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Useless. Totally, absolutely useless. | 0:00:02 | 0:00:05 | |
I feel so angry. I can't put up with loose cannons. | 0:00:05 | 0:00:08 | |
You're fired. You're fired. | 0:00:08 | 0:00:11 | |
You're fired. | 0:00:11 | 0:00:12 | |
Good evening. | 0:00:28 | 0:00:29 | |
Good evening, and welcome to You're Fired. I'm Rhod Gilbert. | 0:00:29 | 0:00:32 | |
In this week's task, the candidates competing for | 0:00:32 | 0:00:34 | |
a £250,000 investment from Lord Sugar had to introduce | 0:00:34 | 0:00:37 | |
a new product line to a high-end department store. | 0:00:37 | 0:00:40 | |
But Aleksandra decided to shut up shop, and walked out | 0:00:40 | 0:00:43 | |
on the whole process at the start of the task. | 0:00:43 | 0:00:46 | |
The announcement left Lord Sugar reeling, | 0:00:46 | 0:00:48 | |
a broken man struggling to deal with his grief. | 0:00:48 | 0:00:52 | |
The process is very, very tough, and if you can't hack it, | 0:00:52 | 0:00:54 | |
you know, get out. | 0:00:54 | 0:00:56 | |
In Apprentice News tonight... | 0:00:58 | 0:01:00 | |
BONG! | 0:01:00 | 0:01:02 | |
Karthik gets all philosophical. | 0:01:02 | 0:01:04 | |
I'm like water. You put water in a cup, it becomes a cup. | 0:01:04 | 0:01:06 | |
You put water in a bottle, it becomes a bottle. | 0:01:06 | 0:01:09 | |
That's right, and if you put someone who speaks a whole load | 0:01:09 | 0:01:11 | |
of metaphysical business guff in a suit, it becomes a Karthik. | 0:01:11 | 0:01:14 | |
In an incredible display of multitasking, | 0:01:16 | 0:01:18 | |
Jessica sings the lyrics to Cool For Cats while singing the tune | 0:01:18 | 0:01:21 | |
to something completely different. | 0:01:21 | 0:01:23 | |
# Co-o-o-ol fo-o-r cats! # | 0:01:23 | 0:01:27 | |
And finally, Dillon catches a fly. | 0:01:29 | 0:01:31 | |
Let's see that again. | 0:01:35 | 0:01:37 | |
And that was tonight's Apprentice News. | 0:01:40 | 0:01:42 | |
Let's meet our panel ready to whip back the changing room curtain | 0:01:47 | 0:01:50 | |
and take a peek inside this week's department store task - | 0:01:50 | 0:01:53 | |
international entrepreneur Frances Dickens, | 0:01:53 | 0:01:55 | |
presenter and Apprentice fan Gaby Roslin | 0:01:55 | 0:01:57 | |
and comedian Hugh Dennis. Welcome to You're Fired. | 0:01:57 | 0:02:00 | |
High drama in the process this week. | 0:02:07 | 0:02:09 | |
Two candidates left the SS Apprentice. | 0:02:09 | 0:02:11 | |
Mukai was fired, but the other left of their own accord. | 0:02:11 | 0:02:14 | |
Yes, Aleksandra didn't even give Lord Sugar | 0:02:14 | 0:02:16 | |
a chance to chuck her overboard. | 0:02:16 | 0:02:18 | |
Instead, she took it upon herself to walk the plank. | 0:02:18 | 0:02:22 | |
Guys, I just have to say something. I... | 0:02:22 | 0:02:24 | |
I'm going to leave the process. | 0:02:24 | 0:02:27 | |
-I'm really sorry. -Why? | 0:02:27 | 0:02:29 | |
I'm just... I'm just not... | 0:02:29 | 0:02:31 | |
I'm just not enjoying this. And I'm not... | 0:02:32 | 0:02:35 | |
-Is this a joke? -No, it's not a joke. | 0:02:35 | 0:02:38 | |
-Good luck, guys. -Good luck. -Sorry. | 0:02:38 | 0:02:40 | |
Please welcome Aleksandra King. | 0:02:47 | 0:02:49 | |
-So, Aleksandra. -Yes. | 0:03:01 | 0:03:04 | |
-Aleksandra, what a dress. -Thank you. | 0:03:04 | 0:03:06 | |
-Ladies and gentlemen, what a dress! -Thank you! | 0:03:06 | 0:03:09 | |
CHEERING | 0:03:09 | 0:03:11 | |
Incredible. | 0:03:11 | 0:03:12 | |
Why? Why...? Why? Obvious question - why walk out? | 0:03:12 | 0:03:17 | |
There are two sort of main, core reasons for me, | 0:03:17 | 0:03:20 | |
and one of them is I just find the whole sort of... | 0:03:20 | 0:03:24 | |
perhaps blame culture a bit unnecessarily stressful. | 0:03:24 | 0:03:28 | |
And the other thing is that I believe in a very healthy | 0:03:28 | 0:03:31 | |
work-life balance, and I don't believe | 0:03:31 | 0:03:34 | |
-that was possible in this process. -Yeah. | 0:03:34 | 0:03:37 | |
I don't think anybody watching it at home or any of us would argue | 0:03:37 | 0:03:40 | |
that it looks brutally tough. | 0:03:40 | 0:03:42 | |
-I wouldn't even enter it, I'll level with you. -Yeah. | 0:03:42 | 0:03:45 | |
Look, I mean, it's tough and I could have definitely carried on that way, | 0:03:45 | 0:03:49 | |
but I just kind of put my foot down and said, | 0:03:49 | 0:03:51 | |
"Actually, I have a choice and I don't want to carry on that way." | 0:03:51 | 0:03:55 | |
I could have, but I wouldn't have been true to myself at all. | 0:03:55 | 0:04:00 | |
You said at the time that you wanted to see your family, | 0:04:00 | 0:04:02 | |
you really miss them. | 0:04:02 | 0:04:04 | |
Who is this family you are so fond of? | 0:04:04 | 0:04:06 | |
-Where are...? Ah! -Are they here? | 0:04:06 | 0:04:09 | |
Give us a wave. Where are you? Hello! | 0:04:09 | 0:04:11 | |
You know when you left the house, though, | 0:04:12 | 0:04:14 | |
you hadn't talked to anyone in the house | 0:04:14 | 0:04:16 | |
about the fact you were leaving. | 0:04:16 | 0:04:17 | |
Were you able to tell your family you were coming back? | 0:04:17 | 0:04:20 | |
Because it would have been tragic if you'd left and you'd found | 0:04:20 | 0:04:23 | |
they'd all gone on holiday. | 0:04:23 | 0:04:24 | |
LAUGHTER | 0:04:24 | 0:04:26 | |
Frances, you've worked in lots of different organisations, | 0:04:28 | 0:04:32 | |
large and small. Have you ever been tempted to walk? | 0:04:32 | 0:04:35 | |
-Yeah, all the time. -Oh. | 0:04:35 | 0:04:37 | |
I throw my toys out of the pram | 0:04:37 | 0:04:39 | |
pretty much every week over something. | 0:04:39 | 0:04:41 | |
But I think, for me, you know, when you've mortgaged a house, | 0:04:41 | 0:04:43 | |
you've invested so much in the business, | 0:04:43 | 0:04:45 | |
you don't have the luxury of doing that. | 0:04:45 | 0:04:47 | |
You've just got to tough it out and make it work. | 0:04:47 | 0:04:49 | |
Do you think Aleksandra should have toughed it out and made it work? | 0:04:49 | 0:04:52 | |
I probably did at the time. | 0:04:52 | 0:04:53 | |
I mean, I'm hearing her explanation. | 0:04:53 | 0:04:55 | |
I'd have liked to have seen her tough it out | 0:04:55 | 0:04:57 | |
and seen it through to the end, actually, yeah, | 0:04:57 | 0:04:59 | |
or at least to the point where it was the end for her. | 0:04:59 | 0:05:02 | |
-I mean, surely you'd watched The Apprentice before. -Yes. | 0:05:02 | 0:05:05 | |
-So you must have known what you were getting yourself into. -Yes. | 0:05:05 | 0:05:08 | |
Well, to that I'll say, sometimes you think going into a relationship | 0:05:08 | 0:05:11 | |
is a great idea and you think, "Oh, yeah, perfect." | 0:05:11 | 0:05:14 | |
Once you're in there, you think, "What on earth was I thinking?" | 0:05:14 | 0:05:18 | |
So, Aleksandra took flight this week. | 0:05:20 | 0:05:22 | |
A surprise, or were the signs there from the start? | 0:05:22 | 0:05:25 | |
Let's have a look where it all went wrong. | 0:05:25 | 0:05:27 | |
I have found the process overwhelming and stressful | 0:05:27 | 0:05:31 | |
and really intense. | 0:05:31 | 0:05:33 | |
Well, ladies, first task. | 0:05:33 | 0:05:35 | |
Headless chickens comes to mind. | 0:05:35 | 0:05:38 | |
Michelle is trying to put all the blame on the market team | 0:05:38 | 0:05:41 | |
and I think she should be very, very careful doing that. | 0:05:41 | 0:05:44 | |
You said you worked well with me on day one. | 0:05:44 | 0:05:45 | |
Because I didn't want to bring | 0:05:45 | 0:05:47 | |
-your confidence down for day two. -Nonsense! | 0:05:47 | 0:05:49 | |
She is an utter nightmare to work with. | 0:05:49 | 0:05:51 | |
Nightmare. | 0:05:51 | 0:05:52 | |
The weakest link would have been Aleksandra in terms of the fact | 0:05:52 | 0:05:56 | |
that she did make mistakes on the pricing. | 0:05:56 | 0:05:58 | |
-I corrected myself, though. -I corrected you. | 0:05:58 | 0:06:00 | |
I don't know what it is, but even though I didn't make a sale, | 0:06:00 | 0:06:03 | |
but I'll blame it on Aleksandra. | 0:06:03 | 0:06:05 | |
I'm going to leave the process. | 0:06:05 | 0:06:07 | |
-AUDIENCE: -Aww! | 0:06:08 | 0:06:09 | |
How does that feel, watching it? | 0:06:09 | 0:06:11 | |
It feels kind of removed, because when I was in it, | 0:06:11 | 0:06:14 | |
you know, I kind of felt so much more emotional at the time | 0:06:14 | 0:06:17 | |
and I was like, "This cannot be like this | 0:06:17 | 0:06:19 | |
"and it must be like the way that I think | 0:06:19 | 0:06:21 | |
"and it has to be more my way." | 0:06:21 | 0:06:23 | |
And kind of now it looks a lot more... | 0:06:23 | 0:06:25 | |
looks light-hearted, it doesn't look so bad, I would say. | 0:06:25 | 0:06:28 | |
I'm sort of genuinely interested, though, | 0:06:28 | 0:06:30 | |
what it is like in the... in the house. | 0:06:30 | 0:06:33 | |
Because one thing I am finding watching this programme, | 0:06:33 | 0:06:36 | |
that I find sort of wearing, in a way, | 0:06:36 | 0:06:39 | |
is that everybody is going on about how brilliant they are all the time. | 0:06:39 | 0:06:42 | |
-Now, does that happen in the house? -Oh, yes. | 0:06:42 | 0:06:44 | |
Is it like The Waltons, but before you go to bed, | 0:06:44 | 0:06:46 | |
there's everybody going, "I am brilliant"? | 0:06:46 | 0:06:49 | |
LAUGHTER | 0:06:49 | 0:06:51 | |
"Are you brilliant?" "I'm brilliant." "I'm brilliant." | 0:06:51 | 0:06:54 | |
"I'm fantastic." | 0:06:54 | 0:06:56 | |
It is very much like that. | 0:06:56 | 0:06:57 | |
How much worse is it in the house, having to live and work together? | 0:06:57 | 0:07:01 | |
That has got to be... There's no escape. | 0:07:01 | 0:07:04 | |
Well, I was in boarding school, actually, as a kid, | 0:07:04 | 0:07:06 | |
so I was used to that kind of thing. | 0:07:06 | 0:07:08 | |
Although living with the candidates is a totally different story. | 0:07:08 | 0:07:12 | |
What was the worst thing about living with them? | 0:07:12 | 0:07:14 | |
Was it...? You know, is it just living with egomaniacs | 0:07:14 | 0:07:17 | |
or was it finding Karthik's monobrow in the plughole every day? | 0:07:17 | 0:07:19 | |
What is it? | 0:07:19 | 0:07:21 | |
LAUGHTER | 0:07:21 | 0:07:22 | |
Frances, have you ever lived and worked together with people? | 0:07:22 | 0:07:26 | |
I can't think of anything more ghastly than having to | 0:07:26 | 0:07:29 | |
live 24/7 with people that I'm working with and competing with. | 0:07:29 | 0:07:32 | |
I love the people I work with, but I've seen what they do | 0:07:32 | 0:07:35 | |
to the kitchen at work. | 0:07:35 | 0:07:37 | |
I can't imagine what the bathroom is like in that house | 0:07:37 | 0:07:40 | |
-and the bedroom, the whole... -How many bathrooms are there, actually? | 0:07:40 | 0:07:43 | |
Well, there were several, but you had... | 0:07:43 | 0:07:45 | |
Hugh's fascinated by the details! | 0:07:45 | 0:07:47 | |
Was there a mixer tap or was it separate taps? | 0:07:47 | 0:07:49 | |
LAUGHTER | 0:07:49 | 0:07:51 | |
-Just curious! -I am genuinely interested in this. | 0:07:51 | 0:07:53 | |
Has it got one of those nonslip mats in the bathroom? | 0:07:53 | 0:07:56 | |
There were some battles, actually, | 0:07:56 | 0:07:58 | |
to do with hygiene, and Paul was at the sort of... | 0:07:58 | 0:08:01 | |
like, leading that and saying, you know, | 0:08:01 | 0:08:03 | |
"Can you please pick up after yourself? | 0:08:03 | 0:08:05 | |
"Wipe that. You've left a stain. That dish is not washed properly." | 0:08:05 | 0:08:08 | |
So, he would kind of be always doing that. | 0:08:08 | 0:08:10 | |
-Oh, that's a surprise. -Yeah. -Gaby, how would you get on in there? | 0:08:10 | 0:08:12 | |
I think I would get... I'd be self-conscious and embarrassed. | 0:08:12 | 0:08:15 | |
I'd want my own space. I can imagine... | 0:08:15 | 0:08:17 | |
And also, if you're used to having your family | 0:08:17 | 0:08:19 | |
and your kids around you, | 0:08:19 | 0:08:20 | |
that's very different than a bunch of adults who are all competing. | 0:08:20 | 0:08:23 | |
We do have a little bit of unseen footage to remind you | 0:08:23 | 0:08:26 | |
of those happy, happy times in The Apprentice House. | 0:08:26 | 0:08:29 | |
Thank you for choosing to stay at The Apprentice House, | 0:08:31 | 0:08:34 | |
your home for the next 12 weeks. | 0:08:34 | 0:08:36 | |
Maybe. | 0:08:36 | 0:08:38 | |
Our patented open-plan accommodation is designed to house | 0:08:38 | 0:08:41 | |
even the most horrifically inflated egos. | 0:08:41 | 0:08:44 | |
Our aqua-gym and in-built sauna are the perfect place | 0:08:44 | 0:08:47 | |
to revive those aching limbs after another brutal mauling from Claude. | 0:08:47 | 0:08:52 | |
Our state-of-the-art kitchen means your ideas might be half-baked, | 0:08:52 | 0:08:55 | |
but your dinner doesn't have to be. | 0:08:55 | 0:08:58 | |
And when the going gets really tough, what better than a pair | 0:08:58 | 0:09:01 | |
of red monkeys exposing themselves to take your mind off it all? | 0:09:01 | 0:09:05 | |
Thank you for choosing The Apprentice House... | 0:09:05 | 0:09:08 | |
Let's start getting into... | 0:09:16 | 0:09:18 | |
We're all so fascinated by the house. | 0:09:18 | 0:09:19 | |
I don't know if you've noticed... | 0:09:19 | 0:09:21 | |
I think it was Karthik opened the wardrobe... Wardrobe? | 0:09:21 | 0:09:23 | |
Cupboard, the kitchen cupboard. Look at that. | 0:09:23 | 0:09:25 | |
-Look at the beans in there! -Yeah. | 0:09:25 | 0:09:27 | |
Did you just live on baked beans in that house? | 0:09:27 | 0:09:29 | |
Yeah, you don't really have time to eat that well. | 0:09:29 | 0:09:31 | |
Is it just for show, though? | 0:09:31 | 0:09:33 | |
No, no, they're real beans for real eating. | 0:09:33 | 0:09:35 | |
-Are they? -Yeah. | 0:09:35 | 0:09:36 | |
They do sort of explain a comment, | 0:09:36 | 0:09:38 | |
a strange comment you made earlier in one of the interviews. | 0:09:38 | 0:09:41 | |
Have a look at this. | 0:09:41 | 0:09:43 | |
The sheer energy that I am going to bring is going to mimic | 0:09:43 | 0:09:46 | |
that of a nuclear explosion. | 0:09:46 | 0:09:49 | |
So, with Aleksandra gone, the fifth candidate to leave | 0:09:51 | 0:09:54 | |
was super-fly, king of the bowtie, Mukai. | 0:09:54 | 0:09:57 | |
Titan's tills rang all the way to the top floor | 0:09:57 | 0:09:59 | |
whilst Nebula's sales got stuck in the service lift in the basement, | 0:09:59 | 0:10:03 | |
and it was early closing for Mukai. | 0:10:03 | 0:10:05 | |
The fault lays here with handbags. | 0:10:05 | 0:10:08 | |
Mukai, I do believe that you did influence Grainne and I don't think | 0:10:08 | 0:10:12 | |
you have the potential of being my business partner. | 0:10:12 | 0:10:16 | |
-Mukai, you're fired. -Thank you, Lord Sugar. | 0:10:16 | 0:10:19 | |
Now, unfortunately, Mukai couldn't be with us tonight. | 0:10:24 | 0:10:27 | |
He's packed up his dickie bows and moved to Japan for a new job. | 0:10:27 | 0:10:30 | |
But we had a techno chat with him earlier and asked him about | 0:10:30 | 0:10:33 | |
his experience in the process. | 0:10:33 | 0:10:34 | |
Hello, everyone. | 0:10:34 | 0:10:36 | |
I'm really sorry I couldn't make it to the studio this evening. | 0:10:36 | 0:10:39 | |
I've just recently got on a plane and moved to Tokyo in Japan. | 0:10:39 | 0:10:44 | |
I'm feeling a little frustrated I got fired, but, you know, | 0:10:44 | 0:10:47 | |
I made my recommendations, | 0:10:47 | 0:10:49 | |
I've said that I've got experience, I know products, | 0:10:49 | 0:10:52 | |
I did sell the highest value item on the task. | 0:10:52 | 0:10:55 | |
But in terms of making a decision, | 0:10:55 | 0:10:58 | |
that was up to the PM at the end of the day. | 0:10:58 | 0:11:00 | |
My personal choice would be bags. | 0:11:00 | 0:11:03 | |
First, handbags. Second, scarves. | 0:11:03 | 0:11:05 | |
So the New York skyline and the Majorca sea view | 0:11:05 | 0:11:09 | |
that was the original concept really didn't come off. | 0:11:09 | 0:11:12 | |
Unfortunately, it ended up being a bit of a fudge. | 0:11:12 | 0:11:14 | |
This is the New York skyline on this side. | 0:11:14 | 0:11:17 | |
I don't get it! | 0:11:17 | 0:11:18 | |
How would I know that's the New York skyline? | 0:11:18 | 0:11:21 | |
What really went wrong is that we didn't use the window effectively. | 0:11:21 | 0:11:24 | |
You get 30% to 40% more footfall if someone stands in the window. | 0:11:24 | 0:11:29 | |
Grainne's decision not to put Rebecca into the window | 0:11:29 | 0:11:32 | |
was a critical one... | 0:11:32 | 0:11:33 | |
Are you not going to use the window at all? | 0:11:33 | 0:11:35 | |
..and I think that was one of the key factors in losing the task. | 0:11:35 | 0:11:39 | |
Mukai, you're fired. | 0:11:39 | 0:11:42 | |
I found The Apprentice process really interesting as a whole. | 0:11:42 | 0:11:46 | |
I think there's a lot of challenges that I didn't expect. | 0:11:46 | 0:11:51 | |
The biggest challenge was actually the other candidates | 0:11:51 | 0:11:54 | |
in the process and working with them in an effective way. | 0:11:54 | 0:11:58 | |
You know, I'm not too upset. | 0:11:58 | 0:11:59 | |
I'm here in Japan now and I'm doing well. | 0:11:59 | 0:12:02 | |
Lots... Lots to talk about. | 0:12:07 | 0:12:10 | |
There's so much to talk about just in what he was saying there. | 0:12:10 | 0:12:13 | |
I mean, if we start with the bags. | 0:12:13 | 0:12:15 | |
Frances, how big a mistake was it | 0:12:15 | 0:12:18 | |
that they followed Mukai and went with bags instead of scarves? | 0:12:18 | 0:12:20 | |
I think that's an absolutely crucial mistake. | 0:12:20 | 0:12:23 | |
That particular store is worldwide renowned for its prints | 0:12:23 | 0:12:27 | |
and its scarves, but I think it's absolutely crucial. | 0:12:27 | 0:12:30 | |
-Did his New York skyline, Hugh...? Have you been to New York? -Yeah. | 0:12:30 | 0:12:33 | |
-Did that take you back there? -No. | 0:12:33 | 0:12:35 | |
LAUGHTER | 0:12:35 | 0:12:38 | |
What was that bit of wallpaper? | 0:12:38 | 0:12:39 | |
That wasn't a bit of wallpaper. That... | 0:12:39 | 0:12:41 | |
With a cloud on, that was a stunning southern Spain resort. | 0:12:41 | 0:12:44 | |
Of course it was(!) Silly me! | 0:12:44 | 0:12:47 | |
Didn't it evoke Andalucian sunsets, sangria, the...? | 0:12:47 | 0:12:50 | |
What were you going to do? | 0:12:50 | 0:12:52 | |
When he said, "Go put her in the window," what was she going to do? | 0:12:52 | 0:12:56 | |
Would you really, if you walked past a London store and you saw | 0:12:56 | 0:13:00 | |
a woman walking around with a handbag | 0:13:00 | 0:13:03 | |
between white columns and a piece of blue wallpaper...? | 0:13:03 | 0:13:07 | |
Yeah, but maybe that's why he didn't do it, | 0:13:07 | 0:13:08 | |
because the scale was all wrong, wasn't it? | 0:13:08 | 0:13:10 | |
If those are actual skyscrapers, she's going to look massive. | 0:13:10 | 0:13:14 | |
Like King Kong wandering around. | 0:13:15 | 0:13:17 | |
Do you think he's actually in Japan as well? Because when... | 0:13:17 | 0:13:20 | |
LAUGHTER | 0:13:20 | 0:13:22 | |
No, because when he said... that he did it in a room | 0:13:23 | 0:13:26 | |
where you couldn't see out of the windows...? | 0:13:26 | 0:13:28 | |
-Didn't he? That filming - there was no daylight. -He did! | 0:13:28 | 0:13:31 | |
-It could have been anywhere. -Did he...? -I reckon Wembley. | 0:13:31 | 0:13:34 | |
Is it a Travel Lodge in Wembley? | 0:13:37 | 0:13:39 | |
Karren said he had an air of superiority, I think. | 0:13:40 | 0:13:43 | |
Not in this task, I think one or two ago. | 0:13:43 | 0:13:45 | |
But did that come across to you? | 0:13:45 | 0:13:47 | |
She said he rubbed people up the wrong way, Gaby. | 0:13:47 | 0:13:49 | |
Absolutely, he did me, and I'm sitting there at home. | 0:13:49 | 0:13:52 | |
-He did you? -Yeah... He didn't do me. | 0:13:52 | 0:13:54 | |
LAUGHTER | 0:13:54 | 0:13:56 | |
No. No, I'll rephrase that. | 0:13:56 | 0:13:58 | |
Not in the Travelodge in... | 0:13:58 | 0:13:59 | |
Certainly not in Wembley. No. | 0:14:01 | 0:14:03 | |
No, he absolutely rubbed me up the wrong way at home. | 0:14:03 | 0:14:07 | |
That's still not right! | 0:14:07 | 0:14:09 | |
That's still not working! | 0:14:10 | 0:14:11 | |
-Still not right? It's getting worse! He was in your house?! -Stop! | 0:14:13 | 0:14:16 | |
I think you can salvage the "at home" bit of that sentence. | 0:14:18 | 0:14:20 | |
OK, thank you. | 0:14:20 | 0:14:22 | |
I was sitting at home watching it and he would irritate me, too. | 0:14:22 | 0:14:25 | |
-How's that? Does that work? -I think that... | 0:14:25 | 0:14:27 | |
-Yeah, we're clear. -Did that work? | 0:14:27 | 0:14:30 | |
So, Mukai has been in the bottom three in the boardroom three times. | 0:14:30 | 0:14:34 | |
Was it third time unlucky or was he lucky to get that far? | 0:14:34 | 0:14:37 | |
I think it was only a matter of time, to be honest. | 0:14:37 | 0:14:39 | |
I think he definitely deserved to go, | 0:14:39 | 0:14:42 | |
but then I also think probably that Grainne | 0:14:42 | 0:14:44 | |
had quite a lucky escape on that, because she was the PM, | 0:14:44 | 0:14:47 | |
she did listen to him in the face of the rest of the team | 0:14:47 | 0:14:50 | |
saying it should be scarves, and then she didn't do the one thing | 0:14:50 | 0:14:53 | |
that might have salvaged it, which we just discussed, | 0:14:53 | 0:14:56 | |
which was putting somebody in there | 0:14:56 | 0:14:57 | |
to try and get some foot fall through. | 0:14:57 | 0:14:59 | |
But also, I believe that she didn't use her artistic... | 0:14:59 | 0:15:01 | |
I believe she's a make-up artist, and she... | 0:15:01 | 0:15:04 | |
she should have that kind of artistic eye | 0:15:04 | 0:15:06 | |
to bring a bit of colour and pop into that, | 0:15:06 | 0:15:07 | |
you know, so I just feel... | 0:15:07 | 0:15:09 | |
Why did she leave the design of the window to Mukai? | 0:15:09 | 0:15:12 | |
Yeah, she shouldn't have done that, perhaps. | 0:15:12 | 0:15:14 | |
Or she should have at least put some input in, cos... | 0:15:14 | 0:15:16 | |
Cos he said he was an expert again. | 0:15:16 | 0:15:19 | |
Face-to-face selling like that, you know, in a shop, | 0:15:19 | 0:15:22 | |
what's the most important thing? | 0:15:22 | 0:15:24 | |
We saw lots of different tactics and flirting to hard-sell to... | 0:15:24 | 0:15:28 | |
Well, I think it's like any type of face-to-face selling. | 0:15:28 | 0:15:30 | |
People have got to like you, but in that one, you can't be too pushy, | 0:15:30 | 0:15:34 | |
because the minute you start to push, you're going to push them away. | 0:15:34 | 0:15:37 | |
And it's really about making them want to buy something | 0:15:37 | 0:15:41 | |
-rather than selling to them, if you know what I mean by that differentiation. -No, I don't. | 0:15:41 | 0:15:46 | |
LAUGHTER | 0:15:46 | 0:15:47 | |
No, I don't. Do you...? | 0:15:47 | 0:15:49 | |
Well, they've got to like you. People want to do business with people they like. | 0:15:49 | 0:15:52 | |
If you storm over there and you're in your face, | 0:15:52 | 0:15:55 | |
they're not going to buy from you. | 0:15:55 | 0:15:57 | |
Alternatively, if you do what Sofiane did | 0:15:57 | 0:15:59 | |
and just completely ignore the buying sale from the woman who said, | 0:15:59 | 0:16:01 | |
"I'd like one in black," and he went, "Oh, I think" there's one over there. | 0:16:01 | 0:16:04 | |
-Yeah, that was a very odd moment. -Yeah. | 0:16:04 | 0:16:06 | |
You're not going to sell anything like that, so... | 0:16:06 | 0:16:09 | |
So you're saying it's sort of... The technique is to make | 0:16:09 | 0:16:11 | |
somebody like you enough that they kind of go, | 0:16:11 | 0:16:14 | |
I want to buy something...for this person to fulfil something... | 0:16:14 | 0:16:17 | |
-Yeah, I think Jessica did it really well. I think she was... -Yay! | 0:16:17 | 0:16:21 | |
She was quite lively. She was approachable. | 0:16:22 | 0:16:25 | |
She was fun, but she was efficient with it. | 0:16:25 | 0:16:27 | |
So I think she nailed it pretty well. | 0:16:27 | 0:16:29 | |
It was a bad week for Mukai, but every cloud | 0:16:29 | 0:16:31 | |
has a silver lining, and it was a damn good week for awkward hugs. | 0:16:31 | 0:16:35 | |
Yes, you guessed it. It's time for Awkward Hug Of The Week. | 0:16:39 | 0:16:42 | |
At three, she's here tonight. | 0:16:42 | 0:16:43 | |
It's Alexandra and Rebecca with their | 0:16:43 | 0:16:46 | |
"I feel slightly obliged to give you a hug, even though nobody else is giving you a hug" hug. | 0:16:46 | 0:16:50 | |
-Good luck. -Thank you. | 0:16:53 | 0:16:55 | |
Straight in at number two... | 0:17:01 | 0:17:03 | |
It's a reluctant one-armed bandit from Mukai on his nemesis, Grainne. | 0:17:03 | 0:17:07 | |
The "I don't like you enough to bother lifting my other arm" hug. | 0:17:07 | 0:17:10 | |
Sorry, dude. | 0:17:11 | 0:17:12 | |
But our Awkward Hug Of The Week this week goes to Dillon for his | 0:17:18 | 0:17:22 | |
astonishing switcheroo. | 0:17:22 | 0:17:24 | |
The old "now you hug me, now you don't" on Alana. | 0:17:24 | 0:17:27 | |
Keep your eye on him. | 0:17:27 | 0:17:28 | |
-It's amazing, isn't it? -It is amazing. -Isn't that amazing? | 0:17:37 | 0:17:40 | |
Blink and you miss it. I want to see it again. Let's see it again. | 0:17:40 | 0:17:42 | |
It's incredible. It's incredible. | 0:17:42 | 0:17:44 | |
It's, "Oh, God, it's Alana. Abort, abort, abort." | 0:17:50 | 0:17:53 | |
Hugh, would you have gone through with... | 0:17:54 | 0:17:56 | |
-I mean, once you've committed to that... -Yeah, yeah. I like hugging a lot. | 0:17:56 | 0:18:00 | |
I don't care who I hug, to be honest. Not bothered. | 0:18:00 | 0:18:02 | |
-Would you have committed to that hug? -I would have. | 0:18:02 | 0:18:05 | |
-Or would you have walked out halfway through? -No, I would have... | 0:18:05 | 0:18:07 | |
-It's a cheap shot. Don't bother answering. It's just a silly joke. -I like hugs, too, so yeah. | 0:18:07 | 0:18:13 | |
You like hugs, too. Well, it was just a silly joke. | 0:18:13 | 0:18:15 | |
Who else has caught your eye this week, Frances? | 0:18:17 | 0:18:20 | |
I like Trishna. I think she speaks a lot of sense. | 0:18:20 | 0:18:25 | |
I'd like to see her go forward, and I quite like Paul as well. | 0:18:25 | 0:18:29 | |
I think, you know, he has a lot of good things to say. | 0:18:29 | 0:18:32 | |
I think he's going to have to control his frustration. | 0:18:32 | 0:18:35 | |
You know, the box-throwing moment. | 0:18:35 | 0:18:37 | |
Do you think he'd learned from that this week? He seemed to be a bit... | 0:18:37 | 0:18:40 | |
calmer. | 0:18:40 | 0:18:42 | |
He probably was a bit calmer, but perhaps there was less irritating things going on. | 0:18:42 | 0:18:46 | |
-And he did quite well at certain times. -Yeah, he did. | 0:18:46 | 0:18:48 | |
And, as I say, he upsold very well. | 0:18:48 | 0:18:50 | |
Who's caught your eye, Gaby? | 0:18:50 | 0:18:52 | |
-Well, obviously, Jess. -Jessica. | 0:18:52 | 0:18:53 | |
I'm a huge fan of hers, but I also now... | 0:18:53 | 0:18:57 | |
I've suddenly changed overnight to Karthik. | 0:18:57 | 0:19:00 | |
He was driving me mad. | 0:19:00 | 0:19:02 | |
But I thought he was so warm in the personal shopping bit. | 0:19:02 | 0:19:06 | |
I suddenly saw a different side of him and I was really impressed. | 0:19:06 | 0:19:09 | |
-We've definitely seen a different side of Karthik, then. -Yes, yes. | 0:19:09 | 0:19:12 | |
He's totally changed. | 0:19:12 | 0:19:13 | |
He was given the task and he said, "OK, I'm going to make | 0:19:13 | 0:19:16 | |
"the most of it and do the task in hand," and he did that so well. | 0:19:16 | 0:19:19 | |
I really have done 360 on him. | 0:19:19 | 0:19:22 | |
-I was screaming at the TV, like you. -Don't start this again. | 0:19:22 | 0:19:25 | |
And I thought he was... I think he's so warm and genuine. | 0:19:25 | 0:19:29 | |
He's definitely... | 0:19:29 | 0:19:31 | |
I think, technically, if you go 360, you end up pointing in the exact... | 0:19:32 | 0:19:36 | |
-180. 180. -180. -Do a 180. | 0:19:36 | 0:19:38 | |
No, because by next week, I'll probably be all the way back again. | 0:19:41 | 0:19:45 | |
You're going to do another 360 on him next week? | 0:19:45 | 0:19:47 | |
-No, by next week... -You would have done the old 720. | 0:19:47 | 0:19:49 | |
"Done the old 720 and I feel exactly about him now as I always have, in fact." | 0:19:51 | 0:19:57 | |
-JD had a funny old week, didn't he? A quiet week. -Oh, bless him. | 0:19:57 | 0:20:01 | |
-Bless him. -Yes, he looked like a heavy in a... | 0:20:01 | 0:20:05 | |
He did look like he was a secret service agent | 0:20:05 | 0:20:08 | |
in the background, and he's, "Got the tea?" | 0:20:08 | 0:20:10 | |
Yeah. Is that why the tea became so important, Hugh, because that's all he had? | 0:20:13 | 0:20:17 | |
Yeah, probably. It was his job, but he did it really well. | 0:20:17 | 0:20:21 | |
He really wrestled it under control. How did you get on with JD? | 0:20:23 | 0:20:26 | |
-He seems like a straight guy. -He's a very... He's a great person. | 0:20:26 | 0:20:30 | |
You know, he's a bit more serious, I think, in the house. | 0:20:30 | 0:20:32 | |
He kind of keeps to himself a little bit, makes his tea, | 0:20:32 | 0:20:35 | |
prepares his lunch, eats it, and kind of sits... He always used to go on his own, really. | 0:20:35 | 0:20:40 | |
But I really like him. He's also a very, very lovely guy. | 0:20:40 | 0:20:44 | |
Is he starting to run out of steam, though, do you think...? | 0:20:44 | 0:20:48 | |
-He was very lost this week. -I think he's got a lot to offer. | 0:20:48 | 0:20:51 | |
Well, JD might not have quite found a place for all his skills | 0:20:51 | 0:20:54 | |
this week, but he wasn't entirely useless. | 0:20:54 | 0:20:57 | |
JD, no offence, but what were you doing? | 0:20:58 | 0:21:01 | |
Yeah, I certainly struggled to find a place where I was...well, needed. | 0:21:01 | 0:21:06 | |
Do you think we should have asked their clothing size? | 0:21:06 | 0:21:08 | |
No, definitely not. I think it's a little bit intrusive on the phone. | 0:21:08 | 0:21:11 | |
JD, did you find out about the tea? | 0:21:14 | 0:21:16 | |
I did. It's under control. | 0:21:16 | 0:21:18 | |
Feeling happy with that one? | 0:21:20 | 0:21:22 | |
-We need something from your side. -Make the exchange, JD, for Jessica. | 0:21:25 | 0:21:28 | |
You did make a mean cup of tea. | 0:21:31 | 0:21:33 | |
Aleksandra, I'm sorry you felt you had to leave the process, | 0:21:43 | 0:21:46 | |
but let's see what advice Lord Sugar has for you. | 0:21:46 | 0:21:48 | |
Aleksandra, a very confident lady. Very positive, spoke her mind, | 0:21:50 | 0:21:54 | |
got involved, and I think that was quite impressive. | 0:21:54 | 0:21:58 | |
I've often told people that this is a tough process. | 0:21:59 | 0:22:02 | |
She's not the first to have felt homesick, | 0:22:02 | 0:22:04 | |
not the first to have missed her family and all that stuff. | 0:22:04 | 0:22:08 | |
How would she improve her ways? | 0:22:08 | 0:22:09 | |
You can't improve on that, because if that is how she feels, | 0:22:09 | 0:22:13 | |
it's a very commendable feeling. | 0:22:13 | 0:22:15 | |
It's just that, you know, | 0:22:15 | 0:22:16 | |
perhaps she shouldn't put herself forward for anything in | 0:22:16 | 0:22:19 | |
future which requires her to be away from her family and loved ones. | 0:22:19 | 0:22:23 | |
Yeah, I mean, I completely agree with that, because before I had kids, | 0:22:26 | 0:22:32 | |
I did the sort of work that took me around the world, | 0:22:32 | 0:22:37 | |
really, and I would never take a job like that now, | 0:22:37 | 0:22:40 | |
since having kids, where I leave them, because they are part of | 0:22:40 | 0:22:44 | |
my life as well. | 0:22:44 | 0:22:45 | |
-So you agree with him totally? -Only about the family thing. | 0:22:45 | 0:22:48 | |
You made your own decision, as you know, to leave the process, | 0:22:49 | 0:22:52 | |
but do our panel feel it was the right decision? Frances? | 0:22:52 | 0:22:57 | |
-No, I would like to have seen you stay longer. -Thank you. -Gaby? | 0:22:57 | 0:23:01 | |
Hearing what you have to say now, I understand the family thing, | 0:23:01 | 0:23:04 | |
so I wish you the very best of luck. | 0:23:04 | 0:23:06 | |
Thank you. | 0:23:06 | 0:23:07 | |
Hugh? | 0:23:07 | 0:23:09 | |
I think it's a shame that you're not in subsequent programmes, | 0:23:09 | 0:23:12 | |
but I absolutely understand why you've done what you've done. | 0:23:12 | 0:23:16 | |
-OK. -Thanks very much. | 0:23:16 | 0:23:17 | |
Understanding from the panel, but let's see what the audience think. | 0:23:17 | 0:23:20 | |
If you agree with Aleksandra's decision to walk, hold up "fired". | 0:23:20 | 0:23:25 | |
If you disagree, then hold up "hired" now, please. | 0:23:25 | 0:23:29 | |
Ooh. | 0:23:35 | 0:23:37 | |
It is very, very close, | 0:23:37 | 0:23:39 | |
but our audience think you made the right decision to walk. | 0:23:39 | 0:23:43 | |
Yeah! | 0:23:43 | 0:23:44 | |
Aleksandra, you took control of your own destiny, | 0:23:47 | 0:23:49 | |
you left the process voluntarily, but nobody leaves here empty-handed. | 0:23:49 | 0:23:54 | |
Now, I started making you a "sorry you're leaving" cake. | 0:23:54 | 0:23:59 | |
Oh, really? | 0:23:59 | 0:24:01 | |
Unfortunately, I wasn't enjoying the process, | 0:24:01 | 0:24:03 | |
so I left it halfway through. | 0:24:03 | 0:24:05 | |
LAUGHTER AND APPLAUSE | 0:24:05 | 0:24:08 | |
It's half-made. | 0:24:11 | 0:24:13 | |
You've got hundreds and thousands and little baubles there. | 0:24:13 | 0:24:15 | |
You've got everything to carry on making it yourself if you so choose. | 0:24:15 | 0:24:18 | |
This is the best gift, because my daughter asked me, | 0:24:18 | 0:24:21 | |
"Mum, whatever present you get, can I have it?" | 0:24:21 | 0:24:23 | |
-Yes, of course you can, Isabella. -You certainly can. | 0:24:23 | 0:24:26 | |
We're going to bake some cakes. Thank you very much. | 0:24:26 | 0:24:29 | |
Obviously Mukai isn't with us tonight, but we did post | 0:24:29 | 0:24:32 | |
his goodbye gift to him in Tokyo. | 0:24:32 | 0:24:34 | |
On the task, he was banging on about something so much | 0:24:34 | 0:24:36 | |
that we felt we had to do something. | 0:24:36 | 0:24:38 | |
Here's the moment he unwrapped his gift. | 0:24:38 | 0:24:41 | |
Thanks, Rhod, for the gift. I've just received it today in the post. | 0:24:41 | 0:24:45 | |
As you can see, it's Rebecca in the window. | 0:24:47 | 0:24:51 | |
Unfortunately, it's a couple of days too late for me to get unfired, | 0:24:51 | 0:24:56 | |
but many thanks and I appreciate it. | 0:24:56 | 0:24:58 | |
Grainne, there you go. | 0:24:58 | 0:25:00 | |
He was very, very keen to see Rebecca in the window. | 0:25:02 | 0:25:05 | |
Now he can look at her each and every day for the rest of his life. | 0:25:05 | 0:25:09 | |
Aleksandra, thanks so much for coming on the show. | 0:25:09 | 0:25:11 | |
I hope you've enjoyed it. Let's have a look at your highlights. | 0:25:11 | 0:25:14 | |
Oh, Aleksandra, I think she's so eloquent, I find her so interesting. | 0:25:18 | 0:25:23 | |
-Very toned. -I get on really well with Aleksandra. | 0:25:23 | 0:25:26 | |
We're down there, we sell lovely vintage things. | 0:25:26 | 0:25:28 | |
-I'm sad she left. -Yes, you love it? You've got a deal. | 0:25:28 | 0:25:31 | |
Sold to the lovely man. She's like, "Yeah, I'm in power." | 0:25:31 | 0:25:35 | |
If you hold a beautiful, big diamond in your hand, | 0:25:36 | 0:25:39 | |
that's going to have some weight to it. | 0:25:39 | 0:25:40 | |
I think she would have done really well if she'd continued | 0:25:40 | 0:25:43 | |
and persisted, but it's everybody for themselves, really. | 0:25:43 | 0:25:47 | |
Nebula, it's an interstellar collection of gas and dust, | 0:25:48 | 0:25:51 | |
and it's basically where stars like us are born. | 0:25:51 | 0:25:54 | |
Overall, when all's said and done, | 0:25:58 | 0:26:01 | |
-are you glad you went on The Apprentice? -100%. | 0:26:01 | 0:26:04 | |
Rhod, sorry, I've just got something to say. I'm leaving. | 0:26:04 | 0:26:08 | |
LAUGHTER | 0:26:08 | 0:26:12 | |
It's not a joke, I'm leaving the process because, to be honest, | 0:26:15 | 0:26:20 | |
I haven't enjoyed it. So, um... | 0:26:20 | 0:26:23 | |
I'm sorry, I just don't feel... | 0:26:28 | 0:26:30 | |
I'll come back for that, but I just need to. | 0:26:30 | 0:26:32 | |
We seem to be going together, which is quite exciting, to be honest. | 0:26:32 | 0:26:36 | |
-Thank you, bye. -Right, let's crack on! | 0:26:36 | 0:26:38 | |
Saved me a cab fare, anyway. | 0:26:39 | 0:26:41 | |
Saved me two cab fares. | 0:26:42 | 0:26:44 | |
Ladies and gentlemen, Aleksandra King and Hugh Dennis. | 0:26:46 | 0:26:50 | |
Also, please thanks to our guests who stayed, | 0:26:52 | 0:26:55 | |
Frances Dickens and Gaby Roslin. | 0:26:55 | 0:26:57 | |
CHEERING AND APPLAUSE | 0:26:57 | 0:27:02 | |
If you want to see more of The Apprentice, | 0:27:03 | 0:27:05 | |
head over to BBC iPlayer, where you can watch exclusive clips | 0:27:05 | 0:27:08 | |
and find out everything you need to know about this year's series. | 0:27:08 | 0:27:11 | |
Next week, our candidates will be running their own | 0:27:11 | 0:27:14 | |
crowd-funding campaign to raise money for some cycling products. | 0:27:14 | 0:27:18 | |
For your next task, | 0:27:18 | 0:27:19 | |
I want you to bring a new cycling product to market. | 0:27:19 | 0:27:23 | |
Three, two, one. | 0:27:23 | 0:27:25 | |
I feel like I'm in Tron. | 0:27:28 | 0:27:29 | |
-I think it's really cool. -That's amazing. | 0:27:29 | 0:27:31 | |
-I think we're onto a winner. -Riding our cycles through London. | 0:27:31 | 0:27:34 | |
You are so rude to me. | 0:27:34 | 0:27:37 | |
-I just don't think we can get crowd-funding into a song. -Stop. | 0:27:37 | 0:27:40 | |
Stop! Stop! | 0:27:40 | 0:27:43 | |
# Don't blame it on the sunshine Don't blame it on the moonlight | 0:27:43 | 0:27:46 | |
# Don't blame it on the good times | 0:27:46 | 0:27:48 | |
# Blame it on the boogie. # | 0:27:48 | 0:27:50 | |
Does that make sense or was that stupid? | 0:27:50 | 0:27:52 | |
-Hashtag London, hashtag crowd-funding. -Hashtag concern. | 0:27:53 | 0:27:56 | |
You're concentrating too much on one aspect. | 0:27:56 | 0:27:58 | |
-If he doesn't want to listen to me, that's fine, let's lose. -And relax. | 0:27:58 | 0:28:01 | |
-Cut it there. -Hold on. I'm not having this conversation. | 0:28:01 | 0:28:04 | |
I am in the right room, thank you very much. | 0:28:04 | 0:28:07 | |
I will eat my shorts if that gets traction on social media. | 0:28:07 | 0:28:11 | |
Who will get the winners' yellow jerseys and who will be | 0:28:11 | 0:28:14 | |
our Lance Armstrong? | 0:28:14 | 0:28:15 | |
I'll be back next Thursday at 10 for more You're Fired, when I'll | 0:28:15 | 0:28:18 | |
be joined by Allyson Stewart-Allen, Jenny Eclair and Guz Khan. | 0:28:18 | 0:28:21 | |
Goodnight. | 0:28:21 | 0:28:22 | |
APPLAUSE | 0:28:22 | 0:28:27 |