Browse content similar to 22/03/2016. Check below for episodes and series from the same categories and more!
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On yesterday's show Bill Turnbull led a yoga class near the studio. | :00:10. | :00:15. | |
Unfortunately, Aled got a bit carried away. It's me and Sara who | :00:16. | :00:21. | |
will be guiding you through the highlights including Greg McHugh who | :00:22. | :00:27. | |
is here to talk about a new drama series The A word. I bet Aled is | :00:28. | :00:39. | |
fine, he is just wagging it APPLAUSE | :00:40. | :00:41. | |
Hello and welcome. Of course, we were joking about the yoga. Aled is | :00:42. | :00:46. | |
poorly. He is resting at home. We know he is watching. Get well soon, | :00:47. | :00:49. | |
Aled. We love you. Well, we are fond of you. Coming up we are joined by a | :00:50. | :00:55. | |
lady who has more talent than I have teeth and I am toothsome. She is an | :00:56. | :01:02. | |
actor, singer, comedian, Queen of impersonations, she's Debra | :01:03. | :01:05. | |
Stephenson and hereditary to talk us through the -- and is here to talk | :01:06. | :01:13. | |
us through catchphrases. Another star will be telling us which | :01:14. | :01:16. | |
legendary show she would like to bring back. Here is a clue, it | :01:17. | :01:21. | |
starred a medical examiner who had a sidekick called Sam. And another | :01:22. | :01:27. | |
show for you, we have professional warm-up artist Karl Lucas. Greg | :01:28. | :01:32. | |
McHugh is here ahead of tonight's first episode of The A-Word. First, | :01:33. | :01:36. | |
in other news there is going to be a Fawlty Towers stage show, girls and | :01:37. | :01:45. | |
boys, isn't that exciting? Here is Stephen Hall introducing the new | :01:46. | :01:50. | |
Basil. Fawlty Towers fact fans, in the 80s, America did their own | :01:51. | :01:54. | |
version, they called it Amanda's by The Sea. Here is their Basil, a | :01:55. | :02:00. | |
lady. Look at that lady face. She us a called Bea Arthur and of course is | :02:01. | :02:04. | |
Dorothy in Golden girls. After saying hello to the new Basil we are | :02:05. | :02:09. | |
saying bye to another classic TV character, Barbara Windsor. She | :02:10. | :02:15. | |
started to film her final EastEnders scenes as Peggy Mitchell. Get out of | :02:16. | :02:22. | |
my pub! The soap posted a photo right there of Dame Babs dressing | :02:23. | :02:26. | |
room to she she is on set but not for long. Peggy will make a final | :02:27. | :02:30. | |
appearance in late spring. She's been part of the cast for so many | :02:31. | :02:33. | |
years now, I think it's going to be emotional. Of course, I don't | :02:34. | :02:37. | |
believe she's going until I see BBC security Escort her off the premises | :02:38. | :02:41. | |
of the set, I don't believe it. She is back and forth on it. Time to | :02:42. | :02:51. | |
meet our first guest, Greg McHugh. He is a BAFTA nominated writer, and | :02:52. | :02:58. | |
star of the Newham dra The A word, here is talking about his grandson. | :02:59. | :03:01. | |
She had a follow-up at the hospital today. Stay out of their business. | :03:02. | :03:06. | |
Don't be ridiculous, it's my grandson. It's my business too. It | :03:07. | :03:09. | |
must be great being so certain about everything. Are you saying the boy | :03:10. | :03:14. | |
is normal? Are you saying there is nothing wrong with him? Come on! | :03:15. | :03:21. | |
Go absolutely bonkers for Greg McHugh! | :03:22. | :03:26. | |
Thank you very much. Your people love you. Well, I love them. | :03:27. | :03:35. | |
Two things. First, Christopher Eccleston playing a grandad makes me | :03:36. | :03:40. | |
feel old. He is bt fitter than me. Lovely man. Can we talk about the | :03:41. | :03:45. | |
leg? Yeah, we can talk about it. Crutches. It was one of those, when | :03:46. | :03:51. | |
you do too many spins and you kick. It was like too many. It was one of | :03:52. | :03:56. | |
those rotation ones. A street fight? It was a massive street fight. You | :03:57. | :04:00. | |
should see the other 25 guys. We heard you slipped at a party. Did | :04:01. | :04:08. | |
you? OK. All right. Tell us about The A word. There's been a kerfuffle | :04:09. | :04:15. | |
about it. There is a buzz about it? A young guy has been diagnosed being | :04:16. | :04:19. | |
on the autism spectrum. It's about how the family cope with the | :04:20. | :04:23. | |
diagnosis and how the family discover their own communication is | :04:24. | :04:29. | |
lacking and the impact that has. It's emotive but also has lovely | :04:30. | :04:34. | |
moments of light and shade and comedy, not strict comedy, it's a | :04:35. | :04:37. | |
mixture of things going on. You play uncle Eddie. What is he about? I | :04:38. | :04:42. | |
play poor old Eddie. Eddie has come back into the family fold. His | :04:43. | :04:45. | |
business in London is failing. His wife's had an affair. He is a lucky | :04:46. | :04:52. | |
guy. Like myself. So, it's really an interesting piece because the main | :04:53. | :04:55. | |
strand is the diagnosis of Joe, the character, but also the other | :04:56. | :04:59. | |
strands of Eddie and his wife and what's happened. Stuff like that. | :05:00. | :05:05. | |
Lucky to be part of it. I read it was a personal thing for the writer. | :05:06. | :05:12. | |
Peter Bowker. Why is that? I think Peter had worked with people with | :05:13. | :05:18. | |
special needs and people on the autism spectrum for around 12 years. | :05:19. | :05:21. | |
He had obviously - it's something close to his heart and he has | :05:22. | :05:24. | |
experience of that. He managed to get it into this form. You can | :05:25. | :05:28. | |
really tell because the scripts are very heartfelt and it's a moving | :05:29. | :05:34. | |
piece. Also the little boy Joe is played brilliantly by Max. It's a | :05:35. | :05:40. | |
demanding role. It was, yeah. How did that work? He is phenomenal. He | :05:41. | :05:45. | |
is a six-year-old boy. He is not on the autism spectrum but he is | :05:46. | :05:50. | |
playing a boy who is. So, it took a lot of kind of explaining but not | :05:51. | :05:53. | |
overexplaining to this young guy. You are playing this individual who | :05:54. | :05:56. | |
has some difficulties or some positives... How did they do it? | :05:57. | :06:01. | |
They said you have to look dreamy now, did they use different ways? | :06:02. | :06:05. | |
There was all kinds of phrase to see get the performance out. Max had a | :06:06. | :06:10. | |
really kind of bizarre and natural understanding of what he was doing. | :06:11. | :06:14. | |
Yeah, you would have shortcuts to do. He is just mess meshic on the | :06:15. | :06:21. | |
screen. He is six. Did he have days where he didn't feel like playing | :06:22. | :06:27. | |
it? No. No, overall he was brilliant. Long days and obviously | :06:28. | :06:34. | |
had the chaperone. It's still a challenging job. You filmed in the | :06:35. | :06:39. | |
Lake District. Emma thinks I am daft asking this, did you do any | :06:40. | :06:45. | |
canoeing? This is a serious interview! A bit of Orienteering? In | :06:46. | :06:55. | |
November after a 12-hour day, anyone off for canoeking? I fancy that? We | :06:56. | :07:00. | |
did go for walks and stuff. There wasn't that many hours of light. We | :07:01. | :07:09. | |
did get out, it was the local pub. You have done writing yourself | :07:10. | :07:15. | |
before. Yeah. With Gary Tank Commander. That could be the next | :07:16. | :07:27. | |
one I do. There you are. I got quite excited. The uniform. | :07:28. | :07:31. | |
The uniform and the crutches got you wild, didn't it? That's the ideal | :07:32. | :07:37. | |
combination. What an insight. What do you prefer, do you prefer writing | :07:38. | :07:41. | |
side or being an actor? No, being an actor is better. If you do the | :07:42. | :07:46. | |
quality work that Peter is going to give you words for or Sam and Jessie | :07:47. | :07:52. | |
from Fresh Meat to do those words is great. On your own, writing is like | :07:53. | :07:59. | |
you have to get up and do it. That takes ages. More like proper work. | :08:00. | :08:04. | |
When other actors are doing your script how do you feel about that? | :08:05. | :08:08. | |
That's good, if they get it right. It's lovely. It's a real honour if | :08:09. | :08:14. | |
someone else is doing your work. Overall, I enjoy writing but I | :08:15. | :08:17. | |
prefer probably acting. Let's watch a little bit of Fresh Meat because I | :08:18. | :08:21. | |
know fans are obsessed with you as Howard with a hairy face there. | :08:22. | :08:27. | |
JP played by Jack Whitehall. Was it fun to film? Was there improv going | :08:28. | :08:34. | |
on? Not a lot. Occasionally there is but the scripts are tightly written. | :08:35. | :08:39. | |
Occasionally Jack and I did play a little bit but we were reined in and | :08:40. | :08:44. | |
stick to the words, because they worked. Instead of just jazz it up. | :08:45. | :08:49. | |
No, it's not as funny. Stick to it, sunshine! It's good and it works and | :08:50. | :08:52. | |
they're brilliant writers. It works. People love it. It's about students | :08:53. | :09:00. | |
at university. If you have not seen, it it's hugely popular. You can | :09:01. | :09:05. | |
catch it. Howard, what do you say to me and your lovely brain table | :09:06. | :09:13. | |
taking a study cruise down the historic aquatic? Let me guess. Just | :09:14. | :09:24. | |
pure hard core study. JP, I will not be joining you on your ship of | :09:25. | :09:29. | |
fools. Brilliant. Fresh Meat does come to | :09:30. | :09:34. | |
an end I am afraid. The A word is just starting. We can't wait to | :09:35. | :09:39. | |
watch it, it's BBC One 9.00pm tonight. Thank you so much, Greg! | :09:40. | :09:43. | |
Thank you so much. Hope your leg gets better. Thanks. | :09:44. | :09:51. | |
You are probably going to find a rice crispy when you take that off. | :09:52. | :09:59. | |
A whole box I think. What links together Juliet Bravo, Worzel | :10:00. | :10:03. | |
Gummidge and Blankety Blank? All your tattoos? Well done. It's also | :10:04. | :10:08. | |
the three shows that our TMTV celebrities have said they want to | :10:09. | :10:11. | |
bring back. Tonight it's Tim Vine's choice. | :10:12. | :10:25. | |
My name's Tim Vine and I would like to bring back Quincey. | :10:26. | :10:38. | |
The central character is called Quincy played by Jack Klugman. | :10:39. | :10:42. | |
Possibly the best wig ever in television. He is very passionate | :10:43. | :10:47. | |
about his job as a medical examiner. His job is when someone's died he | :10:48. | :10:51. | |
looks at the body, what have they died of? We are looking at murder in | :10:52. | :10:54. | |
the first degree. Most doctors deal with what's in front of them. And | :10:55. | :10:58. | |
the stuff that's for the police is for the police. No one told Quincy | :10:59. | :11:03. | |
that. He is hungry for justice and to hell with the rulebook. What | :11:04. | :11:11. | |
about right or wrong? This man is a medical examiner and ends up almost | :11:12. | :11:15. | |
always in a fist fight with a crook. I believe the show started in 1976 | :11:16. | :11:23. | |
tan ended in 1983, so about seven years and in that time did 148 | :11:24. | :11:27. | |
episodes. My parents and I once we discovered Quincy that was it. I | :11:28. | :11:33. | |
love the fact he is almost always angry: You almost expect to see him | :11:34. | :11:36. | |
shouting at his cereal in the morning. How long does it take to | :11:37. | :11:39. | |
plan a lousy wedding? These things have to be checked and double | :11:40. | :11:45. | |
checked! Always almost single case he is involved with he always ends | :11:46. | :11:50. | |
up going to his superior. Inside, please! Whose name I don't know. He | :11:51. | :11:56. | |
says... We are being used by Brady, by the politicians and big orpgs | :11:57. | :12:01. | |
corporations. The sidekick, unnaturally placid Sam who pretty | :12:02. | :12:04. | |
much takes everything on the chin. Do you have the death certificate | :12:05. | :12:09. | |
made up? You are a ray of sunshine. What is he still doing working with | :12:10. | :12:15. | |
Quincy? You always make an argument out of things. You throw into the | :12:16. | :12:19. | |
mix a short policeman with white hair who really thinks police | :12:20. | :12:24. | |
business is police business and it's none of Quincy's business. What's | :12:25. | :12:27. | |
going on? One of the great things I love is the way it's filmed. That | :12:28. | :12:32. | |
sort of everyone's dressed as though they're from the 70s. Because | :12:33. | :12:35. | |
they're from the 70s. It's got a lovely look to it. At the end of | :12:36. | :12:41. | |
every episode they all go to this pizza restaurant and go did you get | :12:42. | :12:44. | |
the guy in the end? I did, yeah. There's something wrong with this | :12:45. | :12:49. | |
pepperoni. Tell me about it. They all pause like that. Well, it's a | :12:50. | :12:53. | |
freeze frame. These are the days they used to do a freeze frame at | :12:54. | :12:56. | |
the end of the episode. You know, television takes itself too | :12:57. | :12:59. | |
seriously now. Let's have more freeze frames before the credits. | :13:00. | :13:06. | |
When you get a character that you really love you end up feeling a | :13:07. | :13:08. | |
certain amount of affection for him. Really? So I love Quincy. It's a | :13:09. | :13:15. | |
brilliant show. They should bring back Quincy. | :13:16. | :13:24. | |
Ah! Wasn't that great everyone? Wasn't it good everybody? | :13:25. | :13:29. | |
You lot need warming up, seriously guys. Luckily we have a man here who | :13:30. | :13:34. | |
is great at that job. TV warm-up artist Karl Lucas is here. | :13:35. | :13:40. | |
En Karl, you are a professional warm-up act for TV. For those who | :13:41. | :13:43. | |
don't know what that means, can you tell us what you do. | :13:44. | :13:47. | |
I come in and entertain a crowd of people watching a TV show. Sometimes | :13:48. | :13:53. | |
on a TV show it takes three or four or five hours to record a one-hour | :13:54. | :13:57. | |
or 45-minute show. This is live. This is great. You have a studio | :13:58. | :14:01. | |
audience here, if you did, it would be better. A live show is brilliant. | :14:02. | :14:05. | |
On a pre-recorded show, you can take a long time so you need an idiot | :14:06. | :14:09. | |
like me to tell jokes, keep them all lively and have a good laugh. What | :14:10. | :14:15. | |
shows have you done? The Voice, Strictly Come Dancing, X Factor, | :14:16. | :14:20. | |
Loose Women is my favourite, ten years I have done that. Celebrity | :14:21. | :14:24. | |
Juice. Loads of shows. We have a clip of you from this afternoon's | :14:25. | :14:29. | |
Loose Women. This is what you do, you get them all excited about the | :14:30. | :14:34. | |
show. This is before they come in? Basically, they coming in and you | :14:35. | :14:37. | |
have to get them to a level where they are going to enjoy your show, | :14:38. | :14:43. | |
have a laugh. It is great. I love a bit of backstage, behind-the-scenes | :14:44. | :14:46. | |
of Loose Women. What are you doing there? It is like some sort of cult, | :14:47. | :14:53. | |
almost! Yes. Were they shaking hands, meeting each other? It is | :14:54. | :15:01. | |
like Butlin's. Not Butlin's. It is about having fun and let them know | :15:02. | :15:04. | |
they can enjoy the show as much as the people at home. Is there a show | :15:05. | :15:08. | |
that is tricky to do? A particularly type of show? The first show was the | :15:09. | :15:13. | |
hardest, University Challenge. Tough crowd! Especially when they are | :15:14. | :15:17. | |
clever. This lot will laugh at anything! It was tough. Half the | :15:18. | :15:24. | |
audience were young people and half were, like, older people shipped in. | :15:25. | :15:28. | |
And then I had to, like, do jokes across the barrier. It didn't work. | :15:29. | :15:36. | |
I did get an old woman make Jeremy Paxman do a Bruce Forsyth | :15:37. | :15:40. | |
impression. AS SIR BRUCE FORSYTH: Nice to see | :15:41. | :15:48. | |
you, to see you nice! Other celebs, famous comedians, they started off | :15:49. | :15:53. | |
doing your gig, like Peter Kay, Jimmy Carr, is it a good place to | :15:54. | :15:58. | |
start? Most comedians want to try material out on an audience and get | :15:59. | :16:02. | |
in there and start their career off. I'm a bit lazy. I enjoy doing | :16:03. | :16:07. | |
warm-up. I'm more of an entertainer than a comedian. You are top of your | :16:08. | :16:12. | |
game at doing this. I love doing it. Most move on. Peter did it on | :16:13. | :16:18. | |
Parkinson, and then... Alan Carr was on Jonathan Ross. How did you get | :16:19. | :16:22. | |
into it? I have always been an idiot. I like to show off. I like | :16:23. | :16:29. | |
making people laugh. The idea of - I started at college, I did game shows | :16:30. | :16:34. | |
in the break, I was hosting things. I went on to studios tours, a friend | :16:35. | :16:42. | |
of mine saw me and said, "Come over and do University Challenge." We | :16:43. | :16:45. | |
have some clips of you with your celebrity friends. We have a nice | :16:46. | :16:51. | |
snapshot of you where you have grabbed hold of Sir Ian McKellen. | :16:52. | :16:56. | |
Where was that? At Jonathan Ross. He was lovely. I did a game in that | :16:57. | :17:01. | |
show, I do a game thing where I get all the women to stand up and say, | :17:02. | :17:05. | |
"Let's play the oldest woman in the audience game." The last oldest | :17:06. | :17:08. | |
woman will say, "Your prize is, you get to stand for the rest of the | :17:09. | :17:13. | |
show." He was, like, I was having a picture with him, he was, like, "Who | :17:14. | :17:16. | |
was the oldest woman in the audience?" He was so nice. Thank you | :17:17. | :17:23. | |
very much for joining us. You are a show pro. Go wild. We should applaud | :17:24. | :17:27. | |
him! APPLAUSE Thank you. Our next guest was Shell | :17:28. | :17:35. | |
in Bad Girls. She was Frankie in Corrie and she's been Davina McCall, | :17:36. | :17:39. | |
Kylie Minogue, Joanna Lumley and Claudia Winkleman. It is | :17:40. | :17:41. | |
impressionist, Debra Stephenson. AS CLAUDIA WINKLEMAN: He is really | :17:42. | :18:00. | |
yummy if I can say that out loud. He does this thing. The other man, who | :18:01. | :18:04. | |
has a red-head and no face, he's on the other side and he goes boom, | :18:05. | :18:15. | |
crash! Someone goes no! How good is that? Welcome, Debra. | :18:16. | :18:18. | |
I think it is such a brilliant skill to do impressions like that. In the | :18:19. | :18:28. | |
meeting earlier on, we were like... That was brilliant. You have done | :18:29. | :18:32. | |
all sorts of things. You do impressions, you have danced, you | :18:33. | :18:35. | |
have sang. I want to go back to your acting. I loved Bad Girls. I loved | :18:36. | :18:39. | |
you in it. I loved you in Corrie. How did it feel to be part of two of | :18:40. | :18:44. | |
the biggest shows we have had on TV? Good, really. I feel very lucky. Bad | :18:45. | :18:49. | |
Girls, in particular, was just great fun. We had no idea what it was | :18:50. | :18:52. | |
going to be like, whether it was going to be a hit, or a massive | :18:53. | :19:00. | |
miss, or what. There you are. It was really - it was a serious drama and | :19:01. | :19:08. | |
it ended up with me running around in PVC with papier-mache. I didn't | :19:09. | :19:21. | |
want to say too much about it... The kind of show this is and the kind of | :19:22. | :19:26. | |
show that was! Let's leave that! Let's talk about your impressions. | :19:27. | :19:31. | |
Incredible, we'd love to learn to do some. Is now the time? Or maybe | :19:32. | :19:36. | |
after the show? I can give lessons. Where did it all start? Were you | :19:37. | :19:42. | |
naturally a mimic around your family, could you take people off? | :19:43. | :19:46. | |
It was a family thing. My dad used to do impressions. We watched Mike | :19:47. | :19:53. | |
Yarwood. We had a shot at it. And I used to - he taught me how to do it. | :19:54. | :19:58. | |
I would do Margaret Thatcher. AS MARGARET THATCHER: When I become | :19:59. | :20:06. | |
Prime Minister. But I was six! It started from there. I used to listen | :20:07. | :20:11. | |
to lots of music. The first sing I bought, or was bought for me was | :20:12. | :20:17. | |
Kate Bush. So I have kept Kate Bush and the records that I used to | :20:18. | :20:22. | |
listen to of my grans, Shirley Bassey, Cilla Black. I had the ear | :20:23. | :20:26. | |
for it because of my dad's impressions. I have kind of held on | :20:27. | :20:31. | |
to them all and... They are all in the act now. They are all the | :20:32. | :20:35. | |
classic '80s ones, Margaret Thatcher, Cilla. You did Cilla | :20:36. | :20:41. | |
earlier. I'm awful. I thought it was really good. | :20:42. | :20:51. | |
AS CILLA BLACK: A lorra-lorra laughs... That was awful! You do it | :20:52. | :20:55. | |
much better. AS CILLA BLACK: It is a tribute to | :20:56. | :21:05. | |
Cilla... Lovely. Didn't you do Spitting Image when you were 16? | :21:06. | :21:09. | |
That is incredibly young. You did so many voices. I sent a cassette in. | :21:10. | :21:19. | |
Remember them? Yes! Kate Robbins, she was on there all the time, she | :21:20. | :21:23. | |
was having a baby. They said, OK, come along and you can do a few | :21:24. | :21:29. | |
voices in the show. Wow, really? What was your favourite? I got to do | :21:30. | :21:34. | |
Esther Rantzen. AS ESTHER RANTZEN: Yes, That's Life. | :21:35. | :21:41. | |
There's a vegetable, that we can't mention... We want to talk about TV | :21:42. | :21:47. | |
catchphrases. As an impressionist, they are a gift, aren't they? I | :21:48. | :21:50. | |
mean, not for you, but for people who were quite bad at impressions. | :21:51. | :21:54. | |
If they can say a catchphrase, people know who they are trying to | :21:55. | :21:59. | |
be. They do. Again, there is a bit of this in my act as well. I like to | :22:00. | :22:03. | |
look back as well as coming forward to the really modern ones. We all | :22:04. | :22:08. | |
love programmes that we remember, we remember them by their catchphrases, | :22:09. | :22:12. | |
like... Hello, campers, hi-de-hi. I don't | :22:13. | :22:29. | |
believe it! Surprise surprise! Ooh, Betty, I think I got it wrong again. | :22:30. | :22:35. | |
Come here, there's more. Good God, Miss Jones. Oh Mr Rigsby! Wow! Stop | :22:36. | :22:47. | |
messing about. That was my entire childhood in one moment! We have | :22:48. | :22:52. | |
also got some of our favourites. First up is a comedian who wouldn't | :22:53. | :22:56. | |
have made half the impact had he not come up with some of these | :22:57. | :23:01. | |
catchphrases, it is Harry Hill. Sorry, Harry Enfield! Morning, | :23:02. | :23:10. | |
morning, good morning young man! That is so unfair, I hate you. | :23:11. | :23:15. | |
Lovely job. Loads of money! Alright, alright, calm down. We appear to be | :23:16. | :23:22. | |
considerably richer than you! That was Harry Enfield! Next an | :23:23. | :23:31. | |
entertainer who speaks almost entirely in catchphrases. He's been | :23:32. | :23:37. | |
on TV since 1939. It is the legend that is Bruce Forsyth. Nice to see | :23:38. | :23:45. | |
you, to see you... Nice! Over there, they are so appealing, OK, dollies, | :23:46. | :23:49. | |
do your dealing! Alright my love? Alright my love? Didn't he do well? | :23:50. | :23:53. | |
Didn't he do well? Didn't he do well? Oh, have a twirl, have a | :23:54. | :23:58. | |
little twirl. Worth a twirl. You are my favourite! You are my favourite! | :23:59. | :24:05. | |
Nice to see you, to see you... Nice! Keep dancing! Ah. Finally, a couple | :24:06. | :24:13. | |
of comics whose sketch show was loaded with catchphrases, it is | :24:14. | :24:16. | |
Walliams and Lucas in Little Britain. Look at my eyes. I am the | :24:17. | :24:23. | |
only gay in this village and that is that! Everybody dance. Which one do | :24:24. | :24:31. | |
you want to be? That one. Write the theme tune, sing the theme tune... | :24:32. | :24:39. | |
Yeah, but, no, but... Computer says no. You are back in the room! I am | :24:40. | :24:47. | |
still reeling from the mega mix! Some fantastic ones. If you get too | :24:48. | :24:52. | |
good, you get people shouting them at you. Like the Richard Wilson. | :24:53. | :24:57. | |
AS VICTOR MELDREW: I don't believe it! I'm a lady to David Walliams. | :24:58. | :25:10. | |
Face bovvered? Thank you, Debra Stephenson. Now, then, it is time | :25:11. | :25:15. | |
for the biggest decision of the day... What Are We Watching Tonight? | :25:16. | :25:16. | |
! Something you might want to watch | :25:17. | :25:34. | |
tonight is Channel 4 at 9.00pm, it is One Born Every Minute. 54 cameras | :25:35. | :25:39. | |
rigged in a maternity ward capture the journey of an expectant mother | :25:40. | :25:46. | |
through labour. This week, Jo and her parents get ready for a close | :25:47. | :25:51. | |
encounter of the alien kind. Looks like an alien. Always reminds me of | :25:52. | :26:03. | |
encounter of the alien kind. Looks that film Alien. They come out like | :26:04. | :26:11. | |
aliens. Alright! Do you need to lie down? I might do in a minute. These | :26:12. | :26:18. | |
are all new experiences for your dad. It is always the men who are | :26:19. | :26:22. | |
moaning on this show. They need the gas and air! I was giving it a bit | :26:23. | :26:30. | |
of that, was you? Keep moving! It is not for the faint-hearted. But it is | :26:31. | :26:35. | |
still pretty magical when a baby arrives. I don't know about you, but | :26:36. | :26:39. | |
I do get very, very emotional when I watch this. My other half leaves the | :26:40. | :26:45. | |
room going, she is crying again! So far, 221 mums have been featured | :26:46. | :26:56. | |
over 88 episodes. We will see the biggest baby born on the show | :26:57. | :27:05. | |
weighing a hefty 11-pound 4-ounces. That is One Born Every Minute, | :27:06. | :27:12. | |
Channel 4 at 9.00pm tonight. There is a brand-new series, we tried to | :27:13. | :27:19. | |
tell you last week, it is on the History Channel at 10.00pm. It is | :27:20. | :27:26. | |
called Black Sails. It's a swashbuckling series from the US! It | :27:27. | :27:35. | |
stars Toby Stephens as Captain Flint from Treasure Island. Have a look. | :27:36. | :27:43. | |
We control something so valuable. All of England wants it. There is an | :27:44. | :27:48. | |
opportunity at hand. We just all need to agree to take it. There is | :27:49. | :27:59. | |
no we. Partnership, between your crew and mine. We have gone too far | :28:00. | :28:05. | |
to turn back. I think you are going to attack that beach and seize | :28:06. | :28:10. | |
everyone... I intend to be a captain again. Did that swash your buckle? | :28:11. | :28:19. | |
It did. Tonight is episode two of the series, so you can catch up. It | :28:20. | :28:26. | |
is pretty good. Very good. That is all we have time for tonight. Before | :28:27. | :28:31. | |
that, Greg, what TV theme tune are you playing for us tonight? Look at | :28:32. | :28:36. | |
that. MUSIC: Crystal Maze Theme Tune | :28:37. | :28:45. | |
The Crystal Maze. Join us tomorrow when we are joined by Emma Spitzer | :28:46. | :28:52. | |
and Tony Rodd from Masterchef. Plus Jason Mohammad is here to talk | :28:53. | :28:55. | |
Crimewatch. Till then, goodbye. Good night. | :28:56. | :29:00. | |
You and I, we're going to change this country. | :29:01. | :29:05. | |
You run, and hopefully win, elected office | :29:06. | :29:09. |