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'Previously on The Next Step...' | 0:00:03 | 0:00:04 | |
The final score is... | 0:00:04 | 0:00:06 | |
96! CHEERING | 0:00:06 | 0:00:08 | |
The Next Step is moving on | 0:00:08 | 0:00:10 | |
and we're one step closer to winning Internationals. | 0:00:10 | 0:00:13 | |
'Ella takes the stage | 0:00:13 | 0:00:16 | |
'and she's doing MY choreography.' | 0:00:16 | 0:00:19 | |
My biggest mistake was believing Ella was my friend. | 0:00:19 | 0:00:22 | |
Normally, alternates aren't in any dances for Internationals | 0:00:23 | 0:00:26 | |
but Kate put me in this one dance. | 0:00:26 | 0:00:28 | |
All we kind of know is that it's a two to seven person dance. | 0:00:28 | 0:00:32 | |
We know there's a twist coming but we have no idea what it is. | 0:00:32 | 0:00:36 | |
MUSIC: Miami | 0:00:39 | 0:00:43 | |
Congratulations for making it this far. | 0:00:54 | 0:00:58 | |
'Right now all the captains of the remaining teams | 0:00:58 | 0:01:01 | |
'are meeting with the Internationals rep.' | 0:01:01 | 0:01:03 | |
And we're going to see what curveballs we have thrown at us. | 0:01:03 | 0:01:07 | |
Look around you because after today, half of you will be gone. | 0:01:07 | 0:01:11 | |
'The competition is down to 16 teams with four rounds left. | 0:01:11 | 0:01:14 | |
'I hope whatever they have planned for us' | 0:01:14 | 0:01:17 | |
isn't too crazy. | 0:01:17 | 0:01:18 | |
Now, as you know, you will be performing | 0:01:18 | 0:01:20 | |
the two to seven person dance. | 0:01:20 | 0:01:22 | |
But the only challenge you'll be facing | 0:01:22 | 0:01:25 | |
is that you'll be performing this dance... | 0:01:25 | 0:01:28 | |
blindfolded. | 0:01:28 | 0:01:30 | |
Blindfolded? | 0:01:30 | 0:01:32 | |
Go! | 0:01:34 | 0:01:35 | |
This is crazy. | 0:01:38 | 0:01:40 | |
# We | 0:01:40 | 0:01:42 | |
# We are gonna the show the world | 0:01:42 | 0:01:46 | |
# Everything we're made of | 0:01:46 | 0:01:49 | |
# We're gonna tear the roof off this place... # | 0:01:49 | 0:01:57 | |
Stand up! | 0:02:02 | 0:02:04 | |
RINGING | 0:02:19 | 0:02:21 | |
Hey, what's up, guys? | 0:02:21 | 0:02:22 | |
Hey, man. What's going on? | 0:02:22 | 0:02:24 | |
It's good right now, man. Internationals is crazy. | 0:02:24 | 0:02:27 | |
I can imagine. Yeah, man. It's crazy. | 0:02:27 | 0:02:29 | |
How you guys doing though? | 0:02:29 | 0:02:30 | |
Well, we actually have some good news for you, man. | 0:02:30 | 0:02:32 | |
Yeah? What's that? We got our first paid gig. | 0:02:32 | 0:02:35 | |
What? Yeah! No way. | 0:02:35 | 0:02:36 | |
Yeah. But we have to use a drum machine. | 0:02:36 | 0:02:38 | |
A drum machine? What? | 0:02:38 | 0:02:40 | |
I mean, technically, I'm not part of the band any more | 0:02:40 | 0:02:43 | |
because I did quit for Internationals. | 0:02:43 | 0:02:45 | |
But still, it still bothers me | 0:02:45 | 0:02:46 | |
that I'm not going to be a part of my band's first big gig. | 0:02:46 | 0:02:50 | |
I should probably actually be rehearsing right now so I should go. | 0:02:50 | 0:02:52 | |
All right. We'll see you later, man. All right. Take it easy, guys. | 0:02:52 | 0:02:57 | |
'I'm so pumped to be at Internationals. Don't get me wrong. | 0:02:57 | 0:03:00 | |
'But at the same time, I'm missing the band. | 0:03:00 | 0:03:03 | |
'More than I thought I would. | 0:03:03 | 0:03:04 | |
'Right now we're rehearsing our two to seven person dance - blindfolded.' | 0:03:07 | 0:03:12 | |
And it's not going well at all. | 0:03:12 | 0:03:15 | |
Sorry! Sorry, sorry! | 0:03:15 | 0:03:18 | |
'I enter the orange blossom room | 0:03:18 | 0:03:20 | |
'just because I want to see how the dance is going. I want to see' | 0:03:20 | 0:03:23 | |
how they were handling the pressure. | 0:03:23 | 0:03:25 | |
Wow. Yes. That was terrible. | 0:03:25 | 0:03:28 | |
What? Who is that? Wait... | 0:03:28 | 0:03:30 | |
'This is a complete disaster. I have to think of something quick.' | 0:03:30 | 0:03:35 | |
When did you get here? Well, I just walked in. | 0:03:35 | 0:03:37 | |
I just wanted to see how the dance was going. | 0:03:37 | 0:03:39 | |
And clearly it's a mess, but don't worry. | 0:03:39 | 0:03:42 | |
I have a genius idea. | 0:03:42 | 0:03:43 | |
If you guys are willing to add one person, I think you guys... | 0:03:43 | 0:03:46 | |
Are you crazy? How can we add another person? | 0:03:46 | 0:03:48 | |
Forfeit or add another person? I'm going with forfeit. | 0:03:48 | 0:03:51 | |
No. No. No. I'm telling you guys, trust me. | 0:03:51 | 0:03:53 | |
You guys need Noah. | 0:03:53 | 0:03:54 | |
He's like Marco Polo on a ship without a compass - blindfolded. | 0:03:54 | 0:03:59 | |
'Noah?' | 0:03:59 | 0:04:00 | |
Why didn't I think of that? | 0:04:00 | 0:04:01 | |
Guys, he's right. I've seen it. He's got this gift. | 0:04:01 | 0:04:04 | |
'We're having trouble with five people.' | 0:04:04 | 0:04:06 | |
Imagine six. It's not going to work. | 0:04:06 | 0:04:09 | |
There's no way. You know what? Don't even worry about it, guys. | 0:04:09 | 0:04:12 | |
I'm going to prove it. I'll be back. | 0:04:12 | 0:04:15 | |
'Yeah, West. I would love to see' | 0:04:15 | 0:04:17 | |
how adding Noah is going to help this routine. | 0:04:17 | 0:04:20 | |
It is Round Two of the competition. | 0:04:30 | 0:04:32 | |
This round is two teams going up against each other. | 0:04:32 | 0:04:36 | |
Now, of course, with athletes being blindfolded, | 0:04:36 | 0:04:40 | |
you run the risk of some injury but we've got that covered off. | 0:04:40 | 0:04:42 | |
We're going to have spotters at the front of the stage. | 0:04:42 | 0:04:45 | |
But remember, if a spotter has to stop a dancer from falling off | 0:04:45 | 0:04:48 | |
the stage, they will be disqualified. | 0:04:48 | 0:04:50 | |
First off, it's England versus the Philippines | 0:04:50 | 0:04:52 | |
with England's Summerford School of Dance getting set to | 0:04:52 | 0:04:56 | |
take to the stage. | 0:04:56 | 0:04:57 | |
APPLAUSE | 0:04:57 | 0:04:59 | |
And here they come, having already put on their blindfolds. | 0:04:59 | 0:05:02 | |
I can't wait to see how this goes. | 0:05:02 | 0:05:04 | |
GENTLE MUSIC PLAYS | 0:05:07 | 0:05:10 | |
Six pirouettes blindfolded! Wow. | 0:05:17 | 0:05:19 | |
That is so difficult. You have no idea where the front is. | 0:05:19 | 0:05:22 | |
But how did he find his partner there? That's really incredible. | 0:05:22 | 0:05:26 | |
'Right now we're watching England perform. | 0:05:30 | 0:05:33 | |
'Unfortunately, they're doing a pretty good job.' | 0:05:33 | 0:05:36 | |
'Our strategy in winning the blindfold dance | 0:05:37 | 0:05:40 | |
'is to use as few people as possible in hopes that our dance' | 0:05:40 | 0:05:43 | |
'will be absolutely perfect. | 0:05:43 | 0:05:46 | |
Does the fact that you have no vision heighten the other senses? | 0:05:46 | 0:05:51 | |
Absolutely. Absolutely. Listening to the music. | 0:05:51 | 0:05:53 | |
Hearing where their feet step. | 0:05:53 | 0:05:55 | |
These are so important to listen to. | 0:05:55 | 0:05:57 | |
Hearing the audience clap. | 0:05:57 | 0:05:58 | |
You know where the front is. | 0:05:58 | 0:06:00 | |
And they are doing a remarkable job on the stage. | 0:06:03 | 0:06:05 | |
'The strongest part of their dance is the way they use touch | 0:06:09 | 0:06:11 | |
'to find each other so that they don't lose their spacing.' | 0:06:11 | 0:06:14 | |
It's actually pretty smart and they're pulling it off. | 0:06:14 | 0:06:17 | |
Back handspring blindfolded. Wow! Turning leap. Wow! | 0:06:19 | 0:06:24 | |
And will they find each other? | 0:06:24 | 0:06:26 | |
That's the question I keep asking. | 0:06:26 | 0:06:28 | |
And they do. Oh, my goodness. | 0:06:28 | 0:06:30 | |
Wow. Summerford just brought it. | 0:06:43 | 0:06:45 | |
That was spectacular. | 0:06:47 | 0:06:49 | |
'The dance was really beautiful.' | 0:06:49 | 0:06:51 | |
I think we have a good chance of winning. | 0:06:51 | 0:06:53 | |
I will now prove my theory. | 0:06:57 | 0:06:59 | |
'I return with Noah because I really' | 0:06:59 | 0:07:01 | |
want to prove to the girls why Noah is perfect for this dance. | 0:07:01 | 0:07:05 | |
West is just wasting our time right now. | 0:07:05 | 0:07:07 | |
We need to be rehearsing cos we go on stage soon. | 0:07:07 | 0:07:10 | |
He's blindfolded and he's catching everything | 0:07:14 | 0:07:18 | |
that's being thrown at him. | 0:07:18 | 0:07:19 | |
(I told you.) Are you kidding? | 0:07:19 | 0:07:22 | |
STEPHANIE: How is he juggling blindfolded? | 0:07:22 | 0:07:25 | |
It's so weird. | 0:07:25 | 0:07:26 | |
We need him in our routine. | 0:07:26 | 0:07:28 | |
All in favour for in? | 0:07:28 | 0:07:29 | |
And there it is. | 0:07:31 | 0:07:33 | |
OK, but we only have a dance for five, not for six. | 0:07:33 | 0:07:36 | |
'If Noah comes in,' | 0:07:36 | 0:07:38 | |
then we need to lose somebody else. | 0:07:38 | 0:07:40 | |
I'll back up. What? | 0:07:41 | 0:07:43 | |
'I volunteer to drop out because' | 0:07:43 | 0:07:45 | |
I'm the newest to A-Troupe | 0:07:45 | 0:07:47 | |
'and it just feels like the right thing to do.' | 0:07:47 | 0:07:49 | |
Listen, you're not going to do this. | 0:07:49 | 0:07:51 | |
Why not? | 0:07:51 | 0:07:52 | |
'I can't let someone who's on the actual team not dance.' | 0:07:52 | 0:07:56 | |
Listen, guys. I'm the alternate for the team. | 0:07:56 | 0:07:59 | |
I'll back out. | 0:08:01 | 0:08:02 | |
Manila Paardan Ng Sayaw is up next. | 0:08:05 | 0:08:09 | |
Yes, and as we can see, they have twice as many dancers | 0:08:09 | 0:08:12 | |
which means the difficulty will be much higher. | 0:08:12 | 0:08:14 | |
If they can perform a clean routine | 0:08:14 | 0:08:16 | |
then Summerford will be packing their bags. | 0:08:16 | 0:08:18 | |
I cannot wait to see what happens. | 0:08:18 | 0:08:20 | |
Let's go to the stage. | 0:08:20 | 0:08:22 | |
TECHNO MUSIC PLAYS | 0:08:22 | 0:08:26 | |
Oh, wow. | 0:08:36 | 0:08:37 | |
'England has a five-point advantage from Ella's solo but...' | 0:08:37 | 0:08:42 | |
I'm not too sure it's enough to beat the Filipino team. | 0:08:42 | 0:08:44 | |
'They're unbelievable.' | 0:08:44 | 0:08:46 | |
They're pretty sick. | 0:08:49 | 0:08:50 | |
Luckily, that's bad news for England. | 0:08:50 | 0:08:53 | |
Now the judges want to reward difficulty level. | 0:08:53 | 0:08:56 | |
Playing it safe at Internationals may not always be the best option. | 0:08:56 | 0:09:00 | |
And I bet Summerford's having second thoughts | 0:09:00 | 0:09:02 | |
about only using two dancers right now. | 0:09:02 | 0:09:04 | |
'I'm in the wings watching the Philippines dance' | 0:09:04 | 0:09:06 | |
and it's going really well. I'm really nervous. | 0:09:06 | 0:09:09 | |
And they are... Oh, my goodness. Wow. | 0:09:09 | 0:09:12 | |
Three aerials... Three aerials blindfolded. | 0:09:12 | 0:09:14 | |
..towards the stage, blindfolded, beside each other. | 0:09:14 | 0:09:17 | |
Wow! Whoa, whoa, whoa! | 0:09:18 | 0:09:20 | |
Oh... | 0:09:20 | 0:09:22 | |
MUSIC STOPS WHISTLE BLOWS | 0:09:22 | 0:09:24 | |
ANNOUNCER: 'Please take your blindfolds off. | 0:09:24 | 0:09:26 | |
'You've been disqualified.' | 0:09:26 | 0:09:28 | |
That means disqualification. | 0:09:28 | 0:09:30 | |
That is heartbreaking. | 0:09:30 | 0:09:32 | |
APPLAUSE | 0:09:32 | 0:09:34 | |
They look so defeated. They don't know what happened. | 0:09:34 | 0:09:37 | |
We're in the next round! | 0:09:37 | 0:09:39 | |
Welcome back to SNR's ongoing coverage | 0:09:49 | 0:09:52 | |
of the Absolute Dance International Championship here in Miami. | 0:09:52 | 0:09:55 | |
Up next is Sweden challenging Switzerland, | 0:09:55 | 0:09:57 | |
who just performed with four dancers. | 0:09:57 | 0:10:00 | |
And Sweden is certainly pushing the envelope. | 0:10:00 | 0:10:02 | |
Get this, folks, for the first time, a team during the blindfold round | 0:10:02 | 0:10:07 | |
is going to go with the maximum - seven participants. | 0:10:07 | 0:10:10 | |
I have never seen this happen before. | 0:10:10 | 0:10:13 | |
This is going to be amazing and, of course, Sweden is the team to do it. | 0:10:13 | 0:10:16 | |
They're known for working seamlessly together. | 0:10:16 | 0:10:18 | |
And they really move as one. | 0:10:18 | 0:10:20 | |
So I can't wait to see this routine. | 0:10:20 | 0:10:22 | |
GENTLE MUSIC PLAYS | 0:10:22 | 0:10:27 | |
'Our matchup against France is really soon, | 0:10:32 | 0:10:34 | |
'but we came a little early' | 0:10:34 | 0:10:36 | |
because we want to see Sweden perform. | 0:10:36 | 0:10:38 | |
ELDON: 'The Swedish team is really smart because | 0:10:46 | 0:10:48 | |
'they used a long piece of fabric to connect all the dancers | 0:10:48 | 0:10:52 | |
'so they know exactly where they're supposed to be.' | 0:10:52 | 0:10:55 | |
Wow. They're amazing. | 0:10:56 | 0:11:00 | |
It's like they're not even blindfolded. Makes no sense. | 0:11:02 | 0:11:05 | |
'Even with blindfolds on, they seem to have perfect spacing, | 0:11:11 | 0:11:14 | |
'and their technique is on and...' | 0:11:14 | 0:11:18 | |
I can't find anything wrong with their dance. | 0:11:18 | 0:11:21 | |
Wow. | 0:11:27 | 0:11:28 | |
And they are standing. | 0:11:31 | 0:11:33 | |
And justifiably so. | 0:11:33 | 0:11:35 | |
And here comes Switzerland back to the stage. | 0:11:37 | 0:11:39 | |
That's right. The judges are tabulating their votes. | 0:11:39 | 0:11:41 | |
I have a feeling this is going to be a no-brainer. | 0:11:41 | 0:11:44 | |
I think it's going to be a literal walk in the park. | 0:11:44 | 0:11:46 | |
Blindfolded. | 0:11:46 | 0:11:48 | |
ANNOUNCER: 'And the winner moving on to the next round | 0:11:49 | 0:11:52 | |
'of the Absolute Dance Internationals is... | 0:11:52 | 0:11:55 | |
'Sweden.' | 0:11:55 | 0:11:56 | |
APPLAUSE AND CHEERING | 0:11:56 | 0:11:59 | |
The Swedish team knew exactly what they were doing | 0:11:59 | 0:12:01 | |
when they made the decision to go with seven participants | 0:12:01 | 0:12:04 | |
in this blindfold portion of the competition. | 0:12:04 | 0:12:07 | |
NOAH: 'I'm in the deep wings now, | 0:12:07 | 0:12:08 | |
'practising because everyone's depending on me. | 0:12:08 | 0:12:10 | |
'Basically, the strategy is for me | 0:12:10 | 0:12:12 | |
'to guide the girls through the dance. | 0:12:12 | 0:12:14 | |
'I'm going to be partnering with each of them to ensure | 0:12:14 | 0:12:16 | |
'that they don't get too close to a spotter.' | 0:12:16 | 0:12:18 | |
This is a big opportunity and I don't want to mess it up. | 0:12:18 | 0:12:22 | |
ANNOUNCER: 'Ladies and gentlemen, please put your hands together | 0:12:22 | 0:12:25 | |
'for the French representative, Locronan Ecole Royal de Danse.' | 0:12:25 | 0:12:29 | |
'All right, the next two teams going head-to-head...' | 0:12:29 | 0:12:32 | |
Hey, Ella. | 0:12:32 | 0:12:34 | |
I just wanted to wish you good luck. | 0:12:36 | 0:12:37 | |
What's the catch? No catch. | 0:12:38 | 0:12:41 | |
I kind of have mixed feelings right now because she really helped me | 0:12:41 | 0:12:44 | |
to gain confidence and just helped me to be an A-Trouper. | 0:12:44 | 0:12:48 | |
But she also kind of turned on the team and that's not cool. | 0:12:48 | 0:12:53 | |
Look, I'm not competing with you in this round, | 0:12:53 | 0:12:56 | |
so what happens to you doesn't affect me. | 0:12:56 | 0:12:57 | |
Anyway, I know you're going to do well | 0:12:57 | 0:12:59 | |
cos you're freakishly good at spatial awareness. | 0:12:59 | 0:13:02 | |
Thanks, Ella. | 0:13:05 | 0:13:07 | |
GENTLE MUSIC PLAYS | 0:13:12 | 0:13:15 | |
Gorgeous extension. Incredible. They're all connected. Oh, I know. | 0:13:15 | 0:13:19 | |
What's up? Why you stressing? | 0:13:22 | 0:13:24 | |
Um, because I think I'm going to fall off the stage. | 0:13:24 | 0:13:26 | |
Oh, so you're doing well, then? | 0:13:26 | 0:13:28 | |
I'd be doing a lot better if France wasn't doing so good. | 0:13:28 | 0:13:30 | |
'France always does really well in Internationals. | 0:13:38 | 0:13:41 | |
'Having to compete against them blindfolded' | 0:13:41 | 0:13:44 | |
is very intimidating. | 0:13:44 | 0:13:46 | |
Riley, tell you what. | 0:13:46 | 0:13:48 | |
If you DON'T fall into a spotter, I'll take you on a date. | 0:13:48 | 0:13:51 | |
HE LAUGHS OK. | 0:13:51 | 0:13:53 | |
'I've been wanting to take Riley on a big date | 0:13:53 | 0:13:56 | |
'ever since we got to Miami' | 0:13:56 | 0:13:57 | |
and I have something pretty big in mind. | 0:13:57 | 0:14:00 | |
APPLAUSE AND CHEERING | 0:14:02 | 0:14:04 | |
Wow. What an incredible performance from France. | 0:14:06 | 0:14:09 | |
Let me tell you, Ashley, | 0:14:09 | 0:14:11 | |
the competition is going to have a hard time beating that. | 0:14:11 | 0:14:15 | |
Up next is The Next Step. | 0:14:15 | 0:14:17 | |
Now keep in mind mathematics does play a bit of a role. | 0:14:17 | 0:14:20 | |
Next Step will be featuring five dancers. | 0:14:20 | 0:14:22 | |
That's right. And this could either pay off huge for them | 0:14:22 | 0:14:25 | |
or be a total disaster. | 0:14:25 | 0:14:27 | |
'Everything depends on Noah right now.' | 0:14:27 | 0:14:30 | |
We changed all of our choreo so he could help guide us on stage | 0:14:30 | 0:14:34 | |
and we really haven't had a lot of time to rehearse the new routine. | 0:14:34 | 0:14:38 | |
All right, here goes nothing. | 0:14:38 | 0:14:40 | |
It ain't nothing | 0:14:40 | 0:14:41 | |
'I'm really nervous. But I know this group is relying on me' | 0:14:41 | 0:14:45 | |
and I'm not going to let them down. | 0:14:45 | 0:14:47 | |
ANNOUNCER: 'Ladies and gentlemen, | 0:14:48 | 0:14:50 | |
'please put your hands together for The Next Step.' | 0:14:50 | 0:14:52 | |
'Walking on stage builds up all this pressure | 0:14:54 | 0:14:58 | |
'and I'm ready to perform but at the same time,' | 0:14:58 | 0:15:02 | |
I'm not so sure if this is going to go well. | 0:15:02 | 0:15:04 | |
MUSIC: Hotel | 0:15:13 | 0:15:15 | |
APPLAUSE | 0:15:15 | 0:15:19 | |
'The concept for this dance is I'm a prince, | 0:15:21 | 0:15:24 | |
'and they're my princesses, | 0:15:24 | 0:15:26 | |
'and they're all fighting to be my princess.' | 0:15:26 | 0:15:28 | |
And I have to choose one. | 0:15:28 | 0:15:30 | |
'He's kind of partnering each and every one of us | 0:15:32 | 0:15:34 | |
'and in doing that, he's also placing us in the right spots | 0:15:34 | 0:15:38 | |
'and making sure that we know where we are' | 0:15:38 | 0:15:41 | |
and making sure that we don't bump into anyone on stage. | 0:15:41 | 0:15:45 | |
How they doing? | 0:15:52 | 0:15:54 | |
They're pretty good. | 0:15:54 | 0:15:55 | |
'Noah is blowing my mind right now. | 0:16:00 | 0:16:02 | |
'How can he flip with a blindfold on? Who would have thought' | 0:16:02 | 0:16:05 | |
that Noah would have killed something like that? | 0:16:05 | 0:16:08 | |
Noah's doing a great job. | 0:16:12 | 0:16:13 | |
'Without him, it would look like four separate performances | 0:16:13 | 0:16:16 | |
'with nothing really binding us together. | 0:16:16 | 0:16:18 | |
'He's the glue that's holding us together.' | 0:16:18 | 0:16:21 | |
'Noah seems to be doing a great job in directing us because | 0:16:25 | 0:16:28 | |
'I feel super safe and in control | 0:16:28 | 0:16:30 | |
'and I can tell that the crowd is loving it.' | 0:16:30 | 0:16:32 | |
'I started in J-Troupe. | 0:16:36 | 0:16:38 | |
'Everyone was overlooking me and I was never getting in any dances. | 0:16:38 | 0:16:41 | |
'But now people are relying on me and they believe in me.' | 0:16:41 | 0:16:45 | |
This is a personal win for me no matter what. | 0:16:45 | 0:16:49 | |
APPLAUSE AND CHEERING | 0:16:49 | 0:16:53 | |
This Internationals competition just hit another level. | 0:16:53 | 0:16:56 | |
It certainly did. | 0:16:56 | 0:16:58 | |
And tell me, where did that guy come from? | 0:16:58 | 0:17:00 | |
Where he came from matters not. | 0:17:00 | 0:17:02 | |
It's what he did when he was here. | 0:17:02 | 0:17:04 | |
ANNOUNCER: 'Welcoming back to the stage | 0:17:07 | 0:17:09 | |
'Locronan Ecole Royal de Danse.' | 0:17:09 | 0:17:12 | |
This is unbelievable. | 0:17:12 | 0:17:13 | |
Two truly incredible performances. | 0:17:13 | 0:17:16 | |
I do not envy the judges right now. | 0:17:16 | 0:17:19 | |
Being on stage waiting for them to announce the winner of this round' | 0:17:21 | 0:17:24 | |
is so nerve-racking. | 0:17:24 | 0:17:26 | |
'And the winner...' | 0:17:26 | 0:17:28 | |
'I'm really happy that we did as good as we did but' | 0:17:28 | 0:17:32 | |
France was also incredible. | 0:17:32 | 0:17:34 | |
'..moving on to round four of seven is...' | 0:17:34 | 0:17:37 | |
'France has only four dancers but their routine was flawless.' | 0:17:37 | 0:17:42 | |
I have no idea what's going to happen. | 0:17:42 | 0:17:44 | |
'..The Next Step!' | 0:17:46 | 0:17:47 | |
APPLAUSE | 0:17:47 | 0:17:49 | |
What do you think of that? | 0:17:55 | 0:17:57 | |
Good on them. | 0:17:57 | 0:17:58 | |
Noah is making me look good. He's proven my point perfectly. | 0:18:03 | 0:18:07 | |
I can't believe it. We actually did it. | 0:18:11 | 0:18:15 | |
MUSIC: Miami | 0:18:15 | 0:18:20 | |
LATIN MUSIC PLAYS | 0:18:22 | 0:18:27 | |
Thank you. Thank you. | 0:18:33 | 0:18:35 | |
You're very welcome. Enjoy. Thank you very much. | 0:18:35 | 0:18:39 | |
How crazy is this? It's great. Oh, I love Latin music. I love this. | 0:18:39 | 0:18:43 | |
THEY SING IN SPANISH | 0:18:43 | 0:18:47 | |
'I promised Riley that if she didn't fall off the stage | 0:18:49 | 0:18:52 | |
'in the blindfold dance that I would take her on a date' | 0:18:52 | 0:18:54 | |
so I chose a salsa club in Miami. | 0:18:54 | 0:18:56 | |
'James and I are on a date right now but...' | 0:18:58 | 0:19:02 | |
he keeps drumming on the table | 0:19:02 | 0:19:04 | |
'and it just kind of makes me think he'd rather be with his band | 0:19:04 | 0:19:07 | |
'than be here at Internationals.' | 0:19:07 | 0:19:09 | |
JAMES DRUMS ON TABLE | 0:19:09 | 0:19:11 | |
Are you sure you wouldn't rather be with your band right now? | 0:19:11 | 0:19:14 | |
No, Riley. Of course. This is Internationals. | 0:19:14 | 0:19:17 | |
This is where I want to be. | 0:19:17 | 0:19:19 | |
OK. | 0:19:19 | 0:19:20 | |
'You know what? I am done talking about the band.' | 0:19:20 | 0:19:22 | |
I asked Riley on this date so that we could have some fun. | 0:19:22 | 0:19:25 | |
Do you want to go dance? | 0:19:28 | 0:19:29 | |
Yeah. Let's do it. | 0:19:30 | 0:19:33 | |
'I was a little worried that James wanted to be with his band | 0:19:47 | 0:19:50 | |
'more than competing at Internationals but...' | 0:19:50 | 0:19:53 | |
as we're dancing, I know that he wouldn't want to be anywhere else. | 0:19:53 | 0:19:58 | |
'I guess the truth is I do want to be here.' | 0:20:05 | 0:20:08 | |
But I also really want to be with the band. | 0:20:08 | 0:20:11 | |
But I'm just not ready to tell anyone that yet. | 0:20:11 | 0:20:14 | |
'Right now, Giselle's in a dance captain meeting' | 0:20:28 | 0:20:31 | |
and we're waiting for her to return and tell us what the next round is. | 0:20:31 | 0:20:34 | |
Guys. Guys, come in. | 0:20:36 | 0:20:39 | |
'I'm calling the team together because I've learned what | 0:20:39 | 0:20:41 | |
'the next round is going to be and I hope Eldon's ready.' | 0:20:41 | 0:20:44 | |
How many pirouettes are you at now? | 0:20:44 | 0:20:47 | |
Uh... 27? | 0:20:47 | 0:20:49 | |
Well, if we want to make it to the next round, | 0:20:49 | 0:20:51 | |
we need as many as you can muster. | 0:20:51 | 0:20:54 | |
'I just hope Eldon can do it' | 0:20:55 | 0:20:57 | |
because the whole team is going to be riding on it. | 0:20:57 | 0:20:59 | |
I don't know if I'm ready for this. | 0:20:59 | 0:21:01 | |
# We | 0:21:06 | 0:21:08 | |
# We're gonna show the world | 0:21:08 | 0:21:12 | |
# Everything we're made of | 0:21:12 | 0:21:15 | |
# We're gonna tear the roof off this place | 0:21:15 | 0:21:20 | |
# You | 0:21:20 | 0:21:22 | |
# You can never fade us out | 0:21:22 | 0:21:26 | |
# Don't even ask the DJ | 0:21:26 | 0:21:29 | |
# Everybody knows we own this land... # | 0:21:30 | 0:21:34 |