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