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Blackpool is the week that everyone aims for, making it that far would | :00:11. | :00:17. | |
be a huge achievement. I don't want to miss out. If I get a good score | :00:18. | :00:21. | |
this week it could be my ticket and I'm so close. It is so important | :00:22. | :00:27. | |
that we get through this week so we can get a Blackpool. I know that I | :00:28. | :00:31. | |
will have to fight for my place in the competition. I can't afford to | :00:32. | :00:37. | |
make any mistakes. I really want to get to the Tower ballroom. I do feel | :00:38. | :00:45. | |
massive pressure. I am hoping for some kind of breakthrough to get a | :00:46. | :00:50. | |
Blackpool. This would be the most devastating week to leave. | :00:51. | :01:41. | |
Live from the BBC, this is Strictly Come Dancing! | :01:42. | :01:46. | |
Hello and welcome to a night of ballroom brilliance - | :01:47. | :02:18. | |
Nine couples remain and the pressure is really on, because next week | :02:19. | :02:25. | |
Strictly is live from Blackpool - and everyone wants to be there. | :02:26. | :02:29. | |
Last weekend there was a real cliffhanger moment | :02:30. | :02:32. | |
as EastEnder Kellie Bright unexpectedly found herself in the | :02:33. | :02:34. | |
Kellie survived and Carol and Pasha were voted out. No one wants to find | :02:35. | :02:50. | |
themselves in that position so this week more than ever they must | :02:51. | :02:53. | |
impress these four. Please welcome the judges. | :02:54. | :02:56. | |
Our nine couples are all backstage, they're itching to get out here | :02:57. | :03:24. | |
...our Strictly stars! | :03:25. | :03:30. | |
EastEnders actress Kellie Bright, and her partner, Kevin Clifton. | :03:31. | :03:34. | |
TV presenter Anita Rani, and her partner, Gleb Savchenko. | :03:35. | :03:42. | |
BBC Proms and Radio 3 presenter Katie Derham, | :03:43. | :03:44. | |
Star of Call The Midwife, Helen George, | :03:45. | :03:47. | |
Actress Georgia May Foote, and her partner, Giovanni Pernice. | :03:48. | :03:54. | |
BBC broadcaster and journalist Jeremy Vine, | :03:55. | :03:56. | |
Singer and Loose Women star, Jamelia, and her partner, | :03:57. | :04:02. | |
Pop star and TV personality Peter Andre, and his partner, | :04:03. | :04:09. | |
And finally from the Wanted, popstar Jay McGuiness, | :04:10. | :04:13. | |
There they all are, and after this weekend, eight will be heading | :04:14. | :04:36. | |
So your votes are more important than ever - | :04:37. | :04:41. | |
they'll be added to our judges' scores to decide which two couples | :04:42. | :04:44. | |
Dancing first tonight is Anita Rani, and her partner Gleb Savchenko. | :04:45. | :04:49. | |
This week, Anita starts off her routine by going | :04:50. | :05:01. | |
And as she's dancing the Quickstep, I'm guessing it'll be speed dating. | :05:02. | :05:13. | |
The jive was classic Gleb, fast and furious, why would he make it | :05:14. | :05:25. | |
simple? You were on fire. It was your best yet. We could have done | :05:26. | :05:31. | |
better. We are over the halfway mark and I don't know what my limits are. | :05:32. | :05:36. | |
Between us we are testing my limits and going for it. This week and I'm | :05:37. | :05:41. | |
back in my ballroom shoes doing the quickstep. Turn straightaway. It is | :05:42. | :05:49. | |
not like this. It is a quickstep, lots of footwork. It is really fast | :05:50. | :05:53. | |
and involved and it's really difficult. We have a simple option | :05:54. | :05:59. | |
or do you want the difficult one? Yes, I have to try it before we go | :06:00. | :06:05. | |
for the easy option. I know the crowd gets frustrated with me. -- I | :06:06. | :06:11. | |
know that Gleb gets frustrated. He has a very Russian manner, very | :06:12. | :06:16. | |
direct. I am only tough with Anita because I know that she can do it. I | :06:17. | :06:21. | |
am just thinking about the quickstep and I feel as though I can't | :06:22. | :06:25. | |
remember any of it. I would love it if Gleb turned around and went, you | :06:26. | :06:31. | |
and what, good job. That is all I need. Just that and maybe a smile! | :06:32. | :06:35. | |
Dancing the Quickstep, Anita Rani and Gleb Savchenko. | :06:36. | :06:38. | |
CHEERING I think they like it here. Listen to | :06:39. | :08:41. | |
that! Wow. Did she get her good job? Yes! And you did it in style. Well | :08:42. | :08:47. | |
done. We will hear from the judges in a moment but let's welcome the | :08:48. | :08:50. | |
live singers. Is an eater becoming an all-rounder? | :08:51. | :09:05. | |
She has become an all-rounder. That was a good job. -- is Anita. The key | :09:06. | :09:14. | |
to ballroom his hold, posture and movement, you have got that but the | :09:15. | :09:19. | |
footwork could have been sharper. BOOING | :09:20. | :09:25. | |
That is good advice. I liked it. CHEERING | :09:26. | :09:34. | |
Bruneau, will that have them on a fast-track to Blackpool? I have a | :09:35. | :09:37. | |
feeling that Blackpool is calling your name. Very pleasing indeed. It | :09:38. | :09:45. | |
had a wonderful sense of the good old-fashioned ways. It was | :09:46. | :09:50. | |
traditional. Nice, easy, bright and breezy. A lovely Saturday afternoon | :09:51. | :09:55. | |
in the park with Gleb, who wouldn't like that? Indeed. Craig? You can | :09:56. | :10:07. | |
hold your turn by bringing your feet together when they should be. Also | :10:08. | :10:12. | |
there was a small amount of gap, but it was very small. The timing was | :10:13. | :10:16. | |
excellent throughout. It was fantastic movement around the floor. | :10:17. | :10:22. | |
Well done. It is wonderful how consistent you are, week after week | :10:23. | :10:26. | |
you come out and you sell it and it's wonderful. I thought it was fun | :10:27. | :10:33. | |
and light, and only when it becomes very fast, always thinking about | :10:34. | :10:37. | |
finishing each step before moving onto the next and then the footwork | :10:38. | :10:45. | |
will be cleaner. That a beautiful jetee. Your footwork was cleaner | :10:46. | :10:51. | |
than his. Well done. Well done. Off you go. Let's hear it for Anita. | :10:52. | :10:55. | |
CHEERING Very well done. Even if the judges | :10:56. | :11:09. | |
said there was a bit of a gap, it is good advice. Any advice that they | :11:10. | :11:16. | |
can tell me I will take on board and keep working. You at a consistent | :11:17. | :11:23. | |
all-rounder. Are you proud of her, Gleb Jamaat I'm so proud of her! -- | :11:24. | :11:28. | |
are you proud of her bus we work well together. Thank you. | :11:29. | :11:39. | |
Who would have thought I would do a quickstep ever in my life? The | :11:40. | :11:44. | |
judges scores are in. Are you happy with that? It was | :11:45. | :12:07. | |
still consistent. Absolutely wonderful. | :12:08. | :12:12. | |
If you want to see Gleb hunted down | :12:13. | :12:15. | |
by Blackpool hen parties, then call 6 22 52 03 from your | :12:16. | :12:18. | |
mobile, 09015 22 52 03 from your landline, or you can vote for free | :12:19. | :12:21. | |
It's time for the terms and conditions. | :12:22. | :12:28. | |
Kevin - I hear you're going to be dancing with a boom box later - | :12:29. | :12:33. | |
Calls cost 15p plus your network's access charge. | :12:34. | :12:40. | |
Please ask the bill payer's permission. | :12:41. | :12:41. | |
To vote online visit bbc.co.uk/strictly | :12:42. | :12:43. | |
where you'll also find terms and conditions. | :12:44. | :12:47. | |
This is genuinely not what I was expecting! | :12:48. | :12:49. | |
Voting won't open until all our couples have danced. | :12:50. | :12:51. | |
Not only that, but your vote won't count and you may still be charged. | :12:52. | :12:55. | |
Dancing next for a place in Blackpool, it's Jay McGuiness and | :12:56. | :13:02. | |
After last week's Argentine Tango, Craig criticised Jay | :13:03. | :13:12. | |
It was a fair point, but perhaps a bit rich coming from someone who's | :13:13. | :13:18. | |
Saturday night, I would not say that I felt confident but I felt | :13:19. | :13:36. | |
connected and it felt great. Jade danced beautifully. You want to see | :13:37. | :13:44. | |
a bit of emotion coming out. I want to see this fire coming out. That is | :13:45. | :13:49. | |
all that is missing. I want you to do it. The only thing that will make | :13:50. | :13:55. | |
us all happy is if I do it. This week we will do our best to perform | :13:56. | :14:02. | |
at our best and hopefully the judges will see the meaning. To practice | :14:03. | :14:06. | |
this we will do a bit of a preview in the courtyard. Brilliant! I have | :14:07. | :14:13. | |
asked a couple of people to come down. I can hear more than a couple. | :14:14. | :14:20. | |
Some of the students at the Royal Academy of dance, they know what | :14:21. | :14:23. | |
they are looking for. Are you ready? ! Aliona asked them to look out for | :14:24. | :14:32. | |
the story and the emotion we are trying to convey, I wanted to see | :14:33. | :14:36. | |
how other people felt watching it. It was really emotional. I feel like | :14:37. | :14:41. | |
he was telling the story. He will get a ten! Performing in front of | :14:42. | :14:47. | |
that audience has helped me to express that emotion in front of | :14:48. | :14:48. | |
everyone on Saturday night. Dancing the Foxtrot, | :14:49. | :14:51. | |
Jay McGuiness and Aliona Vilani. CHEERING AND APPLAUSE | :14:52. | :16:53. | |
Come on over. Come on! What are you two chatting about? Come on over. | :16:54. | :16:59. | |
That's intense. They are on their street in the studio. Smiling now I | :17:00. | :17:05. | |
love that smile! You were having a little con club there, won't you? | :17:06. | :17:10. | |
Bruno, does it make you smile? You are so endearing, especially the | :17:11. | :17:15. | |
beginning, the touchy-feely contemporary introduction. But it | :17:16. | :17:24. | |
was, you know? You have exquisite lyrical arms, especially in the | :17:25. | :17:27. | |
side-by-side, and you were placing everything so well but there was | :17:28. | :17:31. | |
that little but, it happened at the wrong time, because it was going | :17:32. | :17:36. | |
swimmingly well. But don't be discouraged, it was fantastic. | :17:37. | :17:45. | |
CHEERING AND APPLAUSE Will it take them to the Tower | :17:46. | :17:49. | |
ballroom? Well, I found the whole thing a little bland. It started | :17:50. | :17:57. | |
emotionally, but as soon as you begin to dance properly, and you are | :17:58. | :18:02. | |
a brilliant dancer, the face goes dead. You've got to do something | :18:03. | :18:07. | |
about that. Also, the thumb was up, you missed hands at the end, the | :18:08. | :18:11. | |
trip, it wasn't a good evening feel. Sorry. Darcey, do you disagree | :18:12. | :18:19. | |
with Craig? Very much. She's angry! Be bobbing there is such a story | :18:20. | :18:23. | |
being told now. Finally I could see you breathing from within. There was | :18:24. | :18:27. | |
purpose with your moves. We are going to get details because we are | :18:28. | :18:30. | |
at this time of the competition and we want to be because your technique | :18:31. | :18:40. | |
is outstanding. Thank you. Soap there's tiny moments, when you are | :18:41. | :18:45. | |
even choreography, beautiful choreography as well, Aliona, the | :18:46. | :18:48. | |
feeling I could see you breathing at the beginning, when you place your | :18:49. | :18:52. | |
head, think of why you are placing your head on her chest. It's a | :18:53. | :18:56. | |
breath, and you want to be there. Don't just go... , do you know what | :18:57. | :19:01. | |
I mean? There was so many brilliant moments, I could see you telling | :19:02. | :19:05. | |
that story. I'm getting nitty-gritty now. There was a silly hick up | :19:06. | :19:08. | |
there, but otherwise beautiful. CHEERING AND APPLAUSE | :19:09. | :19:17. | |
You challenged her to show more emotion? Did you see it? Certain | :19:18. | :19:21. | |
dances I want to see more expression. This was a beautiful, | :19:22. | :19:25. | |
poignant foxtrot. OK, I don't need it to be grinning Cheshire cat and | :19:26. | :19:35. | |
to be honest, there was a record out, we own the night and until that | :19:36. | :19:41. | |
trip, you owned the night. That was a fantastic, beautiful footwork, you | :19:42. | :19:49. | |
even got swing, you got sway going. I've not been that disappointed... I | :19:50. | :19:55. | |
can't talk about it but anyway, a great job, Jay, well done. | :19:56. | :19:59. | |
CHEERING AND APPLAUSE I don't want you beating yourself up | :20:00. | :20:03. | |
but it happens, it's live television, OK? It's live | :20:04. | :20:09. | |
television. Jay and Aliona. CHEERING AND APPLAUSE | :20:10. | :20:25. | |
They had an argument there, Aliona, beautiful techniques, you did it | :20:26. | :20:31. | |
gorgeously, Craig wanted more. How did you find it? I did feel it, I | :20:32. | :20:36. | |
want to make it apparent when I dance and speak to you, I know that | :20:37. | :20:42. | |
I'm bad at speaking to you, sorry! I really am feeling it, I do want to | :20:43. | :20:47. | |
show it, it's just we'll see if I can engage the face muscles more. | :20:48. | :20:51. | |
All right, very well done. You did great, honestly. Shall we just | :20:52. | :20:57. | |
mention, Anthony, it's his first night, he sang that beautifully. | :20:58. | :21:05. | |
Well done, mate. Top song. The scores are in. | :21:06. | :21:11. | |
It's time to get the scores from the judges. | :21:12. | :21:29. | |
Anything you want to say? All good. If you are a big fan of Jake... -- | :21:30. | :21:41. | |
if you're a big fan of Jake, and I've got to be honest, it's one of | :21:42. | :21:44. | |
my favourite letters of the alphabet, please call. | :21:45. | :21:50. | |
Still to come, Helen is performing with some blue material. | :21:51. | :21:53. | |
Could be a long piece of fabric, could be a dirty limerick. | :21:54. | :21:55. | |
Our next couple is Jamelia and her partner Tristan MacManus. | :21:56. | :21:58. | |
This week Jamelia has been busy with her day job | :21:59. | :22:02. | |
She's put that to one side for tonight's Samba and she's hoping | :22:03. | :22:06. | |
I was quite calm before the show. You've worked on the footwork, I can | :22:07. | :22:23. | |
see that. Halfway through the routine I tripped up on the guitar. | :22:24. | :22:26. | |
When stuff like that happens it cannot queue off your game. If we go | :22:27. | :22:32. | |
through this week it means we are going to go to Blackpool and I'm | :22:33. | :22:35. | |
going to make everything I can to make that happen. We have samba this | :22:36. | :22:41. | |
week, it's going pretty good. I was thinking, two Munson and you still | :22:42. | :22:44. | |
haven't come into work with me. The Loose Women would love to meet you. | :22:45. | :22:50. | |
What Tristan doesn't know is he won't just be watching from the | :22:51. | :22:53. | |
sidelines. What would you think about coming on the show? Don't be | :22:54. | :23:00. | |
scared. I'd love to. They will love you. I am getting my make-up on and | :23:01. | :23:09. | |
have to be on the show. Q, Jamelia. What are you dancing question mark | :23:10. | :23:14. | |
the samba. How are you feeling about the summer? It's hard but you have | :23:15. | :23:20. | |
to enjoy yourself. Thank you very much. Thanks for having me on. A | :23:21. | :23:27. | |
pleasure. It's fantastic, having the support of the other ladies. Good | :23:28. | :23:33. | |
luck for Saturday. I'm hoping I'm going to do them proud on Saturday | :23:34. | :23:35. | |
night. Dancing the Samba, | :23:36. | :23:38. | |
Jamelia and Tristan MacManus. CHEERING AND APPLAUSE | :23:39. | :25:30. | |
you two, come here. Well done, darling. Thank you, Tess. Islands | :25:31. | :25:37. | |
the dorsals as well. Lovely samba, respect from you? Oh, yes, the party | :25:38. | :25:46. | |
atmosphere. I like to go to a party. You got everybody going but | :25:47. | :25:51. | |
what happens is I like that, I like the energy, but you have to be | :25:52. | :25:54. | |
careful at this stage because when you go to much it becomes a bit | :25:55. | :26:00. | |
wilder and you wait, get into the wrong place, you are missing a few | :26:01. | :26:05. | |
steps. That cannot happen anymore, my darling. Keep that energy and | :26:06. | :26:09. | |
keep that effort, but you have to be more precise and clean. Yes? Yes. | :26:10. | :26:17. | |
APPLAUSE I thought your hands throughout were | :26:18. | :26:21. | |
particularly unattractive, especially on the promenade runs | :26:22. | :26:26. | |
they were either facing up or facing in weird angles. You need to sort | :26:27. | :26:30. | |
the end of your lines out, otherwise it leaves the wrong impression. I | :26:31. | :26:34. | |
thought you were dancing with bent knees throughout. I didn't see one | :26:35. | :26:38. | |
straight leg anywhere. You need to get up on the balls of your feet a | :26:39. | :26:44. | |
lot more, and there was a necessary grinding throughout. Most | :26:45. | :26:54. | |
unpleasant. Keep grinding, darling! Darcey, can you we'd be more | :26:55. | :26:59. | |
positive? I think your isolations in the upper body were very phenomenal, | :27:00. | :27:04. | |
right from the very beginning. You kept that going all the way | :27:05. | :27:07. | |
through, we didn't lose that at all and it was a lovely story you | :27:08. | :27:12. | |
created. From the very beginning. The relationship between you was | :27:13. | :27:17. | |
very important, I need that. It is true, if you could place the arm and | :27:18. | :27:21. | |
I think it's only because your weight is back a bit, we suddenly | :27:22. | :27:24. | |
got this in the running promenades and if you come forward, place them | :27:25. | :27:28. | |
forward, so these in the corner of your eyes. Otherwise, it was a fab | :27:29. | :27:34. | |
dance. You were having a great time. CHEERING AND APPLAUSE | :27:35. | :27:41. | |
Were you having a great time? The gyrating was excellent, yes! You | :27:42. | :27:48. | |
lost a bit of the hit action on the voltas, your legs were a bit heavy, | :27:49. | :27:56. | |
I don't mean... You have to stretch through and get the lightness going | :27:57. | :28:00. | |
through your legs. However, for energy, exuberance and getting out | :28:01. | :28:04. | |
there and giving it a go, top notch. Yes! | :28:05. | :28:12. | |
CHEERING AND APPLAUSE Take the prom Queen, off you go. | :28:13. | :28:20. | |
Jamelia! Thank you, thank you. CHEERING AND APPLAUSE | :28:21. | :28:34. | |
Darcey says upper body isolations are phenomenal. I hearing anything | :28:35. | :28:39. | |
positive. The judges don't know what they're talking about, I just need | :28:40. | :28:44. | |
to apply it. You tried really hard and you are happy to be back in | :28:45. | :28:50. | |
Latin? Of course, I a lot in. And you love Blackpool. Your favourite | :28:51. | :28:54. | |
place in the world? I took my girls, it was their first English | :28:55. | :28:58. | |
seaside to date and they loved it. We'd like to go back. The scores are | :28:59. | :29:05. | |
in. Iwan ladies and gentlemen, the judges have their scores. | :29:06. | :29:24. | |
If you want to give Jamelia a real reason to party, | :29:25. | :29:26. | |
call 6 22 52 11 from your mobile, 09015 22 52 11 from your landline or | :29:27. | :29:30. | |
vote online later to keep Jamelia and Tristan in the competition. | :29:31. | :29:33. | |
Still to come, Katie and Anton do battle with a Latin routine. | :29:34. | :29:37. | |
Our next couple is Helen George and her partner Aljaz Skorjanec. | :29:38. | :29:46. | |
Last week their Rumba was arguably one of the best this series. | :29:47. | :29:55. | |
I say "arguably" because that's exactly what the judges did - argue. | :29:56. | :29:59. | |
But this week, Helen's hoping her dramatic Tango | :30:00. | :30:03. | |
Last Saturday it was such a beautiful song, so romantic. It | :30:04. | :30:22. | |
wasn't too Len's taste. It lacked content. I thought it was brilliant. | :30:23. | :30:31. | |
Thank you. This week we are doing the tango. It's very fast and quick. | :30:32. | :30:41. | |
But I really like the stance. All of the changes of Sheikh need to be | :30:42. | :30:47. | |
sharp. Tango is very staccato. -- changes of shape. It will be | :30:48. | :30:53. | |
challenging for Helen the car she is very graceful. We have to go down | :30:54. | :31:02. | |
the main side. Tango face! I will be cross looking. I think that is the | :31:03. | :31:10. | |
key. Helen was a bit overwhelmed with all of the shape changing. It | :31:11. | :31:17. | |
is a lot to get into the song. I think she is slowly getting used to | :31:18. | :31:22. | |
it. Everybody wants to get through to Blackpool and there is no room | :31:23. | :31:26. | |
for getting a single step wrong. We are doing it 100%. Is that right? | :31:27. | :31:32. | |
Dancing the Tango, Helen George and Aljaz Skorjanec. | :31:33. | :31:34. | |
Yes! That was a fierce tango. Like that dress it was red hot. Your | :31:35. | :33:30. | |
Latin skills came in handy, you looked properly cross! Did it have | :33:31. | :33:38. | |
enough drama for you? I think the effect that you both had, firstly, | :33:39. | :33:42. | |
choreographed beautifully. I loved that. CHEERING | :33:43. | :33:53. | |
Really, the amount of drama was perfection. You did not lose it. And | :33:54. | :33:58. | |
also the crispness and sharpness of every transition I loved. You | :33:59. | :34:03. | |
sustained it all the way throughout. What you find difficult is just | :34:04. | :34:06. | |
keeping down, keeping your knees bent and really getting into the | :34:07. | :34:11. | |
ground, but it worked. You did it. You really did. I really loved what | :34:12. | :34:18. | |
you brought to the dance. In the tango, that was special. Thank you | :34:19. | :34:27. | |
so much. Len you wanted more content, did you get it? I got loads | :34:28. | :34:33. | |
of it! Loads of snap, crackle and pop. Your head sometimes gets too | :34:34. | :34:38. | |
far over. I know what he is saying, keep it to the left and then it goes | :34:39. | :34:45. | |
to far. Sometimes when you turn you lose the centre and it goes a bit | :34:46. | :34:51. | |
wobbly. However, it was such a great tango, well done to both of you. | :34:52. | :34:57. | |
What do you think? That was a beautifully tailored high fashion | :34:58. | :35:03. | |
tango. Slick, slinky, polished, you looked like a supermodel in a | :35:04. | :35:09. | |
Valentino dress. Kate Moss would have loved it. Thanks, Bruno. Enough | :35:10. | :35:19. | |
to get them up the M1? I thought it needed to be a bit lower, softer in | :35:20. | :35:23. | |
the knees, and balance issues largely due to where you are placing | :35:24. | :35:28. | |
your centre. You are placing it on a bit of a diagonal. It propels you in | :35:29. | :35:34. | |
the wrong direction sometimes. But I think you work really well as a | :35:35. | :35:38. | |
couple against that particular track because it's not easy. I thought the | :35:39. | :35:43. | |
lines were extremely powerful. CHEERING | :35:44. | :35:49. | |
No arguments tonight! A little headshaking from Darcy. Well done. | :35:50. | :35:51. | |
Off you go. CHEERING | :35:52. | :36:10. | |
Oh, well done, darling. They said it was choreographed beautifully and of | :36:11. | :36:13. | |
course Darcy is your hero and you said it was a special dance. It was | :36:14. | :36:17. | |
hard because you laugh a lot and have fun in training. He tries to | :36:18. | :36:23. | |
make me do a serious face and I burst out laughing! It felt | :36:24. | :36:27. | |
ridiculous in rehearsals. That is one word for it. | :36:28. | :36:30. | |
34, up on last week. Yes, and lovely comments as well. | :36:31. | :36:53. | |
If you enjoyed the most dramatic story set on a riverbank since Ratty | :36:54. | :36:56. | |
met Badger, then call 6 22 52 07 from your mobile, 09015 22 52 07 | :36:57. | :37:00. | |
from your landline, or vote online when the vote opens later. | :37:01. | :37:03. | |
All our couples need your votes to stay in the ballroom | :37:04. | :37:06. | |
Our next couple is Katie Derham and her partner Anton Du Beke. | :37:07. | :37:13. | |
It is the dance of love, which is appropriate because if there is one | :37:14. | :37:32. | |
thing Katie would like to do it is nailed this Latin routine. I really | :37:33. | :37:38. | |
enjoyed Saturday night. A bit of a dream country to do a Broadway | :37:39. | :37:43. | |
number. When you dance at that speed you can lose control but it was a | :37:44. | :37:49. | |
fantastic performance. I was really proud of Katie. She should be proud | :37:50. | :37:57. | |
of herself and I am thrilled. This week we are dancing the Rumba which | :37:58. | :38:03. | |
is the dance of love, I love Anton but I love my husband more so I will | :38:04. | :38:07. | |
take time out to spend time with him. The tango was amazing and the | :38:08. | :38:11. | |
Viennese waltz. The quickstep was almost great. John is genuinely so | :38:12. | :38:18. | |
supportive of everything I am doing. It is difficult not to play through | :38:19. | :38:22. | |
mistakes in your head, just focus on the brilliant things you have done | :38:23. | :38:26. | |
so that you enjoy everything. Knowing that I have that support | :38:27. | :38:31. | |
behind me is fantastic. Do you want to come along and see it? I do. It | :38:32. | :38:40. | |
was lovely to see John. Shall we show you some of the Rumba? I think | :38:41. | :38:44. | |
they dance really well together. John has learned a few of the steps | :38:45. | :38:50. | |
as well. I am dreaming of the day that I see my husband dancing the | :38:51. | :38:54. | |
Rumba with Anton du Beke! I hope I can go out on Saturday and do them | :38:55. | :38:56. | |
proud. Dancing the Rumba, | :38:57. | :38:59. | |
Katie Derham and Anton Du Beke. They are on their feet in the | :39:00. | :41:03. | |
studio. Enjoy that! The dance of love. They enjoyed it too. You have | :41:04. | :41:12. | |
never looked more beautiful than you do in that dress. Thank you. You | :41:13. | :41:18. | |
have been critical of other Rumba Boyle but what did you think of | :41:19. | :41:30. | |
that? You put in the Aida. Some say Rumba, I say fantastic. -- other | :41:31. | :41:37. | |
Rumbas. APPLAUSE You said that Katie had bags of | :41:38. | :41:42. | |
potential last week, did it come through tonight? Look at her. From | :41:43. | :41:49. | |
the beginning, the Shirley Bassey moment, totally on it. You give me | :41:50. | :41:53. | |
palpitations because it is always hit and miss, is she going to do | :41:54. | :42:06. | |
it? Tonight it was a hit! CHEERING Your husband is very proud watching | :42:07. | :42:10. | |
over there. Craig, do you agree? It was a little melodramatic. Really, | :42:11. | :42:19. | |
coming from you, darling? ! I would prefer that to nothing. It was | :42:20. | :42:23. | |
pushed forward in places as well. It spoiled the line. The walks were not | :42:24. | :42:31. | |
quite there. So nearly brilliant. Your foot came off the floor as well | :42:32. | :42:40. | |
but you know what,... Completely lost control on that. I absolutely | :42:41. | :42:46. | |
loved the performance. CHEERING Darcy? Katie, that was a classy love | :42:47. | :42:53. | |
story that you created. It is hard in the Rumba as Len. It is very | :42:54. | :42:59. | |
sensual and sweaty and everything, but this wasn't. I would have liked | :43:00. | :43:05. | |
more eye contact between you and there was some very special moments, | :43:06. | :43:11. | |
you were really understanding what we wanted from a dance and your | :43:12. | :43:16. | |
finishing... It is very hard at the end when your concentration goes but | :43:17. | :43:19. | |
you actually did it tonight! Well done. The judges are happy and you | :43:20. | :43:25. | |
have to be happy with those comments. I have surprised myself, I | :43:26. | :43:32. | |
really loved this dance. I love this dance. It is the happiest I have | :43:33. | :43:39. | |
been on any dance ever. Off you go and we will get your scores. Katie | :43:40. | :43:40. | |
and Anton! My goodness! CHEERING Your faces were great but I have | :43:41. | :43:59. | |
dementia in your husband whose face was... He was in the film. -- I have | :44:00. | :44:05. | |
to mention your husband. Your husband John is here to give you | :44:06. | :44:08. | |
support. CHEERING You wanted it to be a grown-up | :44:09. | :44:16. | |
Rumba, exactly what they said? I hoped that they would appreciate it, | :44:17. | :44:20. | |
we did not want to get all grinding and sweaty. We would put in proper | :44:21. | :44:28. | |
steps and all of the bits like the Aida. Stop talking, Anton! If you | :44:29. | :44:31. | |
wouldn't mind. The scores are in. That is the highest ever rumba score | :44:32. | :44:59. | |
on the series. It's your highest score together, of a Latin dance. | :45:00. | :45:02. | |
Thank you. If you think that romantic Rumba | :45:03. | :45:05. | |
should lead to a weekend in Blackpool, call 6 22 52 05 | :45:06. | :45:08. | |
from your mobile, 09015 22 52 05 from your landline or vote online | :45:09. | :45:11. | |
when the vote opens later. Five couples have danced | :45:12. | :45:14. | |
but there's all this still to come. Kevin is rehearsing a Facebook act | :45:15. | :45:32. | |
today. My money is the fresh Prince from Grimsby. We have our ups and | :45:33. | :45:37. | |
downs in training. The ups are getting longer than the downs. I'm | :45:38. | :45:40. | |
beginning to learn the routine quicker, which is so vital. This | :45:41. | :45:45. | |
week, we have a prop we dance with for most of the routine and it's a | :45:46. | :45:49. | |
hat and me and this hat are not friends... At all. This Viennese | :45:50. | :45:54. | |
waltz is so graceful, I want to perform it, not just get the steps | :45:55. | :45:59. | |
right, I want to really just... It will be great. | :46:00. | :46:01. | |
They're all desperate to get to Blackpool. | :46:02. | :46:03. | |
Do you know, there's a game viewers play where they have to take | :46:04. | :46:06. | |
a sip of their tea, or coffee, or whatever they're drinking, | :46:07. | :46:08. | |
That's odd because we haven't mentioned Blackpool much tonight. | :46:09. | :46:15. | |
We've hardly mentioned Blackpool at all. | :46:16. | :46:18. | |
Up next and dancing for a place in Blackpool, it's Kellie Bright | :46:19. | :46:22. | |
For their Samba this week they're going back to the '90s, so, | :46:23. | :46:31. | |
to get Kellie in the right frame of mind, and cheer her up | :46:32. | :46:34. | |
after being in the Dance Off, Kevin took the girl from Albert | :46:35. | :46:37. | |
Nice. I loved our walls. Full of charm, full of grace. You know how | :46:38. | :46:55. | |
to please Lens-macro. Everyone could see how I felt when my name was | :46:56. | :47:00. | |
called out. We bob and it was my first Dance Off. It's really hard to | :47:01. | :47:05. | |
pull yourself through that experience. Being in the Dance Off | :47:06. | :47:10. | |
makes as prime candidates for leaving the show next. I really | :47:11. | :47:13. | |
don't want to be in the Dance Off this week. We have to come back | :47:14. | :47:20. | |
fighting. The theme for this week's dances 90s hip-hop. Kevin said he | :47:21. | :47:23. | |
would visit me in my dressing room today, but I've no idea what he's | :47:24. | :47:30. | |
got planned. What are you wearing? Get in here, come on. Kevin turned | :47:31. | :47:36. | |
up in 90s skate. He had this 90s stuff with him to get me in the mood | :47:37. | :47:39. | |
for Saturday night and it wasn't really working, until he showed me | :47:40. | :47:43. | |
some old footage of something I'd done in the 90s. It's tipping down | :47:44. | :47:49. | |
out there! He helped me go right back there. Help! Oh dear. He had | :47:50. | :47:55. | |
this really embarrassing article. This is what I want for our samba | :47:56. | :48:00. | |
this week. I'm completely bonkers! All joking aside, it's got to be our | :48:01. | :48:03. | |
best dance. Dancing the Samba, | :48:04. | :48:09. | |
Kellie Bright and Kevin Clifton. CHEERING AND APPLAUSE | :48:10. | :49:54. | |
What about that then? Listen to the crowd! We are all doing that now! | :49:55. | :50:07. | |
Never mind shake the room, you brought the house down. Wow. Those | :50:08. | :50:16. | |
abs are a ten from me! Impressive. Can you feel it? I can dig the | :50:17. | :50:21. | |
vibe. The samba has gone street cred! How appropriate it is, because | :50:22. | :50:27. | |
in fact Sambo actually was born in the streets of Brazil, and the blend | :50:28. | :50:34. | |
of hip-hop, I thought it would never work, but you did it and it works | :50:35. | :50:39. | |
beautifully. It was so well blended. The timing was good, it was | :50:40. | :50:45. | |
exciting, all it needed was a Banksy mural, then you could have got the | :50:46. | :50:49. | |
Tate Gallery! Very good, I really did enjoy it. He enjoyed it. Bruno, | :50:50. | :50:56. | |
was it enough to keep, sorry, Craig, was enough to keep them out of the | :50:57. | :51:01. | |
Dance Off this week? It was a very odd music choice for this particular | :51:02. | :51:04. | |
dance, completely not my thing whatsoever. I was thinking, do I | :51:05. | :51:12. | |
love this, or do I hated? And... I decided... In the end, that I would | :51:13. | :51:15. | |
love it. CHEERING AND APPLAUSE | :51:16. | :51:22. | |
And I've got to say, you were shaking that Darcey Bussell, | :51:23. | :51:27. | |
darling, for all it was worth. It was a thing of beauty when you were | :51:28. | :51:33. | |
shaking that! Darcey. You give such an assured performance. It really | :51:34. | :51:39. | |
is, the energy, the flowing, the attacks, it never fades, and that is | :51:40. | :51:44. | |
very exciting. I personally, the mix for me didn't work, I don't know, I | :51:45. | :51:49. | |
think it's just technically because you get a bit back on the street and | :51:50. | :51:54. | |
the samba wants forward, so it was a weird constant changing. But... | :51:55. | :52:03. | |
Changing, but... Open your mind! Open your mind! I'm trying! | :52:04. | :52:09. | |
CHEERING AND APPLAUSE But you know, weirdly, I so enjoyed | :52:10. | :52:13. | |
it even though that was odd moments. It was very enjoyable. | :52:14. | :52:19. | |
CHEERING AND APPLAUSE Did you enjoy it? The trouble is, I | :52:20. | :52:25. | |
a cup of tea in a world of skinny lot Is. -- lattes. Two things I | :52:26. | :52:36. | |
really don't like his babies crying and hip hop! You were on the back | :52:37. | :52:42. | |
foot a bit before we started. The samba you did do was terrific, and I | :52:43. | :52:47. | |
admire your nerve and your guts, to come out, try something different | :52:48. | :52:49. | |
and give it a go. CHEERING AND APPLAUSE | :52:50. | :52:58. | |
We love different. The room was jumping, go upstairs and shake | :52:59. | :52:59. | |
Claudia's room. Come on. CHEERING AND APPLAUSE | :53:00. | :53:18. | |
They loved it so much. It might be the greatest thing ever. We were | :53:19. | :53:21. | |
standing, screaming. Well done, Kevin. Even though Kane-macro -- | :53:22. | :53:28. | |
even though Len says he's a cup of tea in a world of lattes, it was | :53:29. | :53:33. | |
blamed. Craig Revel Horwood used the word love, strange. He didn't know | :53:34. | :53:39. | |
which way he would go. One never does. The scores are in. It's time | :53:40. | :53:41. | |
to get the scores from the judges. it feels lovely, right? Yes, it | :53:42. | :54:07. | |
does. If you don't want to see Kellie in | :54:08. | :54:12. | |
the Dance Off with that giant boom box, and to be honest, we can't | :54:13. | :54:16. | |
afford the 7,000 batteries it takes, then call 6 22 52 01 from your | :54:17. | :54:19. | |
mobile, 09015 22 52 01 from your landline or vote online | :54:20. | :54:22. | |
when the vote opens later. Tess. Still to come, Jeremy has got a huge | :54:23. | :54:34. | |
diamond. He is a minor, underground, apparently. | :54:35. | :54:37. | |
Our next couple is Peter Andre and his partner Janette Manrara. | :54:38. | :54:39. | |
They're dancing the Viennese Waltz to the song "You're My World" made | :54:40. | :54:43. | |
And who better to help Peter out in training than the people who are | :54:44. | :54:47. | |
Last week, I actually did get quite emotional. Fantastic. I don't think | :54:48. | :55:05. | |
it could have gone any better. Night I nearly mistook you for a | :55:06. | :55:10. | |
professional. As a huge condiment. To get 38 out of 40, overall, I | :55:11. | :55:18. | |
would cherish that moment for ever. Relax, relax, you see? This week, we | :55:19. | :55:23. | |
are doing the Viennese waltz to Cilla Black's you are my world. | :55:24. | :55:27. | |
Obviously, Cilla Black is a legend and I hope we will do her proud. I | :55:28. | :55:32. | |
want that joy and love that you feel for your kids to really come out in | :55:33. | :55:36. | |
your dancing, so if they are here in the room with us and watching us, I | :55:37. | :55:40. | |
think it will really help you feel the routine. Beautifully. Beautiful. | :55:41. | :55:49. | |
Hello, how are you? Do you guys want to see what we've been up to this | :55:50. | :55:56. | |
week? Yes! Do you guys want to... Come on, let's give it a try. Oh, | :55:57. | :56:02. | |
what? Junior was holding his positioning. I was like... What? | :56:03. | :56:09. | |
Please, judges, give my dad would scores. Only if he does well though. | :56:10. | :56:14. | |
I hope I can make them proud and get good comments from them, as well as | :56:15. | :56:16. | |
the judges. Dancing the Viennese Waltz, | :56:17. | :56:18. | |
Peter Andre and Janette Manrara. Listen to that! Couldn't be more | :56:19. | :58:18. | |
different than last week's dances. You can turn your hand to anything. | :58:19. | :58:23. | |
You topped the Leader Board last week. What do you think tonight | :58:24. | :58:26. | |
question mark you danced it very well but it was a bit too frenetic | :58:27. | :58:30. | |
for me. I could see the effort in every gear change, and I felt like | :58:31. | :58:35. | |
you were coming in and out of hold a little bit too much. I would have | :58:36. | :58:38. | |
liked to see you in the hold a little bit more and see that wash | :58:39. | :58:44. | |
around the floor you are capable of. But I did love it. I absolutely | :58:45. | :58:46. | |
loved it. APPLAUSE | :58:47. | :58:52. | |
Darcey, did you? For me, it was flowing with emotion. It was flowing | :58:53. | :58:57. | |
with energy and you were stretching, those large, stretched out movements | :58:58. | :59:01. | |
though. You really filled the dance. It's very difficult when there are | :59:02. | :59:06. | |
many rotations like that. There were elements, especially with the smoke | :59:07. | :59:10. | |
and everything, of a piece of Disney magic happening. Obviously for your | :59:11. | :59:14. | |
kids. Those only moments where you're right shoulder just in that | :59:15. | :59:21. | |
standing spin, just comes into it and you do a little tilt, but we are | :59:22. | :59:25. | |
being really pernickety here, because we are at this stage and I | :59:26. | :59:29. | |
want you at Blackpool and you're going to be at Blackpool. | :59:30. | :59:35. | |
CHEERING AND APPLAUSE Lens-macro gave you a standing | :59:36. | :59:41. | |
ovation. Where you equally impressed -- last week, Lens-macro gave you a | :59:42. | :59:45. | |
standing ovation. We were impressed tonight? It was good, but I can't, | :59:46. | :59:53. | |
you understand? The charleston and things, they are driven by the flare | :59:54. | :59:57. | |
off the dance. This has a lot of technique and I'm saying you had | :59:58. | :00:01. | |
flown, you have musicality, you didn't dance careful, you had spirit | :00:02. | :00:06. | |
and went for it. It had a bit of an American Smooth look to me, my | :00:07. | :00:11. | |
little peanut. Oh, yes. I would have liked a little bit more in hold, but | :00:12. | :00:16. | |
what I saw I enjoyed. Thank you very much. Bruno? It was like watching a | :00:17. | :00:26. | |
sea, in Cinderella. It was just wonderful, it was magic. I thought | :00:27. | :00:30. | |
you were involved in a dance more than I've ever seen you. Your | :00:31. | :00:35. | |
partnership was John at was absolutely flawless. -- your | :00:36. | :00:39. | |
partnership with Janette was flawless. I love the embellishments. | :00:40. | :00:45. | |
It may not be traditional, but I found it extremely effective. Thank | :00:46. | :00:50. | |
you very much. Thank you, judges for those comments. Claudia will help | :00:51. | :00:57. | |
you with your scores. Off you go, Peter and Janette. Well done. | :00:58. | :01:01. | |
Peter, hard to come back from last week, that was quite grown-up. They | :01:02. | :01:18. | |
loved it. It is great to do something completely different and | :01:19. | :01:22. | |
we threw ourselves into it. She was very gracious and very lovely. More | :01:23. | :01:27. | |
involved than they had ever seen you, and that is a good thing? They | :01:28. | :01:30. | |
loved it! Are you happy? After last week, are | :01:31. | :01:57. | |
you happy with that? Look at that dress. I'm just mentioning it. | :01:58. | :02:00. | |
If you want to see Janette with a donkey next week - no offence, | :02:01. | :02:03. | |
Peter - then call 6 22 52 12 from your mobile, 09015 22 52 12 | :02:04. | :02:07. | |
from your landline, or vote online when the vote opens later. | :02:08. | :02:13. | |
Plus, there's lots more information and backstage gossip on Facebook, | :02:14. | :02:17. | |
Our next couple is Georgia May Foote and her partner Giovanni Pernice. | :02:18. | :02:25. | |
Last week's shock in the Dance Off has left all | :02:26. | :02:33. | |
our stars feeling nervous, not least Georgia, who is desperate | :02:34. | :02:36. | |
Although i'm sure she wouldn't mind passing it | :02:37. | :02:39. | |
Last week I really enjoyed the samba. I made a mistake, though. The | :02:40. | :02:56. | |
fact that the judges still gave me eight, nine, nine, nine, had I done | :02:57. | :02:59. | |
it perfect it would have been up there. This time we are doing the | :03:00. | :03:07. | |
Charleston from the Chicago finale. Chicago is my favourite film ever! | :03:08. | :03:13. | |
We have been trying different lifts. We tried a cartwheel and Giovanni | :03:14. | :03:18. | |
hit me in the back of the head. I thought I had broken my neck! Any | :03:19. | :03:24. | |
lift is dangerous, you could hurt yourself and be out of the | :03:25. | :03:28. | |
competition and it is not very nice. It has been a difficult week for | :03:29. | :03:35. | |
Georgia. I got her a small surprise. Ruthie Henshaw has played Roxie in | :03:36. | :03:42. | |
Broadway and the West End. Roxie is in control and in charge and she | :03:43. | :03:47. | |
just loves showbiz! Connect with that passion. With July to see it? I | :03:48. | :03:55. | |
would! I think the routine is fabulous. I really think they have | :03:56. | :03:59. | |
got a great chance at bowling over the audience and hopefully the | :04:00. | :04:01. | |
judges. Wow! CHEERING Dancing the Charleston, Georgia | :04:02. | :04:07. | |
May Foote and Giovanni Pernice. Absolutely brilliant! Hats off to | :04:08. | :06:09. | |
you two. Amazing. You are really coming out of your shell. The | :06:10. | :06:16. | |
nominal. -- that was the nominal. Never mind Chicago, will it get them | :06:17. | :06:27. | |
to Blackpool? Wow! That was tight, clean, brilliant steps, packed | :06:28. | :06:33. | |
full. It took my breath away especially when you did that flip. | :06:34. | :06:38. | |
So brave. To take risks like that and also at the end to do those | :06:39. | :06:42. | |
turns one after another. I would forgive you for falling back on | :06:43. | :06:46. | |
those because it was brilliant. CHEERING | :06:47. | :06:56. | |
Len, was that your kind of Charleston? You put the girl in | :06:57. | :07:00. | |
Chicago. I will give you a bit of advice. Take a code to Blackpool | :07:01. | :07:08. | |
because it gets very cold. -- take a coat. That was razzle-dazzle. I am | :07:09. | :07:20. | |
sure that everybody in the UK was impressed, and you were in | :07:21. | :07:25. | |
character, dancing amazingly. What I have seen over the past few weeks, | :07:26. | :07:30. | |
and I really mean it, you have grown not just as a dancer but as a | :07:31. | :07:34. | |
performer, you are becoming a better actress as well as a better dancer. | :07:35. | :07:41. | |
I am so proud. APPLAUSE Bruno is proud. Craig? Three | :07:42. | :07:58. | |
letters, L-U-V the we will -- three letters, L-U-V. We will go with | :07:59. | :08:00. | |
that. CHEERING | :08:01. | :08:13. | |
I have never seen you happier! You joined Strictly Come Dancing just to | :08:14. | :08:16. | |
do the Charleston and that is your favourite film, and favourite | :08:17. | :08:23. | |
musical. I am so honoured to be able to do it. The scores are not in yet. | :08:24. | :08:32. | |
I am so sorry. You enjoyed it, too? Of course. You did great. That was | :08:33. | :08:38. | |
seamless. The scores are in now! That is the highest score of the | :08:39. | :09:17. | |
series! Well done! Are you all right? The highest score of the | :09:18. | :09:22. | |
series. Thank you so much! You have been working very hard. | :09:23. | :09:25. | |
If you want to see what a sophisticated Italian makes of | :09:26. | :09:27. | |
Blackpool, call 6 22 52 09 from your mobile, 09015 22 52 09 from your | :09:28. | :09:31. | |
landline, or vote online free of charge when the vote opens later. | :09:32. | :09:34. | |
My wig almost came off then! It is sweaty! After that everyone is | :09:35. | :09:44. | |
sweating! Remember nobody is safe and everyone | :09:45. | :09:45. | |
wants to make it to Blackpool. There's just one | :09:46. | :09:50. | |
couple left to dance. Last to dance tonight is Jeremy Vine | :09:51. | :09:50. | |
and his partner Karen Clifton. In last week's unforgettable | :09:51. | :09:55. | |
Tango, Jeremy was riding a horse If he gets his Quickstep right | :09:56. | :09:58. | |
tonight, next week he could be It is starting to get very | :09:59. | :10:18. | |
pressured. What a glorious disaster! We like glorious, it is a positive | :10:19. | :10:24. | |
word. It has just got real. It is week eight and four Jeremy and Karen | :10:25. | :10:28. | |
it means the quickstep. We are doing the quickstep to going underground | :10:29. | :10:35. | |
by the Jam. This week we are minors and I will take you to a place to | :10:36. | :10:43. | |
help with our characters. Welcome to Crossrail, let's go underground. | :10:44. | :10:47. | |
There is so much going on. A bit like our dances. How many men are | :10:48. | :10:56. | |
there on this site? 250. This is the biggest construction project in | :10:57. | :10:59. | |
Europe. It is amazing. It is like seeing into the future. What an | :11:00. | :11:06. | |
amazing dance floor. Let's go! There are 26 miles of tunnels and it means | :11:07. | :11:11. | |
there are 26 miles of quickstep for Jeremy! If that does not help my | :11:12. | :11:19. | |
stamina I don't know what will! I am suddenly thinking about Blackpool. | :11:20. | :11:22. | |
Which one of these goes to Blackpool? | :11:23. | :11:28. | |
Dancing the Quickstep, Jeremy Vine and Karen Clifton. | :11:29. | :11:30. | |
Come on over if you can get out! That is a bit high. Well done. It is | :11:31. | :13:25. | |
nice to see you trying so hard and how much you enjoyed it. We were | :13:26. | :13:30. | |
enjoying it with you. It is an amazing song. Did you enjoy it? | :13:31. | :13:42. | |
There were a few minor mistakes! I don't know who's going home tonight | :13:43. | :13:45. | |
and who won't make it to Blackpool but what I know is that if you're | :13:46. | :13:49. | |
not that there will be a lot of fun and a lot of entertainment missed. | :13:50. | :13:57. | |
Jeremy, there is no question that you will be digging deep down into | :13:58. | :14:01. | |
the reserves. You have not quite struck gold yet. A few times you got | :14:02. | :14:08. | |
stuck in the mud! But it was a very good effort and I have to really | :14:09. | :14:11. | |
admire your determination and resilience because you do give | :14:12. | :14:16. | |
everything you've got out there. It is not perfect, but I appreciate | :14:17. | :14:25. | |
that. It didn't exactly fly around the ballroom floor like I was | :14:26. | :14:28. | |
imagining it was going to be. It was like being at the National dressage | :14:29. | :14:34. | |
Championships! The pony club would have been proud at least! BOOING | :14:35. | :14:40. | |
I missed that last comment? That is probably just as well, my dear! | :14:41. | :14:47. | |
Let's gloss over that! Moving on... For me it was a bit steady but I can | :14:48. | :14:51. | |
imagine how difficult it is for you and how hard you have worked, | :14:52. | :14:56. | |
because with your long legs and moving fast it is difficult and you | :14:57. | :15:00. | |
were light on your feet. I would only say that you worked very hard | :15:01. | :15:05. | |
on your top line and I can see that you are working hard to keep it | :15:06. | :15:09. | |
still, but maybe you were working too hard. Try to use your back more | :15:10. | :15:14. | |
instead of trying to lift the elbow, think of your shoulders and your | :15:15. | :15:17. | |
muscles helping you to hold the top line instead of fixing like this. It | :15:18. | :15:24. | |
was a little bit hard. But it was a great improvement. Well done. | :15:25. | :15:26. | |
APPLAUSE Thank you, Darcy. We love you! Off | :15:27. | :15:41. | |
you go to Claudia. Thank you. Thank you. You close this show in a cart! | :15:42. | :15:55. | |
What ambition. It showed real determination. There were so nice, | :15:56. | :16:00. | |
it meant so much, thank you. If you make it to Blackpool, what will you | :16:01. | :16:06. | |
be doing? If, long shot, I will be lowered from a electric guitar with | :16:07. | :16:11. | |
pyrotechnics from both ends! Of the guitar! You are welcome. The scores | :16:12. | :16:18. | |
are in. Aiders and gentlemen, the judges | :16:19. | :16:23. | |
have their scores. -- ladies and gentlemen. | :16:24. | :16:34. | |
the same as last week, 21. It's the kind of progress. Thank you. We are | :16:35. | :16:41. | |
learning. If you enjoyed Jeremy in that cart - | :16:42. | :16:43. | |
and by the way, that's how we're all getting up to Blackpool next | :16:44. | :16:47. | |
week - then call 6 22 52 10 from your mobile, 09015 22 52 10 from | :16:48. | :16:51. | |
your landline, or vote online for Let's take a look | :16:52. | :16:54. | |
at the Leader Board. Georgia and Giovanni are at the top | :16:55. | :17:03. | |
with magnificent 39. At the bottom of the Leader Board, | :17:04. | :17:18. | |
we saw Jeremy and Karen, with 21. You can change all of that by | :17:19. | :17:21. | |
picking up the phone, or going online to vote. I'm not sure if we | :17:22. | :17:25. | |
have mentioned it but everyone wants to get to... Blackpool! Drink up so | :17:26. | :17:31. | |
your votes are more important than ever. Voting is now open. | :17:32. | :17:43. | |
The vote closes at 8:35pm tonight. Please don't vote if you are | :17:44. | :17:50. | |
watching OnDemand. Here is a reminder of tonight's performances | :17:51. | :17:54. | |
and I don't want to see all the information you need, thank you. | :17:55. | :20:26. | |
Voting closes at 8:35pm tonight so you don't have long to choose | :20:27. | :20:32. | |
Our nine couples have danced their hearts out and can do no more. | :20:33. | :20:37. | |
It's now down to you to decide who you want to see again next week. | :20:38. | :20:41. | |
The Blackpool Tower Ballroom is within touching distance, and | :20:42. | :20:43. | |
But sadly, one of our couples must leave the competition in our Results | :20:44. | :20:47. | |
votes will make the difference between who stays in Strictly | :20:48. | :20:52. | |
and who goes home, so please pick up the phone or go online. | :20:53. | :20:54. | |
Also on tomorrow night's Results Show, we have a very special | :20:55. | :20:57. | |
routine from our professional dancers, plus a performance from The | :20:58. | :21:01. | |
and we have years and years. Please make sure you join is in the | :21:02. | :21:15. | |
Ballroom tomorrow night at 7:20pm. Is it true the security guard tried | :21:16. | :21:21. | |
to stop you coming in here? The story of my life! Ask any of my | :21:22. | :21:46. | |
friends. "It's me, Adele!" | :21:47. | :21:47. |