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Good afternoon and welcome to Points Of View. | 0:00:10 | 0:00:13 | |
Now, are you what viewer James Currie would call | 0:00:13 | 0:00:16 | |
"a curious and educated adult"? | 0:00:16 | 0:00:18 | |
He is! | 0:00:18 | 0:00:19 | |
Do you respond well to being talked to | 0:00:19 | 0:00:21 | |
like a class of six-year-old children? | 0:00:21 | 0:00:23 | |
He doesn't. | 0:00:23 | 0:00:24 | |
So, perhaps like him, you are not enjoying the new look | 0:00:24 | 0:00:27 | |
that's being given to a favourite from the BBC Two autumn schedule. | 0:00:27 | 0:00:31 | |
Is this Zoe Ball we're talking about? | 0:01:02 | 0:01:05 | |
-Love it, I just want more! -That's what I want. | 0:01:05 | 0:01:07 | |
I want you to do the whole cast by the end show. | 0:01:07 | 0:01:10 | |
She took a bit of flak last week for being too excited | 0:01:10 | 0:01:13 | |
on Strictly: It Takes Two, | 0:01:13 | 0:01:15 | |
but this presenter is actually earlier in the alphabet. | 0:01:15 | 0:01:18 | |
This time it is Michaela Strachan on Autumnwatch, | 0:01:18 | 0:01:21 | |
who's being told, "We don't need you to be that excited | 0:01:21 | 0:01:24 | |
"for us to enjoy the programme." | 0:01:24 | 0:01:26 | |
What a triumph of modelling clay this is. | 0:01:26 | 0:01:28 | |
Are you sure that's a bat's nose, | 0:01:28 | 0:01:31 | |
cos it looks a bit dodge to me, if you don't mind me saying. | 0:01:31 | 0:01:34 | |
Dodge? | 0:01:34 | 0:01:35 | |
SHE LAUGHS It looks a bit of a worry! | 0:01:35 | 0:01:37 | |
-But going back to the photograph of the bat. -Yeah. | 0:01:37 | 0:01:40 | |
That looks like a player in the rugby world cup, in New Zealand. | 0:01:40 | 0:01:43 | |
What - it's been smacked in the face? | 0:01:43 | 0:01:45 | |
-Smacked in the face, yes! -I don't know, Chris. Can she stay? | 0:01:45 | 0:01:48 | |
A face only a mother could love. | 0:01:48 | 0:01:50 | |
Some viewers are attributing the excitability to a sugar rush, | 0:01:50 | 0:01:54 | |
so we will be confiscating the Kendal mint cake | 0:01:54 | 0:01:57 | |
from the Autumnwatch crew for forthcoming programmes. | 0:01:57 | 0:02:01 | |
It seems there are personnel issues with All Roads Lead Home, too. | 0:02:01 | 0:02:04 | |
The premise of journeying the British countryside | 0:02:04 | 0:02:07 | |
using Mother Nature instead of a satnav - ah, we liked that - | 0:02:07 | 0:02:10 | |
but the presenting trio of | 0:02:10 | 0:02:12 | |
Gavin And Stacey's mum, | 0:02:12 | 0:02:14 | |
that lady from the voice-over, | 0:02:14 | 0:02:16 | |
and Dirk Gently | 0:02:16 | 0:02:18 | |
seems to be jarring. | 0:02:18 | 0:02:19 | |
'And then over the next ridge we see some trees | 0:02:19 | 0:02:21 | |
'that look a little more helpful.' | 0:02:21 | 0:02:23 | |
That's pretty compelling, isn't it? | 0:02:23 | 0:02:25 | |
'Other than the sun, this is the first natural signpost | 0:02:25 | 0:02:28 | |
'we've been able to read.' | 0:02:28 | 0:02:30 | |
-Yeah. -Like Donald Trump's hair. | 0:02:30 | 0:02:33 | |
So, they're all lookin' that way. | 0:02:33 | 0:02:36 | |
-Yep. -So, it's a southwesterly wind, isn't it? | 0:02:36 | 0:02:39 | |
A southwesterly wind. | 0:02:39 | 0:02:40 | |
The one at the top, which probably gets most wind, | 0:02:40 | 0:02:43 | |
is the most... | 0:02:43 | 0:02:44 | |
Yeah. | 0:02:44 | 0:02:45 | |
..severe. | 0:02:45 | 0:02:47 | |
'At last, something works. | 0:02:47 | 0:02:49 | |
'We're not so stupid after all!' | 0:02:49 | 0:02:52 | |
Here we go again! | 0:03:26 | 0:03:27 | |
Ditch the luvvies, bring on the experts - they know their stuff, | 0:03:27 | 0:03:30 | |
and at least they can't be any more annoying! | 0:03:30 | 0:03:33 | |
Rarely since the days of Don't Scare The Hare | 0:03:33 | 0:03:35 | |
has a programme been so roundly condemned. | 0:03:35 | 0:03:38 | |
And hang on, Sue Perkins was involved with that one, too. | 0:03:38 | 0:03:41 | |
-Oh, she's blown it! -AUDIENCE: Don't scare the hare! | 0:03:41 | 0:03:45 | |
Oh, Audrey's scared the hare. | 0:03:45 | 0:03:47 | |
What a letdown for her, her team and the balloon. | 0:03:47 | 0:03:50 | |
Now, Don't Scare The Hare has become shorthand | 0:03:50 | 0:03:53 | |
for a show that failed | 0:03:53 | 0:03:54 | |
but let's stop for an appreciation. | 0:03:54 | 0:03:57 | |
Hi, I think that Don't Scare The Hare was a really good TV show. | 0:03:57 | 0:04:00 | |
It is one of the few shows at the moment that combines | 0:04:00 | 0:04:03 | |
general knowledge and fun activities. | 0:04:03 | 0:04:06 | |
Did you send that in for a bet? If so, you won. | 0:04:06 | 0:04:09 | |
Now, the BBC is being criticised for underplaying the tributes | 0:04:09 | 0:04:12 | |
to the sitcom writer David Croft, who died in September. | 0:04:12 | 0:04:15 | |
He had a screen career spanning four decades. | 0:04:15 | 0:04:19 | |
David brought us Dad's Army, Are You Being Served, Hi-De-Hi!, | 0:04:19 | 0:04:22 | |
It Ain't Half Hot Mum and 'Allo 'Allo, | 0:04:22 | 0:04:25 | |
right into our living rooms, | 0:04:25 | 0:04:26 | |
so you would think the BBC would have stopped all the clocks | 0:04:26 | 0:04:29 | |
to appreciate a master of times past. | 0:04:29 | 0:04:32 | |
Shame on you, BBC, for only showing a ten minute programme | 0:04:32 | 0:04:35 | |
on the tribute to David Croft. | 0:04:35 | 0:04:37 | |
And shame on you again, for not showing a clip from | 0:04:37 | 0:04:40 | |
It Ain't Half Hot Mum, one of his best comedies. | 0:04:40 | 0:04:43 | |
Shame on you twice, Clive says. | 0:04:43 | 0:04:45 | |
We will watch out for that one, then. | 0:05:10 | 0:05:12 | |
Next, Twincredibles - | 0:05:12 | 0:05:13 | |
an extraordinary documentary highlighting the rare occasions | 0:05:13 | 0:05:17 | |
when racial genetics lead to the birth of twins | 0:05:17 | 0:05:20 | |
of different skin colour. | 0:05:20 | 0:05:22 | |
Twincredibles was a programme about | 0:05:22 | 0:05:25 | |
multi-racial twins, | 0:05:25 | 0:05:28 | |
where one twin was lighter than the other | 0:05:28 | 0:05:31 | |
and it was supposed to show their different life experiences. | 0:05:31 | 0:05:34 | |
However, I think it came across as quite negative. | 0:05:34 | 0:05:37 | |
'When the twins were born, my first thought was, | 0:05:37 | 0:05:39 | |
' "I can't believe Hope is completely white," | 0:05:39 | 0:05:42 | |
'but it got even more surprising | 0:05:42 | 0:05:44 | |
'when Leo got darker and darker.' | 0:05:44 | 0:05:46 | |
'The brothers hit the headlines after they were born 20 minutes apart, | 0:05:46 | 0:05:49 | |
'one white and the other black.' | 0:05:49 | 0:05:51 | |
You look like a clown! | 0:05:51 | 0:05:53 | |
For viewer Beverly Nicholls, | 0:05:53 | 0:05:55 | |
it was the negative tone | 0:05:55 | 0:05:56 | |
that didn't sit side by side with the subject matter, | 0:05:56 | 0:06:00 | |
and her family is in a unique position to comment. | 0:06:00 | 0:06:02 | |
We always used to have that thing, didn't we, of being asked... | 0:06:02 | 0:06:05 | |
-our dates of birth? -Yeah, as a test. | 0:06:05 | 0:06:08 | |
To see if we'd get it right! | 0:06:08 | 0:06:10 | |
As if they're going to catch us out cos we're lying. | 0:06:10 | 0:06:12 | |
'Someone had said that I should let Nathan' | 0:06:12 | 0:06:16 | |
be brought up properly by a white family. | 0:06:16 | 0:06:19 | |
'We never really thought of the difference in colour | 0:06:19 | 0:06:23 | |
'being anything more unusual | 0:06:23 | 0:06:25 | |
'than the difference in eye colour, hair colour, height, | 0:06:25 | 0:06:28 | |
'weight, build, and that's something that we didn't think came across... | 0:06:28 | 0:06:33 | |
-'That's right. -..in the programme.' | 0:06:33 | 0:06:34 | |
'I see myself as black but other people see me as white. | 0:06:36 | 0:06:40 | |
'But we're mixed race.' | 0:06:42 | 0:06:43 | |
I thought it'd be an opportunity for many people, including myself, | 0:06:43 | 0:06:47 | |
'to see how other mixed-race twins are. | 0:06:47 | 0:06:50 | |
'I think it fell short of that, where it seemed | 0:06:50 | 0:06:53 | |
'to centralise on problematic relationships, | 0:06:53 | 0:06:55 | |
'and that's not mine' | 0:06:55 | 0:06:58 | |
or my family's experience of that at all. | 0:06:58 | 0:07:01 | |
'We do like completely different things. | 0:07:01 | 0:07:05 | |
'We like completely different people. | 0:07:05 | 0:07:08 | |
'He is just not the same as me in any way.' | 0:07:08 | 0:07:12 | |
We didn't feel that there was a balance | 0:07:13 | 0:07:17 | |
on the way everyone had been portrayed in the programme. | 0:07:17 | 0:07:19 | |
Then again, we didn't know | 0:07:19 | 0:07:21 | |
whether that was how the people had felt | 0:07:21 | 0:07:24 | |
or the way it had just been edited. | 0:07:24 | 0:07:27 | |
It didn't seem like the people were too happy with the way they were. | 0:07:27 | 0:07:30 | |
Now drama, | 0:07:59 | 0:08:00 | |
and Hidden is Philip Glenister's latest vehicle. | 0:08:00 | 0:08:03 | |
So, that's the Quattro back in the garage, then. | 0:08:03 | 0:08:05 | |
It's shown after 9pm, but apparently the nudity and the swearing | 0:08:05 | 0:08:10 | |
are joining forces with the wobbly camera work to... | 0:08:10 | 0:08:14 | |
nauseate some viewers. | 0:08:14 | 0:08:15 | |
CAR HORN BEEPS | 0:08:16 | 0:08:18 | |
-Put your -BLEEP -foot down! | 0:08:23 | 0:08:25 | |
CAR HORN BEEPS | 0:08:26 | 0:08:28 | |
-Oh, -BLEEP! | 0:08:33 | 0:08:35 | |
Camera people, let me introduce you to the tripod. | 0:09:20 | 0:09:22 | |
It is a kind of three-legged creature, | 0:09:22 | 0:09:24 | |
which allows your camera to film steady pictures. | 0:09:24 | 0:09:27 | |
Recent invention, you ask? No, about 100 years. | 0:09:27 | 0:09:30 | |
We think there may be a shortage of them. | 0:09:30 | 0:09:32 | |
In a land of myth, and a time of magic, | 0:09:32 | 0:09:36 | |
the destiny of a great kingdom rests on the shoulders of a young man. | 0:09:36 | 0:09:41 | |
His name... | 0:09:41 | 0:09:43 | |
Merlin. | 0:09:43 | 0:09:44 | |
Now, when you begin your programme with the words, | 0:09:46 | 0:09:49 | |
"In a land of myth and a time of magic," | 0:09:49 | 0:09:52 | |
does that give you carte blanche to rewrite medieval history? | 0:09:52 | 0:09:55 | |
Discuss. | 0:09:55 | 0:09:57 | |
'His compassion. | 0:09:58 | 0:09:59 | |
'His unselfish heart.' | 0:10:01 | 0:10:03 | |
MUSIC: "Supermassive Black Hole" by Muse | 0:10:06 | 0:10:11 | |
It is certainly magical for most, but some viewers are not happy | 0:10:18 | 0:10:22 | |
with the production playing fast and loose | 0:10:22 | 0:10:24 | |
with Arthurian legend. | 0:10:24 | 0:10:27 | |
SHRIEKING | 0:10:47 | 0:10:51 | |
No! NO! | 0:10:52 | 0:10:54 | |
No! | 0:10:54 | 0:10:56 | |
No! | 0:10:59 | 0:11:00 | |
I think Merlin's very clever as it gives you | 0:11:09 | 0:11:11 | |
the bits of the legend you'd expect - | 0:11:11 | 0:11:13 | |
Lancelot, The Sword In The Stone, The Lady Of The Lake, | 0:11:13 | 0:11:16 | |
they're all there. | 0:11:16 | 0:11:17 | |
They're all parts of the legend and it tells you that | 0:11:17 | 0:11:20 | |
but in a new and unexpected way. | 0:11:20 | 0:11:21 | |
I think for the purists - yes, I understand why they're upset - | 0:11:21 | 0:11:26 | |
but I think they should look at the amount of people | 0:11:26 | 0:11:28 | |
that tune in and are now interested in the legends and myths, | 0:11:28 | 0:11:31 | |
and if it makes it popular, then that's a good thing. | 0:11:31 | 0:11:34 | |
I think my character, from where she started out to where she's ended up | 0:11:35 | 0:11:38 | |
has had the biggest change. | 0:11:38 | 0:11:40 | |
UTTERS INCANTATION | 0:11:40 | 0:11:42 | |
WOMAN SCREAMS | 0:11:44 | 0:11:46 | |
By the time you get to the fourth season she is out-and-out evil, | 0:11:46 | 0:11:49 | |
and almost cackling in a cave like Macbeth's witches, | 0:11:49 | 0:11:52 | |
but you can really understand why she is the way she is. | 0:11:52 | 0:11:55 | |
Oof! | 0:11:55 | 0:11:57 | |
It's far more fun being evil! | 0:11:58 | 0:12:00 | |
To the king. | 0:12:02 | 0:12:03 | |
Our most grown-up season yet. | 0:12:03 | 0:12:05 | |
They've decided to push the boundaries every year | 0:12:05 | 0:12:07 | |
and make it bigger, better and bolder | 0:12:07 | 0:12:10 | |
and it is more filmic, | 0:12:10 | 0:12:12 | |
it's beautiful, I think. | 0:12:12 | 0:12:14 | |
I might be biased though! | 0:12:14 | 0:12:16 | |
That about wraps things up for this week. | 0:12:16 | 0:12:18 | |
Don't forget - send in your feedback, we can't do without it. | 0:12:18 | 0:12:21 | |
E-mail us on... | 0:12:21 | 0:12:23 | |
You can hop on the message board and join the discussions there... | 0:12:25 | 0:12:28 | |
Or phone us. Calls are charged at a local rate from a BT land line, | 0:12:31 | 0:12:35 | |
and here is the number for you. | 0:12:35 | 0:12:37 | |
Or write to us. Here's the address. Old-fashioned letters go to... | 0:12:42 | 0:12:45 | |
We will certainly be taking a careful look at the stamp if you do. | 0:12:48 | 0:12:52 | |
With the original wrapping. | 0:13:15 | 0:13:17 | |
We've got the brown paper. | 0:13:17 | 0:13:18 | |
Buckingham Palace paper. | 0:13:18 | 0:13:19 | |
And it says, | 0:13:19 | 0:13:21 | |
"Buckingham Palace...'03." 1903. | 0:13:21 | 0:13:24 | |
That is probably worth somewhere in the region of let's say, | 0:13:25 | 0:13:28 | |
between £30 and £40. | 0:13:28 | 0:13:32 | |
Well spotted, Bruce and Colin. | 0:13:32 | 0:13:34 | |
Antiques Roadshow told us, | 0:13:34 | 0:13:36 | |
"Thanks to the sharp-eyed Points Of View viewers | 0:13:36 | 0:13:39 | |
"for pointing this one out. | 0:13:39 | 0:13:40 | |
"Our specialist, Lars Tharp, | 0:13:40 | 0:13:42 | |
"is very knowledgeable about ceramics | 0:13:42 | 0:13:44 | |
"but admits Victorian stamps are not a speciality. | 0:13:44 | 0:13:47 | |
"We are delighted to pass on such good news to the owner of the cup." | 0:13:47 | 0:13:51 | |
I love a happy ending. Goodbye. | 0:13:51 | 0:13:54 | |
E-mail [email protected] | 0:13:54 | 0:13:57 |