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CHEERING AND APPLAUSE | 0:00:25 | 0:00:27 | |
Hello, I'm Frank Skinner, | 0:00:33 | 0:00:34 | |
and welcome to Room 101, the show where three guests battle to get | 0:00:34 | 0:00:38 | |
the things they hate entombed for all eternity in the dreaded vault. | 0:00:38 | 0:00:42 | |
Our guests' choices have been sorted into categories, | 0:00:42 | 0:00:44 | |
and in each round only one item can be chosen. | 0:00:44 | 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 writer | 0:00:50 | 0:00:52 | |
and broadcaster Victoria Coren Mitchell, actor Warwick Davies | 0:00:52 | 0:00:55 | |
and, from Embarrassing Bodies, Dr Christian Jessen. | 0:00:55 | 0:00:58 | |
APPLAUSE | 0:00:58 | 0:00:59 | |
Right, then, let's have our first category. | 0:01:05 | 0:01:08 | |
It's people. | 0:01:12 | 0:01:13 | |
So, who winds up Victoria? | 0:01:13 | 0:01:16 | |
James Bond. | 0:01:22 | 0:01:24 | |
Wow. | 0:01:24 | 0:01:25 | |
-CROWD OOH -"Ooh", go the crowd. -Ooh. | 0:01:25 | 0:01:27 | |
You see, people are going, "Ooh," | 0:01:27 | 0:01:29 | |
like you don't all know that he's a terrible wazzock. | 0:01:29 | 0:01:31 | |
LAUGHTER | 0:01:31 | 0:01:34 | |
James Bond has been a repetitive, | 0:01:34 | 0:01:38 | |
ghastly bore for decades. | 0:01:38 | 0:01:39 | |
He used to make bad jokes, now he makes no jokes. | 0:01:39 | 0:01:42 | |
He manages to combine, uniquely, I think, | 0:01:42 | 0:01:45 | |
violence and sexism with a sort of weird, camp fussiness | 0:01:45 | 0:01:49 | |
about everything he eats and drinks and does, and yet women are | 0:01:49 | 0:01:54 | |
supposed to find him irresistible because he has special pens. | 0:01:54 | 0:01:57 | |
LAUGHTER | 0:01:57 | 0:01:58 | |
He's clearly a terrible spy. | 0:02:00 | 0:02:01 | |
I think it's in...is it The Spy Who Loved Me? | 0:02:01 | 0:02:04 | |
There's one where he jumps over a cliff with a parachute | 0:02:04 | 0:02:07 | |
-featuring a giant union flag... -Mmm. | 0:02:07 | 0:02:09 | |
..revealing that he's failed to grasp the basic principles | 0:02:09 | 0:02:13 | |
-of international espionage. -Yes. | 0:02:13 | 0:02:15 | |
30 years later, Skyfall, he can't even keep one old lady safe, | 0:02:15 | 0:02:18 | |
which is not surprising, because his big escape plan is to get away from | 0:02:18 | 0:02:22 | |
the helicopters by running across a pitch-black moor with a lantern. | 0:02:22 | 0:02:27 | |
Skyfall did sort of win me back a bit. | 0:02:29 | 0:02:32 | |
You know when you see a film you really love? | 0:02:32 | 0:02:35 | |
I walked back to the car. You know when you kind of do the... | 0:02:35 | 0:02:37 | |
like you're James Bond. | 0:02:37 | 0:02:39 | |
And when I went up to the car I got my dibber, | 0:02:39 | 0:02:41 | |
and it was like it was some super gadget. | 0:02:41 | 0:02:44 | |
I just went like that to open the car doors, and the lights | 0:02:44 | 0:02:46 | |
came on in the car, and I could see the baby seat in the back, and it... | 0:02:46 | 0:02:50 | |
Also, he takes up poker, which he never played in the books. | 0:02:52 | 0:02:55 | |
Suddenly in Casino Royale he comes in, the new one, as a poker player. | 0:02:55 | 0:02:58 | |
He's terrible at poker. | 0:02:58 | 0:03:00 | |
The art of reading people at poker is a very fine | 0:03:00 | 0:03:04 | |
and nuanced ability to pick up, you know, the faintest | 0:03:04 | 0:03:08 | |
change in someone's breathing, in the maths of their betting patterns. | 0:03:08 | 0:03:11 | |
James Bond can't beat a man whose eyes bleed when he's bluffing. | 0:03:11 | 0:03:14 | |
LAUGHING | 0:03:14 | 0:03:16 | |
I tell you what he plays, I think it's in Goldfinger, | 0:03:16 | 0:03:19 | |
there's a tense scene... | 0:03:19 | 0:03:20 | |
LAUGHTER | 0:03:20 | 0:03:22 | |
..when Goldfinger says, "So, Mr Bond, does he have a beard?" | 0:03:22 | 0:03:28 | |
LAUGHTER | 0:03:28 | 0:03:30 | |
How could you improve Bond, then? | 0:03:33 | 0:03:35 | |
Who would...what would be your perfect Bond? How would he be? | 0:03:35 | 0:03:39 | |
-I think completely different... -Warwick's looking for a job here. | 0:03:39 | 0:03:42 | |
LAUGHTER | 0:03:42 | 0:03:43 | |
I just... | 0:03:45 | 0:03:47 | |
I think he'd have better jokes, if he's going to make jokes, | 0:03:47 | 0:03:50 | |
I think he'd be generally nicer, he'd be a better spy. | 0:03:50 | 0:03:55 | |
I read a quote from you, Warwick, | 0:03:55 | 0:03:58 | |
that you did say that you thought you'd make a good Bond. | 0:03:58 | 0:04:00 | |
-I have said that in the past. -Yeah. | 0:04:00 | 0:04:02 | |
I did feel there was a story, perhaps, | 0:04:02 | 0:04:05 | |
for kind of another person that is behind the scenes, | 0:04:05 | 0:04:08 | |
under the casino table, behind the potted plant... | 0:04:08 | 0:04:11 | |
LAUGHTER | 0:04:11 | 0:04:12 | |
..and he's the one doing all the hard work, | 0:04:12 | 0:04:14 | |
where Bond is the one getting the girl and taking all the credit... | 0:04:14 | 0:04:18 | |
-Yeah. -..really, there's somebody else, yours truly. -Yeah. | 0:04:18 | 0:04:22 | |
That makes sense, I could see that working as a plot. | 0:04:22 | 0:04:25 | |
I quite like the codename double-O three-and-a-half, you see... | 0:04:25 | 0:04:28 | |
LAUGHTER | 0:04:28 | 0:04:30 | |
My dream for Bond was that George Formby would've got | 0:04:30 | 0:04:33 | |
a Bond theme before he died. | 0:04:33 | 0:04:34 | |
That would have changed the whole... Can you just imagine him doing...? | 0:04:34 | 0:04:39 | |
In fact, don't imagine. | 0:04:39 | 0:04:41 | |
LAUGHTER | 0:04:41 | 0:04:42 | |
This is what I think it would've been like | 0:04:42 | 0:04:45 | |
if George Formby had got a Bond. I had this with me, yes. | 0:04:45 | 0:04:48 | |
# He's got a powerful weapon... # Hee-hee! | 0:04:49 | 0:04:52 | |
# He charges a million a shot | 0:04:52 | 0:04:55 | |
# An assassin second to none | 0:04:55 | 0:04:59 | |
# The man with the golden gun. # | 0:04:59 | 0:05:03 | |
-APPLAUSE -He-he! | 0:05:03 | 0:05:04 | |
They loved it. | 0:05:06 | 0:05:08 | |
But I like the gadgets. You must like the gadgets. | 0:05:09 | 0:05:12 | |
No, not really. They're sort of... | 0:05:12 | 0:05:14 | |
I mean, I like the nerdiness of them. | 0:05:14 | 0:05:16 | |
What about this fabulous gadget? | 0:05:16 | 0:05:18 | |
So, this, you just take it from your pocket, you're in the casino. | 0:05:18 | 0:05:21 | |
People think, oh, perfectly ordinary pen. | 0:05:21 | 0:05:24 | |
LAUGHTER | 0:05:26 | 0:05:28 | |
Ooh... | 0:05:28 | 0:05:30 | |
Can actually pull up his own Speedos. | 0:05:31 | 0:05:33 | |
LAUGHTER | 0:05:33 | 0:05:35 | |
Got another gadget. | 0:05:35 | 0:05:37 | |
This is a pen that's actually a weapon. | 0:05:37 | 0:05:40 | |
There it is. | 0:05:42 | 0:05:43 | |
LAUGHTER | 0:05:43 | 0:05:45 | |
I think this was in Thunderball, if I remember rightly. | 0:05:45 | 0:05:49 | |
LAUGHTER | 0:05:52 | 0:05:54 | |
I must say, Frank, I have never wanted you more. | 0:05:57 | 0:06:00 | |
LAUGHTER | 0:06:00 | 0:06:02 | |
-My favourite gadget is the jet pack. -Mm. | 0:06:02 | 0:06:06 | |
From Thunderball, when he actually flies with it... | 0:06:06 | 0:06:09 | |
-That's one of the only real gadgets, really, that actually works. -Yeah. | 0:06:09 | 0:06:12 | |
I've spent my whole youth dreaming of... We've got a picture of it. | 0:06:12 | 0:06:16 | |
That, look. Not only, but remember a time when you could park like that? | 0:06:16 | 0:06:21 | |
LAUGHTER | 0:06:21 | 0:06:23 | |
What I like about it is because you hold it like this, | 0:06:23 | 0:06:25 | |
it's tempting you into a double thumbs-up. | 0:06:25 | 0:06:29 | |
So you really want to appear at bedroom windows going... | 0:06:29 | 0:06:32 | |
LAUGHTER | 0:06:32 | 0:06:33 | |
I'm not 100% convinced by this, | 0:06:35 | 0:06:38 | |
cos you know Bond in incredible detail | 0:06:38 | 0:06:42 | |
and you've seen every single movie, right up to the latest one. | 0:06:42 | 0:06:45 | |
-Yes, because the alternative... -If you disliked him that much, | 0:06:45 | 0:06:48 | |
you would've cut it off at about Goldfinger, or something. | 0:06:48 | 0:06:51 | |
No, then I'd have had to spend Boxing Day talking to my family. | 0:06:51 | 0:06:54 | |
LAUGHTER | 0:06:54 | 0:06:55 | |
Yes, OK. Well, I'm going to find out what Christian | 0:06:56 | 0:07:00 | |
doesn't like on the people front. | 0:07:00 | 0:07:02 | |
Well, there we are. Clear as mud, really, isn't it? | 0:07:09 | 0:07:12 | |
So you take two of those and, um, I'll see you in a week. | 0:07:12 | 0:07:15 | |
LAUGHTER | 0:07:15 | 0:07:17 | |
I would like to see doctors go into Room 101. | 0:07:17 | 0:07:21 | |
-AUDIENCE GASPS -Yes. -A gasp? Come on. | 0:07:21 | 0:07:24 | |
Six years in medical school, hundreds of exams, | 0:07:24 | 0:07:27 | |
and they can't even bloody write. | 0:07:27 | 0:07:29 | |
I mean, have you ever met a more arrogant, self-centred, | 0:07:30 | 0:07:33 | |
egocentric bunch of people than doctors? | 0:07:33 | 0:07:36 | |
It's quite a scary experience, going to see a doctor. | 0:07:37 | 0:07:40 | |
-And it shouldn't be, should it? -No. | 0:07:40 | 0:07:42 | |
It should be a happy, joyous experience where you feel | 0:07:42 | 0:07:45 | |
warmed and welcomed and looked after, but people don't. | 0:07:45 | 0:07:47 | |
I think the trouble is, | 0:07:47 | 0:07:48 | |
when you get very academic people and medicine, you know, | 0:07:48 | 0:07:51 | |
-usually the brightest kids in school are pushed into doing medicine. -Mmm. | 0:07:51 | 0:07:55 | |
Sometimes the most academic people are not always the best | 0:07:55 | 0:08:00 | |
socially, shall we say. | 0:08:00 | 0:08:01 | |
-Yes. -It's bedside manner, isn't it? -Bedside manner. | 0:08:01 | 0:08:04 | |
I couldn't even think of the word. That just proves it, doesn't it? | 0:08:04 | 0:08:07 | |
-And I think... -In case you don't know Bedside Manor, | 0:08:07 | 0:08:10 | |
it's the sequel to Downton Abbey. | 0:08:10 | 0:08:12 | |
LAUGHTER | 0:08:12 | 0:08:14 | |
-Can I ask you a technical question? -Go on, then. | 0:08:14 | 0:08:16 | |
When they do that thing where... this is like a male thing, | 0:08:16 | 0:08:20 | |
you have to take your pants down and cough... | 0:08:20 | 0:08:25 | |
Did you not know? It's true. | 0:08:26 | 0:08:28 | |
You take your pants down and they say, "Right, cough". | 0:08:28 | 0:08:30 | |
Are they just trying to see if the idea of spreading germs excites you? | 0:08:30 | 0:08:34 | |
LAUGHTER | 0:08:34 | 0:08:36 | |
-Why are they doing that? -Boredom. | 0:08:36 | 0:08:39 | |
LAUGHTER | 0:08:39 | 0:08:40 | |
-It's to check for hernias. -Oh, OK. | 0:08:44 | 0:08:46 | |
If you cough, you increase abdominal pressure and pop a hernia out, | 0:08:46 | 0:08:49 | |
if you have one. Shall we try? | 0:08:49 | 0:08:51 | |
-LAUGHTER -I don't know. | 0:08:51 | 0:08:54 | |
This is the kind of one where you want to get a hand clap going from the audience. | 0:08:54 | 0:08:58 | |
Cough, cough, cough, cough! | 0:08:58 | 0:08:59 | |
I'm just worried what Christian will do if there is one. | 0:08:59 | 0:09:02 | |
It'd be like that thing when you hit the frogs with a mallet. | 0:09:02 | 0:09:05 | |
LAUGHTER | 0:09:05 | 0:09:06 | |
I'd like to ask you some other technical stuff, if I may. | 0:09:06 | 0:09:10 | |
There's something that happens when you go to the doctor's | 0:09:10 | 0:09:12 | |
which I've always thought is an incredibly... | 0:09:12 | 0:09:15 | |
It seems a very old-fashioned thing. | 0:09:15 | 0:09:17 | |
And that's when you cross your knees | 0:09:17 | 0:09:19 | |
-and they hit your knee to test your reflexes. -Oh, yeah. Yeah. | 0:09:19 | 0:09:22 | |
And they have a special hammer that they use. | 0:09:22 | 0:09:27 | |
-I mean, why is it like that? -Why is it like that? | 0:09:27 | 0:09:31 | |
-No reason at all. -Why is it pointy at the end? | 0:09:31 | 0:09:34 | |
Do they keep them all in a big melon? | 0:09:34 | 0:09:37 | |
-Why are they pointy at the end? -It's to test feeling. | 0:09:39 | 0:09:42 | |
So, you know, you test the reflex with the other end, | 0:09:42 | 0:09:45 | |
and then you poke somebody to see | 0:09:45 | 0:09:47 | |
whether they can feel that leg the same as that leg, or something. | 0:09:47 | 0:09:50 | |
-Isn't that right? -That's absolutely right. | 0:09:50 | 0:09:52 | |
The other thing, Christian, why do they come in two lengths? | 0:09:52 | 0:09:55 | |
LAUGHTER | 0:09:55 | 0:09:57 | |
One of those is for me. | 0:09:57 | 0:09:59 | |
LAUGHTER | 0:09:59 | 0:10:01 | |
That's the most reassuring thing, that moment when these go on. | 0:10:01 | 0:10:06 | |
I always think, now I'm in the hands of a professional. | 0:10:06 | 0:10:10 | |
-But if you ever see the other end... -LAUGHTER | 0:10:10 | 0:10:13 | |
I love doctors. I can't have this go in the room. | 0:10:16 | 0:10:19 | |
-No? -Whose time would I waste when I wasn't ill? | 0:10:19 | 0:10:22 | |
LAUGHTER | 0:10:22 | 0:10:25 | |
Also, I would never have discovered the Reader's Digest. | 0:10:25 | 0:10:29 | |
OK. Well, doctors, it's controversial. | 0:10:30 | 0:10:34 | |
Right, what kind of people wind up Warwick? | 0:10:34 | 0:10:37 | |
People who send e-mails. | 0:10:43 | 0:10:46 | |
LAUGHTER | 0:10:46 | 0:10:47 | |
That's a lot of people! | 0:10:47 | 0:10:49 | |
Well, you know, it used to be done via letter. | 0:10:50 | 0:10:53 | |
One would take a pen and a piece of paper | 0:10:53 | 0:10:56 | |
and take care to write a letter, to date it, to sign it, and to put it | 0:10:56 | 0:11:00 | |
in an envelope, stick it down, put a stamp on it, take it to the postbox. | 0:11:00 | 0:11:04 | |
-It was an art form. -Hmm. -And it's been forgotten. | 0:11:04 | 0:11:06 | |
It's so easy to fire off an e-mail with a few words, | 0:11:06 | 0:11:09 | |
no capital letters, no punctuation. | 0:11:09 | 0:11:12 | |
Then somebody like myself has to reply to it. | 0:11:12 | 0:11:15 | |
Then you get another one back. | 0:11:15 | 0:11:17 | |
Long e-mails, they're even more annoying, actually, | 0:11:17 | 0:11:19 | |
than these little sentences, | 0:11:19 | 0:11:20 | |
because you have to plough through it to get to the point. | 0:11:20 | 0:11:23 | |
Hold it, that's what letters were like. | 0:11:23 | 0:11:27 | |
The letter is normally on one page, and it's just a nice... | 0:11:27 | 0:11:31 | |
you can sit with it on the toilet... | 0:11:31 | 0:11:33 | |
LAUGHTER | 0:11:33 | 0:11:34 | |
You've all got an image in your head now. | 0:11:36 | 0:11:38 | |
It's much like this, actually... | 0:11:38 | 0:11:40 | |
What, it's a three-seater? | 0:11:43 | 0:11:45 | |
LAUGHTER | 0:11:45 | 0:11:47 | |
You write an e-mail and it has the wrong tone. | 0:11:47 | 0:11:50 | |
On the phone you can hear somebody's tone, whether they're happy | 0:11:50 | 0:11:53 | |
or angry, or what have you, and you can't mistake that. | 0:11:53 | 0:11:56 | |
I once sent a text that had, in brackets, "Friendly but firm". | 0:11:56 | 0:11:59 | |
-But you're quite right. -You really need to be introduced to emoticons. | 0:12:01 | 0:12:05 | |
Oh, I can't do that. I can't do a smiley face. | 0:12:05 | 0:12:07 | |
LAUGHTER | 0:12:07 | 0:12:09 | |
Sorry, do you use emoticons? | 0:12:09 | 0:12:11 | |
-I actually do. I quite like them. -Do you? -Yeah. | 0:12:11 | 0:12:14 | |
Also, they don't cover enough of the emotions. | 0:12:14 | 0:12:17 | |
What's the emoticon for reticent? | 0:12:17 | 0:12:19 | |
LAUGHTER | 0:12:19 | 0:12:21 | |
I tell you one thing, | 0:12:21 | 0:12:22 | |
sending photos by e-mail is quite nice, though, isn't it? | 0:12:22 | 0:12:26 | |
Then you could send a print, couldn't you? | 0:12:26 | 0:12:28 | |
Getting prints was more exciting. Now we don't... | 0:12:28 | 0:12:31 | |
I don't think we actually admire photos as we used to. | 0:12:31 | 0:12:33 | |
There's no albums any more, are there? | 0:12:33 | 0:12:36 | |
You know, I couldn't sit down with my kids and say, | 0:12:36 | 0:12:39 | |
"Look at the album," because we haven't got one. | 0:12:39 | 0:12:41 | |
I bet they're grateful for that, though. | 0:12:41 | 0:12:43 | |
LAUGHTER | 0:12:43 | 0:12:44 | |
I do sometimes think, what'd happen if the internet went down? | 0:12:44 | 0:12:49 | |
Would all my photos disappear and I'd never, ever get them back? | 0:12:49 | 0:12:52 | |
That would be a pretty terrible thing. | 0:12:52 | 0:12:55 | |
There's actually a thing that they do on the internet in case | 0:12:55 | 0:12:58 | |
you lose a treasured photo from the past. | 0:12:58 | 0:13:01 | |
Here's an example of this. | 0:13:01 | 0:13:03 | |
If you take this photo of this guy holding his baby. | 0:13:03 | 0:13:06 | |
So, obviously, you wouldn't want to lose all track of that. | 0:13:06 | 0:13:10 | |
So as backup they recreate it, several years later, like this. | 0:13:10 | 0:13:15 | |
LAUGHTER | 0:13:16 | 0:13:17 | |
It's beautiful, isn't it? | 0:13:19 | 0:13:21 | |
This one I think you'll like even more. This is the old photo. | 0:13:21 | 0:13:25 | |
Oh, no. | 0:13:25 | 0:13:26 | |
And here's the backup. | 0:13:27 | 0:13:30 | |
LAUGHTER | 0:13:30 | 0:13:31 | |
They must be pretty crinkly by now. | 0:13:33 | 0:13:35 | |
And this one, the whole nature of this one has changed. | 0:13:36 | 0:13:39 | |
This is two sisters. | 0:13:39 | 0:13:41 | |
And their modern version. | 0:13:43 | 0:13:46 | |
LAUGHTER | 0:13:46 | 0:13:47 | |
OK, so we come to the end of this round. | 0:13:50 | 0:13:52 | |
I don't think I can put James Bond in. | 0:13:52 | 0:13:54 | |
I take your point, but I do love both the books and the movies, | 0:13:54 | 0:13:59 | |
and I would really miss him if he went away. | 0:13:59 | 0:14:01 | |
Doctors, if I put doctors in, | 0:14:01 | 0:14:04 | |
that would be the end of the world, wouldn't it, Christian? | 0:14:04 | 0:14:08 | |
Although they can be a bit strange and a bit insensitive, | 0:14:08 | 0:14:11 | |
they are essentially heroic. | 0:14:11 | 0:14:13 | |
But, Warwick, although I've had e-mails that have made me very happy | 0:14:13 | 0:14:16 | |
indeed, you're right, there are a great many, and often annoying ones. | 0:14:16 | 0:14:21 | |
So, on this occasion, I agree with you. | 0:14:21 | 0:14:23 | |
I am going to put people who send e-mails, especially to you, | 0:14:23 | 0:14:26 | |
because you don't like it, into Room 101. | 0:14:26 | 0:14:29 | |
APPLAUSE | 0:14:29 | 0:14:30 | |
OK, next category, please. | 0:14:41 | 0:14:43 | |
Modern life. | 0:14:47 | 0:14:49 | |
OK, what winds up Christian about modern life? | 0:14:49 | 0:14:53 | |
People who put empty containers back in the fridge. | 0:14:59 | 0:15:02 | |
CHEERING AND APPLAUSE | 0:15:03 | 0:15:06 | |
I think my work here is done! | 0:15:09 | 0:15:12 | |
-I've got a question. -Go on. | 0:15:12 | 0:15:14 | |
How did my fridge get here? | 0:15:14 | 0:15:15 | |
LAUGHTER AND APPLAUSE | 0:15:15 | 0:15:17 | |
The people who, say with the milk, | 0:15:21 | 0:15:23 | |
they'll pour the milk until there's about that much | 0:15:23 | 0:15:27 | |
left in the bottom, and put that back in the fridge, too. | 0:15:27 | 0:15:30 | |
Do you have people that do that? | 0:15:30 | 0:15:32 | |
It's mainly men, isn't it, to be fair? It's mainly men. | 0:15:32 | 0:15:35 | |
-There's a thing that men do that women never do. -What's that? | 0:15:35 | 0:15:40 | |
Which is to take a pint of milk out of the fridge, sniff it, | 0:15:40 | 0:15:43 | |
make a face, then put it back in. | 0:15:43 | 0:15:45 | |
Those are all in the sort of same theme as this. | 0:15:49 | 0:15:52 | |
-No, but the milk, I do that with the milk. -You can't justify this. | 0:15:52 | 0:15:55 | |
Well, I believe I can. | 0:15:55 | 0:15:56 | |
I will put a tiny...a tiny little bit of milk back in the fridge, | 0:15:56 | 0:16:00 | |
because I don't want to make that cup of tea a bit milkier than | 0:16:00 | 0:16:05 | |
I want it to be, just to empty that. | 0:16:05 | 0:16:07 | |
Whereas there's always another pint of milk. | 0:16:07 | 0:16:10 | |
And so the next cup of tea, I can put in that last draining. | 0:16:10 | 0:16:13 | |
You know, they're not individuals, cartons of milk. | 0:16:13 | 0:16:16 | |
They're like a relay team. | 0:16:16 | 0:16:17 | |
LAUGHTER | 0:16:17 | 0:16:19 | |
If you have a well-ordered household and an efficient housekeeper, | 0:16:19 | 0:16:22 | |
yes, Frank, but if you're like me | 0:16:22 | 0:16:24 | |
and your fridge is permanently half empty, | 0:16:24 | 0:16:26 | |
then there definitely isn't another carton of milk in there. | 0:16:26 | 0:16:29 | |
And that much milk, which isn't good for anything, | 0:16:29 | 0:16:31 | |
even a cup of tea, is just really, really irritating. | 0:16:31 | 0:16:34 | |
I will keep stuff for ages and ages. | 0:16:34 | 0:16:37 | |
The back of my fridge has got like about five jars, | 0:16:37 | 0:16:41 | |
-and it's like a familiar city skyline. -Yeah. | 0:16:41 | 0:16:45 | |
My girlfriend will drink that much out of a bottle of water | 0:16:45 | 0:16:49 | |
and then put that in the fridge, and then she can't remember | 0:16:49 | 0:16:54 | |
whether it's her water or my water. | 0:16:54 | 0:16:57 | |
So she won't drink it again, in case it's my water, | 0:16:57 | 0:17:00 | |
and she doesn't want my spit on her. | 0:17:00 | 0:17:02 | |
You're all right with saliva and stuff like that. I've seen... | 0:17:04 | 0:17:07 | |
-Professionally, yeah. -Well, you say professionally. Look at this. | 0:17:07 | 0:17:11 | |
LAUGHTER | 0:17:12 | 0:17:14 | |
-Oh, that's sweet! -Christian, no doctor, no doctor can sanction that. | 0:17:14 | 0:17:18 | |
-That's horrible. -Look at his little face. | 0:17:18 | 0:17:20 | |
Yes, but it's not his little face I'm thinking about. | 0:17:20 | 0:17:24 | |
OK, then, what aspect of modern life upsets Warwick? | 0:17:25 | 0:17:29 | |
Petrol station shops that close at night. | 0:17:35 | 0:17:39 | |
-Mmm. -Right. | 0:17:39 | 0:17:41 | |
So, as you can see, this is almost to scale. | 0:17:41 | 0:17:43 | |
Now, what it is, you have these little tills, you see, | 0:17:45 | 0:17:48 | |
over here, and the attendant serves you through that till. | 0:17:48 | 0:17:52 | |
What happens if you need some goods? | 0:17:52 | 0:17:54 | |
You know, a few pints of milk, a baguette. | 0:17:54 | 0:17:58 | |
How is that getting through there, for one? | 0:17:59 | 0:18:02 | |
And also, it's trying to describe to the gentleman or | 0:18:02 | 0:18:04 | |
lady behind that glass screen what you want when they can't hear you. | 0:18:04 | 0:18:09 | |
And it's especially difficult for me, because, | 0:18:09 | 0:18:11 | |
you know, my head is right down here somewhere. | 0:18:11 | 0:18:13 | |
So I'm just looking over the top, going, "Can I have a baguette?" | 0:18:13 | 0:18:17 | |
I think, though, you could market the sort of night garage diet, | 0:18:17 | 0:18:21 | |
because, as you say, you can only put certain things through the slot. | 0:18:21 | 0:18:25 | |
-Mmm. -So big things, you can't have. -No. | 0:18:25 | 0:18:28 | |
So I once asked for a Chunky Kit Kat, and he said, | 0:18:28 | 0:18:31 | |
"No, you're going to have to have an ordinary Kit Kat". | 0:18:31 | 0:18:33 | |
LAUGHTER | 0:18:33 | 0:18:36 | |
So it's got... I was very tempted to ask for a Double Decker. | 0:18:36 | 0:18:40 | |
They also think, blokes in garages, in the age of the sat nav, | 0:18:40 | 0:18:43 | |
they're desperate to get rid of the road atlases no-one wants any more, | 0:18:43 | 0:18:47 | |
so when you're going... | 0:18:47 | 0:18:48 | |
HE MOUTHS | 0:18:48 | 0:18:50 | |
They keep going... | 0:18:50 | 0:18:52 | |
LAUGHTER | 0:18:52 | 0:18:53 | |
You know, the method that a lot of people use - | 0:18:53 | 0:18:57 | |
this is serious - is people use one of these laser pens. | 0:18:57 | 0:19:01 | |
Oh, yeah. | 0:19:01 | 0:19:03 | |
So they go like that, and say, "I want some of those | 0:19:03 | 0:19:05 | |
and some of those and some of those", and point into the shop. | 0:19:05 | 0:19:09 | |
-And then he does this. -LAUGHTER | 0:19:09 | 0:19:11 | |
If you get really good at it... | 0:19:12 | 0:19:14 | |
I once completely encircled a Cadbury's Flake. | 0:19:14 | 0:19:18 | |
The other thing, by the way, the other | 0:19:19 | 0:19:21 | |
recommendation for the laser pen is, you know sometimes you get into bed, | 0:19:21 | 0:19:25 | |
if you don't have a bedside lamp and you forget to switch the light off? | 0:19:25 | 0:19:28 | |
You know you can actually use them to switch the light off. | 0:19:28 | 0:19:31 | |
-Have you seen this? -No. -I'll show you. | 0:19:31 | 0:19:34 | |
LAUGHTER | 0:19:38 | 0:19:39 | |
APPLAUSE | 0:19:42 | 0:19:43 | |
You know, that could help me out in life in so many ways. | 0:19:46 | 0:19:50 | |
If I just carry a laser pointer and a cat with me everywhere, | 0:19:50 | 0:19:53 | |
I could reach lift buttons, door handles. It's amazing. | 0:19:53 | 0:19:56 | |
I like the sort of... the prison visit feel to it, | 0:19:56 | 0:20:02 | |
when you're talking through the Perspex. | 0:20:02 | 0:20:05 | |
But I mean, why not leave the shop open, | 0:20:05 | 0:20:07 | |
and then put them in the little glass container within the shop? | 0:20:07 | 0:20:10 | |
At least let me go in there and choose what I want. | 0:20:10 | 0:20:14 | |
Because then you'd run off with stuff and he'd be going... | 0:20:14 | 0:20:17 | |
LAUGHTER | 0:20:17 | 0:20:19 | |
It's a terrible idea. | 0:20:19 | 0:20:21 | |
We have CCTV footage of someone trying to get in | 0:20:24 | 0:20:29 | |
to an all-night garage, and, er, didn't go that well. | 0:20:29 | 0:20:33 | |
There's the suspicious characters lined up. Here we go. | 0:20:35 | 0:20:39 | |
LAUGHTER | 0:20:39 | 0:20:41 | |
It gets better. | 0:20:42 | 0:20:44 | |
LAUGHTER | 0:20:44 | 0:20:45 | |
There's an interesting inconsistency | 0:20:52 | 0:20:54 | |
-in your world view, though, Warwick. -Is there? What is it? | 0:20:54 | 0:20:57 | |
Yes, because you don't like e-mail because you think, oh, | 0:20:57 | 0:20:59 | |
they come at you all the time with the messages, | 0:20:59 | 0:21:02 | |
what happened to the old-fashioned letter, | 0:21:02 | 0:21:04 | |
and yet you expect to be able to get a baguette at 3 in the morning. | 0:21:04 | 0:21:07 | |
LAUGHTER | 0:21:07 | 0:21:08 | |
OK. Well, so, what doesn't Victoria like about modern life? | 0:21:08 | 0:21:14 | |
Ah, yes. Well, now, it's not necessarily modern. | 0:21:19 | 0:21:22 | |
This may be an old thing. Fiddly bracelets. | 0:21:22 | 0:21:25 | |
I mean, any kind of fiddly clasp is annoying | 0:21:25 | 0:21:29 | |
on any jewellery, clothes, hook and eye things, it's always annoying. | 0:21:29 | 0:21:32 | |
But there's something about a bracelet that you can't do up | 0:21:32 | 0:21:35 | |
with one hand. The implication is, | 0:21:35 | 0:21:38 | |
"Why are you putting on a bracelet by yourself, you sad old spinster?" | 0:21:38 | 0:21:42 | |
The idea that, well, it's not for one person. | 0:21:42 | 0:21:45 | |
A bracelet is something to be slipped onto your wrist | 0:21:45 | 0:21:48 | |
by a moustachioed Turkish count. | 0:21:48 | 0:21:51 | |
I've had the experience, often before poker tournaments in a hotel, | 0:21:51 | 0:21:54 | |
I think, "I'll put a bracelet on", | 0:21:54 | 0:21:56 | |
because that looks quite nice, you're playing cards, | 0:21:56 | 0:21:58 | |
people are looking at your hands, and you can't do it up, you... | 0:21:58 | 0:22:01 | |
imagine the distant laugh of the designer, thinking, | 0:22:01 | 0:22:04 | |
"You weren't supposed to buy that for yourself. | 0:22:04 | 0:22:06 | |
"You're not supposed to put it on alone. | 0:22:06 | 0:22:08 | |
"Why are you trying to make yourself pretty? No-one's looking. You're going to die alone". | 0:22:08 | 0:22:12 | |
-LAUGHTER -Wowee. | 0:22:12 | 0:22:14 | |
Yeah, they're heartless, those bracelet designers. | 0:22:15 | 0:22:19 | |
Some, you know, like a watch, you know, | 0:22:19 | 0:22:20 | |
-there's a simple clasp and you put it on. Easy. -Yeah. | 0:22:20 | 0:22:23 | |
But there's some where there's... you have to press a little thing, | 0:22:23 | 0:22:26 | |
and then put the chain round the edge of it, | 0:22:26 | 0:22:29 | |
and it's so difficult, it's like it's trying to make a point. | 0:22:29 | 0:22:33 | |
With a necklace, you can use both hands. With a bracelet, you can't. | 0:22:33 | 0:22:37 | |
That's what it's supposed to be... | 0:22:37 | 0:22:39 | |
somebody else's hands putting it on for you. | 0:22:39 | 0:22:41 | |
Like doing up someone's zip. | 0:22:41 | 0:22:43 | |
You know when a woman says, "Can you do my zip up for me?" | 0:22:43 | 0:22:45 | |
I mean, my girlfriend and I have been together many years. | 0:22:45 | 0:22:48 | |
I still find that exciting, "Can you do my zip up?" It's still brilliant. | 0:22:48 | 0:22:52 | |
I love that. You see the bra strap and everything. | 0:22:52 | 0:22:55 | |
LAUGHTER | 0:22:55 | 0:22:57 | |
I like that. I think it's romantic. | 0:22:57 | 0:22:59 | |
I think the fact that you feel lucky when you're zipping up | 0:22:59 | 0:23:01 | |
-your girlfriend's dress, you get a glimpse of bra... -Yes. -I think that's charming. | 0:23:01 | 0:23:05 | |
Well, there is something really romantic, and I suppose, a bit James Bond about it. | 0:23:05 | 0:23:09 | |
Do you remember that one when he uses his magnet... | 0:23:09 | 0:23:11 | |
I think he uses a magnet watch to take her zip down? | 0:23:11 | 0:23:14 | |
LAUGHTER | 0:23:16 | 0:23:17 | |
However, | 0:23:17 | 0:23:18 | |
there is a method for doing these tricky bracelets. | 0:23:18 | 0:23:23 | |
I don't know if you're aware of it. All you need is a bit of Sellotape. | 0:23:23 | 0:23:26 | |
So the next time you're on your own in a hotel room, you... | 0:23:26 | 0:23:29 | |
Let me... | 0:23:29 | 0:23:31 | |
There you go. You just put this on instead. | 0:23:33 | 0:23:36 | |
This is the sort of difficult bracelet you're on about... | 0:23:38 | 0:23:41 | |
-Yes, exactly. -..with the clasp on one end? Yeah. | 0:23:41 | 0:23:43 | |
So what you do is you get a bit of Sellotape, thus... | 0:23:43 | 0:23:48 | |
Ooh. | 0:23:50 | 0:23:52 | |
And then you put it on the chain, very near the loop. | 0:23:52 | 0:23:56 | |
Hold on, I'll be with you in a minute. | 0:23:56 | 0:23:58 | |
You Sellotape that to your forearm, thus. | 0:23:59 | 0:24:04 | |
Little bit of loop sticking out. Bear with me. | 0:24:04 | 0:24:08 | |
I say bear with me. | 0:24:08 | 0:24:09 | |
And then... | 0:24:09 | 0:24:11 | |
LAUGHTER | 0:24:11 | 0:24:13 | |
So you stick it on like this, with that loop sticking out, | 0:24:13 | 0:24:17 | |
like that, | 0:24:17 | 0:24:18 | |
and then you bring your bracelet round with your clasp. | 0:24:18 | 0:24:23 | |
-It's a very nice bracelet. -Thanks very much. | 0:24:24 | 0:24:27 | |
I'm beginning to loathe it. | 0:24:27 | 0:24:29 | |
Anyway, you get the general idea. | 0:24:33 | 0:24:34 | |
LAUGHTER AND APPLAUSE | 0:24:34 | 0:24:37 | |
I got applause for that. | 0:24:40 | 0:24:41 | |
That's what I like about this country. They love a loser. | 0:24:41 | 0:24:45 | |
-I actually design jewellery. Did you know this? -I didn't know that. | 0:24:45 | 0:24:49 | |
As a part-time... This is my own range. | 0:24:49 | 0:24:52 | |
These are mainly for middle-aged men. So, um... | 0:24:52 | 0:24:57 | |
so, if you see...you fit them... here you go, beautiful. | 0:24:57 | 0:25:01 | |
If you can see that, it's a tiny little pair of scissors, | 0:25:01 | 0:25:07 | |
and then you can do your ear hair. | 0:25:07 | 0:25:09 | |
LAUGHTER | 0:25:09 | 0:25:10 | |
Just make the chain a bit longer and do nasal hair as well. | 0:25:12 | 0:25:15 | |
What about these? This is, I think, my greatest achievement. | 0:25:15 | 0:25:19 | |
These will be commercially available, when I've, er... | 0:25:19 | 0:25:23 | |
finished negotiation. | 0:25:23 | 0:25:24 | |
What you do is you put one on each ear. | 0:25:25 | 0:25:28 | |
You may see that they are small forks. | 0:25:28 | 0:25:31 | |
"Oh," you think, "it's just some little bit of ornamentation. | 0:25:31 | 0:25:34 | |
"You've used cutlery, an everyday object, | 0:25:34 | 0:25:36 | |
"and turned it into an art form". | 0:25:36 | 0:25:38 | |
It's a bit more than that, Christian, | 0:25:38 | 0:25:40 | |
because it's actually a hands-free for corn on the cob. | 0:25:40 | 0:25:43 | |
LAUGHTER | 0:25:43 | 0:25:45 | |
APPLAUSE | 0:25:47 | 0:25:48 | |
-The chain's a bit long. -Ouch. | 0:25:53 | 0:25:54 | |
The chain's a bit long at the moment. | 0:25:54 | 0:25:57 | |
So, there we have you. | 0:25:57 | 0:25:59 | |
Well, I have tremendous sympathy with people who put stuff | 0:25:59 | 0:26:03 | |
back in the fridge, cos I do it myself. | 0:26:03 | 0:26:06 | |
I like the excitement of having to tell someone | 0:26:06 | 0:26:10 | |
what I want from an all-night garage. | 0:26:10 | 0:26:12 | |
It just feels like I'm in a film, and it's great. | 0:26:12 | 0:26:16 | |
But they are impossible, those bracelets, | 0:26:16 | 0:26:19 | |
and why do they need to be so difficult in the modern world? | 0:26:19 | 0:26:22 | |
I'm sure they could be made much, much easier. You're right. | 0:26:22 | 0:26:25 | |
Why should women be a slave to that and need someone else? | 0:26:25 | 0:26:28 | |
I am going to put fiddly bracelets into Room 101. | 0:26:28 | 0:26:32 | |
Yay! APPLAUSE | 0:26:32 | 0:26:35 | |
OK, let's have our next category. | 0:26:42 | 0:26:44 | |
It's the wildcard. | 0:26:49 | 0:26:51 | |
No restrictions, pick anything that winds you up. | 0:26:51 | 0:26:54 | |
So, what is Warwick's wildcard? | 0:26:54 | 0:26:56 | |
LAUGHTER | 0:27:01 | 0:27:03 | |
-Special offers. -Ah. | 0:27:03 | 0:27:05 | |
Special offers. I mean, I like a bargain, don't get me wrong. | 0:27:05 | 0:27:09 | |
You know, does sound tight, but, | 0:27:09 | 0:27:11 | |
it's when you have to do these buy one get one free. | 0:27:11 | 0:27:15 | |
-I'd rather it be half price. I don't want two, necessarily. -Mm. | 0:27:15 | 0:27:20 | |
Do you know what I mean? Can I tell you what really annoys me? | 0:27:20 | 0:27:23 | |
It's an offer of sorts, it's the 20% extra...large crisps. | 0:27:23 | 0:27:28 | |
-Yes. -And the chocolate bars, they're all getting longer, aren't they? | 0:27:28 | 0:27:32 | |
It's given me a complex, I feel smaller. | 0:27:32 | 0:27:34 | |
You go into a petrol station, when you can get in... | 0:27:34 | 0:27:37 | |
LAUGHTER | 0:27:37 | 0:27:39 | |
And it's all, everything's massive now. | 0:27:39 | 0:27:41 | |
Why do we want so much of it? | 0:27:41 | 0:27:43 | |
What if, what if you didn't do all your shopping at petrol stations? | 0:27:43 | 0:27:46 | |
LAUGHTER | 0:27:46 | 0:27:47 | |
Do you think that the 99p thing makes any difference? | 0:27:49 | 0:27:53 | |
You know when something is £1.99 instead of two quid, | 0:27:53 | 0:27:57 | |
that's a normal pricing thing. | 0:27:57 | 0:27:59 | |
That's aimed at the idea people will think, | 0:27:59 | 0:28:01 | |
"Oh, I'm not paying two quid for that. Oh, £1.99. That's all right." | 0:28:01 | 0:28:06 | |
-They clearly still believe that that works. -It does work, though. | 0:28:06 | 0:28:10 | |
-Do you think? -Yeah. -Well, it is actually cheaper, isn't it? So... | 0:28:10 | 0:28:13 | |
LAUGHTER | 0:28:13 | 0:28:15 | |
APPLAUSE | 0:28:17 | 0:28:18 | |
I came up with an invention, right? | 0:28:21 | 0:28:23 | |
It annoys me when I go to a conveyor | 0:28:23 | 0:28:26 | |
and it's got flour on and crumbs and liquids that you don't know | 0:28:26 | 0:28:29 | |
what they are and you've got to then put your shopping on it, you see? | 0:28:29 | 0:28:33 | |
So I thought, why can't this conveyor go underneath | 0:28:33 | 0:28:35 | |
and there'll be a little, a little man in there... | 0:28:35 | 0:28:38 | |
LAUGHTER | 0:28:38 | 0:28:39 | |
..washing it and then it comes back round all nice and clean? | 0:28:40 | 0:28:44 | |
Warwick, you're always looking for work. | 0:28:44 | 0:28:46 | |
LAUGHTER | 0:28:46 | 0:28:47 | |
I find that the shopping separator | 0:28:49 | 0:28:53 | |
is quite a sort of controversial... Sometimes I'll wait... | 0:28:53 | 0:28:57 | |
to put the one down a bit at the end of my shopping. | 0:28:57 | 0:29:01 | |
And the person behind will get quite anxious. | 0:29:01 | 0:29:04 | |
What's the hierarchy there? | 0:29:06 | 0:29:07 | |
Are you supposed to put it behind your shopping? | 0:29:07 | 0:29:10 | |
Yes, I think it's always at the back of the shopping | 0:29:10 | 0:29:13 | |
because they don't know if you're still buying or not. | 0:29:13 | 0:29:16 | |
You know, | 0:29:16 | 0:29:17 | |
you might have a walnut whirl from that tray by the side of the till. | 0:29:17 | 0:29:21 | |
-I just use a baguette across. -LAUGHTER | 0:29:21 | 0:29:24 | |
OK, what is Victoria's wildcard? | 0:29:26 | 0:29:30 | |
Ah, yes. | 0:29:35 | 0:29:36 | |
-They call it pampering. -Mm. | 0:29:36 | 0:29:39 | |
But I object even to the term because what I mean by that | 0:29:39 | 0:29:43 | |
is sort of spa treatments and beauty treatments | 0:29:43 | 0:29:46 | |
that don't do any practical good at all, so they call it pampering | 0:29:46 | 0:29:50 | |
to trick you into thinking you're enjoying it, which is impossible. | 0:29:50 | 0:29:53 | |
Being sort of tweedled and tweaked and prodded | 0:29:53 | 0:29:57 | |
and pushed around at enormous expense, wasting time and money, | 0:29:57 | 0:30:02 | |
to no good purpose, it isn't nice, it isn't fun and yet there seems | 0:30:02 | 0:30:06 | |
to be a massive world stacked up to trick us into thinking it is fun. | 0:30:06 | 0:30:11 | |
"If you're on holiday, why wouldn't you go for a massage?" | 0:30:11 | 0:30:14 | |
Because you can just have a nice lie down | 0:30:14 | 0:30:17 | |
without having to take your clothes off in front of a stranger | 0:30:17 | 0:30:20 | |
and be basically tickled and scratched. | 0:30:20 | 0:30:22 | |
It's supposed to be what makes people most happy, | 0:30:22 | 0:30:25 | |
is to go and get pampered. | 0:30:25 | 0:30:27 | |
Me and my girlfriend, we had what they call a double massage, | 0:30:27 | 0:30:30 | |
so you lie on two adjoining things. | 0:30:30 | 0:30:32 | |
I was really disappointed when two masseurs turned up. | 0:30:32 | 0:30:35 | |
I was hoping it was going to be... | 0:30:35 | 0:30:37 | |
you know when grand masters play at chess? | 0:30:37 | 0:30:39 | |
And they're playing three games at the same time - I thought | 0:30:39 | 0:30:42 | |
it was going to be like a Rick Wakeman concert. | 0:30:42 | 0:30:45 | |
No self-respecting British person should be able to relax | 0:30:45 | 0:30:48 | |
when nude, face down, being touched by a stranger. | 0:30:48 | 0:30:51 | |
That's not right. | 0:30:51 | 0:30:53 | |
It is awkward and uncomfortable and it can only be compounded | 0:30:53 | 0:30:55 | |
by having your partner there at the next table. | 0:30:55 | 0:30:58 | |
Look, if you want to be in a room with your partner, nude, groaning as | 0:30:58 | 0:31:02 | |
they're manipulated by a stranger, go to an orgy and have done with it. | 0:31:02 | 0:31:05 | |
I think the idea is that you can talk to each other, | 0:31:05 | 0:31:09 | |
but of course the thing that I most wanted to talk about was what | 0:31:09 | 0:31:12 | |
a waste of money the massage was. | 0:31:12 | 0:31:14 | |
You can't do that, so we ended up doing riddles. | 0:31:14 | 0:31:17 | |
There's two of us lying there saying, | 0:31:17 | 0:31:19 | |
"My first is in fish but not in float." | 0:31:19 | 0:31:22 | |
I mean, it's not what it's supposed to be about. | 0:31:22 | 0:31:25 | |
It's awkward, I know what you mean. | 0:31:25 | 0:31:28 | |
You feel uptight and it's supposed to be relaxing | 0:31:28 | 0:31:30 | |
and you don't know what noises to make. | 0:31:30 | 0:31:32 | |
Do you show, "Ah..." Do you do that? | 0:31:32 | 0:31:36 | |
So they think, "We're doing a good job" or not? I don't know, | 0:31:36 | 0:31:39 | |
it could come across the wrong way if you're not careful. | 0:31:39 | 0:31:41 | |
Are you familiar with the thera-cane? | 0:31:41 | 0:31:45 | |
-No. -No, I thought not. | 0:31:45 | 0:31:47 | |
Maybe this will change your mind, Victoria Coren Mitchell. | 0:31:47 | 0:31:50 | |
What about this? | 0:31:50 | 0:31:51 | |
This is a massage cane. | 0:31:51 | 0:31:53 | |
And it's called the thera-cane and I'll show you some of the... | 0:31:53 | 0:31:56 | |
this is how you're supposed to use it. | 0:31:56 | 0:31:58 | |
I think you'll be impressed. | 0:31:58 | 0:32:00 | |
There you go. So, there's the... | 0:32:00 | 0:32:02 | |
Which way do I look out? Yes, that way. So it comes round here. | 0:32:02 | 0:32:06 | |
Yes, you see like that? | 0:32:06 | 0:32:09 | |
And then, you see I'm massaging that part of my neck, | 0:32:09 | 0:32:12 | |
which you'll agree is quite hard to reach. | 0:32:12 | 0:32:15 | |
LAUGHTER | 0:32:15 | 0:32:16 | |
That feels really good, | 0:32:19 | 0:32:20 | |
and there's another exercise to the neck, which is also very good, if... | 0:32:20 | 0:32:24 | |
That, um, ooh... | 0:32:26 | 0:32:28 | |
That's, er.... | 0:32:29 | 0:32:30 | |
I mean, you could do that. | 0:32:32 | 0:32:33 | |
LAUGHTER | 0:32:33 | 0:32:34 | |
-Or you could not do that. -Yeah. | 0:32:36 | 0:32:39 | |
What else have we got? | 0:32:39 | 0:32:41 | |
We've got the long reach brush and comb. Seen one of those? | 0:32:41 | 0:32:45 | |
See? She can reach right way up on her head. | 0:32:45 | 0:32:50 | |
You know when you're combing your hair and you think, | 0:32:52 | 0:32:55 | |
"Oh, blimey, I don't think I can..." | 0:32:55 | 0:32:58 | |
My hair's receding a bit, so it takes some reaching. | 0:32:58 | 0:33:01 | |
So I think, I think you have to let yourself go a bit. | 0:33:02 | 0:33:06 | |
I feel you're being a bit conservative about it. | 0:33:06 | 0:33:08 | |
It's worth trying these crazy things. | 0:33:08 | 0:33:10 | |
Are you from the spa marketing board? | 0:33:10 | 0:33:13 | |
I have to let myself go? Why? | 0:33:13 | 0:33:14 | |
In order to burn a load of money doing this stuff? | 0:33:14 | 0:33:17 | |
Well, have you ever seen that one where you get completely relaxed | 0:33:17 | 0:33:20 | |
and they sort of clean your teeth | 0:33:20 | 0:33:22 | |
and give you a sort of dental cleanse thing? | 0:33:22 | 0:33:25 | |
-That's not a thing. -It is. | 0:33:25 | 0:33:27 | |
I thought it was brilliant until I found out how they did it. | 0:33:27 | 0:33:30 | |
LAUGHTER | 0:33:31 | 0:33:33 | |
I think that's fine, | 0:33:42 | 0:33:43 | |
cos sometimes you get a stubborn piece of meat stuck in there, | 0:33:43 | 0:33:46 | |
-been there for days. I can tell Christian is thinking... -I think that's sweet. | 0:33:46 | 0:33:50 | |
LAUGHTER | 0:33:50 | 0:33:51 | |
OK, well, what is Christian's wildcard? | 0:33:51 | 0:33:56 | |
This is, quite simply, | 0:34:02 | 0:34:05 | |
German pop music. | 0:34:05 | 0:34:06 | |
-That's quite a specialist choice. -It is quite niche, it's quite niche, | 0:34:08 | 0:34:11 | |
it's quite specialist. It's also blooming awful, let's face it. | 0:34:11 | 0:34:15 | |
And there's sort of two parts to this, really. | 0:34:15 | 0:34:17 | |
First of all, there's just German pop music in general, | 0:34:17 | 0:34:20 | |
but then there's music sung in German. | 0:34:20 | 0:34:23 | |
Now, can I just put in a... "Why, some of my best friends are German"? | 0:34:23 | 0:34:27 | |
My father's German, | 0:34:27 | 0:34:28 | |
so I'm allowed to be as rude as I like about the Germans. | 0:34:28 | 0:34:31 | |
That makes me half German. | 0:34:31 | 0:34:32 | |
The other thing about German pop music is it's sung by | 0:34:32 | 0:34:35 | |
what mainly look like, sort of middle-aged men | 0:34:35 | 0:34:38 | |
having a massive midlife crisis. | 0:34:38 | 0:34:40 | |
It's sort of like your dad donning a leather jacket and doing karaoke. | 0:34:40 | 0:34:44 | |
-That's how a lot of the singers look. -Yeah, but I love that. | 0:34:44 | 0:34:47 | |
That's what I like about it. | 0:34:47 | 0:34:49 | |
There's almost no room now in British pop music for ugly people, | 0:34:49 | 0:34:53 | |
but in Germany they are embraced. | 0:34:53 | 0:34:56 | |
-What about that more traditional, the sort of... -The oompah bands? | 0:34:58 | 0:35:02 | |
-Yeah. -God, don't. Don't. | 0:35:02 | 0:35:04 | |
The cheery swaying of the beer mug to the oompah band. | 0:35:04 | 0:35:06 | |
I love those beer mugs. | 0:35:06 | 0:35:08 | |
It looks like they're drinking out of pedal bins. | 0:35:08 | 0:35:11 | |
I think that it's just about fun. | 0:35:13 | 0:35:14 | |
The whole Euro-pop thing, I think | 0:35:14 | 0:35:17 | |
we probably take music a bit seriously in this country. | 0:35:17 | 0:35:19 | |
I just think you're frightened to enjoy this wonderful music, | 0:35:19 | 0:35:23 | |
and there's a lot of that about. This is an example. | 0:35:23 | 0:35:26 | |
You know, it's really fun, silly music, | 0:35:26 | 0:35:29 | |
and some people just don't want to be seen to be enjoying themselves. | 0:35:29 | 0:35:32 | |
# Ik weet ook niet hoe het komt | 0:35:32 | 0:35:34 | |
# Maar het komt vast door oew kont | 0:35:34 | 0:35:36 | |
# Draai dat ding maar in het rond | 0:35:36 | 0:35:38 | |
# Ik wil vanavond, bam, bam, bam | 0:35:38 | 0:35:41 | |
# Draai om door oew knieen Naar de grond | 0:35:41 | 0:35:43 | |
# Gij het vuurtje ik de lont... # LAUGHTER | 0:35:43 | 0:35:46 | |
The singer is called, | 0:35:48 | 0:35:50 | |
and I'm not making this up, he's called Snollebollekes. | 0:35:50 | 0:35:54 | |
LAUGHTER | 0:35:54 | 0:35:55 | |
What's that man embarrassed about? | 0:35:57 | 0:35:59 | |
He was clearly having a fabulous time. | 0:35:59 | 0:36:01 | |
Maybe he was caught on camera, | 0:36:01 | 0:36:03 | |
but he told his wife he was at a conference in Coventry. | 0:36:03 | 0:36:05 | |
LAUGHTER | 0:36:05 | 0:36:07 | |
A man lied to his wife in order to go to that gig? | 0:36:07 | 0:36:11 | |
-It would explain the embarrassment, wouldn't it? -Exactly. | 0:36:11 | 0:36:16 | |
Anyway, we come, | 0:36:16 | 0:36:18 | |
we come to the end of that round and, well, | 0:36:18 | 0:36:22 | |
-I am not going to put German pop music in. -Oh, come on. | 0:36:22 | 0:36:25 | |
-I think you've got to just embrace the strangeness of it. -Oh. | 0:36:25 | 0:36:30 | |
Warwick, I know what you mean about buying stuff that you don't need, | 0:36:30 | 0:36:35 | |
but it just feels a bit wrong to stop... | 0:36:35 | 0:36:38 | |
People at home will be thinking, "But we need those offers." | 0:36:38 | 0:36:42 | |
So I don't think I can put that in, although you argue it well, | 0:36:42 | 0:36:46 | |
but pampering, I am fed up of the idea that it's brilliant to lie | 0:36:46 | 0:36:51 | |
and have... | 0:36:51 | 0:36:53 | |
goose...urine... | 0:36:53 | 0:36:56 | |
rubbed over you. | 0:36:56 | 0:36:58 | |
So I am going to put pampering into Room 101! | 0:36:58 | 0:37:03 | |
CHEERING AND APPLAUSE | 0:37:03 | 0:37:06 | |
And that brings us to the end of the show. | 0:37:15 | 0:37:17 | |
Well done, Victoria, you were the most persuasive guest tonight, | 0:37:17 | 0:37:20 | |
-so you are this week's winner. -Thank you very much. | 0:37:20 | 0:37:23 | |
APPLAUSE | 0:37:23 | 0:37:24 | |
Thanks very much, Victoria Coren Mitchell, Warwick Davies | 0:37:27 | 0:37:30 | |
and Dr Christian Jessen, and thank you, goodnight. | 0:37:30 | 0:37:33 | |
APPLAUSE | 0:37:33 | 0:37:36 |