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Sex sells, and celebrity couples are big business, | 0:00:02 | 0:00:05 | |
global brands who just have to name their price. | 0:00:05 | 0:00:08 | |
Look at Posh and Becks, Brad and Angelina, they're real people | 0:00:08 | 0:00:11 | |
with real relationships, but they're not bad to look at either. | 0:00:11 | 0:00:14 | |
For the first time, | 0:00:14 | 0:00:15 | |
the search is on to find a real couple | 0:00:15 | 0:00:18 | |
who can make it as top models. | 0:00:18 | 0:00:21 | |
If we can find a real couple who are gorgeous and in love, | 0:00:21 | 0:00:24 | |
they'll make a killing. | 0:00:24 | 0:00:25 | |
But for every Posh and Becks, there's a Katie and Peter, | 0:00:25 | 0:00:28 | |
so just looking the part won't be enough. | 0:00:28 | 0:00:31 | |
No point investing in a couple who don't have a strong relationship - | 0:00:31 | 0:00:34 | |
they'll break up and leave us high and dry. | 0:00:34 | 0:00:37 | |
-I love you! -Over six weeks, eight hot couples will live together | 0:00:37 | 0:00:41 | |
in this state-of-the-art Manchester mansion. | 0:00:41 | 0:00:44 | |
This is how the other half live, isn't it? | 0:00:45 | 0:00:47 | |
As well as facing a series of modelling challenges... | 0:00:47 | 0:00:50 | |
I can't see your face. | 0:00:50 | 0:00:51 | |
God, they're see-through! | 0:00:51 | 0:00:53 | |
..their relationship will be under the microscope. | 0:00:53 | 0:00:56 | |
If the house was on fire, what would your partner grab to rescue? | 0:00:56 | 0:00:59 | |
-Clothes. -My straighteners. | 0:00:59 | 0:01:01 | |
They might have modelled before, but never as a couple, | 0:01:01 | 0:01:04 | |
and that means there'll be slip-ups... | 0:01:04 | 0:01:07 | |
-Whoa! Have we done both of them? -..tantrums... | 0:01:07 | 0:01:09 | |
I'll stare at you and tell you to shut up. | 0:01:09 | 0:01:12 | |
..and embarrassing challenges ahead... | 0:01:12 | 0:01:14 | |
I'm putting a sock down there. | 0:01:14 | 0:01:16 | |
He might need a little bit more...! | 0:01:16 | 0:01:18 | |
..as they battle it out to impress the judges | 0:01:18 | 0:01:20 | |
and avoid being eliminated from the competition. | 0:01:20 | 0:01:24 | |
I'm not looking for two separate models, I'm looking for a couple. | 0:01:24 | 0:01:27 | |
It's about making sure that the couple that choose have got | 0:01:27 | 0:01:30 | |
a relationship that's going to stand the test of time. | 0:01:30 | 0:01:33 | |
The prize for the winning pair is a contract | 0:01:33 | 0:01:35 | |
with a top modelling agency. | 0:01:35 | 0:01:37 | |
We've got it in the bag. | 0:01:37 | 0:01:39 | |
They all think they're drop-dead gorgeous. | 0:01:39 | 0:01:41 | |
I think I'm genetically blessed. | 0:01:41 | 0:01:44 | |
BOTH: We are 100% awesome! | 0:01:44 | 0:01:47 | |
I was voted the top ten best-looking South Asian male. | 0:01:47 | 0:01:50 | |
But how will their relationships cope under pressure? | 0:01:50 | 0:01:54 | |
This show is 50% about relationships. | 0:01:54 | 0:01:56 | |
Yeah, and 50% about models. | 0:01:56 | 0:01:58 | |
This is Hot Like Us. | 0:01:58 | 0:02:00 | |
When you whisper, somebody will be listening. | 0:02:00 | 0:02:03 | |
Six pairs remain in the hunt for a hot couple worthy of | 0:02:15 | 0:02:19 | |
a joint modelling contract. | 0:02:19 | 0:02:21 | |
Last time, the wannabes were given a taste of life as a model couple | 0:02:21 | 0:02:26 | |
when they posed for a holiday brochure | 0:02:26 | 0:02:29 | |
on a freezing-cold Blackpool beach. | 0:02:29 | 0:02:32 | |
-Perfect. -Stuart's got padding on! | 0:02:32 | 0:02:33 | |
But Mun and Rachna didn't get off to a great start with the photographer | 0:02:33 | 0:02:37 | |
when they turned up late. | 0:02:37 | 0:02:39 | |
Mun, I heard that it was your fault that you were late. | 0:02:39 | 0:02:42 | |
It's totally unprofessional. | 0:02:42 | 0:02:44 | |
And when it came to the shoot, | 0:02:44 | 0:02:47 | |
everyone else felt the wrath of Nicky Johnston... | 0:02:47 | 0:02:49 | |
-Don't you two -BLEEP -smile? | 0:02:49 | 0:02:52 | |
Nice, that's lovely. | 0:02:52 | 0:02:54 | |
You're on a desolate beach, darling, | 0:02:54 | 0:02:57 | |
what the hell are you looking at me for? | 0:02:57 | 0:02:59 | |
..with Tyrone and Salina receiving the brunt of his criticism. | 0:02:59 | 0:03:04 | |
So miserable, I don't want to go on this package holiday. | 0:03:04 | 0:03:08 | |
At the casting studio, it was a close call, | 0:03:08 | 0:03:10 | |
but in the end, the married couple got the job. | 0:03:10 | 0:03:13 | |
The couple who are going home is Mun and Rachna. | 0:03:13 | 0:03:15 | |
That's it, I'm not going to do this, I don't want it anymore. | 0:03:15 | 0:03:20 | |
Six couples remain in the competition - | 0:03:22 | 0:03:25 | |
fiery Chanel and Damien... | 0:03:25 | 0:03:27 | |
Whether he likes it or not, he's stuck with me now! | 0:03:27 | 0:03:29 | |
Whether I like it or not! | 0:03:29 | 0:03:31 | |
..Chloe and bodybuilder Leroy... | 0:03:31 | 0:03:33 | |
When it comes to my body, I'll be honest, enough is never enough. | 0:03:33 | 0:03:37 | |
..Jay and glamour model Becky... | 0:03:37 | 0:03:39 | |
In ten years' time, I'd like big boobs, | 0:03:39 | 0:03:41 | |
a small little waist and a little family. | 0:03:41 | 0:03:43 | |
..super-vain Stuart and Helen... | 0:03:43 | 0:03:46 | |
With my genetics and Helen's genetics, | 0:03:46 | 0:03:48 | |
our kids are going to take over the world. | 0:03:48 | 0:03:52 | |
..uber-confident Tyrone and Salina... | 0:03:52 | 0:03:54 | |
Asking us if we're going to win is like asking a cow, | 0:03:54 | 0:03:57 | |
does he serve milk? | 0:03:57 | 0:03:59 | |
..and Aussie ballroom dancers Alison and Vaughan. | 0:03:59 | 0:04:02 | |
I have a hot body, I work hard for it, and I'm proud of it. | 0:04:02 | 0:04:05 | |
I absolutely agree! | 0:04:05 | 0:04:08 | |
This week is all about seduction, as the judges turn up the volume | 0:04:09 | 0:04:13 | |
with a music-video challenge. | 0:04:13 | 0:04:15 | |
Everyone thinks it's a glamorous life, | 0:04:15 | 0:04:17 | |
and nine times out of ten, it's not. | 0:04:17 | 0:04:19 | |
You don't seem to understand, | 0:04:19 | 0:04:21 | |
we lose the artist in about two minutes. | 0:04:21 | 0:04:24 | |
This task will test their ability to be fiery and flirty. | 0:04:24 | 0:04:29 | |
-Giving him the ass! -Working it! | 0:04:29 | 0:04:31 | |
But can they turn on the heat for each other's partners? | 0:04:31 | 0:04:35 | |
Who wants this part, who wants it? | 0:04:35 | 0:04:37 | |
And in the relationship challenge, | 0:04:37 | 0:04:40 | |
the pairs will relive the first moment they fell for each other. | 0:04:40 | 0:04:44 | |
So we got out the bread, | 0:04:44 | 0:04:45 | |
we got out the salad to make our chicken sandwiches | 0:04:45 | 0:04:47 | |
and he bloody forgot the chicken! | 0:04:47 | 0:04:49 | |
Eliminations yesterday was very intense, very uncomfortable. | 0:05:02 | 0:05:08 | |
And Mun was such a lovely guy, | 0:05:08 | 0:05:10 | |
but at some point, everyone's going to go. | 0:05:10 | 0:05:13 | |
The couples are halfway through the competition, | 0:05:13 | 0:05:16 | |
and with Mun and Rachna gone, | 0:05:16 | 0:05:18 | |
the pressure is mounting on the remaining pairs. | 0:05:18 | 0:05:21 | |
It could be very volatile for some people, because some people, | 0:05:21 | 0:05:24 | |
when they're together for a long period of time, | 0:05:24 | 0:05:27 | |
absolutely clash like titans. | 0:05:27 | 0:05:30 | |
But there's no time for reflection, | 0:05:31 | 0:05:33 | |
because their mentor Jonathan Phang is on his way to reveal | 0:05:33 | 0:05:36 | |
what the judges have set for the next modelling challenge. | 0:05:36 | 0:05:39 | |
As an agent, Jonathan's helped | 0:05:41 | 0:05:43 | |
the biggest names in the industry achieve stardom. | 0:05:43 | 0:05:47 | |
You can't fake the real thing. | 0:05:47 | 0:05:48 | |
If we can pull this off and find a real couple that are gorgeous | 0:05:48 | 0:05:52 | |
and in love, they are going to make a killing. | 0:05:52 | 0:05:55 | |
If you guys want to make it as commercial models, you have to be | 0:05:55 | 0:06:00 | |
prepared for everything, for every eventuality. | 0:06:00 | 0:06:03 | |
You're not always going to be booked just for a stills shoot. | 0:06:03 | 0:06:06 | |
So, our next challenge is going to be... | 0:06:06 | 0:06:09 | |
..a pop promo. | 0:06:12 | 0:06:15 | |
Is there going to be, like, an artist? | 0:06:18 | 0:06:20 | |
Yes, there certainly is - it's Lethal Bizzle. | 0:06:20 | 0:06:23 | |
THEY CHEER | 0:06:23 | 0:06:27 | |
For those of you who aren't familiar with Lethal Bizzle, | 0:06:27 | 0:06:31 | |
shall we have a look at one of his old videos? | 0:06:31 | 0:06:33 | |
But you are going to be appearing in his new promo. | 0:06:33 | 0:06:36 | |
I prefer Bizzle, though But I don't really mind, though | 0:06:36 | 0:06:39 | |
You get me, though? | 0:06:39 | 0:06:40 | |
What's my name? Bizzle, Bizzle | 0:06:40 | 0:06:42 | |
Who's the hitman? Bizzle, Bizzle | 0:06:42 | 0:06:44 | |
What you know about Bizzle, Bizzle | 0:06:44 | 0:06:46 | |
I don't play about Bizzle, Bizzle... | 0:06:46 | 0:06:48 | |
MOBO-winning grime artist Lethal Bizzle has been a big hit | 0:06:48 | 0:06:51 | |
in the UK hip-hop scene for nearly a decade. | 0:06:51 | 0:06:54 | |
His is a world of scantily-clad girls, money and bling. | 0:06:55 | 0:06:59 | |
Best of luck to our ballroom dancers, Vaughan and Alison! | 0:06:59 | 0:07:04 | |
Everyone seems to be quite familiar with that genre of music. | 0:07:06 | 0:07:10 | |
For you, is this slightly out of your comfort zone? | 0:07:10 | 0:07:12 | |
Dancing is music made visible, | 0:07:12 | 0:07:15 | |
so you've got to feel it, it's got to come through. | 0:07:15 | 0:07:17 | |
It's not about the lines and stuff you create, that's not it. | 0:07:17 | 0:07:21 | |
So I'm looking forward to it. | 0:07:21 | 0:07:23 | |
What about you, Stuart? Is it something that fazes you? | 0:07:23 | 0:07:25 | |
This couldn't have got any harder. | 0:07:25 | 0:07:28 | |
If I could think of the hardest possible thing to have done, | 0:07:28 | 0:07:31 | |
this would be it. | 0:07:31 | 0:07:32 | |
Oh, yippee! | 0:07:32 | 0:07:34 | |
Well, guys, let's just absolutely smash it! | 0:07:37 | 0:07:40 | |
-Let's do our thing. -Have the best fun! | 0:07:40 | 0:07:42 | |
-Kapow! -Just do it! | 0:07:42 | 0:07:43 | |
Whether they're happy or not, | 0:07:43 | 0:07:46 | |
the couples need to get their legwarmers on - | 0:07:46 | 0:07:49 | |
they've an appointment with a choreographer. | 0:07:49 | 0:07:51 | |
If they want me to go butt naked and do the worm, I'm going to do it! | 0:07:51 | 0:07:55 | |
To be staring in a video, potentially, it's just so good. | 0:07:55 | 0:07:59 | |
If you want to model and be professional and get a job, | 0:07:59 | 0:08:02 | |
it's worth a load of money to dance in a video. | 0:08:02 | 0:08:04 | |
Pull it out of the bag. | 0:08:04 | 0:08:05 | |
For Tyrone and Salina, starring in a music video is a dream come true. | 0:08:05 | 0:08:11 | |
I myself have been working in a bar since I was 18, | 0:08:11 | 0:08:14 | |
so I'm constantly round music. | 0:08:14 | 0:08:17 | |
The only time you really see her actually lose herself is | 0:08:17 | 0:08:19 | |
on the dance floor, you know what I mean? | 0:08:19 | 0:08:21 | |
And all-round good guy Vaughan is eager to prove to the others that | 0:08:22 | 0:08:28 | |
he's bad enough to star in the video. | 0:08:28 | 0:08:31 | |
All the years in a nightclub are finally going to hopefully pay off. | 0:08:31 | 0:08:35 | |
Many years of wild nights, good fun. | 0:08:35 | 0:08:38 | |
How do you know? You're not a wild boy! | 0:08:38 | 0:08:40 | |
-What are you talking about?! -Not anymore! | 0:08:40 | 0:08:42 | |
We're practising Christians, we go to church. | 0:08:46 | 0:08:49 | |
We want to think we make being Christian cool. | 0:08:49 | 0:08:53 | |
Since the start of the competition, | 0:08:53 | 0:08:55 | |
the Australian ballroom dancers have been on a mission to prove | 0:08:55 | 0:08:59 | |
they're not as conservative as everyone thinks. | 0:08:59 | 0:09:02 | |
But the judges haven't been convinced. | 0:09:02 | 0:09:06 | |
You're dressed appropriately to go to a wedding in the '80s, | 0:09:06 | 0:09:09 | |
you're not model material. | 0:09:09 | 0:09:11 | |
This is the culprit from yesterday's elimination. | 0:09:11 | 0:09:14 | |
And so, Vaughan took it upon himself to reinvent his image. | 0:09:15 | 0:09:20 | |
This week's urban-music challenge is the perfect opportunity | 0:09:21 | 0:09:25 | |
for the Aussies to prove their doubters wrong. | 0:09:25 | 0:09:29 | |
When Vaughan changed, everyone came up to us and goes, | 0:09:29 | 0:09:32 | |
"Are you for real? | 0:09:32 | 0:09:34 | |
"I think you're joking or lying or something." | 0:09:34 | 0:09:36 | |
Most people put you in a certain spot and then don't really expect you | 0:09:38 | 0:09:42 | |
to break out of that, and what's happened from the first week | 0:09:42 | 0:09:45 | |
we've been her till now is that we've actually grown a lot. | 0:09:45 | 0:09:48 | |
It's total dance! | 0:09:48 | 0:09:50 | |
The pairs are on their way to meet video director Andy Soup... | 0:10:00 | 0:10:04 | |
Right, OK, we're going to go for a little take, please. | 0:10:04 | 0:10:07 | |
..a man who's worked with the Scissor Sisters, | 0:10:07 | 0:10:11 | |
Basement Jaxx and The Streets. | 0:10:11 | 0:10:12 | |
He will decide who will play a major part in the video | 0:10:12 | 0:10:16 | |
and who will be in the background. | 0:10:16 | 0:10:18 | |
This is Andy, your director. | 0:10:20 | 0:10:21 | |
If you are a model or actor and you want to come through, | 0:10:21 | 0:10:26 | |
music videos are really good, a commercial test. | 0:10:26 | 0:10:28 | |
You really do want and try | 0:10:28 | 0:10:30 | |
and get your face in the camera as much as possible. | 0:10:30 | 0:10:33 | |
If it's not working, I've no qualms about pulling you out, | 0:10:33 | 0:10:36 | |
so you need to concentrate, really put in your best. | 0:10:36 | 0:10:39 | |
Has anybody seen that film From Dusk Till Dawn? Yeah? Wicked film. | 0:10:39 | 0:10:43 | |
What we're doing is a UK version of that, | 0:10:43 | 0:10:45 | |
where Bizzle's out with his mates | 0:10:45 | 0:10:48 | |
on the town, goes into a lap dancing bar, and then there's a twist, | 0:10:48 | 0:10:51 | |
basically, where they get locked in, and all the girls and everybody | 0:10:51 | 0:10:56 | |
who works in there is vampires, and they're kind of attacking them. | 0:10:56 | 0:11:01 | |
First, it's a simple warm-up. | 0:11:05 | 0:11:07 | |
And switch. | 0:11:07 | 0:11:08 | |
The six couples will spend the next few hours fighting | 0:11:08 | 0:11:12 | |
over the three major parts in the promo. | 0:11:12 | 0:11:15 | |
We can both dance, if we're in a club, we can both dance, but... | 0:11:15 | 0:11:18 | |
-Total different thing, really, isn't it? -Yeah. | 0:11:18 | 0:11:21 | |
One of the guys will be Lethal Bizzle's best mate, | 0:11:21 | 0:11:25 | |
one of the girls will be a vampire lap dancer, | 0:11:25 | 0:11:28 | |
and one lucky boy will be her unsuspecting victim. | 0:11:28 | 0:11:31 | |
Everybody wants it. If I'm featured, I'll be absolutely buzzing. | 0:11:33 | 0:11:37 | |
Anyone not picked for a starring role will be | 0:11:37 | 0:11:40 | |
relegated to the background. | 0:11:40 | 0:11:41 | |
Because there are only a certain amount of good roles to be had, | 0:11:41 | 0:11:46 | |
they've got to prove to the director that | 0:11:46 | 0:11:48 | |
they should be the ones in front of the camera. | 0:11:48 | 0:11:51 | |
OK, let's have a go at that. | 0:11:51 | 0:11:53 | |
First of all, Andy's attention is on the boys, | 0:11:53 | 0:11:57 | |
as they try out for the key part, as Lethal Bizzle's best mate. | 0:11:57 | 0:12:01 | |
Does anybody have special skills, like athletic or acrobatic? | 0:12:01 | 0:12:06 | |
I do professional wrestling and acting, like, stunts and acting. | 0:12:07 | 0:12:12 | |
Do you do stunts, do you? Wicked. | 0:12:12 | 0:12:14 | |
You've got vampires coming to kill you, | 0:12:14 | 0:12:16 | |
and one of you needs to fall. I don't want to be responsible | 0:12:16 | 0:12:19 | |
for someone breaking their kneecap, so don't be stupid. | 0:12:19 | 0:12:23 | |
This role is all about throwing yourself on the floor and screaming. | 0:12:23 | 0:12:27 | |
HE SCREAMS Yeah, man! | 0:12:27 | 0:12:30 | |
Very good! | 0:12:30 | 0:12:33 | |
And some are better at it than others. | 0:12:33 | 0:12:36 | |
Whoa, shit! | 0:12:36 | 0:12:38 | |
Have we done both of them holes? | 0:12:38 | 0:12:41 | |
It's these guns, man, that's what it is! | 0:12:41 | 0:12:44 | |
Right, vampire face, you're undead, right? | 0:12:44 | 0:12:48 | |
I want you to give me a real scary, twisted-up face, yeah, | 0:12:48 | 0:12:51 | |
and get into position one, and action. | 0:12:51 | 0:12:56 | |
Give me a gnarly, scary vampire face. | 0:12:56 | 0:13:00 | |
OK, this is what Satan looks like, and this is his gnarly, scary face. | 0:13:00 | 0:13:04 | |
Fucking hell, is that it?! | 0:13:04 | 0:13:07 | |
Scary face looking around, you can smell blood. | 0:13:07 | 0:13:11 | |
Yeah, OK. You're going to kill him! | 0:13:11 | 0:13:14 | |
Yeah, there you go, that's what I'm talking about. | 0:13:14 | 0:13:18 | |
-It's not a pantomime, you know what I mean? -Less is more. | 0:13:23 | 0:13:26 | |
Who do you think has won? I was the best one. | 0:13:26 | 0:13:29 | |
You looked quite good, actually, | 0:13:29 | 0:13:31 | |
I was seeing you, pretending to be scary. That was really good. | 0:13:31 | 0:13:34 | |
Seven and eight, we walk one, hip, two, three... | 0:13:34 | 0:13:38 | |
Whilst the boys are working, | 0:13:38 | 0:13:41 | |
the girls are with the choreographer, | 0:13:41 | 0:13:43 | |
preparing for the lap dancing role. | 0:13:43 | 0:13:45 | |
For Salina and Tyrone, | 0:13:46 | 0:13:48 | |
this is a rare opportunity for the insular couple | 0:13:48 | 0:13:51 | |
-to mix with the rest of the group. -In the house, it's very two-sided - | 0:13:51 | 0:13:54 | |
you're either on that side or you're on this side. | 0:13:54 | 0:13:58 | |
But here at the dance studio, everyone's working together, | 0:13:58 | 0:14:01 | |
so it's kind of good. | 0:14:01 | 0:14:06 | |
Tyrone is the competition's self-proclaimed Mr Charisma. | 0:14:12 | 0:14:15 | |
I'm so charming, I think I could sell a man his own briefcase, | 0:14:15 | 0:14:19 | |
and I'm so cocky, I think I could sell a man his own moustache. | 0:14:19 | 0:14:22 | |
But since the couple arrived, | 0:14:22 | 0:14:23 | |
they've preferred the privacy of their own room, | 0:14:23 | 0:14:26 | |
while the rest of the group have chosen to share. | 0:14:26 | 0:14:30 | |
If we didn't get our own room, I'd be very upset. | 0:14:30 | 0:14:32 | |
The couple have a hard exterior and don't make friends easily, | 0:14:32 | 0:14:37 | |
especially because Salina has fallen out with her family | 0:14:37 | 0:14:40 | |
for dating Tyrone. | 0:14:40 | 0:14:42 | |
It's kind of like the Romeo and Juliet story, know what I mean? | 0:14:42 | 0:14:45 | |
But if you're genuinely in love, you stick at it. | 0:14:45 | 0:14:49 | |
Since they arrived in the house, | 0:14:49 | 0:14:51 | |
they've seized the opportunity | 0:14:51 | 0:14:53 | |
to tell the world about their relationship. | 0:14:53 | 0:14:56 | |
"Can't you accept who I am for me, | 0:14:56 | 0:14:59 | |
"because we are in love so let us be." | 0:14:59 | 0:15:02 | |
But recently, things haven't been going so well. | 0:15:02 | 0:15:06 | |
Don't you two fucking smile? | 0:15:06 | 0:15:09 | |
For fuck's sake, can I see teeth?! | 0:15:09 | 0:15:11 | |
Despite their obvious connection, | 0:15:11 | 0:15:14 | |
they struggled in the last photo shoot. | 0:15:14 | 0:15:16 | |
I don't know if you can smile. You look like you don't want to be here. | 0:15:16 | 0:15:20 | |
It's all so miserable. | 0:15:20 | 0:15:21 | |
And while most of the group have formed friendships, | 0:15:21 | 0:15:25 | |
the couple have preferred their own company. | 0:15:25 | 0:15:29 | |
There's no point in me giving props to anyone else, | 0:15:29 | 0:15:31 | |
I might as well give all the props to ourselves. | 0:15:31 | 0:15:34 | |
-Guys, let's have a look. -I see the excitement already. Look, look! | 0:15:36 | 0:15:41 | |
But they're going to have to put on a show for everyone | 0:15:41 | 0:15:45 | |
-if they want to win key roles in the music video. -Gorgeous. | 0:15:45 | 0:15:49 | |
Which is especially difficult, as Salina is Muslim. | 0:15:49 | 0:15:53 | |
'Her background where she's coming from,' | 0:15:53 | 0:15:55 | |
it's more pressure for her than any other person. | 0:15:55 | 0:15:59 | |
'If I do get, like, the main role | 0:16:01 | 0:16:02 | |
'and I have to dance, obviously, with other guys, | 0:16:02 | 0:16:05 | |
'it's going to definitely be really hard for me.' | 0:16:05 | 0:16:07 | |
But it's a sacrifice that I am willing to make. | 0:16:07 | 0:16:10 | |
APPLAUSE AND CHEERING | 0:16:10 | 0:16:12 | |
This is the resounding sound of happiness. | 0:16:12 | 0:16:14 | |
OK, darling, are we ready? | 0:16:14 | 0:16:16 | |
Next to audition | 0:16:18 | 0:16:19 | |
is another couple who might struggle to be sexy. | 0:16:19 | 0:16:22 | |
Oh, look... | 0:16:22 | 0:16:23 | |
Oh, you've done this before. | 0:16:23 | 0:16:25 | |
Born-Again Christians Vaughan and Alison | 0:16:25 | 0:16:29 | |
don't believe in sex before marriage. | 0:16:29 | 0:16:33 | |
There's definitely another level once you get intimate | 0:16:34 | 0:16:37 | |
that you can bring to the table. | 0:16:37 | 0:16:38 | |
And because we don't know each other that way, it can be difficult. | 0:16:38 | 0:16:42 | |
She did a great job, I mean that worked for me, believe that! | 0:16:42 | 0:16:45 | |
I was like, "How am I going to stand up?!" | 0:16:45 | 0:16:48 | |
I'm looking forward to getting married. | 0:16:52 | 0:16:55 | |
Focus on him, don't think about the mirror. | 0:16:55 | 0:16:57 | |
As the other hot couples try out for the parts, | 0:16:59 | 0:17:01 | |
it's clear that some of the girls are naturals. | 0:17:01 | 0:17:03 | |
Oh, nice! | 0:17:03 | 0:17:06 | |
Very good. | 0:17:06 | 0:17:08 | |
-Like glamour model Becky... -Right, let's go for the bites. | 0:17:08 | 0:17:12 | |
Oooh! Oooh! | 0:17:12 | 0:17:14 | |
..and 19-year-old Chanel. | 0:17:14 | 0:17:16 | |
Wicked. | 0:17:18 | 0:17:20 | |
OK, let's go for the bite. | 0:17:20 | 0:17:22 | |
If only the same could be said | 0:17:22 | 0:17:23 | |
for her boyfriend Damien's acting skills. | 0:17:23 | 0:17:26 | |
Aaah! | 0:17:26 | 0:17:28 | |
-Sorry. -Muah-ha! | 0:17:28 | 0:17:30 | |
Muah-ha! | 0:17:30 | 0:17:31 | |
These two have had a stormy relationship | 0:17:36 | 0:17:38 | |
since the tender age of 13. | 0:17:38 | 0:17:41 | |
I'd definitely say our relationship is edgy. | 0:17:41 | 0:17:44 | |
And no matter how much they disagree, | 0:17:44 | 0:17:46 | |
it's Chanel that usually wins. | 0:17:46 | 0:17:48 | |
I'm kind of the one who wears the trousers in the relationship. | 0:17:48 | 0:17:51 | |
-So if I do it, you just work around me. -I'll work around you. | 0:17:51 | 0:17:54 | |
You're a team, it's about both of you. | 0:17:54 | 0:17:56 | |
If they want the 12-month contract, | 0:17:56 | 0:17:58 | |
they'll need to prove that as models they can be equals. | 0:17:58 | 0:18:02 | |
You need to man-up and say, "I'm in the shot as well," | 0:18:02 | 0:18:05 | |
and you need to work as part of a team. | 0:18:05 | 0:18:08 | |
I'm not looking for two separate models, I'm looking for a couple. | 0:18:08 | 0:18:11 | |
But at the dance studio, | 0:18:12 | 0:18:15 | |
the choreographer isn't convinced | 0:18:15 | 0:18:17 | |
they've listened to the judges' advice. | 0:18:17 | 0:18:19 | |
'She picked up everything immediately,' | 0:18:19 | 0:18:22 | |
however, Damien struggled a bit | 0:18:22 | 0:18:24 | |
and there wasn't much kind of communication between the two. | 0:18:24 | 0:18:28 | |
She didn't help him, | 0:18:28 | 0:18:29 | |
she's just very focused on, "I have to get this right." | 0:18:29 | 0:18:32 | |
She's not sharing the love. | 0:18:32 | 0:18:34 | |
Very good, very good. | 0:18:34 | 0:18:35 | |
Andy has seen all the couples dance, | 0:18:35 | 0:18:38 | |
but the pair he chooses don't have to be boyfriend and girlfriend, | 0:18:38 | 0:18:42 | |
and so he wants to have a look at some other options. | 0:18:42 | 0:18:47 | |
Chanel and Becky, right? And then Jay and Damien. | 0:18:47 | 0:18:50 | |
I want to see you switch partners and see how you handle that, OK? | 0:18:50 | 0:18:54 | |
Becky, do the same thing with Damien, the whole dance. | 0:18:54 | 0:18:57 | |
-The whole dance? -The whole thing, yeah, please. | 0:18:57 | 0:19:01 | |
It is just acting, you know, if you think about Hollywood couples | 0:19:01 | 0:19:04 | |
and they have to go and be having sex with other people on screen | 0:19:04 | 0:19:09 | |
and then come back to the wife, you know what I mean? | 0:19:09 | 0:19:13 | |
Nightmare. | 0:19:13 | 0:19:14 | |
Is glamour girl Becky professional enough | 0:19:18 | 0:19:21 | |
to turn it on for someone else? | 0:19:21 | 0:19:22 | |
If she wants the part, she'll have to be. | 0:19:22 | 0:19:26 | |
That's nice. Soft... Yes, see with the face - | 0:19:26 | 0:19:28 | |
it's softer, like a bit Brigitte Bardot sort of buzz. | 0:19:28 | 0:19:32 | |
Wicked. | 0:19:32 | 0:19:33 | |
You can't believe your luck cos she's about to sit on your lap. | 0:19:33 | 0:19:37 | |
Whoa! | 0:19:39 | 0:19:41 | |
Yeah, mate. | 0:19:41 | 0:19:42 | |
And then actually bite him. | 0:19:42 | 0:19:45 | |
Whoa! | 0:19:45 | 0:19:46 | |
-Very good. -APPLAUSE | 0:19:48 | 0:19:50 | |
OK. Now... Well done, mate. | 0:19:50 | 0:19:52 | |
Chanel, darling, do you want to jump in? | 0:19:54 | 0:19:57 | |
Now Chanel must better Becky's steamy performance with Jay. | 0:19:59 | 0:20:02 | |
Her boyfriend Damien might be advised to look away now. | 0:20:02 | 0:20:07 | |
Very good. Yeah, I'm believing that. | 0:20:14 | 0:20:17 | |
-She's giving him the ass! -Work it! | 0:20:20 | 0:20:24 | |
OK, go for the bite. | 0:20:24 | 0:20:25 | |
Argh! Aaah! | 0:20:31 | 0:20:33 | |
I don't know WHAT you're doing, mate! | 0:20:33 | 0:20:37 | |
I know what he's doing! I know what he's doing. | 0:20:37 | 0:20:41 | |
Can we have some Kleenex on set, please? | 0:20:41 | 0:20:44 | |
The casting session is over - Andy and his choreographer | 0:20:44 | 0:20:48 | |
have seen enough. | 0:20:48 | 0:20:49 | |
I would love to do some of that acting - | 0:20:49 | 0:20:51 | |
love to, do you know what I mean? | 0:20:51 | 0:20:54 | |
I don't want to blow our own trumpet, | 0:20:54 | 0:20:56 | |
but we are doing good. | 0:20:56 | 0:20:57 | |
If she has to lap-dance a guy... | 0:20:57 | 0:20:59 | |
she has to lap-dance a guy. | 0:20:59 | 0:21:02 | |
Anyone who doesn't land a main part will be a background artist, | 0:21:02 | 0:21:05 | |
anything from a member of the band to a backing dancer. | 0:21:05 | 0:21:09 | |
We've been having a chat about how we thought you did | 0:21:09 | 0:21:12 | |
and we all think you did really, really well. | 0:21:12 | 0:21:14 | |
Helen, I've got you as one of the go-go girls as you come in. | 0:21:14 | 0:21:19 | |
Chloe, that's what I've got earmarked for you as well, darling. | 0:21:19 | 0:21:23 | |
Salina, I've got you as another podium dancer. | 0:21:24 | 0:21:27 | |
I think you'll be wicked doing that. | 0:21:27 | 0:21:29 | |
Stuart, mate, I've got you as a drummer, right? | 0:21:31 | 0:21:34 | |
So quite dark, moody. | 0:21:34 | 0:21:36 | |
Tyrone, you were, like, doing some weird shit down here, | 0:21:37 | 0:21:40 | |
I thought that was really good. | 0:21:40 | 0:21:43 | |
So that's you. | 0:21:43 | 0:21:45 | |
Vaughan and Alison, you are a zombie vampire couple. | 0:21:45 | 0:21:49 | |
You'll be background, but then you're going to be a big part of it | 0:21:49 | 0:21:52 | |
with the reveal that, "Shit, this whole place is a trap." | 0:21:52 | 0:21:57 | |
The minor parts have been dished out | 0:21:59 | 0:22:02 | |
but who has impressed enough to be in the spotlight? | 0:22:02 | 0:22:06 | |
Leroy, I want you as Bizzle's best mate. | 0:22:06 | 0:22:08 | |
The role that we're going for now, | 0:22:13 | 0:22:15 | |
is who would be the featured couple | 0:22:15 | 0:22:18 | |
that's having the lap dance and doing the seducing thing. | 0:22:18 | 0:22:21 | |
Mmm, controversial. Mmm. | 0:22:21 | 0:22:24 | |
Right, what I'm going to go for | 0:22:26 | 0:22:28 | |
is Chanel with Jay as the featured couple. | 0:22:28 | 0:22:31 | |
It was such a close one between you two | 0:22:31 | 0:22:35 | |
but, Chanel, somehow you stole it. So, well done. Yeah? | 0:22:35 | 0:22:39 | |
APPLAUSE | 0:22:39 | 0:22:41 | |
The reason Chanel got it where Becky didn't | 0:22:41 | 0:22:43 | |
is probably more to do with her facial expression | 0:22:43 | 0:22:47 | |
and how I felt she was taking direction. | 0:22:47 | 0:22:50 | |
If she went to a modelling job and did a lingerie shoot with a guy | 0:22:51 | 0:22:54 | |
it would be the same situation. | 0:22:54 | 0:22:56 | |
Obviously I'd rather it'd be me - obviously, that's without saying. | 0:22:56 | 0:23:00 | |
Damien may not be starring with Chanel, | 0:23:00 | 0:23:03 | |
but at least one of them has a major role. | 0:23:03 | 0:23:06 | |
I'm very shocked. | 0:23:06 | 0:23:09 | |
Very, very shocked. | 0:23:09 | 0:23:12 | |
Tyrone and Salina have both been handed background parts | 0:23:12 | 0:23:15 | |
and to top it all, | 0:23:15 | 0:23:16 | |
Salina is worried about what she'll have to wear in the video. | 0:23:16 | 0:23:20 | |
I've never worn these kind of things before in my life. | 0:23:20 | 0:23:23 | |
It's been a hard day for me today, | 0:23:23 | 0:23:25 | |
because first I had to do the dance that was so out of my comfort zone, | 0:23:25 | 0:23:28 | |
but I just blocked it all out. | 0:23:28 | 0:23:30 | |
Now it's like, this is worse than the underwear shoot I had to do. | 0:23:30 | 0:23:35 | |
I just feel like THIS | 0:23:35 | 0:23:37 | |
is going to be the ultimate test for us. | 0:23:37 | 0:23:40 | |
Thumb, thumb, thumb, thumb, thumb, And then uh-uh-uh. | 0:23:45 | 0:23:48 | |
Back at the house, | 0:23:48 | 0:23:49 | |
all the couple have some serious rehearsing to do. | 0:23:49 | 0:23:53 | |
Any challenge we've done thus far, | 0:23:56 | 0:23:58 | |
this is our challenge, for the sense of Chloe can dance, | 0:23:58 | 0:24:01 | |
you've got a bit of acting to play up to as well as do a stunt. | 0:24:01 | 0:24:05 | |
I was like, "Hey, Mr Wrestler and Actor in the house." | 0:24:05 | 0:24:09 | |
But there's one pair missing from the group practice, | 0:24:10 | 0:24:13 | |
as usual Tyrone and Salina are keeping themselves to themselves. | 0:24:13 | 0:24:18 | |
'Everyone does have different issues' | 0:24:18 | 0:24:20 | |
and sometimes you see it | 0:24:20 | 0:24:22 | |
and you think it's kind of strange to you | 0:24:22 | 0:24:24 | |
because you don't have the same issues. | 0:24:24 | 0:24:27 | |
-We did that lingerie shoot for the first challenge. -We thought that would be the worst thing. | 0:24:27 | 0:24:31 | |
We thought that would have been the worst thing, | 0:24:31 | 0:24:34 | |
but then we hit another wall. | 0:24:34 | 0:24:35 | |
The six couples have undergone a merciless casting session... | 0:24:38 | 0:24:42 | |
-Aargh! -Argh! -Aaaah! | 0:24:42 | 0:24:44 | |
..and have now been awarded roles in Lethal Bizzle's next music video. | 0:24:44 | 0:24:48 | |
Aaaagh! | 0:24:48 | 0:24:49 | |
It's Lethal Bizzle. | 0:24:49 | 0:24:51 | |
And while some are out of their comfort zone... | 0:24:51 | 0:24:54 | |
It's time to dance! | 0:24:54 | 0:24:56 | |
-..others are beginning to shine. -Wicked. | 0:24:56 | 0:24:59 | |
Whether they're a featured role or in the background, | 0:24:59 | 0:25:01 | |
the hot couples will have to work hard on set | 0:25:01 | 0:25:04 | |
to make sure that they survive the next casting decision. | 0:25:04 | 0:25:07 | |
I could find good reason to throw four couples out this week. | 0:25:07 | 0:25:11 | |
It's either go hard or go home, and I don't want to go home. | 0:25:11 | 0:25:14 | |
But it's not enough to shine at tomorrow's shoot. | 0:25:14 | 0:25:17 | |
The judges will only give the modelling contract | 0:25:17 | 0:25:19 | |
to a pair who are going to stay together. | 0:25:19 | 0:25:22 | |
Enter relationship judge Emma Kenny. | 0:25:23 | 0:25:26 | |
I'm the therapist who specialises in relationships. | 0:25:26 | 0:25:29 | |
I'm not here to judge the couple on what they look like, | 0:25:29 | 0:25:31 | |
I'm here to assess the strength of the bond that they have between them. | 0:25:31 | 0:25:35 | |
For a couple to have any chance of winning, | 0:25:37 | 0:25:39 | |
I need to know that they're going to be together for at least 12 months. | 0:25:39 | 0:25:42 | |
But what I'm hoping to find is a couple that'll be together in 12 years. | 0:25:42 | 0:25:46 | |
I'm kind of interested to know how everyone's feeling. | 0:25:51 | 0:25:54 | |
-How's today been? -Awesome. -Amazing. -Brilliant. 100 per cent. | 0:25:54 | 0:25:59 | |
Has anyone surprised themselves? | 0:25:59 | 0:26:01 | |
ALL: Yeah! | 0:26:01 | 0:26:03 | |
This week is all about seduction | 0:26:03 | 0:26:05 | |
and Emma's keen to explore the moment the hot couples | 0:26:05 | 0:26:08 | |
fell in love with each other. | 0:26:08 | 0:26:11 | |
Boys are going to take a black box each, | 0:26:12 | 0:26:14 | |
girls are going to take a silver box. | 0:26:14 | 0:26:16 | |
I want you to think about the moment that you looked at your partner, | 0:26:16 | 0:26:21 | |
where you suddenly go from, "Oh, this is all right," | 0:26:21 | 0:26:25 | |
to, "I really want that person." | 0:26:25 | 0:26:27 | |
You know, you feel seduced by that moment. | 0:26:27 | 0:26:30 | |
I want you to go away and just write a few words | 0:26:30 | 0:26:33 | |
and then we're going to come back. | 0:26:33 | 0:26:36 | |
I want them to be able to read it and does it trigger. | 0:26:36 | 0:26:40 | |
To succeed in this challenge, the couples must prove to Emma | 0:26:42 | 0:26:46 | |
that the initial spark hasn't faded in their relationships | 0:26:46 | 0:26:50 | |
by conjuring up the memory of that first special moment. | 0:26:50 | 0:26:54 | |
Yeah, I know mine straight away. | 0:26:56 | 0:26:57 | |
It's just come straight to me, so it's quite easy, really. | 0:26:57 | 0:27:01 | |
When it happened, I got that feeling of, | 0:27:01 | 0:27:03 | |
"Oh, my god, I really want that boy." | 0:27:03 | 0:27:05 | |
-I did as well. -It was really weird. | 0:27:05 | 0:27:07 | |
It's really nice, | 0:27:07 | 0:27:08 | |
because I want to know whether he actually remembers things | 0:27:08 | 0:27:11 | |
as much as I do. | 0:27:11 | 0:27:12 | |
She didn't even look at me, she just put her hand round my neck, she was facing that way, | 0:27:12 | 0:27:16 | |
and I come up behind her. From there on in, "Boom." | 0:27:16 | 0:27:19 | |
It's about...does the partner remember the same thing, | 0:27:19 | 0:27:22 | |
does it evoke that memory? | 0:27:22 | 0:27:24 | |
Maybe we did and didn't want to be together at certain times, | 0:27:24 | 0:27:27 | |
so I don't think ours will be the same at all. | 0:27:27 | 0:27:29 | |
Everyone seems to have some basis of a relationship, | 0:27:29 | 0:27:34 | |
how strong it is though, that's the key. | 0:27:34 | 0:27:36 | |
That's why Emma's here - to find out the strength of it. | 0:27:36 | 0:27:40 | |
I would really like you to swap boxes with your partner. | 0:27:40 | 0:27:43 | |
It's like Christmas. | 0:27:45 | 0:27:48 | |
-Who wants to start? -Here you go. | 0:27:48 | 0:27:50 | |
Me? | 0:27:50 | 0:27:53 | |
So I've got, "Black 206." | 0:27:53 | 0:27:56 | |
-Oooh. -Our first kiss. | 0:27:56 | 0:27:59 | |
Was that the memory? | 0:27:59 | 0:28:00 | |
It wasn't even just the first kiss. | 0:28:00 | 0:28:03 | |
We went through bit to get to our relationship | 0:28:03 | 0:28:06 | |
because we were best friends and when you don't know if you | 0:28:06 | 0:28:08 | |
should be making that jump. | 0:28:08 | 0:28:10 | |
So we did a few things and he got out of the car and I was thinking | 0:28:10 | 0:28:13 | |
we're getting... and I just grabbed his hand and he come | 0:28:13 | 0:28:16 | |
back in and I just kissed him and he skipped off out of the car. | 0:28:16 | 0:28:20 | |
It got to the point, this is it now, this is | 0:28:20 | 0:28:22 | |
the girl I want to spend the rest of my life with so why not tell her? | 0:28:22 | 0:28:26 | |
I have H2O. | 0:28:28 | 0:28:30 | |
H2O water? | 0:28:30 | 0:28:31 | |
It's cryptic. | 0:28:31 | 0:28:33 | |
I get it! Is it Liquid? Ha-ha. It's a club. | 0:28:34 | 0:28:37 | |
-Forgot the chicken. -That's all I need to say. | 0:28:40 | 0:28:44 | |
Easter holidays, that's not cryptic at all. | 0:28:44 | 0:28:47 | |
Do or die. | 0:28:47 | 0:28:49 | |
It's a bit cryptic. | 0:28:49 | 0:28:50 | |
Oh, do or die. | 0:28:50 | 0:28:52 | |
There wasn't one particular moment where | 0:28:52 | 0:28:55 | |
I was like, I want to be with you, it's been all along. | 0:28:55 | 0:28:59 | |
And...God, I'm going to cry! | 0:28:59 | 0:29:01 | |
It's like we have to do everything or just not be together, | 0:29:01 | 0:29:06 | |
does that make sense? | 0:29:06 | 0:29:08 | |
There's been a lot between me and Damien and it was when I really realised that I loved him. | 0:29:08 | 0:29:13 | |
We were dancing and it was like we were in the club by ourselves. | 0:29:13 | 0:29:15 | |
So we got out the bread, we got out the salad, | 0:29:15 | 0:29:18 | |
to make our chicken sandwiches and he bloody forgot the chicken. | 0:29:18 | 0:29:21 | |
He was so sad, he... I kid you not cried. | 0:29:21 | 0:29:25 | |
He was going, "I forgot the chicken, I've ruined my romantic picnic." | 0:29:25 | 0:29:30 | |
If he hadn't texted me that message you might not have... | 0:29:30 | 0:29:34 | |
-Gone. -Yeah. | 0:29:34 | 0:29:36 | |
I know that we just belong together. | 0:29:38 | 0:29:40 | |
It is sort of nice to be with someone that doesn't judge you | 0:29:40 | 0:29:44 | |
too much on the fact that you've got money or you don't. | 0:29:44 | 0:29:47 | |
With such an emotional display, | 0:29:47 | 0:29:49 | |
judging the challenge is going to be tough for Emma. | 0:29:49 | 0:29:53 | |
It's not going to be a case of who deserves to go, | 0:29:53 | 0:29:56 | |
for me it's going to be a case of who out of a group of really deserving | 0:29:56 | 0:30:02 | |
couples deserves this less than the others. | 0:30:02 | 0:30:07 | |
21, which is my house number, and obviously we live together. | 0:30:07 | 0:30:13 | |
We've had it hard, bro, telling you, seriously. | 0:30:13 | 0:30:17 | |
When my dad died I was trying to look for her. | 0:30:17 | 0:30:20 | |
When my dad died I was trying to look for her round the house. | 0:30:24 | 0:30:28 | |
I went into my dad's room and she kissed my dad on the forehead | 0:30:28 | 0:30:30 | |
and I thought you're a lovely girl.... | 0:30:30 | 0:30:33 | |
That's the girl for me. | 0:30:33 | 0:30:34 | |
All the girls I've been with, been using me, bro, | 0:30:37 | 0:30:41 | |
using me. | 0:30:41 | 0:30:43 | |
I know they didn't want me for me and this time... | 0:30:43 | 0:30:46 | |
Feels like for you guys this experience is shifting you | 0:30:46 | 0:30:50 | |
in a lot of different emotional ways. | 0:30:50 | 0:30:53 | |
Tyrone and Salina, | 0:30:55 | 0:30:58 | |
it's just furthered my understanding | 0:30:58 | 0:31:00 | |
of why they are quite closed sometimes, because I think | 0:31:00 | 0:31:04 | |
they had to spend so much time just relying on each other that even | 0:31:04 | 0:31:08 | |
beginning to believe that the world will accept them and they can rely on | 0:31:08 | 0:31:12 | |
others has felt something that's been far out of reach for them, | 0:31:12 | 0:31:16 | |
and I just think they're having moment after a moment | 0:31:16 | 0:31:18 | |
of emotional discovery. | 0:31:18 | 0:31:20 | |
Honestly this week for me, | 0:31:20 | 0:31:23 | |
Jody's going to have to be making a decision because I don't know. | 0:31:23 | 0:31:28 | |
# Here we go, here we go, here we go. # | 0:31:40 | 0:31:43 | |
Have they left? | 0:31:43 | 0:31:45 | |
Babe! | 0:31:49 | 0:31:50 | |
It's midnight in a Mexican whorehouse, | 0:31:53 | 0:31:56 | |
not 6 o'clock in the morning in a basement in Manchester. | 0:31:56 | 0:32:02 | |
The music video shoot has begun. | 0:32:02 | 0:32:05 | |
And as the wannabes go straight into hair and make-up, | 0:32:07 | 0:32:10 | |
modelling judge Jody Furlong is already watching their every move. | 0:32:10 | 0:32:15 | |
Everyone thinks it's a glamorous life | 0:32:15 | 0:32:17 | |
and nine times out of ten it's not. It's quite gruelling | 0:32:17 | 0:32:20 | |
so I don't want to hear any complaining, any moaning. | 0:32:20 | 0:32:22 | |
I want people to have smiles on their faces at all times. | 0:32:22 | 0:32:26 | |
For me it's all about the looks, | 0:32:27 | 0:32:29 | |
I couldn't care less about the relationship, all I'm bothered | 0:32:29 | 0:32:32 | |
about is whether they could cut it as models. | 0:32:32 | 0:32:35 | |
OK so position 1s please. | 0:32:35 | 0:32:38 | |
First to be called on set are Chanel and Jay, | 0:32:38 | 0:32:41 | |
who have been chosen to star in the coveted lap dancing scene. | 0:32:41 | 0:32:45 | |
I'm the one that's obviously going to get seduced | 0:32:45 | 0:32:48 | |
and then turn into vampire so it's going to be easier just to imagine | 0:32:48 | 0:32:51 | |
Becky because that's what I'm used to. | 0:32:51 | 0:32:53 | |
She's done that routine for me many a time, | 0:32:53 | 0:32:55 | |
-if I can just put that in my mind it'll be fine. -Roll playback. | 0:32:55 | 0:32:59 | |
Good luck, babe. | 0:32:59 | 0:33:00 | |
Good luck, Jay. | 0:33:00 | 0:33:02 | |
And, guys, in your own time, action. | 0:33:04 | 0:33:07 | |
You're quite boisterous, bit of a geezer. | 0:33:14 | 0:33:18 | |
Grind your boobies in his face a little bit. | 0:33:18 | 0:33:20 | |
You're just completely owning, take your time. | 0:33:20 | 0:33:26 | |
Wicked, cold bitch. | 0:33:26 | 0:33:28 | |
Down the lens, don't look at him. | 0:33:28 | 0:33:30 | |
Wow, we've got sexy Chanel back which is absolutely fine | 0:33:30 | 0:33:32 | |
because it's completely appropriate for this video. | 0:33:32 | 0:33:34 | |
She looks absolutely amazing. | 0:33:34 | 0:33:37 | |
You're definitely ticking the hot box right now. | 0:33:39 | 0:33:42 | |
Chanel is being an absolute knockout, bombastic. | 0:33:42 | 0:33:48 | |
Baby got pop, | 0:33:48 | 0:33:51 | |
I don't really know what that means but she's got it. | 0:33:51 | 0:33:54 | |
-Wish you were Jay in there? -Of course I wish I wish I was Jay, don't you wish you were Jay? | 0:33:57 | 0:34:02 | |
They're both amazing so I'm really happy. | 0:34:02 | 0:34:06 | |
Chanel and Jay may have been a hit in their featured roles | 0:34:09 | 0:34:12 | |
but now the star of the show has arrived, It's Lethal Bizzle. | 0:34:12 | 0:34:17 | |
What's happening, hello everyone. | 0:34:17 | 0:34:20 | |
-I think it's amazing how much presence he's got. -Definitely. | 0:34:20 | 0:34:23 | |
He just walks in the room and everyone's like wow. | 0:34:23 | 0:34:26 | |
Now that you've got the artist in the building, | 0:34:26 | 0:34:29 | |
we've got to bring our A game. | 0:34:29 | 0:34:31 | |
-It's either go hard or go home, and I don't want to go home. -Wicked. | 0:34:31 | 0:34:35 | |
Now that the hip hop star has arrived, | 0:34:35 | 0:34:38 | |
ballroom dancer Vaughan wastes no time in collaring the gangster rapper. | 0:34:38 | 0:34:43 | |
-Me and my girl, who's smoking hot, we've got this scene. -Where is she? | 0:34:43 | 0:34:46 | |
She's doing something else at the moment but I'll introduce you. | 0:34:46 | 0:34:49 | |
But urban dancing, that sort of thing, | 0:34:49 | 0:34:52 | |
is real different to what I'm used to. | 0:34:52 | 0:34:55 | |
Yeah, yeah... you look a bit flip so you can pop song. | 0:34:55 | 0:34:59 | |
I'm sure you'll be cool man. | 0:34:59 | 0:35:01 | |
But rather than get to know his new friend... | 0:35:01 | 0:35:04 | |
Have a good night, or day. Enjoy the shoot. | 0:35:04 | 0:35:06 | |
It's going to be a long afternoon. | 0:35:06 | 0:35:08 | |
Midnight. | 0:35:08 | 0:35:10 | |
..It seems Mr Bizzle would prefer to meet the female members of the cast. | 0:35:10 | 0:35:15 | |
Phwoar, there's a couple of girls in there you know | 0:35:15 | 0:35:18 | |
because there's a few chicks in there like.... | 0:35:18 | 0:35:21 | |
I'll try and be on my best behaviour. | 0:35:21 | 0:35:24 | |
Do you need any help with that? | 0:35:24 | 0:35:25 | |
I can help you out if you want. | 0:35:25 | 0:35:27 | |
Can we get Bizzle on set? | 0:35:34 | 0:35:36 | |
It's time for the rap star's main performance | 0:35:36 | 0:35:40 | |
and a key moment for the girls who were given roles as backing dancers. | 0:35:40 | 0:35:43 | |
Girls, break a leg. Can I have playback, please? | 0:35:44 | 0:35:49 | |
Loud, loud, loud. | 0:35:51 | 0:35:53 | |
For a model there's nothing worse than going unnoticed at a shoot | 0:35:55 | 0:35:59 | |
and glamour girl Becky has been lucky enough to bag | 0:35:59 | 0:36:02 | |
a place at the front of the shot. | 0:36:02 | 0:36:04 | |
1, 2, 3, 4, 5,6... | 0:36:04 | 0:36:09 | |
But with no one in front of her she's struggling to stay in time | 0:36:09 | 0:36:13 | |
with the others. | 0:36:13 | 0:36:14 | |
That was a right royal mess, to be fair. | 0:36:22 | 0:36:26 | |
I wouldn't give this job to any of these girls, | 0:36:26 | 0:36:28 | |
they look like they're flailing about. | 0:36:28 | 0:36:30 | |
Becky spent the whole time looking behind her at what | 0:36:30 | 0:36:32 | |
everybody else was doing and she's been put at the front. | 0:36:32 | 0:36:35 | |
If you're wrong, do it with confidence, so everyone else thinks they're wrong. | 0:36:35 | 0:36:38 | |
You were here. Chloe was there so you were here. | 0:36:38 | 0:36:41 | |
OK, OK. | 0:36:41 | 0:36:42 | |
Well Becky's had her chance to get it right. | 0:36:44 | 0:36:46 | |
In this business time is money | 0:36:46 | 0:36:49 | |
so she's sent to the back to be replaced by Chloe. | 0:36:49 | 0:36:53 | |
You're going to go at the front, you're going to swap places. | 0:36:53 | 0:36:58 | |
This is my perfect challenge but I need to keep it together, | 0:36:58 | 0:37:01 | |
and give it my all and everything | 0:37:01 | 0:37:03 | |
so this is a good challenge. | 0:37:03 | 0:37:05 | |
She was originally placed at the back | 0:37:17 | 0:37:20 | |
and I was like, nah, she's better than that. | 0:37:20 | 0:37:23 | |
I'm glad they realised that because she moved up and up and up | 0:37:23 | 0:37:26 | |
and now she's right at the very front so really happy with that one. | 0:37:26 | 0:37:30 | |
Very good! | 0:37:31 | 0:37:34 | |
That's another top one in the can. | 0:37:34 | 0:37:36 | |
As the crew set up the next scene, the group relax together... | 0:37:37 | 0:37:41 | |
..all apart from Tyrone and Salina, who since they failed to win | 0:37:43 | 0:37:46 | |
key roles in the video are becoming more and more distant from the others. | 0:37:46 | 0:37:52 | |
Cos we share our own room, | 0:37:52 | 0:37:54 | |
it's like we're more focused on ourselves, more than interacting | 0:37:54 | 0:37:58 | |
because that puts you off. | 0:37:58 | 0:38:00 | |
I haven't really come to make any friends. | 0:38:02 | 0:38:04 | |
If they're showing me that they're uncomfortable around me, | 0:38:04 | 0:38:06 | |
I must be doing a tweak of something good. | 0:38:06 | 0:38:10 | |
But unfortunately for Tyrone, the next scene will require the couples | 0:38:13 | 0:38:17 | |
to pull together because they're all in it. | 0:38:17 | 0:38:20 | |
If one of them lets the side down it will waste everyone's precious time. | 0:38:20 | 0:38:25 | |
In this scene Leroy will star as Lethal Bizzle's best mate. | 0:38:26 | 0:38:30 | |
Salina and the girls will be pole dancers. | 0:38:30 | 0:38:34 | |
Stuart and Tyrone are playing in the band, | 0:38:34 | 0:38:38 | |
and Vaughan and Alison are an undead version of themselves. | 0:38:38 | 0:38:43 | |
This is what we do, wait, wait, wait, dance. That seems to be how it works. | 0:38:43 | 0:38:47 | |
Right, are we ready for a take? | 0:38:52 | 0:38:55 | |
A little bit of pressure's always good, brings out the best in you, | 0:38:55 | 0:38:59 | |
either makes you crumble or makes you amazing. | 0:38:59 | 0:39:02 | |
Make me amazing hopefully. I hope. | 0:39:02 | 0:39:04 | |
And action, guys. | 0:39:04 | 0:39:07 | |
Everything is running smoothly but there's no room for error. | 0:39:37 | 0:39:41 | |
We're really running out of time now. | 0:39:44 | 0:39:46 | |
There's still a lot to film so the pressure's really on | 0:39:46 | 0:39:49 | |
the models, they've got to perform almost like one take. | 0:39:49 | 0:39:51 | |
Mate, we don't have time. | 0:39:51 | 0:39:53 | |
You don't seem to understand we lose the artist in about 2 minutes. | 0:39:53 | 0:39:57 | |
And with one last shot to get... | 0:39:59 | 0:40:02 | |
We need you on set. | 0:40:02 | 0:40:03 | |
Yeah, I'm ready. | 0:40:03 | 0:40:04 | |
Quickly put your clothes back on. | 0:40:04 | 0:40:07 | |
Tyrone and Salina have already changed out of their costumes. | 0:40:10 | 0:40:15 | |
I thought I was done with my scene but obviously... | 0:40:15 | 0:40:20 | |
yeah, I've got my clothes. | 0:40:20 | 0:40:22 | |
The guy said that he wants a wide shot so I've just slipped back on my trainers, | 0:40:22 | 0:40:26 | |
and we're going to run back and do the wide shot. | 0:40:26 | 0:40:29 | |
Salina got changed because she thought we'd finished with her | 0:40:32 | 0:40:36 | |
because we'd finished shooting her close-up | 0:40:36 | 0:40:38 | |
but I need to her for the wide so now we're all waiting for her to get changed back. | 0:40:38 | 0:40:43 | |
So this is costing money. | 0:40:43 | 0:40:45 | |
We won't have time to coordinate so dance and we'll film. Cool. | 0:40:48 | 0:40:54 | |
OK, guys, so seconds away. Tick, tick, keep going. | 0:40:54 | 0:40:56 | |
Now action, in your own time. | 0:40:56 | 0:40:59 | |
A costly five minutes later they're back on set. | 0:41:02 | 0:41:06 | |
Everybody, Lethal Bizzle is wrapped. Thank you. | 0:41:21 | 0:41:24 | |
Lethal Bizzle's final scene is in the can. | 0:41:24 | 0:41:28 | |
But before the rap star leaves, | 0:41:31 | 0:41:32 | |
judge Jody wants to hear his thoughts on their performances. | 0:41:32 | 0:41:38 | |
The girls have been well behaved, conducting themselves properly. | 0:41:38 | 0:41:41 | |
Salina, I think she was one of the ones that struggled | 0:41:41 | 0:41:44 | |
with the routines and you can tell she was a bit uncomfortable, | 0:41:44 | 0:41:48 | |
a few times she messed up. | 0:41:48 | 0:41:49 | |
And who stood out for you? | 0:41:49 | 0:41:51 | |
-The short girl with the dark hair. -Chloe. | 0:41:51 | 0:41:54 | |
She was really, really good, you can tell she's got a passion for dancing. | 0:41:54 | 0:41:57 | |
There's some people here today who I think just | 0:41:57 | 0:41:59 | |
fit in exactly in your video, Chanel for one. | 0:41:59 | 0:42:02 | |
-Yeah, yeah. -She looks like she's born to be in a hip-hop video. | 0:42:02 | 0:42:06 | |
She definitely could get a lead role in one of my videos. | 0:42:06 | 0:42:10 | |
Cool. And what about on the boys' side? | 0:42:10 | 0:42:12 | |
I was speaking to one of them, the ballroom dancer guy... | 0:42:12 | 0:42:15 | |
-Vaughan. -Yeah, he's really cool, very interesting for both of us | 0:42:15 | 0:42:19 | |
because he's never done anything like this. | 0:42:19 | 0:42:22 | |
You don't know till you try, man. | 0:42:22 | 0:42:24 | |
-And everyone's trying. -That's one thing I'm happy with. | 0:42:24 | 0:42:26 | |
My thing is it's just people wanting to learn and give it their all. | 0:42:26 | 0:42:32 | |
With the hip-hop star on his way back to London, | 0:42:33 | 0:42:37 | |
the couples have one final scene to shoot, | 0:42:37 | 0:42:39 | |
Leroy's featured stunt in which he's to be chased by the entire cast. | 0:42:39 | 0:42:43 | |
3 - 2 - 1, action. | 0:42:43 | 0:42:46 | |
Zombies out, zombies come! | 0:42:50 | 0:42:52 | |
That's everyone except Tyrone and Salina, | 0:42:52 | 0:42:54 | |
who after their earlier mistake are feeling a little paranoid about | 0:42:54 | 0:42:57 | |
what the others could be saying. | 0:42:57 | 0:42:59 | |
What does it mean to you? | 0:42:59 | 0:43:01 | |
I haven't really come in this competition with my partner to make any friends. | 0:43:01 | 0:43:05 | |
To tell you the truth, I do feel sometimes that we get kind of, like, picked on in the sense | 0:43:08 | 0:43:12 | |
that everybody will be whispering cos there are three couples what share a room together | 0:43:12 | 0:43:16 | |
and they'll be all laughing and giggling. | 0:43:16 | 0:43:18 | |
Zombies, get in. | 0:43:18 | 0:43:20 | |
Get in there. | 0:43:20 | 0:43:23 | |
When you whisper, somebody will be listening. | 0:43:23 | 0:43:27 | |
That is a wrap. | 0:43:27 | 0:43:29 | |
A bit bloody, a bit sweaty, dirty. Yeah, good times. | 0:43:31 | 0:43:36 | |
Whoo! | 0:43:37 | 0:43:38 | |
Mate. | 0:43:38 | 0:43:40 | |
Well done. | 0:43:40 | 0:43:41 | |
Within moments of the shoot finishing, | 0:43:41 | 0:43:43 | |
all the other couples can think about is tomorrow's casting decision. | 0:43:43 | 0:43:48 | |
If I was in the bottom three, | 0:43:48 | 0:43:50 | |
I definitely wouldn't want to be in the bottom three with Damien and Chanel | 0:43:50 | 0:43:53 | |
because I'm not going lie, she stole the show today, | 0:43:53 | 0:43:56 | |
and also Leroy and Chloe. I think they're really going to nail this task. | 0:43:56 | 0:44:00 | |
So wrap! | 0:44:01 | 0:44:03 | |
They just disappeared, they didn't say anything just walked off. They went in the toilet for 45 minutes. | 0:44:10 | 0:44:16 | |
Back at the house, the whereabouts of Tyrone and Selena is the cause of much debate. | 0:44:16 | 0:44:22 | |
I'll be honest, because everyone else was doing a really good job anyway, | 0:44:22 | 0:44:25 | |
everyone else done really well so you didn't really notice | 0:44:25 | 0:44:29 | |
but at the end they wasn't there, was they? | 0:44:29 | 0:44:31 | |
And finally at 1am, they've returned. | 0:44:31 | 0:44:36 | |
Hello. | 0:44:36 | 0:44:38 | |
Why is everyone acting all weird? | 0:44:38 | 0:44:42 | |
The loners of the group are convinced that the house has turned against them | 0:44:42 | 0:44:45 | |
and want to have it out with the rest of the couples. | 0:44:45 | 0:44:50 | |
I've got some things to say. Think honesty is the best policy. | 0:44:50 | 0:44:54 | |
You seem like when you first got it, it was like "wow!" | 0:44:54 | 0:44:57 | |
Everyone's got a style, everyone's good looking, everyone's raring to go, | 0:44:57 | 0:45:02 | |
but, to tell you the truth, you can't talk behind someone's back | 0:45:02 | 0:45:07 | |
and then at the next breath talk to their face, you can't do that. | 0:45:07 | 0:45:11 | |
I'm confused, I'll be honest with you. | 0:45:11 | 0:45:13 | |
This is what I'm trying to say. | 0:45:13 | 0:45:16 | |
We're getting attacked for no reason, we haven't attacked you and you're saying... | 0:45:16 | 0:45:20 | |
I thought you liked me. Do you not like me? | 0:45:20 | 0:45:23 | |
I don't have any dislike for anyone in the house. | 0:45:23 | 0:45:27 | |
I'd rather everyone be more honest, to tell you the truth. | 0:45:27 | 0:45:31 | |
We tried to be friendly with you the other day. | 0:45:31 | 0:45:34 | |
You were chatting away, so obviously you've been fake. | 0:45:34 | 0:45:39 | |
You are not going to talk to me like that, | 0:45:39 | 0:45:41 | |
you can shove that whole thing up your backside. | 0:45:41 | 0:45:44 | |
You cannot say anything like I'm fake because I'm not fake so you can just go and get stuffed. | 0:45:44 | 0:45:51 | |
I've been speaking to you all bloody week, what the hell is this shit? | 0:45:51 | 0:45:57 | |
An absolute load of rubbish. | 0:45:57 | 0:45:58 | |
Let me just say one thing, yeah? | 0:45:58 | 0:46:00 | |
Where were you in the last scene, the last one? | 0:46:00 | 0:46:06 | |
You do realise you might have thrown away the best opportunity | 0:46:06 | 0:46:10 | |
potentially you two could have ever got. | 0:46:10 | 0:46:12 | |
Tyrone and Selena retire to their room once again. | 0:46:16 | 0:46:20 | |
To tell you the truth, I feel like I've completed what I came in here for. | 0:46:23 | 0:46:31 | |
If I want to model, I want to just go straight into modelling. I don't need to run crazy tasks. | 0:46:31 | 0:46:39 | |
If my partner's not happy here then I'm not going to be happy here | 0:46:39 | 0:46:42 | |
and if that means I have to get modelling, | 0:46:42 | 0:46:44 | |
I have to do modelling in a different way or take a different path, then I'll do that. | 0:46:44 | 0:46:49 | |
-They haven't come down yet and they haven't had any breakfast. -# Da-da-na! # | 0:47:01 | 0:47:06 | |
As the hopeful models prepare for the casting decision, | 0:47:06 | 0:47:10 | |
across Manchester, Tyrone and Selena have arranged a meeting with relationship judge Emma. | 0:47:10 | 0:47:15 | |
Hi, guys. | 0:47:17 | 0:47:18 | |
How's it going? I heard things have been going on. | 0:47:18 | 0:47:22 | |
They've decided to leave the competition. | 0:47:22 | 0:47:25 | |
Talk me through, talk me through. | 0:47:29 | 0:47:31 | |
We come in here with high expectations, you know, | 0:47:31 | 0:47:34 | |
that's what I think it was - too much of high expectations. | 0:47:34 | 0:47:38 | |
So we're actually realising that the thing that we're doing is not what we want to do. | 0:47:38 | 0:47:44 | |
I don't want to be in a grind video because I don't listen to grind. I don't want to be in a grind video. | 0:47:44 | 0:47:49 | |
It's... And that's the thing, like, | 0:47:49 | 0:47:52 | |
I can stay here and be happy and enjoy everything that we're doing still | 0:47:52 | 0:47:56 | |
but he won't be happy so it's not going to work. We need to be on the same wavelength. | 0:47:56 | 0:48:01 | |
I'm really, really sad that you're going | 0:48:01 | 0:48:03 | |
because I think your story was so strong and I think you shared so much with us, | 0:48:03 | 0:48:07 | |
and you're really going to be missed. | 0:48:07 | 0:48:11 | |
Unaware of the morning's events, the other couples are on their way to the casting studio. | 0:48:24 | 0:48:30 | |
After the shock departure of Tyrone and Selena, just five couples remain in the fight | 0:48:33 | 0:48:37 | |
to win a modelling contract with a top modelling agency. | 0:48:37 | 0:48:41 | |
With the obvious candidates for the chop out of the running, nobody is safe. | 0:48:52 | 0:48:57 | |
So, Tyrone and Selena, although I'm sad to see them leave | 0:49:11 | 0:49:14 | |
and I'm sad about the circumstances under which they left, because for me they were a very strong couple. | 0:49:14 | 0:49:20 | |
From the industry's perspective you can't walk off set. | 0:49:20 | 0:49:23 | |
-We need you on set. -Yeah, I'm ready. | 0:49:23 | 0:49:25 | |
-I'm almost done with my scene. -This is costing money. | 0:49:25 | 0:49:28 | |
You're paid to stay there and do a job and it might get tiring and it might get monotonous | 0:49:28 | 0:49:34 | |
and you might have been ignored for hours - it doesn't matter, you stick it out to the end. | 0:49:34 | 0:49:39 | |
So this week was all about seduction. | 0:49:43 | 0:49:45 | |
In the relationship challenge, the couples relived the moments they first got together. | 0:49:47 | 0:49:54 | |
I just thought, "I really want this guy." | 0:49:54 | 0:49:55 | |
It's like we just have to do everything or might as well not be together. | 0:49:55 | 0:49:59 | |
-You might not have, like... -Gone. -Yeah. | 0:49:59 | 0:50:02 | |
But they all performed so well, Emma was unable to make a judgment. | 0:50:02 | 0:50:08 | |
Jody's going to have to be making a decision because I don't know. | 0:50:08 | 0:50:11 | |
So, this week, their performance in the modelling challenge will decide their fate. | 0:50:16 | 0:50:22 | |
Your challenge was to make a music video with Lethal Bizzle. | 0:50:26 | 0:50:30 | |
Let's have a look at the video. | 0:50:30 | 0:50:31 | |
APPLAUSE | 0:51:19 | 0:51:22 | |
The most important person is the editor | 0:51:23 | 0:51:25 | |
because they can cut you out if they don't like you. | 0:51:25 | 0:51:28 | |
You could be shooting all day and you don't get featured, which happened to some of you. | 0:51:28 | 0:51:32 | |
Some of you filmed quite a lot and it gets down to that. | 0:51:32 | 0:51:35 | |
One couple who featured heavily in the video has stuntman Leroy | 0:51:36 | 0:51:40 | |
and Chloe, who was promoted to lead dancer. | 0:51:40 | 0:51:44 | |
So, Leroy and Chloe, how did the challenge go for you? | 0:51:44 | 0:51:47 | |
The challenge as a whole was a good experience | 0:51:47 | 0:51:49 | |
and it taught me a lot about a side of Chloe that I didn't quite know was there. | 0:51:49 | 0:51:54 | |
-That you're quite liking? -Hey, that's it. Know what I mean? | 0:51:54 | 0:51:58 | |
Chloe, in the video, I know you were the person everyone was talking about. | 0:51:58 | 0:52:03 | |
Bizzle said to me you were the stand-out person of the whole thing, he said you really went for it. | 0:52:03 | 0:52:07 | |
You looked great on set, | 0:52:07 | 0:52:09 | |
so I've got nothing but positive to say about both of you on the video yesterday. | 0:52:09 | 0:52:14 | |
So, Stuart and Helen... | 0:52:14 | 0:52:16 | |
Neither Stuart nor Helen were given decent parts in the video, | 0:52:16 | 0:52:22 | |
will Jody be as positive about their performance? | 0:52:22 | 0:52:26 | |
What was interesting is I'm the casting director usually so I pick who I call into a casting. | 0:52:31 | 0:52:36 | |
I had nothing to do with that, so it was interesting to see what roles you'd been allocated | 0:52:36 | 0:52:40 | |
and whether I'd do the same. With you two, I wouldn't have called into a casting in the first place. | 0:52:40 | 0:52:45 | |
However hot you looked, it didn't fit, so, yeah... | 0:52:47 | 0:52:51 | |
Another couple who failed to land major roles were Australian ballroom dancers, Vaughan and Alison. | 0:52:55 | 0:53:02 | |
What I've been saying to Stuart and Helen about you wouldn't have got | 0:53:02 | 0:53:06 | |
near the casting goes doubly for you. | 0:53:06 | 0:53:08 | |
It felt like they'd made up something for you to do in the video. | 0:53:10 | 0:53:13 | |
-This challenge doesn't suit you. -Yeah, sure, | 0:53:14 | 0:53:18 | |
but I still think we brought it. We did very good hip-hop. | 0:53:18 | 0:53:20 | |
I think, looking at myself, I don't really fit the bill, but that's OK. | 0:53:20 | 0:53:24 | |
So Damien and Chanel... | 0:53:28 | 0:53:30 | |
Chanel was picked for the role as lead lap dancer | 0:53:34 | 0:53:37 | |
but did she do enough to make up for the fact that her boyfriend | 0:53:37 | 0:53:41 | |
found himself as a background artist? | 0:53:41 | 0:53:43 | |
It doesn't surprise me that you weren't cast together, | 0:53:45 | 0:53:49 | |
you were kind of going separate ways for separate things. | 0:53:49 | 0:53:53 | |
Especially Chanel, you nailed it. | 0:53:53 | 0:53:54 | |
I mean it was perfect for you, you were made for that job. | 0:53:54 | 0:53:59 | |
It was such a new experience, though, dancing on a table in stilettos and kicking Jay. | 0:53:59 | 0:54:04 | |
That was a big experience for me | 0:54:04 | 0:54:07 | |
because obviously I've never come into a situation where I've had her dancing like that to another man. | 0:54:07 | 0:54:13 | |
Another to outshine their other half was Jay, | 0:54:17 | 0:54:20 | |
on the receiving end of the lap dance, | 0:54:20 | 0:54:22 | |
while girlfriend Becky found herself replaced as lead backing dancer. | 0:54:22 | 0:54:26 | |
Just looking at the edit, it looks to me like you did such a good job | 0:54:27 | 0:54:31 | |
they actually gave you extra scenes. Definitely they've edited it so you're in it more. | 0:54:31 | 0:54:35 | |
You've surprised me, to be honest, I didn't see that coming. | 0:54:35 | 0:54:39 | |
I didn't realise it was going to be acting - something I wanted to do, | 0:54:39 | 0:54:42 | |
-and given the opportunity I was just loving it. -Yeah, it was amazing. | 0:54:42 | 0:54:45 | |
One thing I will say, you look great together, but you don't look like a couple in modelling terms. | 0:54:45 | 0:54:51 | |
I wouldn't book you on the same job as a couple because you need for you two to look united | 0:54:51 | 0:54:56 | |
and you've got quite a preppy look and you're quite pale, | 0:54:56 | 0:55:00 | |
and, Becky, I'd like to see you literally with no make-up. | 0:55:00 | 0:55:05 | |
We've got a lot to think about. | 0:55:05 | 0:55:06 | |
To be honest, I could find good reason to throw four couples out this week. | 0:55:23 | 0:55:28 | |
So Tyrone and Selena have done you lot a massive favour this week. | 0:55:31 | 0:55:36 | |
Because they decided to quit, there's no elimination. | 0:55:36 | 0:55:39 | |
SIGHS OF RELIEF | 0:55:39 | 0:55:42 | |
So, congratulations, guys, you are the final five. | 0:55:44 | 0:55:47 | |
You've all made it halfway, | 0:55:47 | 0:55:50 | |
so you are that much closer to walking away with the prize. | 0:55:50 | 0:55:54 | |
What that means is the competition really starts now, | 0:55:54 | 0:55:58 | |
but I know all of you can up your game and I'm expecting to see a lot more. | 0:55:58 | 0:56:03 | |
APPLAUSE | 0:56:03 | 0:56:05 | |
-Hello! -Whoo! -Congratulations! | 0:56:10 | 0:56:13 | |
-You're all still here. -Yes. | 0:56:13 | 0:56:15 | |
Well done. | 0:56:15 | 0:56:16 | |
-It's amazing. -Gets a bit real now, though, don't it? | 0:56:16 | 0:56:19 | |
It's all there for the taking. | 0:56:19 | 0:56:22 | |
If you want it, you've got to just go and fight for it and get it yourself. | 0:56:22 | 0:56:25 | |
Next time, the remaining five couples enter the world of high fashion and fairytales | 0:56:28 | 0:56:33 | |
in a classy editorial photo shoot. | 0:56:33 | 0:56:36 | |
What do you think? | 0:56:36 | 0:56:38 | |
In an industry where size is everything, can they prove that they are the complete package? | 0:56:38 | 0:56:43 | |
Why are your trousers undone? | 0:56:44 | 0:56:46 | |
I don't think you've got one useable picture there, I really don't. | 0:56:46 | 0:56:50 | |
And as one more couple faces the boot there are some home truths... | 0:56:50 | 0:56:55 | |
I like all of you, but I wouldn't trust none of you with my life. | 0:56:55 | 0:56:58 | |
It was just a big joke, the whole thing. This week, I could have quite easily sent all of you home. | 0:56:59 | 0:57:04 | |
Subtitles by Red Bee Media Ltd | 0:57:23 | 0:57:26 |