44 | |
and sending it off. | 0:08:44 | 0:08:45 | |
And then when you put it on in a semi in Croydon, it really doesn't | 0:08:45 | 0:08:49 | |
look the same. In A, someone cutting a sort of poncho off you. | 0:08:49 | 0:08:54 | |
I've actually done a bit of modelling for catalogues. | 0:08:54 | 0:08:57 | |
Have you? On my life. | 0:08:57 | 0:08:58 | |
I once, yeah, was in a field somewhere in Oxford... | 0:08:58 | 0:09:01 | |
Always in a field. ..in a wax jacket, with my arm | 0:09:01 | 0:09:03 | |
around a spaniel, going... That's it. That's it. | 0:09:03 | 0:09:08 | |
You're exactly responsible for that, because the things only fit | 0:09:08 | 0:09:11 | |
when you're crouching and you've got your arm round a stinking dog. | 0:09:11 | 0:09:15 | |
Do you ever look at the adverts in the newspapers? | 0:09:15 | 0:09:18 | |
This is rather fine. The comfort trouser. | 0:09:18 | 0:09:22 | |
"With elasticated waistband". | 0:09:22 | 0:09:25 | |
Let me tell you what the blurb is. This is slightly tragic. | 0:09:25 | 0:09:29 | |
"Ideal after meals..." | 0:09:29 | 0:09:31 | |
LAUGHTER | 0:09:31 | 0:09:32 | |
"..to ease that filled-up feeling..." | 0:09:32 | 0:09:35 | |
And this is where it gets really bad. | 0:09:35 | 0:09:37 | |
"..or accommodate longer-term changes in body shape." | 0:09:37 | 0:09:41 | |
LAUGHTER It's hideous. | 0:09:41 | 0:09:44 | |
They are outstanding. | 0:09:44 | 0:09:45 | |
Can I have the number of those? Post-Bake Off! | 0:09:45 | 0:09:48 | |
My own favourite, "the country's biggest trouser sale." | 0:09:48 | 0:09:52 | |
I didn't even know you could use it in the singular. | 0:09:52 | 0:09:55 | |
And this is what it says. | 0:09:55 | 0:09:56 | |
"Head buyer grabs crisis-hit Euro shipment. | 0:09:56 | 0:10:01 | |
"That's right! | 0:10:01 | 0:10:02 | |
"Thanks to the swift action of our shrewd head buyer, | 0:10:02 | 0:10:05 | |
"we have acquired a shipment of premium-comfort trousers | 0:10:05 | 0:10:09 | |
"from a European retail chain that's just gone bust." | 0:10:09 | 0:10:11 | |
LAUGHTER | 0:10:11 | 0:10:13 | |
"Unique features..." Unique, remember. | 0:10:13 | 0:10:16 | |
"..include two side pockets..." | 0:10:16 | 0:10:18 | |
LAUGHTER | 0:10:18 | 0:10:21 | |
"..a button/tab back pocket, | 0:10:21 | 0:10:25 | |
"snag-proof nylon zip..." | 0:10:25 | 0:10:29 | |
LAUGHTER | 0:10:29 | 0:10:31 | |
"..and double-stitched belt loops." | 0:10:31 | 0:10:34 | |
Ohhh! | 0:10:34 | 0:10:35 | |
I think that means that the top... You'd make a fantastic model! | 0:10:35 | 0:10:40 | |
I find that women don't spend... | 0:10:40 | 0:10:42 | |
when they're in shops, they might as well shop in catalogues, | 0:10:42 | 0:10:46 | |
because they don't spend very long really studying the clothes. | 0:10:46 | 0:10:51 | |
Let me demonstrate. This is how the average woman, I find, | 0:10:51 | 0:10:54 | |
when I've been clothes shopping, this is how they judge the clothes. | 0:10:54 | 0:10:58 | |
Oh, God! How many times have you seen women do this? | 0:10:58 | 0:11:01 | |
OK. | 0:11:11 | 0:11:12 | |
Well, look, you've all argued your cases extremely well, I must say. | 0:11:12 | 0:11:16 | |
I think, with the flat-pack, Bruno, I don't know | 0:11:16 | 0:11:19 | |
if the flat-pack is at fault. | 0:11:19 | 0:11:20 | |
I think it's us. We don't try hard enough. | 0:11:20 | 0:11:23 | |
I also think catalogues are based on that idea that the dream is | 0:11:23 | 0:11:27 | |
better than the reality, and I kind of like that. | 0:11:27 | 0:11:30 | |
I think you can fantasise about, | 0:11:30 | 0:11:31 | |
"Yes, I'd look great in a field with a spaniel". | 0:11:31 | 0:11:34 | |
But, I do think there is too much pressure on us to buy things, | 0:11:34 | 0:11:37 | |
for Mother's Day, Father's Day, and all that stuff, | 0:11:37 | 0:11:40 | |
and really it should come from the heart, not the wallet. | 0:11:40 | 0:11:42 | |
So I am going to put enforced present-buying into Room 101. | 0:11:42 | 0:11:46 | |
Yes! | 0:11:46 | 0:11:48 | |
CHEERING AND APPLAUSE | 0:11:48 | 0:11:50 | |
Next category, please. | 0:11:57 | 0:11:59 | |
Ah, it's the audience choice. | 0:12:04 | 0:12:05 | |
So we go into our crowd to find... I think we have Clive Green. | 0:12:05 | 0:12:09 | |
Where are you, Clive? There you are. | 0:12:09 | 0:12:12 | |
What would you like to put into Room 101, Clive? | 0:12:12 | 0:12:14 | |
I'd like to put in parent and toddler parking spaces. | 0:12:14 | 0:12:17 | |
GROANING AND A RIPPLE OF APPLAUSE | 0:12:17 | 0:12:21 | |
Why? I don't see any reason why they should park any closer | 0:12:26 | 0:12:29 | |
because they've got a pushchair, | 0:12:29 | 0:12:31 | |
and the idea of a pushchair is that they can be pushed. | 0:12:31 | 0:12:33 | |
I think the toddler | 0:12:35 | 0:12:36 | |
and parent spaces could be used for elderly people. | 0:12:36 | 0:12:39 | |
I think sitting in an audience full of parents who probably have | 0:12:39 | 0:12:42 | |
toddlers, saying that, you must have balls the size of China. | 0:12:42 | 0:12:45 | |
So, I'm not disagreeing with him. | 0:12:46 | 0:12:48 | |
Elderly people fought in the war and defended this country, | 0:12:48 | 0:12:52 | |
and they gave the right for the toddlers | 0:12:52 | 0:12:54 | |
and parents to park there in the first place. | 0:12:54 | 0:12:56 | |
Hold on a minute. Hold on. | 0:12:56 | 0:12:58 | |
The toddlers haven't had a chance to fight in the war. | 0:12:58 | 0:13:01 | |
Can I ask you, if you're | 0:13:01 | 0:13:04 | |
so dismissive about the parent-child spaces, would you park in one? | 0:13:04 | 0:13:09 | |
I have parked in one, yeah. | 0:13:09 | 0:13:10 | |
BOOING | 0:13:10 | 0:13:12 | |
Now, you see, I'm going to put YOU in Room 101. | 0:13:12 | 0:13:17 | |
CHEERING AND APPLAUSE | 0:13:17 | 0:13:19 | |
I love this guy. He's really growing on me. | 0:13:23 | 0:13:25 | |
You're really growing on me. | 0:13:25 | 0:13:27 | |
You're exactly what light entertainment has been waiting for. | 0:13:27 | 0:13:30 | |
One of my great joys, it was a sunny day, | 0:13:30 | 0:13:33 | |
and I had hung what I believe they call a posset cloth | 0:13:33 | 0:13:36 | |
on the back window, so the baby wasn't in the sunshine. | 0:13:36 | 0:13:40 | |
So when I parked, this guy came up and said, "Yeah, you can't park | 0:13:40 | 0:13:43 | |
here if you don't have a child", | 0:13:43 | 0:13:44 | |
and the joy of that reveal, when I went... | 0:13:44 | 0:13:47 | |
Another thing is "baby on board" signs on the back of cars. | 0:13:51 | 0:13:55 | |
How am I supposed to alter my driving while seeing that? | 0:13:55 | 0:13:58 | |
What difference do they make? Well, drive more carefully. | 0:13:58 | 0:14:00 | |
Yeah, but I drive carefully anyway, so... | 0:14:00 | 0:14:02 | |
No, but drive MORE carefully, because the driver has had | 0:14:02 | 0:14:05 | |
two hours' sleep and he's woozy from the smell of excrement in the car. | 0:14:05 | 0:14:09 | |
And also drive carefully because, legally, | 0:14:11 | 0:14:14 | |
all they're saying, all they're guaranteeing is in that car | 0:14:14 | 0:14:17 | |
is a baby. There might not be an adult. | 0:14:17 | 0:14:19 | |
Clive, I mean you're passionate, and... I am, yeah. | 0:14:22 | 0:14:25 | |
I love you for that, but I hate you for so many other things, | 0:14:25 | 0:14:29 | |
and I just think it's wrong. I think it's a difficult... | 0:14:29 | 0:14:34 | |
you get parents on their own, and they've got a couple of kids, | 0:14:34 | 0:14:38 | |
and they've got shopping, and... it's nightmarish. | 0:14:38 | 0:14:41 | |
Yeah, but they've got all day to do it as well, haven't they? | 0:14:41 | 0:14:44 | |
AUDIENCE GROANS | 0:14:44 | 0:14:46 | |
This is now the Jeremy Kyle Show. | 0:14:48 | 0:14:50 | |
He's getting worse and worse. | 0:14:52 | 0:14:54 | |
Anyway, look, Clive, I admire your passion... Thank you. | 0:14:54 | 0:14:57 | |
..but you will change your mind, trust me. | 0:14:57 | 0:15:00 | |
And I am not, under any circumstances, | 0:15:00 | 0:15:03 | |
going to put parent-child parking spaces | 0:15:03 | 0:15:06 | |
into Room 101, but what about a big hand for Clive anyway? | 0:15:06 | 0:15:10 | |
APPLAUSE | 0:15:10 | 0:15:13 | |
OK, next category, please. | 0:15:18 | 0:15:20 | |
It's the wild card round. Now there are no limitations of category. | 0:15:25 | 0:15:28 | |
You can pick anything that you don't like. | 0:15:28 | 0:15:31 | |
What is Steve's wildcard? | 0:15:31 | 0:15:33 | |
Gym etiquette. | 0:15:39 | 0:15:41 | |
Gym etiquette. Or lack thereof. | 0:15:42 | 0:15:45 | |
I'm guessing you go to the gym quite... | 0:15:45 | 0:15:47 | |
You know, you've got to look after yourself. | 0:15:47 | 0:15:49 | |
Well, you don't have to. Well... | 0:15:49 | 0:15:51 | |
Can I just say, before you do this, I have a picture of you, | 0:15:51 | 0:15:55 | |
which I think suggests that you do go to the gym, and it works. | 0:15:55 | 0:15:59 | |
I really don't want to see this, do I? No, you look great. | 0:15:59 | 0:16:02 | |
Ooh! | 0:16:04 | 0:16:06 | |
Look at that. A little bit of advice. Comb your stomach. | 0:16:06 | 0:16:09 | |
But you do... you do look great. Centre parting! | 0:16:11 | 0:16:14 | |
So it works. So you're getting results. | 0:16:14 | 0:16:17 | |
That's one plus. Well, as I said, you've got to look after yourself, | 0:16:17 | 0:16:20 | |
but it's all the other things that go with the gym which | 0:16:20 | 0:16:23 | |
I struggle with, like personal trainers, for instance. | 0:16:23 | 0:16:25 | |
The thing about the personal trainer which I find outrageous... | 0:16:25 | 0:16:28 | |
I don't know if you'll agree with this... is when they slip | 0:16:28 | 0:16:31 | |
on their physiotherapist hat, and then you see them on the mat, | 0:16:31 | 0:16:35 | |
with a young lady... they've found a loophole... giving it all this | 0:16:35 | 0:16:40 | |
"I'm just doing your glutes here, if you could flip your legs | 0:16:40 | 0:16:43 | |
"over my shoulder." | 0:16:43 | 0:16:44 | |
I swear to God! If you saw that on Clapham Common, | 0:16:46 | 0:16:48 | |
you'd call the police. Well... It's outrageous! Eventually. | 0:16:48 | 0:16:53 | |
What was that? He's doing the glutes. | 0:16:53 | 0:16:58 | |
Steve blanketing her in his stomach hair. | 0:16:58 | 0:17:01 | |
Another area I'd like to cover, the changing room. | 0:17:03 | 0:17:05 | |
Oh... Oh. Yeah. | 0:17:05 | 0:17:07 | |
I mean, obviously, I can't speak for the ladies, unfortunately. | 0:17:07 | 0:17:11 | |
That would be awesome. | 0:17:11 | 0:17:12 | |
LAUGHTER Oh, God! | 0:17:12 | 0:17:16 | |
But the gents' changing room, from the moment you walk into this room, | 0:17:16 | 0:17:19 | |
it's like a giant, soaking wet, shaggy dog | 0:17:19 | 0:17:22 | |
has just shook himself dry. There's water everywhere. | 0:17:22 | 0:17:24 | |
Everything stinks, it's like... Eurgh! It's a gross area. | 0:17:24 | 0:17:28 | |
What gym do you go to, Stephen? Very important. | 0:17:28 | 0:17:31 | |
This is universal! I am very worried! | 0:17:31 | 0:17:33 | |
I'm just saying, that's annoying, but it's nowhere near as annoying | 0:17:33 | 0:17:36 | |
as the nudity. Yes. I want to ban nudity at the gym. | 0:17:36 | 0:17:41 | |
I don't want to see it... | 0:17:41 | 0:17:43 | |
and, you know, anybody who isn't much like me, | 0:17:43 | 0:17:46 | |
you know, ashamed of their body, makes me uncomfortable. | 0:17:46 | 0:17:48 | |
If you're, like, swinging around the locker room | 0:17:48 | 0:17:52 | |
like you're Michelangelo's David, | 0:17:52 | 0:17:54 | |
it makes me feel a little bit uncomfortable. Can I say, | 0:17:54 | 0:17:56 | |
I'm so worried about... I wear one of these. | 0:17:56 | 0:17:59 | |
LAUGHTER Yeah! | 0:17:59 | 0:18:00 | |
That is extraordinary. That's sort of gym meets vet. | 0:18:00 | 0:18:05 | |
Can I get one of those, Frank? | 0:18:05 | 0:18:06 | |
I want to shave your bottom. | 0:18:06 | 0:18:08 | |
Then the temptation to stare is removed, you see. | 0:18:08 | 0:18:12 | |
I don't like the guy who's on the weights giving it this noise. | 0:18:12 | 0:18:16 | |
HE MOANS LOUDLY | 0:18:16 | 0:18:19 | |
I do that all the time! That was me, Steve! | 0:18:19 | 0:18:21 | |
No. I'm at the gym, not a Parisian sex club. | 0:18:21 | 0:18:25 | |
I don't care. I've got to do the work. | 0:18:25 | 0:18:27 | |
You've got to push those weights. | 0:18:27 | 0:18:29 | |
THEY GROAN | 0:18:29 | 0:18:31 | |
Shut up! | 0:18:31 | 0:18:33 | |
This is basically masculinity in crisis, right there. | 0:18:33 | 0:18:37 | |
I'm quite noisy at the gym because I take my own cox | 0:18:37 | 0:18:40 | |
for the rowing machine. | 0:18:40 | 0:18:42 | |
And, yeah, he's a small man, but a big voice. | 0:18:44 | 0:18:48 | |
I avoided the gym until I was about 30, | 0:18:48 | 0:18:53 | |
and I went to a gym for the first time, | 0:18:53 | 0:18:55 | |
and it was the first time I'd been in that environment since school, | 0:18:55 | 0:18:58 | |
you know, walking around naked and stuff. | 0:18:58 | 0:19:00 | |
I think I was the only one who was still doing that towel-flicking. | 0:19:00 | 0:19:04 | |
You look great, Steve. If I was like you, I would do my exercises naked. | 0:19:06 | 0:19:12 | |
But I'm really, I don't like people, you know, it's awful. | 0:19:13 | 0:19:16 | |
Have you had the glance? The glance? | 0:19:16 | 0:19:19 | |
The, "Ooh, look at him, that's nice". | 0:19:19 | 0:19:22 | |
Oh, I've posed with a 50 pence coin for scale. | 0:19:22 | 0:19:24 | |
That was you?! That was me. | 0:19:28 | 0:19:31 | |
It's nice to put a face to the coin. | 0:19:31 | 0:19:33 | |
I think you might like this, Bruno, cos this is exercise | 0:19:36 | 0:19:39 | |
but with poise and grace. | 0:19:39 | 0:19:42 | |
I've got my ankle weights in place and my music's ready. | 0:19:42 | 0:19:46 | |
So let's stop talking and do some walking. | 0:19:46 | 0:19:49 | |
'80s SYNTH MUSIC | 0:19:49 | 0:19:52 | |
I...I really, really wouldn't have worn those trousers. No. No. | 0:20:03 | 0:20:09 | |
Really...as woman to woman, I'd have said, | 0:20:09 | 0:20:11 | |
"That's like a surface anatomy lesson, love." | 0:20:11 | 0:20:14 | |
That's a method called prancercise. | 0:20:14 | 0:20:16 | |
"Prancercise"? Prancercise. | 0:20:16 | 0:20:19 | |
It's the sort of thing I'd normally associate with equestrian events, | 0:20:19 | 0:20:23 | |
but the idea is, if you do that for, I don't know, say, 12 miles, | 0:20:23 | 0:20:27 | |
it's really slimming. | 0:20:27 | 0:20:28 | |
And she's out in the park, she's getting the fresh air. | 0:20:28 | 0:20:31 | |
If you walk 12 miles, it's slimming, but I mean, that... | 0:20:31 | 0:20:34 | |
No, I imagine it's good exercise, cos after a while doing that, | 0:20:34 | 0:20:37 | |
people would chase you. | 0:20:37 | 0:20:38 | |
With a baton! | 0:20:38 | 0:20:40 | |
OK. What is Bruno's wildcard? Oh, God, what is it? | 0:20:42 | 0:20:45 | |
No idea. | 0:20:47 | 0:20:48 | |
Oh, God! Tacky shop fronts. | 0:20:49 | 0:20:53 | |
Oh, it makes you puke every time you walk around it. | 0:20:53 | 0:20:56 | |
I mean the thing is, you know, even if you don't shop, | 0:20:56 | 0:20:59 | |
you walk around the high street, and... make an effort, make it | 0:20:59 | 0:21:03 | |
look pretty, because everybody will kind of feed off it, you know. | 0:21:03 | 0:21:07 | |
It will make the whole ambience so much better. | 0:21:07 | 0:21:11 | |
If you see something nice and nicely displayed, | 0:21:11 | 0:21:14 | |
I would just go in and browse. | 0:21:14 | 0:21:15 | |
If I see a mess, I just... I'm just going to run. | 0:21:15 | 0:21:18 | |
I'm just going to get out of it. You know, it will take so little. | 0:21:18 | 0:21:23 | |
Just say, "OK. Let's get together, let's make this pleasant." | 0:21:23 | 0:21:26 | |
Just do some nice design. Forget all this kind of clashing, | 0:21:26 | 0:21:30 | |
horrible colours, everything hanging around. | 0:21:30 | 0:21:33 | |
Give it a nice look, some lovely flowers, some nice design, | 0:21:33 | 0:21:37 | |
something that makes it pleasant for everybody. | 0:21:37 | 0:21:40 | |
I think, generally speaking, Bruno, | 0:21:40 | 0:21:43 | |
that tacky shop fronts are on tacky shops, and that seems fair, to me. | 0:21:43 | 0:21:48 | |
Yeah, but... I don't want to be misled. | 0:21:48 | 0:21:50 | |
I don't want a shop to look all stylish | 0:21:50 | 0:21:53 | |
and go inside and it's Pound Saver. | 0:21:53 | 0:21:55 | |
But, no, just make it look pretty. Well, why not? | 0:21:55 | 0:21:58 | |
Because that's like breast implants. It's just not true. | 0:21:58 | 0:22:02 | |
No, but you can just make... It's a false front. | 0:22:02 | 0:22:05 | |
No, it's not. It's not. | 0:22:05 | 0:22:07 | |
No, you don't have to buy silicone implants. | 0:22:07 | 0:22:11 | |
Anyway, let's look at a few examples of shop-based things. | 0:22:11 | 0:22:14 | |
This, erm, I love this. | 0:22:14 | 0:22:16 | |
This was... They actually had a sale at Poundland. | 0:22:16 | 0:22:19 | |
You'll like this. This is a guitar shop. | 0:22:24 | 0:22:27 | |
AUDIENCE MURMURS APPRECIATION Oh, that's good. | 0:22:27 | 0:22:30 | |
That is clever. That's clever. Very good. | 0:22:30 | 0:22:32 | |
That's just near Speakers Corner. | 0:22:32 | 0:22:35 | |
AUDIENCE GROAN And what about this? | 0:22:35 | 0:22:37 | |
If you want to buy white goods, this is the shop that you want to go to. | 0:22:37 | 0:22:42 | |
Hey! | 0:22:44 | 0:22:46 | |
Right, what is Sue's wildcard? | 0:22:50 | 0:22:53 | |
I mean, what sport on this planet | 0:23:02 | 0:23:06 | |
doesn't allow you to wear your own shoes? | 0:23:06 | 0:23:09 | |
It's not like Andy Murray goes to the final of Wimbledon, they say, | 0:23:15 | 0:23:20 | |
"Sorry, mate. You can't wear those trainers. | 0:23:20 | 0:23:22 | |
"We've got some that Roger Federer wore three years ago | 0:23:22 | 0:23:25 | |
"in a locker here that smell, | 0:23:25 | 0:23:27 | |
"and there's a little bit of verruca powder in them." | 0:23:27 | 0:23:30 | |
I've had countless arguments in a bowling alley, and... | 0:23:30 | 0:23:33 | |
Bowling alleys... It's like a sort of Guantanamo-style atmosphere. | 0:23:33 | 0:23:38 | |
There is blaring music. | 0:23:38 | 0:23:40 | |
They only sell drinks that are neon in colour, | 0:23:40 | 0:23:45 | |
packed with sugar, there's sort of own brand horse burgers, | 0:23:45 | 0:23:48 | |
there's lots of screaming children, people violently breaking up | 0:23:48 | 0:23:52 | |
after a day at IKEA, and you approach this sort of slightly | 0:23:52 | 0:23:57 | |
disinterested woman in a ponytail, and you see the rack of... | 0:23:57 | 0:24:01 | |
in fact, you smell the rack of shoes before you see the rack of shoes. | 0:24:01 | 0:24:05 | |
Clown's shoes. They do that spraying thing, though. | 0:24:05 | 0:24:07 | |
Oh, but it's very half-cocked. | 0:24:07 | 0:24:10 | |
They'll do it when they're talking to you. | 0:24:10 | 0:24:12 | |
There's a sort of mist around the clown's shoe. | 0:24:12 | 0:24:14 | |
The one I want is the tongue up and a full... in. | 0:24:14 | 0:24:19 | |
And then you get the clown's shoe. | 0:24:19 | 0:24:22 | |
It's not even a trainer. I've never seen a shoe like that. | 0:24:22 | 0:24:25 | |
No-one has ever seen a shoe... | 0:24:25 | 0:24:27 | |
No, I quite like them. I like the centre parting. | 0:24:27 | 0:24:30 | |
LAUGHTER | 0:24:30 | 0:24:32 | |
Can you bring your own bowling shoes? Is that a thing? | 0:24:32 | 0:24:35 | |
I don't know if you can. Not at Megabowl in Streatham, | 0:24:35 | 0:24:37 | |
you couldn't, when I was a child. | 0:24:37 | 0:24:39 | |
I find that they're more comfortable than new shoes that I buy. | 0:24:39 | 0:24:44 | |
Well, they're broken in. Exactly. I think this should be... | 0:24:44 | 0:24:48 | |
This could be a new community service thing, | 0:24:48 | 0:24:50 | |
breaking in shoes for the elderly. | 0:24:50 | 0:24:53 | |
But it's also... Exactly. | 0:24:54 | 0:24:55 | |
As that shows, it's the fact that I'm really bad at all sports, | 0:24:55 | 0:24:59 | |
you know, I'm absolutely... | 0:24:59 | 0:25:01 | |
I'm weak, I've got terrible vision and I'm distracted by food. | 0:25:01 | 0:25:06 | |
That's the holy trinity of a bad bowler. | 0:25:06 | 0:25:09 | |
Just chuck it in the gulley, and there's that long, slow... | 0:25:09 | 0:25:12 | |
Don't you like the general... all the stuff...what about these? | 0:25:14 | 0:25:17 | |
SOME GROANS | 0:25:17 | 0:25:19 | |
They...I mean, that is a stylish bag. | 0:25:19 | 0:25:22 | |
And I also find, if I go to a children's party, | 0:25:22 | 0:25:25 | |
I feel a bit self-conscious about bringing a balloon back on a string, | 0:25:25 | 0:25:28 | |
so I put it in here. LAUGHTER | 0:25:28 | 0:25:32 | |
I think it's classy. | 0:25:32 | 0:25:33 | |
Have you ever tried cat laser bowling? | 0:25:33 | 0:25:36 | |
What is it? | 0:25:36 | 0:25:37 | |
Cat laser...you need... basically you need... | 0:25:37 | 0:25:39 | |
A laser and a cat? | 0:25:39 | 0:25:41 | |
You know those laser key-ring things? Yeah, yeah. | 0:25:41 | 0:25:44 | |
You need one of those and a cat. I'll show you how it's done. | 0:25:44 | 0:25:47 | |
APPLAUSE | 0:25:58 | 0:26:01 | |
Poor cat. That's horrible. | 0:26:03 | 0:26:05 | |
Oh, come on. Bruno is going, "That's horrible". | 0:26:07 | 0:26:10 | |
The poor kitten! | 0:26:11 | 0:26:14 | |
Don't do that with your cat at home. | 0:26:14 | 0:26:16 | |
OK, well, look, I really feel although you argue with passion, | 0:26:16 | 0:26:22 | |
I love bowling so much, I'd really feel it would be wrong to | 0:26:22 | 0:26:26 | |
put it in, because I know lots of other people like it as well. | 0:26:26 | 0:26:29 | |
And the gym, I just think the gym generally is a hostile | 0:26:29 | 0:26:36 | |
and difficult place, and I probably am very rude in there | 0:26:36 | 0:26:40 | |
and do all the wrong things, because it's hard to relax there | 0:26:40 | 0:26:43 | |
and be the nice person you want to be. | 0:26:43 | 0:26:44 | |
But I take your point, Bruno, that although it is a bit deceptive, | 0:26:44 | 0:26:49 | |
you know, we all make an effort to look better on the outside than we | 0:26:49 | 0:26:52 | |
do on the inside, so I am going to put tacky shop fronts into Room 101. | 0:26:52 | 0:26:57 | |
Oh. APPLAUSE | 0:26:57 | 0:27:00 | |
Make your high street look beautiful! | 0:27:01 | 0:27:04 | |
Right, then, let's have our next category. | 0:27:09 | 0:27:12 | |
Ah, it's entertainment. | 0:27:17 | 0:27:19 | |
So, what doesn't Bruno like about entertainment? | 0:27:19 | 0:27:22 | |
Cinema etiquette. | 0:27:27 | 0:27:30 | |
It is, you know... guys, you go to the cinema, right? | 0:27:30 | 0:27:33 | |
You're really looking forward to seeing that movie. | 0:27:33 | 0:27:35 | |
You've waited weeks to go and see this particular film you | 0:27:35 | 0:27:38 | |
always wanted to see, and there's one guy next to you with a 12-course | 0:27:38 | 0:27:43 | |
meal on his lap, I mean literally a 12-course meal, popcorn this | 0:27:43 | 0:27:49 | |
size, spilling on you, crunching and munching all the way through, the | 0:27:49 | 0:27:53 | |
stench of the hot dogs and all the rubbish that he's got on his tray. | 0:27:53 | 0:27:56 | |
How can you have all that stuff in front of you when you go | 0:27:56 | 0:27:59 | |
and see a movie? I find cinemas nice. Nice and quiet. | 0:27:59 | 0:28:02 | |
You can make a phone call, get on with some work. Yeah, but... | 0:28:02 | 0:28:05 | |
I mean, it's so irritating. | 0:28:05 | 0:28:06 | |
Do you not have something to nibble on while you watch? | 0:28:06 | 0:28:09 | |
Yeah, but you have a little bit of popcorn. Not like the whole nachos, | 0:28:09 | 0:28:13 | |
burgers, hot dogs... | 0:28:13 | 0:28:16 | |
But popcorns are this big, so it lasts for three hours. | 0:28:16 | 0:28:19 | |
It's three hours of crunching. Oh, I love it. | 0:28:19 | 0:28:21 | |
The idea is that you pace the popcorn so it lasts the whole movie. | 0:28:21 | 0:28:26 | |
But it's...no! I'll tell you what I do end up with. | 0:28:26 | 0:28:29 | |
You know when you get to the last 10 minutes of the movie, | 0:28:29 | 0:28:33 | |
and I'm doing this... | 0:28:33 | 0:28:34 | |
Oh, that drives me nuts! | 0:28:34 | 0:28:37 | |
You know the unpopped...have you ever done that, where you think, | 0:28:37 | 0:28:40 | |
"Maybe I'll have another try at eating an unpopped..." | 0:28:40 | 0:28:43 | |
Ohhh! "If I hold it in the warmth of my mouth, it might pop." | 0:28:43 | 0:28:47 | |
No, no, no. That's so... | 0:28:47 | 0:28:49 | |
And another thing, you know, they have these huge, huge drinks. | 0:28:49 | 0:28:53 | |
I mean... I don't know how you can drink that much | 0:28:53 | 0:28:55 | |
anyway, and they try to... the last possible drop. | 0:28:55 | 0:28:58 | |
They're like... HE SUCKS LOUDLY | 0:28:58 | 0:29:01 | |
I mean, come on! What is this? Animal Farm?! | 0:29:02 | 0:29:05 | |
I just want to watch Kate Winslet | 0:29:06 | 0:29:08 | |
sinking down the bottom of the ocean... | 0:29:08 | 0:29:11 | |
But that's the perfect sound effect. | 0:29:11 | 0:29:14 | |
Yeah. Water going through ice. Yeah. | 0:29:14 | 0:29:18 | |
I went to a well-known West End cinema, and I said to the guy, | 0:29:18 | 0:29:21 | |
"Can I have a large cola?" | 0:29:21 | 0:29:22 | |
And he said, "Yes, there you go, sir". | 0:29:22 | 0:29:24 | |
And I said, "Actually, can I have it without ice?" | 0:29:24 | 0:29:27 | |
and he said, "Yes, certainly, sir". | 0:29:27 | 0:29:29 | |
Have you seen the large... | 0:29:33 | 0:29:34 | |
The large packets are literally like this. | 0:29:34 | 0:29:36 | |
They're enormous. I mean whatever is in it, | 0:29:36 | 0:29:39 | |
how are you going to be able to drink the whole thing? | 0:29:39 | 0:29:41 | |
You don't drink it all in one go. | 0:29:41 | 0:29:42 | |
You need to make four or five very noisy trips to the toilet. | 0:29:42 | 0:29:46 | |
Exactly. "Excuse me, excuse me, sorry", | 0:29:46 | 0:29:49 | |
and then banging everybody on the head with a packet of crisps. | 0:29:49 | 0:29:52 | |
Oh, no, no, no. But you must be a nightmare at the cinema | 0:29:52 | 0:29:54 | |
because you can't talk without standing up. | 0:29:54 | 0:29:57 | |
OK. What does Sue hate about entertainment? | 0:30:05 | 0:30:08 | |
Mime. Mime artists. Oh, really? | 0:30:12 | 0:30:15 | |
It frightens me, yes. | 0:30:15 | 0:30:17 | |
Because a mime, basically, is a clown that you can't hear coming. | 0:30:17 | 0:30:21 | |
I don't think I'm particularly snobby about art forms. | 0:30:23 | 0:30:26 | |
I like everything. Big blockbuster films, | 0:30:26 | 0:30:28 | |
sometimes the opera, all sorts of things. | 0:30:28 | 0:30:30 | |
But it seems to me that all other art forms say something about | 0:30:30 | 0:30:33 | |
love and loss and guilt and hell and pain and the human condition, and | 0:30:33 | 0:30:36 | |
mime says, "Look, there's a wall", and, "there's some rope" and... | 0:30:36 | 0:30:40 | |
Yeah, but... "Ooh, this is a really heavy balloon". | 0:30:40 | 0:30:42 | |
Have you been scared by somebody as a child? | 0:30:42 | 0:30:45 | |
Something has happened... Both of my parents | 0:30:45 | 0:30:47 | |
are professional mime artists. | 0:30:47 | 0:30:49 | |
I grew up in an expressive world of silence. | 0:30:49 | 0:30:52 | |
It was a very quiet household. Yeah. | 0:30:52 | 0:30:54 | |
"Speak to me!" | 0:30:58 | 0:30:59 | |
What about those everyday mimes that we all use? | 0:31:02 | 0:31:04 | |
Oh, what, like... Yeah, exactly. | 0:31:04 | 0:31:06 | |
Like you know when you want the bill and you go... Yeah. | 0:31:06 | 0:31:10 | |
And you know when people go...? | 0:31:10 | 0:31:12 | |
Is that the hospital? I just lost three fingers in an accident. | 0:31:12 | 0:31:15 | |
Yeah. But that, I love that. | 0:31:18 | 0:31:19 | |
I'm a bit of a traditionalist. I go... | 0:31:21 | 0:31:23 | |
HE MOUTHS | 0:31:23 | 0:31:25 | |
Here's a test for you, Sue. | 0:31:26 | 0:31:28 | |
Watch this and tell me whose side you're on in this clip. OK. | 0:31:28 | 0:31:32 | |
Hey! Leave him alone, man! | 0:31:38 | 0:31:39 | |
LAUGHTER AND APPLAUSE | 0:31:57 | 0:31:59 | |
Fair enough. | 0:32:05 | 0:32:07 | |
Not all mime is that kind of, you know, | 0:32:07 | 0:32:10 | |
white face, you know... No. | 0:32:10 | 0:32:13 | |
But that is the kind of mime that frightens me. | 0:32:13 | 0:32:15 | |
What about Marcel Marceau? Didn't you like lovely...? | 0:32:15 | 0:32:18 | |
The genius Marcel Marceau. Creeps me. | 0:32:18 | 0:32:20 | |
Creepy, creepy, creepy, creepy. | 0:32:20 | 0:32:22 | |
We've got a picture of Marcel Marceau. | 0:32:22 | 0:32:24 | |
And then, Marcel Mar-SUE. | 0:32:24 | 0:32:27 | |
LAUGHTER AND APPLAUSE | 0:32:28 | 0:32:31 | |
That's where it comes from. | 0:32:31 | 0:32:33 | |
It's four series of miming sad face | 0:32:33 | 0:32:35 | |
as another cake just mainlines its way into my face. | 0:32:35 | 0:32:37 | |
I think mime is quite special, | 0:32:37 | 0:32:39 | |
and can be really something fine to watch. | 0:32:39 | 0:32:43 | |
My final move in this argument, my trump card, | 0:32:43 | 0:32:47 | |
is I'm going to bring on someone who really can do it. | 0:32:47 | 0:32:50 | |
So, please welcome Les Bubb. | 0:32:50 | 0:32:53 | |
APPLAUSE | 0:32:53 | 0:32:55 | |
Come on. That's good! That is great! | 0:33:18 | 0:33:21 | |
Come on. Seriously. | 0:33:27 | 0:33:29 | |
You're melting me. You're melting me. | 0:33:29 | 0:33:32 | |
How the hell is he doing it? | 0:33:32 | 0:33:34 | |
You can do it. You can do it. You can do it. You can do it. | 0:33:34 | 0:33:38 | |
Just come here. Just... | 0:33:38 | 0:33:40 | |
AUDIENCE GROANS | 0:33:40 | 0:33:42 | |
APPLAUSE | 0:33:42 | 0:33:43 | |
Les Bubb, ladies and gentlemen. CHEERING AND APPLAUSE | 0:33:49 | 0:33:56 | |
Excellent. | 0:33:56 | 0:33:57 | |
All right. Listen, I've... I've changed, OK? | 0:34:00 | 0:34:03 | |
I've learnt stuff, you know. | 0:34:03 | 0:34:06 | |
OK. What in entertainment really winds up Steve Jones? | 0:34:06 | 0:34:10 | |
CHEERING AND APPLAUSE | 0:34:15 | 0:34:18 | |
This is a slam-dunk, Frank. | 0:34:20 | 0:34:21 | |
Can I just say, before you launch into this... | 0:34:21 | 0:34:24 | |
Hey. That's bad. | 0:34:26 | 0:34:28 | |
Ah! The sleepy eye. | 0:34:28 | 0:34:30 | |
Hello. | 0:34:30 | 0:34:32 | |
I always promised myself, if I was ever to come on Room 101, | 0:34:32 | 0:34:36 | |
I would put the flaming haired she-devil that is | 0:34:36 | 0:34:39 | |
Anne Robinson into the box, but one of your lovely producers, | 0:34:39 | 0:34:42 | |
Clare, told me it had already been done. | 0:34:42 | 0:34:45 | |
Well, Jessica Hynes did it, but I think the tradition is that now | 0:34:45 | 0:34:49 | |
and again Welsh people will come on just to check the locks. | 0:34:49 | 0:34:53 | |
We should have a look at why Steve is not a fan of Anne Robinson. | 0:34:53 | 0:34:57 | |
This was 2001. This was Anne on Room 101. | 0:34:57 | 0:35:03 | |
What do you want to put in? I want to put the Welsh in. | 0:35:03 | 0:35:06 | |
LAUGHTER AND CHEERING | 0:35:06 | 0:35:09 | |
I've never taken to them much. What are they for? | 0:35:11 | 0:35:14 | |
LAUGHTER | 0:35:14 | 0:35:16 | |
Well, they're always so pleased with themselves, aren't they? | 0:35:16 | 0:35:20 | |
To be fair to Anne... | 0:35:20 | 0:35:22 | |
to be fair, to be fair to her, that was 2001. | 0:35:22 | 0:35:25 | |
She hasn't changed a bit. | 0:35:25 | 0:35:26 | |
LAUGHTER | 0:35:26 | 0:35:28 | |
It's outrageous. That's how world wars start. | 0:35:28 | 0:35:30 | |
Were you genuinely upset by it? | 0:35:30 | 0:35:33 | |
Yeah, actually. It's outrageous. | 0:35:33 | 0:35:36 | |
You can't put three million people in Room 101. | 0:35:36 | 0:35:39 | |
How many Welsh people has she ever met? | 0:35:39 | 0:35:41 | |
I mean, put an individual Welsh person in. | 0:35:41 | 0:35:43 | |
Do you think she had a bad holiday? | 0:35:43 | 0:35:44 | |
Did she go to Gower on a rainy weekend? | 0:35:44 | 0:35:47 | |
I think her argument was she lived in... | 0:35:47 | 0:35:49 | |
she grew up in Liverpool, and there used to be, er... | 0:35:49 | 0:35:51 | |
Welsh people used to come to Liverpool now and again. | 0:35:51 | 0:35:54 | |
Oh, I take it all back. Fair enough. Put us in there. | 0:35:54 | 0:35:56 | |
Well, let's have another look at Anne, | 0:35:56 | 0:35:59 | |
because I think at one stage on Room 101 she actually sort of is | 0:35:59 | 0:36:03 | |
slightly humble and actually quite praising of the Welsh. | 0:36:03 | 0:36:06 | |
OK, let's take a look. | 0:36:06 | 0:36:08 | |
Over the years, being of Irish descent, | 0:36:08 | 0:36:10 | |
where we're terribly ashamed of ourselves, | 0:36:10 | 0:36:13 | |
so we can't sing like they do | 0:36:13 | 0:36:14 | |
and we can't play rugby like they do, and we can't be clever | 0:36:14 | 0:36:18 | |
like they are, so, I've just grown to dislike them more and more. | 0:36:18 | 0:36:21 | |
Too little, too late. | 0:36:23 | 0:36:25 | |
The damage had been done. | 0:36:25 | 0:36:26 | |
I just think she took, you know, a bad experience | 0:36:26 | 0:36:29 | |
and a bit of jealousy too far. | 0:36:29 | 0:36:30 | |
She's obviously deeply jealous of the Welsh. | 0:36:30 | 0:36:32 | |
I think it's fair to say we all are. | 0:36:32 | 0:36:33 | |
And also... Can I say, I'm not. | 0:36:33 | 0:36:36 | |
She's not human. | 0:36:37 | 0:36:39 | |
Well, erm... I feel you really mean this, Steve. | 0:36:40 | 0:36:44 | |
HE LAUGHS To a degree, yes. | 0:36:44 | 0:36:47 | |
I can't put mime in. | 0:36:47 | 0:36:49 | |
Neither can I now, because I've seen the light. Yes. | 0:36:49 | 0:36:52 | |
And I'm off now. I will never speak again. | 0:36:52 | 0:36:54 | |
And Bruno, as I think I have found tonight, | 0:36:54 | 0:36:56 | |
has managed to combine mime with speaking. Yeah. | 0:36:56 | 0:36:59 | |
That's very unusual. | 0:37:00 | 0:37:03 | |
And I'm one of the people who talks in the cinema and stuff, | 0:37:03 | 0:37:07 | |
so I can't put that in. But you know what? | 0:37:07 | 0:37:09 | |
I'm going to put another padlock, | 0:37:09 | 0:37:12 | |
and I am going to have Anne Robinson once again led into Room 101. | 0:37:12 | 0:37:17 | |
CHEERING AND APPLAUSE Goodbye. | 0:37:17 | 0:37:21 | |
And there she goes, returning to the vault. | 0:37:23 | 0:37:27 | |
And that brings us to the end of the show. | 0:37:36 | 0:37:38 | |
Well done, Steve, you were the most persuasive guest tonight, | 0:37:38 | 0:37:41 | |
so you're tonight's winner. Thank you. | 0:37:41 | 0:37:43 | |
CHEERING AND APPLAUSE | 0:37:43 | 0:37:46 | |
And thanks very much, Sue Perkins, Bruno Tonioli and Steve Jones, | 0:37:54 | 0:37:57 | |
and thank you, good night. CHEERING AND APPLAUSE | 0:37:57 | 0:38:01 |