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This programme contains some strong language. | 0:00:02 | 0:00:04 | |
Useless. Totally, absolutely useless. I feel so angry. | 0:00:04 | 0:00:07 | |
I can't put up with loose cannons. | 0:00:07 | 0:00:09 | |
You're fired. You're fired. | 0:00:09 | 0:00:11 | |
You're fired. | 0:00:11 | 0:00:12 | |
CHEERING AND APPLAUSE | 0:00:12 | 0:00:15 | |
Good evening and welcome to You're Fired. I'm Rhod Gilbert. | 0:00:27 | 0:00:30 | |
In this week's task, or as Mukai would call it, | 0:00:30 | 0:00:32 | |
"the week after last week's task", the candidates - | 0:00:32 | 0:00:35 | |
competing for a £250,000 investment from Lord Sugar - | 0:00:35 | 0:00:38 | |
had to come up with an advertising campaign | 0:00:38 | 0:00:40 | |
for some Japanese denim jeans. | 0:00:40 | 0:00:42 | |
And Lord Sugar was so impressed, | 0:00:42 | 0:00:44 | |
he invited both teams back into the boardroom to congratulate them. | 0:00:44 | 0:00:47 | |
Useless. Both totally, absolutely useless. | 0:00:47 | 0:00:52 | |
Demented dimwits. | 0:00:52 | 0:00:54 | |
Oh, no. Sorry, I forgot. | 0:00:54 | 0:00:55 | |
He thought they were both crap and went berserk. | 0:00:55 | 0:00:58 | |
BONG! | 0:00:58 | 0:00:59 | |
In Apprentice News tonight, Rebecca cracks a joke so funny, | 0:01:01 | 0:01:04 | |
the other candidates go beyond laughter | 0:01:04 | 0:01:06 | |
into a state of paralysis... | 0:01:06 | 0:01:08 | |
Do you know what I love? "Claim your fit." | 0:01:08 | 0:01:10 | |
Do you know what's also quite funny? | 0:01:10 | 0:01:12 | |
"Claim YOU'RE fit." | 0:01:12 | 0:01:13 | |
..Dillon regrets buying his business cards from a pound shop... | 0:01:19 | 0:01:22 | |
..and Jessica realises there are worse cracks to be woken up at | 0:01:24 | 0:01:27 | |
than dawn's. | 0:01:27 | 0:01:28 | |
AUDIENCE GROANS | 0:01:30 | 0:01:32 | |
SHE GROANS | 0:01:32 | 0:01:33 | |
That was tonight's Apprentice News. | 0:01:35 | 0:01:37 | |
CHEERING | 0:01:37 | 0:01:40 | |
Let's meet our panel, | 0:01:42 | 0:01:43 | |
keen as trousers to help us turn things inside out and back to front | 0:01:43 | 0:01:46 | |
and get to the bottom of this week's jeans task. | 0:01:46 | 0:01:49 | |
Advertising guru Zaid Al-Zaidy, | 0:01:49 | 0:01:51 | |
journalist and TV addict Grace Dent | 0:01:51 | 0:01:53 | |
and comedian Phil Wang. | 0:01:53 | 0:01:55 | |
Welcome to your panel. | 0:01:55 | 0:01:56 | |
APPLAUSE | 0:01:56 | 0:01:58 | |
So the second candidate to implode | 0:02:02 | 0:02:04 | |
under the irate index finger of Lord Sugar was poor Natalie. | 0:02:04 | 0:02:09 | |
Natalie, you've been a bit quiet, | 0:02:09 | 0:02:11 | |
you've not been pushing yourself forward. | 0:02:11 | 0:02:14 | |
It is regretful, | 0:02:14 | 0:02:16 | |
but, Natalie, you're fired. | 0:02:16 | 0:02:18 | |
Thanks, Lord Sugar. | 0:02:18 | 0:02:20 | |
Please welcome Natalie Hughes! | 0:02:28 | 0:02:30 | |
CHEERING AND APPLAUSE | 0:02:30 | 0:02:34 | |
Grab a seat. | 0:02:38 | 0:02:40 | |
-How you feeling? -Great, fantastic. | 0:02:43 | 0:02:45 | |
You're supposed to say, "Really disappointed, I'm gutted." | 0:02:45 | 0:02:47 | |
Oh, I was grateful for the opportunity, but I'm here, so... | 0:02:47 | 0:02:50 | |
-Yeah. -Yeah. | 0:02:50 | 0:02:52 | |
How much was that black cab back to Scotland? | 0:02:52 | 0:02:54 | |
Oh... Thank God Lord Sugar was paying for it! | 0:02:54 | 0:02:57 | |
Did you...? | 0:02:57 | 0:02:58 | |
I don't know if this is true, | 0:02:58 | 0:03:00 | |
but I heard somewhere that you've never seen The Apprentice before. | 0:03:00 | 0:03:04 | |
Never. Never watched it in my life before! | 0:03:04 | 0:03:07 | |
I was just the lucky one! | 0:03:07 | 0:03:08 | |
How did you end up on it, though, | 0:03:08 | 0:03:09 | |
if you'd never seen The Apprentice before? How did you...? | 0:03:09 | 0:03:12 | |
I'm just curious, genuinely curious how you end up on a show | 0:03:12 | 0:03:15 | |
that you've never seen. | 0:03:15 | 0:03:17 | |
I just went with the flow and... | 0:03:17 | 0:03:19 | |
-What flow?! -I just went there and done it, and it's like... | 0:03:19 | 0:03:22 | |
-But where was the flow that you went with? I mean... -I just... | 0:03:22 | 0:03:25 | |
-I don't know. -Were you just walking down the street one day and thought, | 0:03:25 | 0:03:28 | |
-"I'll just apply to this show I've never heard of"? -No, my brother... | 0:03:28 | 0:03:31 | |
My brother told me to apply for it, | 0:03:31 | 0:03:33 | |
and so I got the e-mail, went to the audition. | 0:03:33 | 0:03:36 | |
I was, like, there 12 hours later. | 0:03:36 | 0:03:37 | |
-Was it hard? -Oh, hard. Honestly, my God. | 0:03:37 | 0:03:40 | |
I work hard, but that was hard. | 0:03:40 | 0:03:42 | |
Sorry, yous might need subtitles for... Cos I'm Scottish. | 0:03:42 | 0:03:46 | |
And Irish, and American! | 0:03:46 | 0:03:47 | |
It's all right, we've got quite a mix here, don't worry about it. | 0:03:47 | 0:03:50 | |
We've got... | 0:03:50 | 0:03:52 | |
So, week two, you've gone out. | 0:03:52 | 0:03:54 | |
Would you have liked to have been in there longer? | 0:03:54 | 0:03:57 | |
No. It was my time to go. Honestly. | 0:03:57 | 0:04:00 | |
I was like, "I'm out of here!" Honestly. | 0:04:00 | 0:04:03 | |
I love this - "My time to go, that was. | 0:04:03 | 0:04:06 | |
"I was amazed I got that far, to be honest with you!" | 0:04:06 | 0:04:08 | |
Why did you defend yourself at all in the boardroom? | 0:04:11 | 0:04:14 | |
Why didn't you just go, like, "Yep, fair point. Yep, I..."? | 0:04:14 | 0:04:16 | |
Because I'm Scottish. I'm, like, patriotic. | 0:04:16 | 0:04:19 | |
I'm no' just gonnae walk away a loser. | 0:04:19 | 0:04:21 | |
Like, it's not in me, it's not in my blood. | 0:04:21 | 0:04:23 | |
You did stand up in the boardroom and say, "I'll give you 100%." | 0:04:23 | 0:04:26 | |
-So you did fight. -Obviously I'm going to fight. I'm a fighter. | 0:04:26 | 0:04:28 | |
Despite having your bags packed behind you? | 0:04:28 | 0:04:30 | |
-I was like... Took a gamble! -What if he'd changed his mind? | 0:04:30 | 0:04:33 | |
Would you have gone, "No, it's all right. I was joking. I'm fine." | 0:04:33 | 0:04:36 | |
-No, no... -I know that you... | 0:04:36 | 0:04:38 | |
I know that you think that there was other candidates better than you, | 0:04:38 | 0:04:41 | |
but there was other candidates that should have gone instead of you. | 0:04:41 | 0:04:46 | |
-Thank you. -And I'm livid on your behalf, | 0:04:46 | 0:04:49 | |
because I think that you should have stayed. | 0:04:49 | 0:04:51 | |
I think that there was people in there who should have been removed. | 0:04:51 | 0:04:55 | |
At least this week, you didn't, er... | 0:04:55 | 0:04:58 | |
-drop the F-bomb in the boardroom. -Oh. | 0:04:58 | 0:05:00 | |
SHE MOUTHS | 0:05:00 | 0:05:03 | |
-That was it. That was exactly it. -Sorry. -Did you sort of... | 0:05:03 | 0:05:05 | |
When you did that, did you...? Were you aware of it? | 0:05:05 | 0:05:08 | |
Were you conscious that you'd done it? | 0:05:08 | 0:05:10 | |
No. No, I was... I don't swear. So I was like... I thought I was... | 0:05:10 | 0:05:14 | |
I was so proud of myself, it was like, | 0:05:14 | 0:05:15 | |
"Whose were the green glasses?" | 0:05:15 | 0:05:17 | |
And I'm like, "Me!" And he's like... | 0:05:17 | 0:05:19 | |
I was like... | 0:05:19 | 0:05:20 | |
When you say you don't swear, we... I don't know. | 0:05:20 | 0:05:23 | |
Do you swear? Let's have a look. | 0:05:23 | 0:05:25 | |
That's bullshit. Bullshit, darling. | 0:05:25 | 0:05:28 | |
-Sorry. -There's another one that slipped out. -Oh, I was just... | 0:05:28 | 0:05:32 | |
It was hard work, everybody was under pressure. | 0:05:32 | 0:05:35 | |
It's just very competitive. Nobody was working as a team, so... | 0:05:35 | 0:05:39 | |
I work as a team, my team are strong back in Glasgow, so... | 0:05:39 | 0:05:43 | |
If you're not working as a team, it's not going to work. | 0:05:43 | 0:05:45 | |
That is the angriest flounce I've ever seen out of that office. | 0:05:45 | 0:05:48 | |
-It was. Oof! -It was amazing. | 0:05:48 | 0:05:49 | |
Did you say anything else to them before you went? | 0:05:49 | 0:05:52 | |
I forgot their names! | 0:05:52 | 0:05:54 | |
-SURPRISED LAUGHTER -I know what you mean. | 0:05:54 | 0:05:56 | |
I don't know. | 0:05:56 | 0:05:57 | |
You did, though. You did fly out of there | 0:05:57 | 0:05:59 | |
with the scarf billowing dramatically in the wind there. | 0:05:59 | 0:06:02 | |
-"Get me out of here!" -It was dramatic. | 0:06:02 | 0:06:03 | |
Let's have a look where it went wrong. | 0:06:03 | 0:06:05 | |
There are some people here | 0:06:05 | 0:06:06 | |
who have not pulled their weight. | 0:06:06 | 0:06:09 | |
Just general hangers-on or dead wood. | 0:06:09 | 0:06:11 | |
-Natalie, you're going to do the hair and styling, aren't you? -Whatever. | 0:06:11 | 0:06:14 | |
Natalie, bless her, | 0:06:14 | 0:06:15 | |
is looking at the timelines. | 0:06:15 | 0:06:17 | |
Natalie, have we got the time? | 0:06:17 | 0:06:18 | |
Eight minutes past. | 0:06:18 | 0:06:20 | |
In terms of contribution, | 0:06:20 | 0:06:21 | |
there isn't any more from Natalie. | 0:06:21 | 0:06:23 | |
The strapline as in the strapping of the jeans? | 0:06:23 | 0:06:25 | |
No, no, strapline as in, like, | 0:06:25 | 0:06:26 | |
-the thing that sits alongside the branding. -Oh, yeah, the strap. | 0:06:26 | 0:06:30 | |
If you weren't there, | 0:06:30 | 0:06:31 | |
what would have been missing from the ad campaign? | 0:06:31 | 0:06:33 | |
I'd put, like, a wee hash tag, if you can do that. | 0:06:33 | 0:06:36 | |
-Not a hash tag. -Not on a logo. | 0:06:36 | 0:06:37 | |
Natalie, you're fired. | 0:06:37 | 0:06:39 | |
Do you not look at that and think that, like, Grainne, for example, | 0:06:43 | 0:06:46 | |
who hasn't spoken for two weeks, should maybe have went, | 0:06:46 | 0:06:49 | |
or Samuel, who hasn't spoken at all for two weeks? | 0:06:49 | 0:06:53 | |
I personally think, myself, I had a lot of, like, ideas and stuff, | 0:06:53 | 0:06:58 | |
but I wasn't getting listened to. | 0:06:58 | 0:06:59 | |
So I think when you're talking, talking, talking | 0:06:59 | 0:07:01 | |
and nobody's listening, you kind of give up. | 0:07:01 | 0:07:03 | |
I, like,... I felt like an extra. | 0:07:03 | 0:07:05 | |
-Like, I'm certainly no extra. -How quickly did you give up? | 0:07:05 | 0:07:08 | |
You could see that there, by your face - | 0:07:08 | 0:07:09 | |
you're getting despondent, | 0:07:09 | 0:07:10 | |
you know, you're throwing out the hash tag and nobody... | 0:07:10 | 0:07:13 | |
A - why were they not listening, do you think? | 0:07:13 | 0:07:15 | |
Cos I think everybody was hungry for the power | 0:07:15 | 0:07:17 | |
so they were all about "Me, me, me," instead of "We, as a group." | 0:07:17 | 0:07:21 | |
So I couldnae win. | 0:07:21 | 0:07:23 | |
Have you worked in teams a lot before? | 0:07:23 | 0:07:25 | |
-Yeah. -Have you? -Yeah. -Oh. | 0:07:25 | 0:07:28 | |
Zaid, 20 years in advertising - how hard is it to work in a team | 0:07:30 | 0:07:35 | |
when you have got perhaps big characters around? | 0:07:35 | 0:07:39 | |
Yeah. I mean, it is hard. | 0:07:39 | 0:07:40 | |
I mean, advertising is all about the team spirit and the team play. | 0:07:40 | 0:07:44 | |
I think, in this instance, the team dynamics were dreadful. | 0:07:44 | 0:07:48 | |
On the one hand, you had egos who defined project leadership | 0:07:48 | 0:07:52 | |
in quite an autocratic way, | 0:07:52 | 0:07:53 | |
and then you had the passengers who just didn't muck in. | 0:07:53 | 0:07:56 | |
It is hard, it was week two, | 0:07:56 | 0:07:58 | |
everyone was trying to be a chieftain. | 0:07:58 | 0:08:00 | |
I have some empathy but, equally, | 0:08:00 | 0:08:02 | |
it felt like you'd just given up and you were just standing back. | 0:08:02 | 0:08:05 | |
Yeah, I did. | 0:08:05 | 0:08:06 | |
Well, clearly Karren didn't think Natalie had done enough. | 0:08:09 | 0:08:11 | |
Here she is, summing things up in her usual direct manner. | 0:08:11 | 0:08:15 | |
SINGING: | 0:08:15 | 0:08:17 | |
That's right! | 0:08:17 | 0:08:18 | |
Basically, I done the model's hair, like, cleaned up and... | 0:08:25 | 0:08:28 | |
Cleaning and hairdressing - | 0:08:28 | 0:08:30 | |
not skills Lord Sugar's looking for, Natalie. | 0:08:30 | 0:08:32 | |
Karren is the master of the one-liner. And that was brilliant. | 0:08:36 | 0:08:39 | |
I mean, she's my queen. Harsh but fair. I love that. | 0:08:39 | 0:08:42 | |
But, yeah, she was being fair in that. | 0:08:42 | 0:08:45 | |
I've got the girls' packaging here. | 0:08:45 | 0:08:46 | |
Unclaimed. | 0:08:46 | 0:08:48 | |
Luxury. You... | 0:08:48 | 0:08:50 | |
There's nothing luxury about that! | 0:08:50 | 0:08:52 | |
This is luxury, sitting right here. | 0:08:52 | 0:08:55 | |
WHOOPING AND APPLAUSE | 0:08:55 | 0:08:58 | |
Sassy! | 0:09:00 | 0:09:01 | |
Er, I thought it was quite luxury. | 0:09:01 | 0:09:04 | |
What's luxury about it? | 0:09:04 | 0:09:05 | |
Well, I just... It's heavy, as Aleksandra said. It's quite... | 0:09:05 | 0:09:08 | |
I mean, for a pair of jeans. Zaid? | 0:09:08 | 0:09:10 | |
I like that. I did, I liked it. | 0:09:10 | 0:09:12 | |
I think that the actual packaging is pretty good. | 0:09:12 | 0:09:16 | |
I mean, by the time it went to the actual advert, | 0:09:16 | 0:09:18 | |
that's when it slid down the pan but that is... | 0:09:18 | 0:09:21 | |
-Quite literally! -Literally. | 0:09:21 | 0:09:22 | |
But that is... That's nice, it feels weighty, it feels like it... | 0:09:22 | 0:09:26 | |
-What did they say? 100 quid for that? -Something, I think... | 0:09:26 | 0:09:29 | |
-They were in that... -It's fair enough. | 0:09:29 | 0:09:31 | |
-I thought, you know, it actually looks... -Does it say jeans? | 0:09:31 | 0:09:33 | |
I mean, I've been using this at home. | 0:09:33 | 0:09:35 | |
But to me, that felt like something... | 0:09:37 | 0:09:38 | |
You know, you go out for a day's shopping | 0:09:38 | 0:09:40 | |
and you come back and you've been fleeced of £100 | 0:09:40 | 0:09:42 | |
for some luxury jeans but you come back and it feels weighty. | 0:09:42 | 0:09:46 | |
On its own, it felt like, you know, it's weighty, | 0:09:46 | 0:09:49 | |
there's an inherent value to it. | 0:09:49 | 0:09:51 | |
It looks more natural than it does artificial. | 0:09:51 | 0:09:54 | |
I quite like the name, | 0:09:54 | 0:09:55 | |
although the philosophy behind it didn't pass for anything. | 0:09:55 | 0:09:58 | |
But, really, when you position that product in a toilet, | 0:09:58 | 0:10:03 | |
every element of the mix loses all its cachet and panache, | 0:10:03 | 0:10:07 | |
so, quite frankly, it didn't work. | 0:10:07 | 0:10:09 | |
-It goes down the pan, as Grace very eloquently put it. -Totally agree. | 0:10:09 | 0:10:12 | |
Lord Sugar clearly didn't like either of them very much, | 0:10:12 | 0:10:15 | |
the packaging, but he preferred... This is the lads' effort. | 0:10:15 | 0:10:20 | |
"d.a.y." Day After Yesterday. | 0:10:20 | 0:10:23 | |
-I mean this... -Can I have a bit? -Does this say, um...? | 0:10:23 | 0:10:26 | |
Does this say jeans to you? MOUTH FULL: Have a bit. | 0:10:27 | 0:10:29 | |
It doesn't say jeans to me, it says something else. | 0:10:32 | 0:10:34 | |
I can't think what it is right now, but it says... | 0:10:34 | 0:10:37 | |
Says some other product, possibly food. | 0:10:37 | 0:10:39 | |
Natalie, do you think the boys did a better job? | 0:10:41 | 0:10:44 | |
No, I just, like... I didn't like any of it. | 0:10:44 | 0:10:45 | |
I thought it was, like, very cheesy. Like, there was nothing appealing... | 0:10:45 | 0:10:48 | |
It is quite cheesy. | 0:10:48 | 0:10:50 | |
LAUGHTER AND APPLAUSE | 0:10:50 | 0:10:51 | |
Is it cheese? | 0:10:51 | 0:10:53 | |
These are bit cheesy, you're right. | 0:10:55 | 0:10:58 | |
It's got a back pocket on it, which is never appealing to me, | 0:10:58 | 0:11:00 | |
cos it looks like you're opening up someone's bum, you know? Right? | 0:11:00 | 0:11:04 | |
And then you see that inside! | 0:11:04 | 0:11:06 | |
Zaid. I mean, they said they were aiming at a teenage luxury market. | 0:11:08 | 0:11:12 | |
-Is that a big market, that? -It feels like... | 0:11:12 | 0:11:16 | |
"Rich teenagers" feels like an oxymoron. | 0:11:16 | 0:11:19 | |
-I does a bit. -I don't know how many there are. | 0:11:19 | 0:11:21 | |
And, quite frankly, I think the ladies make a really good effort | 0:11:21 | 0:11:25 | |
of trying to inject value into their packaging. | 0:11:25 | 0:11:28 | |
The guys here produced something that was really cheap and tacky. | 0:11:28 | 0:11:32 | |
What about the name? Day After Yesterday. "d.a.y." | 0:11:32 | 0:11:36 | |
How...? Is it...? | 0:11:36 | 0:11:37 | |
I'm going out on a limb - I quite like it. Is that...? Am I...? | 0:11:37 | 0:11:41 | |
-No? -No, it's awful. -Is it just me? Is it awful? | 0:11:41 | 0:11:44 | |
-Well, it is awful. What do you like about it? -I don't know. | 0:11:44 | 0:11:47 | |
I just thought d.a.y. is quite catchy. I sort of remember it. | 0:11:47 | 0:11:50 | |
Ooh, er... Don't know. | 0:11:50 | 0:11:51 | |
Changed my mind, don't like it. | 0:11:51 | 0:11:54 | |
I thought the Day After Yesterday sounded more like a movie. | 0:11:54 | 0:11:57 | |
PHONE RINGS | 0:11:57 | 0:12:00 | |
Hello? | 0:12:00 | 0:12:02 | |
In a world of Apprentice tasks... | 0:12:02 | 0:12:04 | |
Your task today... | 0:12:04 | 0:12:06 | |
..one man thought he'd seen it all. | 0:12:06 | 0:12:08 | |
HE PUFFS | 0:12:08 | 0:12:10 | |
Day After Yesterday. | 0:12:13 | 0:12:15 | |
I'm scared. | 0:12:15 | 0:12:16 | |
Day After Tomorrow. | 0:12:16 | 0:12:18 | |
This is a joke. | 0:12:19 | 0:12:21 | |
Day After...Yesterday. | 0:12:21 | 0:12:22 | |
It's never happened before. | 0:12:22 | 0:12:24 | |
-"The Day After Yesterday", meaning today? -Meaning today. | 0:12:28 | 0:12:31 | |
In cinemas the day before tomorrow. | 0:12:31 | 0:12:33 | |
Jessica as project manager. Do you think she was the right person? | 0:12:40 | 0:12:43 | |
Fantastic. She was great. Wouldn't have changed it. | 0:12:43 | 0:12:47 | |
-Like, she was amazing. -Why was she amazing? | 0:12:47 | 0:12:50 | |
Cos I think she's just so bubbly, like, happy, upbeat. | 0:12:50 | 0:12:52 | |
I like to surround myself with positive people, | 0:12:52 | 0:12:55 | |
and she's a very positive person. | 0:12:55 | 0:12:56 | |
Well, no doubt about it, the pressure got to Jessica this week. | 0:12:56 | 0:12:59 | |
At times, she was wobbling like a newborn foal on a bouncy castle | 0:12:59 | 0:13:03 | |
and got herself in a right old flap. | 0:13:03 | 0:13:05 | |
Jessica, basically, you cracked up on the first day, | 0:13:05 | 0:13:08 | |
-part of the first day. -MUSIC: The Birdie Song | 0:13:08 | 0:13:10 | |
Like, I had a couple of the stronger characters | 0:13:10 | 0:13:12 | |
undermining me and flapping me. | 0:13:12 | 0:13:13 | |
People talking all over me. | 0:13:13 | 0:13:14 | |
Cos I had you two yipping at my ear nonstop. | 0:13:14 | 0:13:16 | |
People talking all over me. | 0:13:16 | 0:13:18 | |
You're coming up with problems to my solutions. | 0:13:18 | 0:13:20 | |
People talking all over me. | 0:13:21 | 0:13:23 | |
Who listened to me? Nobody! | 0:13:23 | 0:13:24 | |
I've got a luxurious women's fashion brand! | 0:13:24 | 0:13:26 | |
People talking all over me. | 0:13:26 | 0:13:28 | |
THEY ALL TALK AT ONCE | 0:13:28 | 0:13:30 | |
Let me finish, please. | 0:13:30 | 0:13:32 | |
People talking all over me. | 0:13:32 | 0:13:33 | |
Oh, God, shut up! | 0:13:33 | 0:13:34 | |
APPLAUSE | 0:13:34 | 0:13:37 | |
Er, Jessica. | 0:13:40 | 0:13:41 | |
Grace, are you a fan? | 0:13:41 | 0:13:44 | |
She seems like she's nice, | 0:13:44 | 0:13:45 | |
but she did give me a migraine. Like, because she doesn't really... | 0:13:45 | 0:13:49 | |
She doesn't know when to rein it in. And I found that... | 0:13:49 | 0:13:52 | |
What do you do when someone's like that in a workplace? | 0:13:52 | 0:13:55 | |
Give me some advice. Um... | 0:13:55 | 0:13:57 | |
I think you pull them aside and you have an honest chat. | 0:13:57 | 0:14:00 | |
But what do you say? | 0:14:00 | 0:14:01 | |
"You're really annoying?" | 0:14:01 | 0:14:02 | |
LAUGHTER | 0:14:02 | 0:14:04 | |
You can't really do that. | 0:14:04 | 0:14:06 | |
I did feel for her when she cried. | 0:14:06 | 0:14:08 | |
Because I think that not any of us are above | 0:14:08 | 0:14:11 | |
a little cry at work sometimes. | 0:14:11 | 0:14:13 | |
You're not going to say, but we've all cried at work, have we not? | 0:14:13 | 0:14:16 | |
-We have. -I cried before I came on stage. | 0:14:16 | 0:14:19 | |
LAUGHTER | 0:14:19 | 0:14:20 | |
How important is it to have the thing you're photographing | 0:14:20 | 0:14:23 | |
at the photo shoot, Zaid? | 0:14:23 | 0:14:25 | |
It's pretty vital. | 0:14:25 | 0:14:27 | |
Fashion is about the look, right? | 0:14:27 | 0:14:30 | |
And so you're selling the look. | 0:14:30 | 0:14:31 | |
The fact the product wasn't there is pretty catastrophic. | 0:14:31 | 0:14:34 | |
But I think most fashion advertising features the product. | 0:14:34 | 0:14:38 | |
LAUGHTER | 0:14:38 | 0:14:40 | |
In Jessica's defence, | 0:14:42 | 0:14:43 | |
when it came to the presentation, the pitch thing - | 0:14:43 | 0:14:46 | |
I'm jumping ahead a bit - but my heart was in my mouth. | 0:14:46 | 0:14:48 | |
I thought, this is going to be hilarious. | 0:14:48 | 0:14:51 | |
When she's going to step up in front of the client, | 0:14:51 | 0:14:54 | |
so excitable, nervous - and yet, absolutely nailed it. | 0:14:54 | 0:14:59 | |
Yeah. Yeah. | 0:14:59 | 0:15:00 | |
Like a machine. Amazing. | 0:15:00 | 0:15:03 | |
-Were you impressed with that, Phil? -Yeah, absolutely. | 0:15:03 | 0:15:05 | |
Whereas Mukai was the opposite. He was very... | 0:15:05 | 0:15:08 | |
-RHOD LAUGHS -And especially hurtful for me, | 0:15:08 | 0:15:10 | |
because he's the only brother in the show. | 0:15:10 | 0:15:12 | |
LAUGHTER | 0:15:12 | 0:15:14 | |
Have you appropriated the whole brother thing now? | 0:15:16 | 0:15:19 | |
Yeah, I think our time's come. | 0:15:19 | 0:15:22 | |
That was, I was like, come on, do it, do it for the club. | 0:15:22 | 0:15:28 | |
And he completely fell apart. | 0:15:28 | 0:15:30 | |
Whereas Jessica was the opposite, | 0:15:30 | 0:15:31 | |
a complete mess every other moment, but then... | 0:15:31 | 0:15:35 | |
I like Mukai. | 0:15:35 | 0:15:36 | |
I loved the bit where he was dressed like | 0:15:36 | 0:15:40 | |
a cross between Prince George and a Bond villain, | 0:15:40 | 0:15:43 | |
and then says to a 25-year-old, "You're too old for jeans." | 0:15:43 | 0:15:48 | |
Don't introduce him to Mary Berry, for God's sake. | 0:15:48 | 0:15:52 | |
Was he the right choice for project manager on a fashion task? | 0:15:52 | 0:15:55 | |
The best leaders are, I think, bamboo-like in their styles. | 0:15:55 | 0:15:57 | |
They have very firm roots, you know what their values are, | 0:15:57 | 0:16:00 | |
you know what they stand for, but they're able to bend in the wind | 0:16:00 | 0:16:03 | |
and assimilate different points of view. | 0:16:03 | 0:16:05 | |
Mukai, it was all about him, | 0:16:05 | 0:16:07 | |
his position of control, and no-one had a say. | 0:16:07 | 0:16:10 | |
Yeah. Phil? | 0:16:10 | 0:16:11 | |
I liked his bowtie. I thought that was pretty neat. | 0:16:11 | 0:16:14 | |
You got to respect a man with a bow. | 0:16:14 | 0:16:15 | |
Is that where it starts and ends? | 0:16:15 | 0:16:17 | |
Yeah, that's about all I got from him, that he has a bowtie, | 0:16:17 | 0:16:20 | |
he's a brother, and that's about it. | 0:16:20 | 0:16:23 | |
I was a bit blinded by that. | 0:16:23 | 0:16:25 | |
Sort of like when he got called up by the art guys, | 0:16:25 | 0:16:28 | |
and asked for his opinion, he gave no opinion. | 0:16:28 | 0:16:31 | |
And then blamed them later for not communicating with him. | 0:16:31 | 0:16:34 | |
He cut them off dead. | 0:16:34 | 0:16:36 | |
They rang him up to give him the information he needed to take his | 0:16:36 | 0:16:38 | |
side forward, and he just cut them off dead like it was a cold call. | 0:16:38 | 0:16:41 | |
Just shut the thing off. | 0:16:41 | 0:16:43 | |
This is why I'm surprised Mukai didn't go this week. | 0:16:43 | 0:16:46 | |
Because, whereas you were harmless, you know, | 0:16:46 | 0:16:50 | |
he actually was disruptive. | 0:16:50 | 0:16:52 | |
It was his fault, time and time again, that | 0:16:52 | 0:16:56 | |
that monstrosity of a brand came about. | 0:16:56 | 0:16:59 | |
That moment where Jessica could've been PM - what happened there? | 0:16:59 | 0:17:03 | |
I'm asking the wrong person. LAUGHTER | 0:17:06 | 0:17:09 | |
-Phil, you're a Cambridge graduate, you're a boffiny type. -Yeah. | 0:17:09 | 0:17:13 | |
What happened in that vote? | 0:17:13 | 0:17:15 | |
Well, actually the whole third year was about Apprentice maths. | 0:17:15 | 0:17:18 | |
-It was like a mathematical black hole that happened? -It was strange. | 0:17:18 | 0:17:22 | |
Basically, everyone took a vote, | 0:17:22 | 0:17:25 | |
and each candidate for PM voted for themselves. | 0:17:25 | 0:17:30 | |
And so they were equal, four against four. | 0:17:30 | 0:17:33 | |
And then someone said, "No, Rebecca, you can't vote for yourself." | 0:17:33 | 0:17:37 | |
So then Rebecca took her hand down. | 0:17:37 | 0:17:39 | |
But Jessica - and this is where Jessica's clever - | 0:17:39 | 0:17:43 | |
Jessica kept her hand up. | 0:17:43 | 0:17:46 | |
And so everyone went, "Four against three, OK, Jessica wins." | 0:17:46 | 0:17:49 | |
APPLAUSE | 0:17:49 | 0:17:50 | |
She's good. She's good. | 0:17:50 | 0:17:53 | |
It may only be week two, but Jessica wasn't the only one | 0:17:53 | 0:17:57 | |
on the girls' team struggling with tiredness. | 0:17:57 | 0:18:00 | |
But I think I've found out why. | 0:18:00 | 0:18:01 | |
PHONE RINGS | 0:18:01 | 0:18:04 | |
-Hello? -'Cling-cling.' | 0:18:08 | 0:18:09 | |
Doodle-ooh. | 0:18:09 | 0:18:10 | |
Brrroop-brrroop. | 0:18:10 | 0:18:12 | |
Arf. | 0:18:12 | 0:18:14 | |
Bong bong. | 0:18:14 | 0:18:15 | |
SHE HANGS UP | 0:18:15 | 0:18:17 | |
That explains it. Dillon, prank calling in the middle of the night. | 0:18:17 | 0:18:21 | |
When he was making those sounds, | 0:18:21 | 0:18:23 | |
I thought he was having phone sex with R2-D2, but no. | 0:18:23 | 0:18:26 | |
You like Dillon, but he was responsible for - and I'm going | 0:18:28 | 0:18:31 | |
to go out on a limb here - the worst advert the world has ever seen. | 0:18:31 | 0:18:34 | |
I thought it was 1,000 times worse than the girls' advert. | 0:18:34 | 0:18:37 | |
I thought it was the naffest, | 0:18:37 | 0:18:39 | |
cheesiest pile of rubbish I've ever seen in my life. | 0:18:39 | 0:18:43 | |
With the skate park... | 0:18:43 | 0:18:44 | |
But he gave it so much when he was doing it, didn't he? He was there. | 0:18:44 | 0:18:48 | |
-He was so present. -The naffest... "Oh, it's cool!" | 0:18:48 | 0:18:52 | |
"Oh, no, have you ripped your jeans?" | 0:18:52 | 0:18:53 | |
"Of course I haven't, they're d.a.y. jeans, they never tear." | 0:18:53 | 0:18:56 | |
What are they made of, asbestos? What's going on? | 0:18:56 | 0:18:58 | |
He seemed to make a big mistake by thinking that the models | 0:18:58 | 0:19:01 | |
should speak. Because that's not what they're paid to do. | 0:19:01 | 0:19:06 | |
He wasn't hiring actors. | 0:19:06 | 0:19:07 | |
Models are very beautiful, and they often shouldn't talk. | 0:19:07 | 0:19:12 | |
They sounded like aliens pretending to be people. | 0:19:14 | 0:19:17 | |
"Definitely...cool...?" | 0:19:17 | 0:19:19 | |
LAUGHTER | 0:19:19 | 0:19:21 | |
Karthik, how did you get on with Karthik? | 0:19:21 | 0:19:25 | |
As the only person here who was on the inside, who's met him? | 0:19:25 | 0:19:29 | |
Oh, he was so bubbly. Like, so much energy, he was brilliant. | 0:19:29 | 0:19:32 | |
He likes to chat a lot, but that's his personality. | 0:19:32 | 0:19:36 | |
He didn't change from start to finish. | 0:19:36 | 0:19:37 | |
I couldn't imagine sharing a house with Karthik, | 0:19:37 | 0:19:39 | |
the idea of opening one eye at seven o'clock in the morning and | 0:19:39 | 0:19:42 | |
he's there with his monobrow, just talking. | 0:19:42 | 0:19:44 | |
Just like... | 0:19:44 | 0:19:46 | |
The good thing was, I wasn't there. I was only there two weeks. | 0:19:46 | 0:19:48 | |
So I didn't get to know half their names! | 0:19:48 | 0:19:51 | |
He kicked off, properly kicked off this week. | 0:19:51 | 0:19:55 | |
Zaid, is he...? | 0:19:55 | 0:19:56 | |
Is it all him, is he being managed badly? Is it avoidable? | 0:19:56 | 0:19:59 | |
What's going on with Karthik? | 0:19:59 | 0:20:01 | |
He's clearly a character. He's very chalk and cheese. | 0:20:01 | 0:20:04 | |
Big ego, arguably. | 0:20:04 | 0:20:07 | |
But Mukai really pushed him to the edge. | 0:20:07 | 0:20:10 | |
I think anyone, when pushed to the edge... | 0:20:10 | 0:20:12 | |
How did Mukai push him to the edge, do you think? | 0:20:12 | 0:20:14 | |
He just didn't listen. Didn't give him any wiggle room whatsoever. | 0:20:14 | 0:20:17 | |
There was clearly a disaster being brewed in the edit suite, | 0:20:17 | 0:20:20 | |
and the guy was going, | 0:20:20 | 0:20:21 | |
"Look, give me five minutes, give me a chance to save this thing." | 0:20:21 | 0:20:24 | |
And five minutes was not a lot of time in the grand scheme of things, | 0:20:24 | 0:20:27 | |
and he just wouldn't budge, so I guess they just clashed. | 0:20:27 | 0:20:30 | |
It was probably my favourite part of the whole episode, | 0:20:30 | 0:20:33 | |
when JD just went, "For the love of God, just shut up!" | 0:20:33 | 0:20:37 | |
I just thought, that's how we all feel, you know? | 0:20:37 | 0:20:40 | |
He's sort of like the male Jessica. Right? | 0:20:40 | 0:20:43 | |
I want the final just to be them, head-to-head, | 0:20:43 | 0:20:47 | |
just talking and whoever dies of thirst first loses. | 0:20:47 | 0:20:51 | |
I love Karthik, there's something for everyone. | 0:20:51 | 0:20:54 | |
He's a complete diva one minute, | 0:20:54 | 0:20:55 | |
super-confident, predicts he's going to be Prime Minister, of course. | 0:20:55 | 0:20:58 | |
But we've got some unseen footage of a lovely moment when he gets | 0:20:58 | 0:21:01 | |
a little bit confused about choosing the models. | 0:21:01 | 0:21:04 | |
We need to pick a guy and a girl, | 0:21:10 | 0:21:12 | |
and the girl goes on for the digital campaign. | 0:21:12 | 0:21:14 | |
This guy's great. I think he looks fun. | 0:21:14 | 0:21:17 | |
I also think maybe India? | 0:21:17 | 0:21:19 | |
But the market is UK. You don't want any Caucasian person in there? | 0:21:19 | 0:21:23 | |
-India is Caucasian. -No, Caucasian means white, Indians are brown. | 0:21:23 | 0:21:27 | |
-I'm an Indian. -India is her name. -Oh. | 0:21:27 | 0:21:30 | |
LAUGHTER | 0:21:30 | 0:21:32 | |
APPLAUSE | 0:21:35 | 0:21:38 | |
I don't doubt he's going to be Prime Minister, but I think | 0:21:38 | 0:21:41 | |
he may need a little spell at the Foreign Office first before he does. | 0:21:41 | 0:21:44 | |
Now, a feature new to You're Fired, | 0:21:44 | 0:21:46 | |
one befitting a well-respected, educational BBC Two business show. | 0:21:46 | 0:21:51 | |
Hello, hi! Is it Alex? | 0:21:59 | 0:22:01 | |
-Pleased to meet you. -I'm Rebecca. | 0:22:01 | 0:22:03 | |
We're quite excited by your big knobs. | 0:22:03 | 0:22:05 | |
"BOING!" SOUND EFFECT | 0:22:05 | 0:22:06 | |
LAUGHTER | 0:22:06 | 0:22:08 | |
I'm really sorry! | 0:22:08 | 0:22:10 | |
Nicest thing anyone's ever said to me! | 0:22:10 | 0:22:13 | |
APPLAUSE | 0:22:13 | 0:22:15 | |
Wonderful stuff. More informative, unseen nonsense like that | 0:22:16 | 0:22:19 | |
at some point in the future. | 0:22:19 | 0:22:21 | |
So, Natalie, I'm happy to say Lord Sugar isn't all about the firing, | 0:22:21 | 0:22:25 | |
he's also got some advice for you as well. | 0:22:25 | 0:22:28 | |
What one has to admire about Natalie | 0:22:29 | 0:22:31 | |
is that she's already got a successful business | 0:22:31 | 0:22:34 | |
in her hair salon, | 0:22:34 | 0:22:35 | |
and wanted to come into the process | 0:22:35 | 0:22:37 | |
to see whether she could enhance that. | 0:22:37 | 0:22:39 | |
When you come into this process, | 0:22:39 | 0:22:41 | |
you've actually got to do something, | 0:22:41 | 0:22:43 | |
put yourself forward. | 0:22:43 | 0:22:44 | |
I think she stood back, | 0:22:44 | 0:22:46 | |
did nothing, and that was really it. | 0:22:46 | 0:22:48 | |
I think what she needs to do | 0:22:48 | 0:22:50 | |
is stick to what she knows. | 0:22:50 | 0:22:51 | |
I think she should carry on and enhance that business. | 0:22:51 | 0:22:55 | |
That was lovely. | 0:22:58 | 0:23:00 | |
-Good advice? -He's correct, obviously, stick with what you know. | 0:23:00 | 0:23:03 | |
Like, obviously, what you know, like, | 0:23:03 | 0:23:06 | |
I'm no' going to go into something that's going to confuse me. | 0:23:06 | 0:23:08 | |
I'm just focused on my business, expanding it and just growing. | 0:23:08 | 0:23:13 | |
Has this given you confidence - | 0:23:13 | 0:23:14 | |
even though it didn't work out quite so well on this - | 0:23:14 | 0:23:17 | |
has given you confidence in your business to go forward? | 0:23:17 | 0:23:21 | |
Erm... | 0:23:21 | 0:23:22 | |
It's made me realise a couple of things, like, | 0:23:22 | 0:23:25 | |
I would never go into business with somebody... | 0:23:25 | 0:23:27 | |
LAUGHTER | 0:23:27 | 0:23:29 | |
What was I actually thinking about, | 0:23:29 | 0:23:30 | |
giving somebody 50% for an investment? | 0:23:30 | 0:23:32 | |
Because I'm already successful, I'm hard-working. | 0:23:32 | 0:23:36 | |
But it was a great experience | 0:23:36 | 0:23:37 | |
and I'm very, very grateful for the opportunity. | 0:23:37 | 0:23:41 | |
What is your business plan, Natalie? | 0:23:41 | 0:23:44 | |
My business plan's to grow VIP. | 0:23:44 | 0:23:47 | |
It's the biggest one-stop shop in Scotland just now. | 0:23:47 | 0:23:50 | |
We've won a lot of awards and stuff, so I just want to aim higher. | 0:23:50 | 0:23:55 | |
Well, Lord Sugar made his decision, | 0:23:55 | 0:23:56 | |
but does our panel feel it was the right one? | 0:23:56 | 0:23:59 | |
Zaid? | 0:23:59 | 0:24:00 | |
No. | 0:24:00 | 0:24:02 | |
-Oh. -I mean, I think there were a lot of passengers, | 0:24:02 | 0:24:04 | |
and there were a lot that were a lot worse than you. | 0:24:04 | 0:24:07 | |
I think you've got great tenacity, you've got a great heart, | 0:24:07 | 0:24:11 | |
and I think it would actually have been really good to see you | 0:24:11 | 0:24:14 | |
-grow in the show. -Thank you. -Grace? | 0:24:14 | 0:24:16 | |
No. Natalie shouldn't have gone. | 0:24:16 | 0:24:18 | |
I think she lost her footing a bit, | 0:24:18 | 0:24:20 | |
and I think she was an easy target to pick off. | 0:24:20 | 0:24:22 | |
There was other people that should have been kicked out. | 0:24:22 | 0:24:25 | |
Thank you. | 0:24:25 | 0:24:26 | |
It's going all right so far. Phil? | 0:24:26 | 0:24:28 | |
-No, yeah, I think... -No, yeah? | 0:24:28 | 0:24:31 | |
LAUGHTER | 0:24:31 | 0:24:32 | |
Still trying to decide. | 0:24:32 | 0:24:34 | |
No, definitely not, it shouldn't have been you, Natalie. | 0:24:34 | 0:24:37 | |
I think there were some far worse people. | 0:24:37 | 0:24:39 | |
I do think Mukai should've gone, much as I hate to say it. | 0:24:39 | 0:24:43 | |
He should've gone, he was just really ineffectual and kind of meh. | 0:24:43 | 0:24:46 | |
It should've been him. | 0:24:46 | 0:24:47 | |
-Thank you. -Three out of three! | 0:24:47 | 0:24:50 | |
-Not bad. -Good work. -What do you think? | 0:24:50 | 0:24:52 | |
LAUGHTER | 0:24:52 | 0:24:55 | |
APPLAUSE | 0:24:55 | 0:24:57 | |
I need an ego boost! | 0:24:57 | 0:24:58 | |
Erm... Erm...! | 0:24:58 | 0:25:00 | |
What's that? I'm not allowed to have an opinion, apparently. | 0:25:00 | 0:25:03 | |
It says I absolutely must remain impartial. | 0:25:03 | 0:25:05 | |
Must remain impartial, I'm getting that, unfortunately. | 0:25:05 | 0:25:08 | |
You can tell me later. | 0:25:08 | 0:25:09 | |
LAUGHTER | 0:25:09 | 0:25:11 | |
Our panel doesn't think you should have been fired, Natalie. | 0:25:13 | 0:25:16 | |
It's time to find out what the audience think. | 0:25:16 | 0:25:18 | |
If you agree with Lord Sugar, | 0:25:18 | 0:25:19 | |
Natalie should've been fired, hold up Fired. | 0:25:19 | 0:25:21 | |
If you disagree, then please hold up Hired now. | 0:25:21 | 0:25:24 | |
Hmm. | 0:25:29 | 0:25:30 | |
They say Fired. Natalie, I'm afraid the audience, it's split. | 0:25:30 | 0:25:34 | |
Our panel doesn't think you should. | 0:25:34 | 0:25:36 | |
The panel disagree - it's like the Labour Party here. | 0:25:36 | 0:25:40 | |
We've got a split in the room. | 0:25:40 | 0:25:41 | |
The audience think you should've been fired. | 0:25:41 | 0:25:43 | |
-But it's quite close, it is quite close. -Thanks. -AUDIENCE: -Aw! | 0:25:43 | 0:25:46 | |
Don't say "aw" now! You just fired her! | 0:25:46 | 0:25:48 | |
LAUGHTER | 0:25:48 | 0:25:49 | |
You're not going to go away - I know you've enjoyed the opportunity - | 0:25:49 | 0:25:52 | |
but you're not going to go away empty-handed, Natalie. | 0:25:52 | 0:25:54 | |
Because you said that you couldn't make your voice heard, | 0:25:54 | 0:25:57 | |
there was a lot of loud characters in there, shouting you down. | 0:25:57 | 0:26:00 | |
So we thought we'd help you out with this beautiful - | 0:26:00 | 0:26:03 | |
-we think possibly unique - denim megaphone. -I love it! | 0:26:03 | 0:26:07 | |
It's adorable! | 0:26:07 | 0:26:08 | |
So that you can get your voice heard more easily. | 0:26:08 | 0:26:11 | |
I'll switch it on for you, you can give that a go, by all means. | 0:26:11 | 0:26:14 | |
-Do you want to give that a go? -No! | 0:26:14 | 0:26:15 | |
Do you want me to? I'll just test that it works. | 0:26:15 | 0:26:18 | |
Just switch it on to Scottish. | 0:26:18 | 0:26:20 | |
LAUGHTER | 0:26:20 | 0:26:22 | |
SCOTTISH ACCENT: That's bullshit, darling, bullshit! | 0:26:22 | 0:26:25 | |
LAUGHTER | 0:26:25 | 0:26:26 | |
APPLAUSE | 0:26:26 | 0:26:29 | |
Brilliant, thanks so much. | 0:26:29 | 0:26:30 | |
-That's all right. -Thank you. | 0:26:30 | 0:26:32 | |
I love it, it's amazing. | 0:26:32 | 0:26:34 | |
Natalie, it's a real, genuine shame that you're out so early on. | 0:26:35 | 0:26:39 | |
But we hope you've enjoyed coming on the show. | 0:26:39 | 0:26:41 | |
Let's have a look at your highlights. | 0:26:41 | 0:26:43 | |
I'm gutted Natalie's gone. | 0:26:47 | 0:26:48 | |
Natalie's a little sweetheart. | 0:26:48 | 0:26:50 | |
I don't think anyone has a bad word to say about Natalie. | 0:26:50 | 0:26:53 | |
I've only spoke to Natalie once. | 0:26:53 | 0:26:57 | |
And I didn't understand a word she said. | 0:26:57 | 0:26:58 | |
That's bullshit. Bullshit, darling. | 0:26:58 | 0:27:01 | |
I think she had a lot more to give, | 0:27:01 | 0:27:03 | |
and there was a lot more she wanted to show. | 0:27:03 | 0:27:05 | |
Yeah, got a deal, thank you very much, gentlemen. | 0:27:05 | 0:27:07 | |
# I know that I let you down | 0:27:07 | 0:27:10 | |
# Is it too late to say I'm sorry now...? # | 0:27:10 | 0:27:12 | |
I didn't spend much time with her, | 0:27:12 | 0:27:14 | |
but the time I did spend with her, | 0:27:14 | 0:27:16 | |
I would like to think was quality. | 0:27:16 | 0:27:17 | |
So, she was cool. Natalie was cool. | 0:27:17 | 0:27:20 | |
You snooze, you lose. | 0:27:20 | 0:27:22 | |
Ladies and gentlemen, the wonderful Natalie Hughes. | 0:27:23 | 0:27:25 | |
APPLAUSE | 0:27:25 | 0:27:27 | |
If you want to see more Apprentice exclusives, | 0:27:32 | 0:27:34 | |
head over to BBC iPlayer. | 0:27:34 | 0:27:36 | |
Next week - or as Mukai calls it, | 0:27:36 | 0:27:38 | |
seven weeks after six weeks ago - our candidates will be | 0:27:38 | 0:27:41 | |
sinking their teeth into the business of seaside sweets. | 0:27:41 | 0:27:45 | |
They say that sugar is bad for you, and this sugar's going to be | 0:27:45 | 0:27:48 | |
very bad for one of you today, that's for sure. | 0:27:48 | 0:27:50 | |
# Just a spoonful of sugar helps the medicine go down... # | 0:27:50 | 0:27:54 | |
This is terrible, man! | 0:27:54 | 0:27:57 | |
That's interesting. | 0:27:57 | 0:27:58 | |
MANIC LAUGHTER | 0:27:58 | 0:28:01 | |
If you just concentrated on that, we'd all be fine. | 0:28:01 | 0:28:03 | |
There she blows. | 0:28:03 | 0:28:04 | |
Not getting angry, just telling you my point. | 0:28:04 | 0:28:06 | |
I'm not arguing, we just need to get this done. | 0:28:06 | 0:28:08 | |
That's a waste of time. | 0:28:08 | 0:28:10 | |
He hung up on me. | 0:28:10 | 0:28:11 | |
So where are we going now? | 0:28:11 | 0:28:13 | |
I don't know what's going on. | 0:28:13 | 0:28:14 | |
Ollie, please slow down. | 0:28:14 | 0:28:15 | |
-AUDIENCE: -Ooh...! | 0:28:17 | 0:28:18 | |
Ooh! | 0:28:18 | 0:28:20 | |
Who will be our Willy Wonka, | 0:28:20 | 0:28:21 | |
and who will be flushed into a river of chocolate like Augustus Gloop? | 0:28:21 | 0:28:24 | |
I'll be back next Thursday at 10pm for more You're Fired. | 0:28:24 | 0:28:27 | |
Goodnight. | 0:28:27 | 0:28:28 | |
APPLAUSE | 0:28:28 | 0:28:30 |