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Hello. I am Frank Skinner and welcome to Room 101, | 0:00:32 | 0:00:36 | |
the show where three guests will be vying to have their pet hates | 0:00:36 | 0:00:40 | |
and peeves forever consigned to the dark, desolate wasteland that is Room 101. | 0:00:40 | 0:00:46 | |
Our guests' choices have been sorted into categories, | 0:00:46 | 0:00:49 | |
but there's only enough space in the Room for one of them at a time. In other words, | 0:00:49 | 0:00:53 | |
I have to choose what I think is the worst from every category, | 0:00:53 | 0:00:56 | |
and I've been practising this, looking at categories and trying to decide what is the worst one. | 0:00:56 | 0:01:01 | |
Let's try one for an example. | 0:01:01 | 0:01:03 | |
That's too obvious, isn't it? So let's meet the guests. | 0:01:11 | 0:01:16 | |
Joining me tonight are man of a thousand voices, | 0:01:16 | 0:01:18 | |
Alistair McGowan, from Dragon's Den, Hilary Devey | 0:01:18 | 0:01:21 | |
and American crooner and heartthrob, Josh Groban. | 0:01:21 | 0:01:25 | |
CHEERING AND APPLAUSE | 0:01:25 | 0:01:28 | |
So, would you say that you're negative people? | 0:01:32 | 0:01:36 | |
Do you know, 20 years ago I used to watch One Foot In The Grave | 0:01:36 | 0:01:39 | |
and watch Victor Meldrew and I used to think, I am never going to be like that. | 0:01:39 | 0:01:43 | |
And now, every day I'm looking out of my window going, | 0:01:43 | 0:01:46 | |
"How dare you drop that piece of litter out there, you disgraceful child!" | 0:01:46 | 0:01:51 | |
OK, anyway, let's begin. Let's have our first category. | 0:01:53 | 0:01:56 | |
People. We'll start with a nice broad one, shall we? | 0:02:01 | 0:02:05 | |
So let's find out what kind of people wind up Alistair. | 0:02:05 | 0:02:09 | |
No! | 0:02:16 | 0:02:17 | |
-Children. -What?! | 0:02:17 | 0:02:20 | |
-Children. -What?! | 0:02:20 | 0:02:21 | |
I'm sorry, children used to be seen but not heard, and now they're seen, | 0:02:26 | 0:02:30 | |
they're heard, they're bowed down to, they're pampered, | 0:02:30 | 0:02:33 | |
they're driven to school, they're driven here, | 0:02:33 | 0:02:36 | |
they're driven everywhere. And, you know, | 0:02:36 | 0:02:38 | |
they've just taken all the power. Everybody bows down to them, | 0:02:38 | 0:02:41 | |
they've become like little gods to their parents. | 0:02:41 | 0:02:45 | |
And also, on this planet, we've just heard this year | 0:02:45 | 0:02:47 | |
that we've got seven billion people in our population. | 0:02:47 | 0:02:50 | |
We can't sustain it and I think there should be a moratoria on children. | 0:02:50 | 0:02:55 | |
APPLAUSE | 0:02:55 | 0:02:59 | |
Are you suggesting some sort of cull? | 0:03:02 | 0:03:05 | |
-I wouldn't put it that...yes. -OK. | 0:03:06 | 0:03:09 | |
It's just the way that, you know, children, | 0:03:09 | 0:03:12 | |
they ruin every train journey you're on, there's always a screaming child. | 0:03:12 | 0:03:16 | |
If you go out to a restaurant, chances are there's screaming children running around. | 0:03:16 | 0:03:20 | |
You're sitting in your garden in the sun, three doors down there's children killing each other. | 0:03:20 | 0:03:25 | |
But surely, surely children killing each other is your dream? | 0:03:25 | 0:03:29 | |
-They're only pretending though, Frank. -Oh, I see. | 0:03:29 | 0:03:33 | |
I don't know, isn't it kind of the parents that's the problem, though, from what you're saying? | 0:03:33 | 0:03:38 | |
To a point, although when parents have children, | 0:03:38 | 0:03:41 | |
I'm sure we all have friends who've done this, they say they want to have children, | 0:03:41 | 0:03:45 | |
they're worried about when to have them. It becomes such a part of the relationship, | 0:03:45 | 0:03:49 | |
when are they going to have it, have they gone too far? Is it too late? | 0:03:49 | 0:03:53 | |
Then the children come and they spend all their time moaning. | 0:03:53 | 0:03:56 | |
The children are keeping them awake at night, or they're teething. | 0:03:56 | 0:03:59 | |
Now they're going to school and he's worried about it, now he's being bullied, now he's bullyING. | 0:03:59 | 0:04:04 | |
Now we're worried about his A-levels, he's not working hard, or he's called a swot. | 0:04:04 | 0:04:08 | |
He's gone to university, he's left us, we miss him. | 0:04:08 | 0:04:11 | |
And you think, when... | 0:04:11 | 0:04:13 | |
APPLAUSE | 0:04:13 | 0:04:15 | |
When is it ever good? I don't see when the good time is. | 0:04:15 | 0:04:19 | |
But children say the funniest things, Alistair. | 0:04:19 | 0:04:24 | |
And I tell you what, I for one can't forgive them for that. | 0:04:24 | 0:04:27 | |
So let's see what kind of people wind Hilary up. | 0:04:27 | 0:04:32 | |
LAUGHTER | 0:04:36 | 0:04:39 | |
-I think you need to explain. -Well, it's football fans, | 0:04:39 | 0:04:42 | |
i.e. scarves hanging out of car windows on motorways, | 0:04:42 | 0:04:47 | |
because I think it provokes car rage. | 0:04:47 | 0:04:51 | |
I think it provokes bad driving and I think it provokes violence. | 0:04:51 | 0:04:55 | |
-Violence? -Yes. | 0:04:55 | 0:04:58 | |
Are you anti scarf? | 0:04:58 | 0:04:59 | |
-No. -You see, I'd say that football is one of the places | 0:04:59 | 0:05:03 | |
where scarves are truly appreciated. | 0:05:03 | 0:05:05 | |
Yeah, and it's a game, not a religion. | 0:05:05 | 0:05:07 | |
It's a very fine line, Hilary. | 0:05:07 | 0:05:10 | |
Are you all right with singing? Singing can be quite confrontational. | 0:05:10 | 0:05:14 | |
I'm OK with singing, I'm just not happy with some of the violence | 0:05:14 | 0:05:18 | |
that's created by the memorabilia of football. | 0:05:18 | 0:05:21 | |
You support Arsenal, don't you? Fool. | 0:05:21 | 0:05:25 | |
LAUGHTER | 0:05:25 | 0:05:29 | |
No. I support a team called West Bromwich Albion, Hilary. | 0:05:30 | 0:05:36 | |
-Oh, really? -Do you know anything about football in general? | 0:05:36 | 0:05:41 | |
Other than that there's a ball and a green field. | 0:05:41 | 0:05:44 | |
Well, West Brom are one of the top teams in England. | 0:05:44 | 0:05:46 | |
They won the European Cup last year. | 0:05:46 | 0:05:49 | |
-LAUGHTER -I think there's a lot of love and community now in the game. | 0:05:49 | 0:05:55 | |
-Do you? -Yeah. There's a very famous folk singer called Martin Carthy, | 0:05:55 | 0:05:59 | |
and he said to me that football is one of the few places where singing, | 0:05:59 | 0:06:04 | |
like community singing and folk singing, really still exists. | 0:06:04 | 0:06:09 | |
-Well, what about church? -Yeah, but they never make it up at church. | 0:06:09 | 0:06:13 | |
There's very few improvised hymns going on in church. | 0:06:13 | 0:06:16 | |
# Jes-u-us! Jes-u-us! # | 0:06:16 | 0:06:19 | |
I mean they don't, no, they don't like it. | 0:06:19 | 0:06:22 | |
# You're supposed to be in Rome You're supposed... # | 0:06:22 | 0:06:25 | |
Anyway, let's find out what Josh, what kind of people wind Josh up. | 0:06:28 | 0:06:34 | |
I have to say, Josh, I'm really hoping it isn't | 0:06:44 | 0:06:47 | |
those hairy kids that you get in South America. | 0:06:47 | 0:06:51 | |
-No, it's not the wolf boys, no, it's not them. -Oh, OK. | 0:06:51 | 0:06:54 | |
I have a real problem with pet owners who dress up and take care | 0:06:54 | 0:06:59 | |
of their pets as if they're little children or little people. | 0:06:59 | 0:07:04 | |
I think that sometimes it gets a little out of control. | 0:07:04 | 0:07:07 | |
Look, I love animals, I love my dog very, very much, | 0:07:07 | 0:07:10 | |
but I think there are times when I think it just makes | 0:07:10 | 0:07:14 | |
the animal really, you know, hate life. And... | 0:07:14 | 0:07:17 | |
And so that's when I think shame on that person, yeah. | 0:07:17 | 0:07:22 | |
-Really? -I think shame on you. -OK, then. | 0:07:22 | 0:07:25 | |
I've got two little baby Yorkies. You know, if I send them out | 0:07:25 | 0:07:28 | |
without their polo neck sweaters on in this winter, | 0:07:28 | 0:07:31 | |
they'd freeze to death, they'd die of pneumonia. | 0:07:31 | 0:07:34 | |
It's not the sweater in the winter I have a problem with. It's the high-heeled shoes you put on them. | 0:07:34 | 0:07:39 | |
It's the costumes, it's the... | 0:07:39 | 0:07:41 | |
You know, I tried to put like a reindeer antler on my dog once | 0:07:41 | 0:07:46 | |
for Christmas and he like, he had, I had a second and a half | 0:07:46 | 0:07:50 | |
of picture-taking opportunity and then he just slapped it off his head | 0:07:50 | 0:07:54 | |
and gave me the stink-eye. | 0:07:54 | 0:07:56 | |
Well, I must say, I'm not really with you on this. | 0:07:56 | 0:07:59 | |
I love, I think animals dressed up is a really funny thing. | 0:07:59 | 0:08:02 | |
This bulldog looks to me like he absolutely loves being dressed up. | 0:08:02 | 0:08:08 | |
-He's merely a sidekick. I mean, come on. -LAUGHTER | 0:08:13 | 0:08:16 | |
Now I would say this cat looks less happy. | 0:08:16 | 0:08:20 | |
Can I show you my favourite ever YouTube clip? | 0:08:25 | 0:08:28 | |
This is, well, I'm not even going to say what it is. | 0:08:28 | 0:08:31 | |
-This is just my favourite YouTube clip. -OK. | 0:08:31 | 0:08:33 | |
I love you. | 0:08:33 | 0:08:35 | |
"I love you." | 0:08:35 | 0:08:37 | |
I love you. | 0:08:37 | 0:08:39 | |
-MAKES NOISE -I love you. I love you. | 0:08:39 | 0:08:43 | |
"I love you." | 0:08:43 | 0:08:44 | |
Good girl. | 0:08:44 | 0:08:46 | |
HOWLS | 0:08:46 | 0:08:50 | |
APPLAUSE | 0:08:50 | 0:08:53 | |
Finally, a scream of anguish at the end, you know. | 0:08:55 | 0:08:58 | |
I like it when he, when he can't quite do them. | 0:08:58 | 0:09:01 | |
When she's going "I love you" and it goes "Uhhh-ug". | 0:09:01 | 0:09:04 | |
We've all had that. You try and say I love you and you can't get it out. | 0:09:04 | 0:09:09 | |
-You can't get it out. -It sticks in the throat. -That's true. -"I lo-o....uh." | 0:09:09 | 0:09:13 | |
Well, I think the time has come for me to decide | 0:09:13 | 0:09:17 | |
what's going to go into the Room 101 for this category. | 0:09:17 | 0:09:20 | |
Hmm, I have to say that my first port of call | 0:09:20 | 0:09:25 | |
is I can't possibly let dogs treated as humans go in. | 0:09:25 | 0:09:29 | |
-It's one of my favourite things. -It's a joy for you. | 0:09:29 | 0:09:32 | |
Hilary, no I can't put football fans and all that into Room 101, | 0:09:32 | 0:09:37 | |
I'm sorry about that. | 0:09:37 | 0:09:39 | |
And I can't believe I'm in a position | 0:09:39 | 0:09:42 | |
where I'm going to end up giving in to a man who wants to put children into Room 101, | 0:09:42 | 0:09:47 | |
but Alistair wins this one. | 0:09:47 | 0:09:49 | |
CHEERING AND APPLAUSE | 0:09:49 | 0:09:52 | |
(Sorry.) | 0:09:52 | 0:09:54 | |
Anyway, let's move on to the next category. | 0:10:01 | 0:10:04 | |
Going Out. So, Hilary, let's find out what you hate about going out. | 0:10:09 | 0:10:15 | |
I'm really hoping it's not Native American communication systems. | 0:10:15 | 0:10:20 | |
Let's see. | 0:10:20 | 0:10:21 | |
-I want to ban the ban. -You want to ban the smoking ban? -Yes. | 0:10:27 | 0:10:31 | |
Well, you go out, you go to a function on Park Lane, | 0:10:31 | 0:10:33 | |
the Grosvenor or whatever, and all of a sudden half the room empties, | 0:10:33 | 0:10:37 | |
and you think where have they all gone? | 0:10:37 | 0:10:39 | |
And they're all on Park Lane in evening gowns and dickie bows and dinner jackets. | 0:10:39 | 0:10:44 | |
So I just think we look like a nation of rent boys and call girls. | 0:10:44 | 0:10:49 | |
Yes. Well, I've had some terrible confusion with that, I must say. | 0:10:49 | 0:10:54 | |
One thing I really like about the smoking ban, | 0:10:54 | 0:10:58 | |
it's a great way to judge a pub, because you don't have to go in. | 0:10:58 | 0:11:02 | |
And it's usually the dodgiest people are the smokers | 0:11:02 | 0:11:05 | |
and there they are. It's like shops that put their stuff outside, | 0:11:05 | 0:11:08 | |
you know, you're thinking, no, I'm not going in there. | 0:11:08 | 0:11:11 | |
I'll say one thing on you, I'm allergic to cats | 0:11:14 | 0:11:16 | |
and if I have ever asked anyone to put the cat outside, cos I'm there, | 0:11:16 | 0:11:21 | |
they get very, very angry and upset about it and won't do it. | 0:11:21 | 0:11:25 | |
And what I do, I wait till the person's left the room and then I Scotchgard it. | 0:11:25 | 0:11:29 | |
-LAUGHTER -It's so funny, Frank, | 0:11:29 | 0:11:33 | |
I was married to a guy and he told me after we'd got married, | 0:11:33 | 0:11:38 | |
and I love animals, I've got dogs in Marrakesh, where I've got a home, | 0:11:38 | 0:11:42 | |
I've got dogs in Spain, where I've got a home, I've got dogs in the UK where I've got two homes... | 0:11:42 | 0:11:47 | |
What you've got more than anything, Hilary, is homes. | 0:11:47 | 0:11:51 | |
-Yeah, I know. -It's a good job you don't keep pigeons, | 0:11:51 | 0:11:54 | |
they'd be terribly confused. | 0:11:54 | 0:11:56 | |
He told me after we got married that he was allergic to animals. | 0:12:02 | 0:12:07 | |
So what did you do? | 0:12:07 | 0:12:08 | |
Well, we subsequently got divorced. | 0:12:08 | 0:12:12 | |
-What, on the strength of that? -Well, that and football, yeah. | 0:12:12 | 0:12:17 | |
Are all your choices based on your ex-husband, by any chance? | 0:12:19 | 0:12:24 | |
OK, let's see what Alistair doesn't like about going out. | 0:12:24 | 0:12:28 | |
-Children. -Children! | 0:12:28 | 0:12:30 | |
The pint of beer. | 0:12:33 | 0:12:35 | |
Can I say, someone in the crowd actually gasped then. | 0:12:35 | 0:12:39 | |
Did you hear it? | 0:12:39 | 0:12:40 | |
They were OK with children, but now you've gone too far. | 0:12:40 | 0:12:43 | |
LAUGHTER | 0:12:43 | 0:12:46 | |
No, this, you know, it's the ultimate symbol of Britishness. | 0:12:46 | 0:12:49 | |
I'm sure that explains the gasps. It's the ultimate symbol of manhood. | 0:12:49 | 0:12:53 | |
When you're 16, 17, you have your first pint of beer, you're a man. | 0:12:53 | 0:12:57 | |
And then you remain a man for the rest of your life by drinking beer. | 0:12:57 | 0:13:00 | |
And it tastes horrible, it smells horrible, | 0:13:00 | 0:13:03 | |
it makes people who drink it taste and smell horrible. | 0:13:03 | 0:13:06 | |
You know, people say they've got to have a pint to have a good time. | 0:13:06 | 0:13:11 | |
We've all heard those people who come back and say, | 0:13:11 | 0:13:14 | |
STOKE ACCENT: "Oh, we had a great night last night, went to 15 places | 0:13:14 | 0:13:18 | |
"and had ten pints. I got legless. Legless. | 0:13:18 | 0:13:21 | |
"I can't remember a thing about it." You know what Adrian Chiles is like. | 0:13:21 | 0:13:25 | |
And you think, what sort of a night out is that, | 0:13:25 | 0:13:29 | |
-when you can't remember it? -But if you get rid of beer, | 0:13:29 | 0:13:32 | |
how are ugly people going to have sex? | 0:13:32 | 0:13:34 | |
LAUGHTER | 0:13:34 | 0:13:36 | |
Well, I don't know, I used to drink a lot of beer, and then I stopped drinking, | 0:13:40 | 0:13:44 | |
and one of the difficult things I found | 0:13:44 | 0:13:46 | |
is I had to start restricting conversation | 0:13:46 | 0:13:49 | |
to things that I knew something about. | 0:13:49 | 0:13:52 | |
And I found that very limiting, I must say. | 0:13:55 | 0:13:58 | |
I remember being in Italy on holiday, | 0:13:58 | 0:14:00 | |
and seeing these two blokes, you know, maybe 18, 19, | 0:14:00 | 0:14:02 | |
having ice creams at 11 o'clock at night. Ice creams outdoors, | 0:14:02 | 0:14:06 | |
and they were going on to have another ice cream somewhere else. | 0:14:06 | 0:14:09 | |
And you think, I would quite fancy that sort of bar crawl, | 0:14:09 | 0:14:12 | |
having an ice cream everywhere, but... | 0:14:12 | 0:14:15 | |
I'd love to go down the ice cream pub, that'd be great. | 0:14:15 | 0:14:18 | |
-"What's happening tonight?" "It's the yard of vanilla competition." -LAUGHTER | 0:14:18 | 0:14:23 | |
The drowning your sorrows thing, I remember doing that, | 0:14:26 | 0:14:29 | |
you split up with your girlfriend, you go to the pub, | 0:14:29 | 0:14:32 | |
you sit at the end and drink about seven or eight pints on your own, staring into your beer glass. | 0:14:32 | 0:14:37 | |
-And feel a lot better? -Well... | 0:14:37 | 0:14:39 | |
-Wake up the next morning and she's still gone. -She is still gone, | 0:14:39 | 0:14:42 | |
but imagine being at the end of the bar on your ninth tub of ice cream. | 0:14:42 | 0:14:47 | |
LAUGHTER | 0:14:47 | 0:14:50 | |
Or, you're in Starbucks, | 0:14:54 | 0:14:55 | |
and you're drowning your sorrows at the end on espresso | 0:14:55 | 0:14:58 | |
and someone says, "I hear your girlfriend left you, Frank." | 0:14:58 | 0:15:01 | |
"Yeah, she did! And, I'm very unhappy about it!" | 0:15:01 | 0:15:06 | |
Let's find out what Josh doesn't like about going out. | 0:15:08 | 0:15:11 | |
You don't like Isambard Kingdom Brunel? | 0:15:17 | 0:15:21 | |
LAUGHTER | 0:15:21 | 0:15:22 | |
Yeah, I'm a little bit turned off by the whole kind of exclusive | 0:15:22 | 0:15:26 | |
ten guys in the front with black gloves, bodyguard, bouncer, | 0:15:26 | 0:15:30 | |
night club experience. | 0:15:30 | 0:15:31 | |
Oh. | 0:15:31 | 0:15:33 | |
I've found it to become annoying for a lot of different reasons. | 0:15:33 | 0:15:37 | |
I don't like how I feel when I'm trying to get in, | 0:15:37 | 0:15:39 | |
I don't like how I feel when I'm inside. | 0:15:39 | 0:15:41 | |
I think everybody else is having a better time than me. | 0:15:41 | 0:15:44 | |
I'm a terrible dancer, it's just altogether anxiety-inducing for me. | 0:15:44 | 0:15:48 | |
-I'm a terrible dancer. -Are you? | 0:15:48 | 0:15:51 | |
I think it's good for terrible dancers. | 0:15:51 | 0:15:53 | |
-Really? -Because it's quite dark and crowded in there. | 0:15:53 | 0:15:55 | |
The top of me dances quite well, the legs are all over the place. | 0:15:55 | 0:16:00 | |
You should go to foam parties, you can dance as badly as you like | 0:16:00 | 0:16:03 | |
-and no one knows. -Really? Oh. -You just whip up a lather there. | 0:16:03 | 0:16:06 | |
You see, I've got to get in first. I always have trouble getting in. | 0:16:06 | 0:16:10 | |
You see, there is something about my face | 0:16:10 | 0:16:12 | |
that makes bouncers say, "No, thank you." | 0:16:12 | 0:16:15 | |
I'll watch, you know, the latest cast-off from Big Brother | 0:16:15 | 0:16:18 | |
walk in with 20 of his friends, no problem, and I'll show up | 0:16:18 | 0:16:22 | |
and be like, "Hey, I just played the arena down the street, | 0:16:22 | 0:16:25 | |
"it's just me, can I come in and sit by the bar and have a drink? | 0:16:25 | 0:16:28 | |
"A round of drinks for everybody." | 0:16:28 | 0:16:30 | |
And they say, "You should stop touching me now." | 0:16:30 | 0:16:33 | |
I'm like, "Oh, OK. I'm sorry. I'm so sorry." | 0:16:33 | 0:16:35 | |
It just feels like more pain than it's worth. | 0:16:35 | 0:16:38 | |
-Can I ask how old you are, Josh? -I'm 30 years old. | 0:16:38 | 0:16:41 | |
Do you think it's just because you're getting a little old? | 0:16:41 | 0:16:44 | |
This has happened my entire life. This happened when I had a fake ID. | 0:16:44 | 0:16:47 | |
-Yes. -I remember getting to a point | 0:16:47 | 0:16:49 | |
where I thought, "I am getting too old now for night clubs." | 0:16:49 | 0:16:52 | |
I found that I'd started to clap along with the music. | 0:16:52 | 0:16:56 | |
And I thought, no, no, I really have to stop coming. | 0:16:59 | 0:17:02 | |
There used to be a TV show on in the UK, late night, | 0:17:03 | 0:17:07 | |
called, The Hitman And Her. | 0:17:07 | 0:17:08 | |
And it was Pete Waterman. Do you know who that is? | 0:17:08 | 0:17:11 | |
-He worked a lot with Kylie Minogue. -Yeah, yeah. | 0:17:11 | 0:17:13 | |
And he used to visit nightclubs, do you remember this show? | 0:17:13 | 0:17:17 | |
It was all over the country, | 0:17:17 | 0:17:18 | |
and it wasn't a great advert for nightclubs, I must say. | 0:17:18 | 0:17:21 | |
We're in Halifax having a belter of a time! | 0:17:21 | 0:17:25 | |
Hello, I'm Ghostbuster. | 0:17:34 | 0:17:35 | |
I'd like to welcome you to Halifax, to the Coliseum. | 0:17:35 | 0:17:38 | |
It's a very special nightclub to me, because it's the nightclub that | 0:17:38 | 0:17:42 | |
I got noticed on The Hitman and Her on the Showing Out competition. | 0:17:42 | 0:17:45 | |
It's brought me very many happy memories | 0:17:45 | 0:17:47 | |
and I'm enjoying my dancing. So keep dancing and enjoy it. Thank you. | 0:17:47 | 0:17:50 | |
I've been sitting here thinking where's that club? | 0:17:57 | 0:18:00 | |
Those are my people. | 0:18:00 | 0:18:01 | |
OK, so let me see. | 0:18:04 | 0:18:05 | |
Well, I can't put nightclubs in, Josh, | 0:18:05 | 0:18:07 | |
I mean, I know you've had bad times there, | 0:18:07 | 0:18:10 | |
but so many people have such great, great times there. | 0:18:10 | 0:18:12 | |
Now that you've shown me that nightclub, | 0:18:12 | 0:18:15 | |
I've changed my whole view of them. | 0:18:15 | 0:18:17 | |
I knew that would win you over. | 0:18:17 | 0:18:19 | |
And, Alistair, although you argued your case very, very well, | 0:18:19 | 0:18:23 | |
I have such happy memories of beer | 0:18:23 | 0:18:25 | |
and I still hope that in later life I'll be able to return there. | 0:18:25 | 0:18:30 | |
And I see it as something to fall back on, and indeed forward. | 0:18:30 | 0:18:33 | |
But, Hilary, I have to say, | 0:18:35 | 0:18:36 | |
you argued the smoking ban very well and maybe | 0:18:36 | 0:18:39 | |
it's about time that we did all just lighten up and light up, indeed. | 0:18:39 | 0:18:44 | |
So, yes, so I'm going to put the smoking ban in Room 101. | 0:18:44 | 0:18:49 | |
OK, we come now to that which we call... | 0:18:59 | 0:19:01 | |
The Wildcard Round, because we don't want to keep | 0:19:06 | 0:19:09 | |
narrowing your hatred and the things that you don't like. | 0:19:09 | 0:19:12 | |
We want to give you a completely wide open field. | 0:19:12 | 0:19:14 | |
You can pick the thing that really gets your goat. | 0:19:14 | 0:19:17 | |
Hilary has chosen this. | 0:19:17 | 0:19:20 | |
It's Valentine's Day. | 0:19:26 | 0:19:28 | |
Valentine's Day. | 0:19:28 | 0:19:29 | |
I hate Valentine's Day. | 0:19:29 | 0:19:31 | |
-Really? -Hmm. | 0:19:31 | 0:19:33 | |
Well, we don't even know if there was a Saint Valentine, do we? | 0:19:33 | 0:19:36 | |
No, but does it matter now? Just, it's a lovely way, isn't it? | 0:19:36 | 0:19:40 | |
Well, yes, it does, because why should you have to wait for that day | 0:19:40 | 0:19:44 | |
to receive a card or a bouquet of flowers? Why? | 0:19:44 | 0:19:47 | |
You don't have to, but I find when you're in a long-term relationship, | 0:19:47 | 0:19:51 | |
it's good to have, it's like mistletoe, | 0:19:51 | 0:19:53 | |
at least once a year you want to kind of touch base. | 0:19:53 | 0:19:55 | |
LAUGHTER | 0:19:55 | 0:19:57 | |
Otherwise, it can go three, four, five years | 0:19:57 | 0:20:00 | |
and you realise there's been no contact at all. | 0:20:00 | 0:20:03 | |
It could have something to do with the fact | 0:20:03 | 0:20:05 | |
that I've never sent or received a Valentine's card. | 0:20:05 | 0:20:08 | |
-You have never received... I don't believe that! -Oh no, Hilary. -No. | 0:20:08 | 0:20:12 | |
Well, I see, so it's based | 0:20:12 | 0:20:14 | |
not so much on dislike as profound bitterness. | 0:20:14 | 0:20:17 | |
LAUGHTER | 0:20:17 | 0:20:19 | |
I have this thing if I write a card, | 0:20:19 | 0:20:22 | |
I suppose because I'm a professional comic, | 0:20:22 | 0:20:25 | |
if I write a card or I sign someone's plaster-cast, | 0:20:25 | 0:20:28 | |
or I write in a visitor's book, | 0:20:28 | 0:20:31 | |
I always feel incredible pressure | 0:20:31 | 0:20:33 | |
to write something absolutely brilliant and hilarious, | 0:20:33 | 0:20:36 | |
and I just can't do it. | 0:20:36 | 0:20:38 | |
And I end up, in a visitor's book I once wrote, | 0:20:38 | 0:20:41 | |
"I can't think of anything funny." | 0:20:41 | 0:20:43 | |
I actually wrote that, and signed it "Ricky Gervais." | 0:20:43 | 0:20:46 | |
LAUGHTER AND APPLAUSE | 0:20:46 | 0:20:50 | |
Here's a gift, this is one of the most intimate, | 0:20:54 | 0:20:57 | |
loving gifts, I think you could ever have. | 0:20:57 | 0:20:59 | |
This is what they call "The Lovers' Toilet." | 0:20:59 | 0:21:03 | |
Oh no! | 0:21:04 | 0:21:05 | |
LAUGHTER | 0:21:05 | 0:21:06 | |
Now, there is a kind of a modesty wall between, | 0:21:06 | 0:21:09 | |
but the fact that you can sit and chat. | 0:21:09 | 0:21:12 | |
I mean I would like that to be a bit wider in the middle, | 0:21:13 | 0:21:17 | |
maybe room for a cribbage board. | 0:21:17 | 0:21:19 | |
Let's find out what Alistair has chosen as a wildcard. | 0:21:22 | 0:21:25 | |
The tattoo. | 0:21:31 | 0:21:33 | |
When I was a kid growing up in the Vale of Evesham in the 1970s, | 0:21:33 | 0:21:36 | |
nobody really had tattoos except people who worked on fairgrounds, | 0:21:36 | 0:21:40 | |
Popeye and this bloke from Redditch that everyone kept away from. | 0:21:40 | 0:21:44 | |
Now, thanks to one man, they've become really fashionable, | 0:21:44 | 0:21:49 | |
and that man, sadly, is my old mate, David Beckham, | 0:21:49 | 0:21:51 | |
who had so many tattoos and then everyone said, "Oh, you know, | 0:21:51 | 0:21:54 | |
"we want to be like David. As we can't play football very well | 0:21:54 | 0:21:57 | |
"and can't marry a beautiful lady, we'll have tattoos all over us." | 0:21:57 | 0:22:01 | |
And, I think they're utterly, utterly hideous. | 0:22:01 | 0:22:04 | |
Well, we should have a look at David Beckham, since you've mentioned it. | 0:22:04 | 0:22:07 | |
You see, I think they are beautiful. | 0:22:07 | 0:22:11 | |
But Beckham is a beautiful man with a fabulous body. | 0:22:11 | 0:22:14 | |
Why does he need to spoil it by putting all that stuff on it? | 0:22:14 | 0:22:17 | |
Well, is he spoiling or is he enhancing? | 0:22:17 | 0:22:21 | |
There are practical purposes, I should say, for tattoos. | 0:22:21 | 0:22:24 | |
One of my favourites, have you seen the mock stockings? | 0:22:24 | 0:22:28 | |
Mockings, I think they call them, where they tattoo, | 0:22:28 | 0:22:31 | |
I think we have a picture of a lady with tattooed legs. | 0:22:31 | 0:22:34 | |
No, but doesn't that, I think that looks brilliant. | 0:22:35 | 0:22:38 | |
I've actually had some swimming trunks tattooed on. | 0:22:38 | 0:22:42 | |
And I've been to the baths four or five times | 0:22:42 | 0:22:45 | |
and no one's picked up on it yet. | 0:22:45 | 0:22:47 | |
I'm going to show you a few tattoos which I think are a defence. | 0:22:48 | 0:22:53 | |
Really classy. | 0:22:53 | 0:22:55 | |
This is an EastEnders fan, | 0:22:55 | 0:22:57 | |
and I think this is a really good piece of art. | 0:22:57 | 0:23:00 | |
LAUGHTER AND GROANS | 0:23:00 | 0:23:02 | |
That's Pam St Clement, but that is a very good likeness, you... | 0:23:02 | 0:23:06 | |
He just looks like he's been butchered, to me. | 0:23:06 | 0:23:08 | |
Butchered?! | 0:23:08 | 0:23:10 | |
LAUGHTER AND GROANS | 0:23:10 | 0:23:12 | |
Yeah, that is the forearm of this lady, | 0:23:12 | 0:23:15 | |
who brilliantly also has a Pam St Clement face. | 0:23:15 | 0:23:19 | |
LAUGHTER | 0:23:19 | 0:23:20 | |
-I have a fan who has one of those of me on her arm. -Of you? | 0:23:20 | 0:23:23 | |
Yeah. I saw it backstage at a TV show, she showed, rolled up her arm | 0:23:23 | 0:23:26 | |
and showed me, like a pencil sketching of my face on her arm. | 0:23:26 | 0:23:30 | |
All I could think of, because you've got to say something nice, | 0:23:30 | 0:23:33 | |
because it's permanent, | 0:23:33 | 0:23:34 | |
all I could think of was, if I decide to stop singing or retire, | 0:23:34 | 0:23:38 | |
what facial hair could she put on it to make it someone else. | 0:23:38 | 0:23:41 | |
Like a moustache or something. | 0:23:41 | 0:23:43 | |
But then she made me sign it and she tattooed the signature too. | 0:23:43 | 0:23:46 | |
And that tattoo is the constant whiplash | 0:23:46 | 0:23:49 | |
of continuing to have a career, so that her tattoo in America | 0:23:49 | 0:23:52 | |
-can continue to be relevant. -Right. | 0:23:52 | 0:23:55 | |
-It's like a modern Dorian Gray. -Yeah, pretty much. | 0:23:55 | 0:23:57 | |
That's a beautiful motivation. | 0:23:57 | 0:23:59 | |
If I dated her, I would have to look lovingly into my own eyes. | 0:23:59 | 0:24:02 | |
It would be terrifying. | 0:24:04 | 0:24:06 | |
That is my IDEAL woman. | 0:24:06 | 0:24:08 | |
Right, yeah, right. | 0:24:08 | 0:24:10 | |
Let's find out what Josh has chosen as his wildcard. | 0:24:10 | 0:24:13 | |
Ah... | 0:24:19 | 0:24:21 | |
Um, I, er... | 0:24:21 | 0:24:23 | |
Auto-tune. | 0:24:23 | 0:24:24 | |
Auto-tune! | 0:24:24 | 0:24:26 | |
-Yeah. -I get you. | 0:24:26 | 0:24:28 | |
So, now in case people here don't know what auto-tuning is, | 0:24:28 | 0:24:32 | |
can you just briefly explain what it is. | 0:24:32 | 0:24:35 | |
It's kind of an engineering term for when somebody can't sing, | 0:24:35 | 0:24:38 | |
either live or in the studio, they're able to put | 0:24:38 | 0:24:40 | |
their voice through a computer and basically with one push of a button, | 0:24:40 | 0:24:44 | |
it puts all of the notes they were trying to hit out of the speakers, | 0:24:44 | 0:24:47 | |
and they can essentially sing even if they can't sing. | 0:24:47 | 0:24:50 | |
And it's cheating, it's cheating. | 0:24:50 | 0:24:52 | |
I've got good eyesight, I don't see why you should wear glasses. | 0:24:52 | 0:24:56 | |
LAUGHTER | 0:24:56 | 0:24:58 | |
I think it's a bit like asking a painter to paint by numbers. | 0:24:58 | 0:25:01 | |
And it used to be that people knew what auto-tunes sounded like, | 0:25:01 | 0:25:05 | |
they would hear, you know, T-Pain or they would hear, | 0:25:05 | 0:25:08 | |
Cher, Cher was trying to sound auto-tune, that's part of the track. | 0:25:08 | 0:25:13 | |
Well, let's listen. This is the first example I'd heard of auto-tune | 0:25:13 | 0:25:16 | |
when it goes... | 0:25:16 | 0:25:18 | |
# Do you believe in life after love | 0:25:18 | 0:25:24 | |
# I can feel something inside me say... # | 0:25:24 | 0:25:28 | |
I love that, it's a sort of Lady Gargle. | 0:25:28 | 0:25:31 | |
LAUGHTER | 0:25:31 | 0:25:32 | |
I really like it too. When you're doing it on purpose for an effect, | 0:25:32 | 0:25:36 | |
I'm not a prude, I love electronic music | 0:25:36 | 0:25:38 | |
and when you do it like that it's really cool-sounding. | 0:25:38 | 0:25:40 | |
It's when people are doing it sneakily, | 0:25:40 | 0:25:42 | |
when you think they're singing well and they actually aren't. | 0:25:42 | 0:25:46 | |
Isn't it democracy though, Josh? It's all right for you, God has gifted you with a good voice. | 0:25:46 | 0:25:51 | |
What about someone like me? | 0:25:51 | 0:25:53 | |
It doesn't work for classical singing, | 0:25:53 | 0:25:55 | |
which is probably for my benefit | 0:25:55 | 0:25:56 | |
-because I've got a big vibrato... -I've heard that! -Yeah! | 0:25:56 | 0:25:59 | |
LAUGHTER | 0:25:59 | 0:26:01 | |
It's huge. | 0:26:01 | 0:26:02 | |
And it kind of just sounds too weird when I do it, it kind of... | 0:26:02 | 0:26:06 | |
-HE WARBLES -It's like that. | 0:26:06 | 0:26:08 | |
Do you know who Katy Price is? | 0:26:08 | 0:26:09 | |
Yes I do, as a matter of fact, yes. | 0:26:09 | 0:26:12 | |
Yes, she is probably our most beautiful lady. | 0:26:12 | 0:26:15 | |
Formerly... | 0:26:15 | 0:26:16 | |
LAUGHTER | 0:26:16 | 0:26:18 | |
-Oh, I meant that. -Didn't she have another name? | 0:26:18 | 0:26:20 | |
-She did, but we don't mention that any more. -Oh, OK. | 0:26:20 | 0:26:23 | |
-That's when she was a bit common. -Got you! | 0:26:23 | 0:26:26 | |
And she, she has been accused of using auto-tune, not in that sort of | 0:26:26 | 0:26:31 | |
electric way, like T-Pain, but just to make her sound like she can sing. | 0:26:31 | 0:26:35 | |
I'm not saying it's true, but this is a little bit | 0:26:35 | 0:26:38 | |
-of Katy Price maybe singing, maybe being helped a little bit. -Right. | 0:26:38 | 0:26:43 | |
# I'm not just anybody | 0:26:43 | 0:26:45 | |
# Cos anybody couldn't love you like this | 0:26:45 | 0:26:49 | |
# I know that everybody that feels it like me | 0:26:49 | 0:26:53 | |
# Would love you like this | 0:26:53 | 0:26:55 | |
OK, now it sounds beautiful, it could be her, | 0:26:55 | 0:26:58 | |
but there is one bit of this video which | 0:26:58 | 0:27:02 | |
I don't think it does sound like it is her, see what you think. | 0:27:02 | 0:27:05 | |
DOG HOWLS | 0:27:05 | 0:27:09 | |
LAUGHTER AND APPLAUSE | 0:27:09 | 0:27:12 | |
OK, well, we've come to the end of that category | 0:27:18 | 0:27:21 | |
and I was very unsure, | 0:27:21 | 0:27:23 | |
I thought Valentine's Day was argued very well, | 0:27:23 | 0:27:26 | |
as was tattoos, but I have to put auto-tune into Room 101. | 0:27:26 | 0:27:31 | |
All right. | 0:27:31 | 0:27:33 | |
That brings us to the end of the show | 0:27:42 | 0:27:44 | |
and although you've all done brilliantly well, | 0:27:44 | 0:27:46 | |
I must say, Alistair, you were tonight's most persuasive guest | 0:27:46 | 0:27:49 | |
and thus this week's winner. | 0:27:49 | 0:27:51 | |
So, as tonight's winner, you get to choose one completely | 0:27:58 | 0:28:02 | |
unchallenged thing to go into Room 101. | 0:28:02 | 0:28:04 | |
OK. It is then, these. | 0:28:04 | 0:28:07 | |
In a world where you can have 10,000 songs on an iPod | 0:28:09 | 0:28:12 | |
and someone can invent that, why can't they invent some ear phones | 0:28:12 | 0:28:15 | |
that people can put in so the person who wants to hear the music can | 0:28:15 | 0:28:18 | |
and those that don't, don't? | 0:28:18 | 0:28:21 | |
Well, yes. | 0:28:21 | 0:28:23 | |
Well, congratulations, Alistair, | 0:28:25 | 0:28:28 | |
and of course those little ear phones | 0:28:28 | 0:28:31 | |
go straight into Room 101. | 0:28:31 | 0:28:32 | |
Well, thank you very much, Alistair, Josh and Hilary, and goodnight. | 0:28:36 | 0:28:41 | |
Subtitles by Red Bee Media Ltd | 0:29:04 | 0:29:06 |