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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, | 0:00:08 | 0:00:10 | |
they're real people with real relationships. They're not bad to look at, either. | 0:00:10 | 0:00:14 | |
'For the first time, the search is on to find a real couple | 0:00:14 | 0:00:18 | |
'who can make it as top models.' | 0:00:18 | 0:00:20 | |
A real couple who are gorgeous and in love will make a killing. | 0:00:20 | 0:00:24 | |
'But for every Posh and Becks, there's a Katie and Peter. | 0:00:24 | 0:00:28 | |
'So just looking the part won't be enough.' | 0:00:28 | 0:00:31 | |
There's no point investing in a couple who don't have a strong relationship | 0:00:31 | 0:00:35 | |
cos they'll break up and leave us high and dry. | 0:00:35 | 0:00:38 | |
'Over six weeks, eight hot couples will live together in this state of the art Manchester mansion.' | 0:00:38 | 0:00:44 | |
This is how the other half live. | 0:00:44 | 0:00:47 | |
'As well as facing a series of modelling challenges.' | 0:00:47 | 0:00:50 | |
-I can't see your face. -God, they're see-through! -'Their relationships will be put under the microscope.' | 0:00:50 | 0:00:56 | |
If the house was on fire, what would your partner rescue? | 0:00:56 | 0:00:59 | |
-His 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...' -Have we done both of them? | 0:01:04 | 0:01:08 | |
-'..tantrums...' -I'll stare at you and tell you to shut up. | 0:01:08 | 0:01:12 | |
'..and embarrassing challenges ahead...' | 0:01:12 | 0:01:14 | |
-I'm putting a sock down there. -Some might need a bit more than others. | 0:01:14 | 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 the couple's relationship will stand the test of time. | 0:01:27 | 0:01:31 | |
-'The prize for the winning pair is a contract with a top modelling agency.' -We've got it in the bag. | 0:01:32 | 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 percent awesome. | 0:01:44 | 0:01:46 | |
I was voted the top ten best-looking South Asian male. | 0:01:46 | 0:01:50 | |
'But how will their relationships cope under pressure?' | 0:01:50 | 0:01:54 | |
-This show is 50 percent about relationships. -And 50 percent about models. | 0:01:54 | 0:01:57 | |
'This is Hot Like Us.' | 0:01:57 | 0:02:00 | |
When you whisper, somebody will be listening. | 0:02:00 | 0:02:02 | |
# Guess I got caught up in the moment | 0:02:13 | 0:02:16 | |
# Never meant for it to go this far | 0:02:16 | 0:02:19 | |
'Last week, things got ugly | 0:02:19 | 0:02:22 | |
'as the wannabe models made a vampire-themed music video with star rapper Lethal Bizzle.' | 0:02:22 | 0:02:28 | |
# Never meant for it to go this far | 0:02:28 | 0:02:30 | |
'Chanel won the star role of vampire lap dancer.' | 0:02:30 | 0:02:34 | |
You're definitely ticking the hot box right now. | 0:02:34 | 0:02:36 | |
'And Jay beat off the boys to play Chanel's unsuspecting victim.' | 0:02:36 | 0:02:42 | |
'But the sexy shoot was all too much for Tyrone and Salina.' | 0:02:42 | 0:02:47 | |
This is worse than the underwear shoot. | 0:02:47 | 0:02:50 | |
This is more intimate. It's kind of like sex clothing. | 0:02:50 | 0:02:53 | |
'And amid accusations of game-playing in the house...' | 0:02:53 | 0:02:56 | |
Just say, "I don't like you". Just be honest. Everyone's just playing a game. | 0:02:56 | 0:03:01 | |
'..the couple dramatically quit the competition.' | 0:03:01 | 0:03:06 | |
We don't need this competition to get us a modelling contract. | 0:03:06 | 0:03:11 | |
So, Tyrone and Salina have done you lot a massive favour this week. | 0:03:11 | 0:03:14 | |
Because they quit, there's no elimination. | 0:03:14 | 0:03:16 | |
'Now only five couples remain. | 0:03:16 | 0:03:20 | |
'Christian ballrooms dancers Alison and Vaughan.' | 0:03:21 | 0:03:23 | |
-We have a relationship motto, which is... -You wish you had this. | 0:03:23 | 0:03:27 | |
'Wrestler Leroy and girlfriend Chloe.' | 0:03:27 | 0:03:30 | |
You only live once, so make the best of what you've got while you've got it. | 0:03:30 | 0:03:34 | |
'Ultra-competitive Helen and Stuart.' | 0:03:34 | 0:03:38 | |
There's no two ways about it, we've come here to win. | 0:03:38 | 0:03:40 | |
-'Fiery Damien and Chanel.' -I'd definitely say our relationship is edgy. | 0:03:40 | 0:03:46 | |
'As well as Page Three girl Becky and her boyfriend Jay.' | 0:03:46 | 0:03:50 | |
-We're two peas in a pod. -People say it all the time. -What do you think? | 0:03:50 | 0:03:55 | |
'This week, the aspiring models | 0:03:57 | 0:04:00 | |
'enter a world of high fashion and fairytales during a classy editorial photo shoot.' | 0:04:00 | 0:04:05 | |
I don't think you've got one usable picture there. I really don't. | 0:04:05 | 0:04:08 | |
'In an industry where size is everything, | 0:04:08 | 0:04:11 | |
-'can the pairs prove that they are the complete package?' -Why are your trousers undone? | 0:04:11 | 0:04:16 | |
'And in the relationship challenge, it's time for some tough talking.' | 0:04:16 | 0:04:21 | |
I like all of you, but I wouldn't trust none of you in my life. | 0:04:21 | 0:04:24 | |
'And Jody's got hair-raising plans for Helen.' | 0:04:24 | 0:04:29 | |
-I'd like you to have really short hair, like here. -Jody, man, you cannot do this! | 0:04:29 | 0:04:34 | |
-I suppose that's a bit more funky. -That is funky. | 0:04:42 | 0:04:45 | |
'It's breakfast time in the house, so wrestler Leroy reaches for his box of delights.' | 0:04:47 | 0:04:52 | |
Every morning, we start with a nice protein shake. | 0:04:52 | 0:04:56 | |
Because you don't get big muscles without one of those. | 0:04:56 | 0:04:59 | |
Swallow it down, baby. | 0:05:07 | 0:05:09 | |
'With everyone fed and watered, | 0:05:10 | 0:05:13 | |
'the would-be models await the arrival of their mentor, Jonathan Phang.' | 0:05:13 | 0:05:17 | |
'Jonathan knows the modelling industry inside out | 0:05:21 | 0:05:24 | |
'and he's able to offer the group the benefit of his vast experience.' | 0:05:24 | 0:05:28 | |
You can't fake the real thing, | 0:05:28 | 0:05:30 | |
so if we can pull this off and find a real couple | 0:05:30 | 0:05:33 | |
that are gorgeous and in love, they're going to make a killing. | 0:05:33 | 0:05:37 | |
-So how are we all feeling today? -ALL: Good. | 0:05:39 | 0:05:42 | |
For this week's challenge, we're going to take you into the wilds of the Yorkshire Dales | 0:05:42 | 0:05:48 | |
and you're going to take part in a photo shoot where you have to communicate raw emotion | 0:05:48 | 0:05:53 | |
-surrounded by the natural beauty of the Dales. -ALL: Oooh! | 0:05:53 | 0:05:57 | |
Modelling is all about communication through your body language and through your eyes | 0:05:57 | 0:06:02 | |
and the best models in the world are true chameleons. | 0:06:02 | 0:06:04 | |
So one day, you might be a bride, the next day, you might be selling a computer. | 0:06:04 | 0:06:10 | |
This is what models do. It's a different scenario every day | 0:06:10 | 0:06:14 | |
-and you have to fit into the environment believably. -Where is Yorkshire, anyway? -No idea. | 0:06:14 | 0:06:20 | |
-THEY LAUGH -Yorkshire's about an hour away further north. | 0:06:20 | 0:06:24 | |
-But it's really beautiful. You know Heathcliff and Cathy, Wuthering Heights. -Oh, OK. -So see you there! | 0:06:24 | 0:06:29 | |
-ALL: Thank you. -I'm so excited. | 0:06:29 | 0:06:32 | |
I'm proper buzzing. Get some hiking... | 0:06:32 | 0:06:36 | |
'The couples are soon on their way to deepest, darkest Yorkshire.' | 0:06:39 | 0:06:44 | |
-We're little adventurers. -Yeah, we love it. -We like to trek around. | 0:06:45 | 0:06:49 | |
We've been to Stonehenge, see all the country. Love it. | 0:06:49 | 0:06:52 | |
'But some of the wannabe models don't feel quite so enthusiastic about the country life.' | 0:06:52 | 0:06:57 | |
I'm blatantly going to stand in poo and I've got flip-flops on. | 0:06:57 | 0:07:01 | |
My mum used to tell me to stand in cow shit, it'll make you grow taller. THEY LAUGH | 0:07:01 | 0:07:07 | |
I'm quite excited about this. | 0:07:11 | 0:07:13 | |
-There's not enough buildings. It's weird. -There's no shops. | 0:07:15 | 0:07:20 | |
There's not enough anything apart from sheep and grass and walls. | 0:07:20 | 0:07:25 | |
We're in the middle of nowhere with no reception. Anything could happen. | 0:07:32 | 0:07:35 | |
Helen's a little bit out of place, but Becky takes it to a whole other level. Whole other level. | 0:07:35 | 0:07:41 | |
-It was meant to be hot and summery. -She's got bloody flip-flops on! | 0:07:41 | 0:07:44 | |
-THEY LAUGH -In the country. | 0:07:44 | 0:07:46 | |
-I don't want a sheep to chase me. -SHE LAUGHS | 0:07:46 | 0:07:49 | |
-Ohh! It's a moth. Wahh! -SHE SCREAMS | 0:07:49 | 0:07:52 | |
-What is it? -I don't know, it was in my ear. | 0:07:53 | 0:07:56 | |
-The countryside! I want to go home. -See? Look at this. -I want to go home. | 0:07:56 | 0:08:00 | |
I can't believe I'm so in the middle of nowhere. Who would've thought it? | 0:08:10 | 0:08:14 | |
Where the hell are we? | 0:08:14 | 0:08:16 | |
I'm on my way to Bolton Castle where we're going to be doing an editorial shoot. | 0:08:19 | 0:08:23 | |
They're going to really need to work hard to pull this one off. | 0:08:23 | 0:08:27 | |
'This will be the couples' most stylised shoot yet | 0:08:27 | 0:08:30 | |
'as they attempt to create high fashion photographs | 0:08:30 | 0:08:33 | |
'that could feature in magazines such as GQ and Vogue. | 0:08:33 | 0:08:36 | |
'Success in this challenge will prove they can be versatile enough | 0:08:36 | 0:08:40 | |
'to thrive in the world of commercial modelling.' | 0:08:40 | 0:08:44 | |
-It's gorgeous. -It's so pretty. | 0:08:45 | 0:08:49 | |
-Hi. -Hi. | 0:08:49 | 0:08:51 | |
-Welcome to my house. -THEY LAUGH | 0:08:53 | 0:08:56 | |
Your photo shoot is all about communication. | 0:08:56 | 0:08:59 | |
Today's shoot is inspired by fairytales | 0:08:59 | 0:09:02 | |
and you'll be expected to communicate the emotions of the well-loved stories. | 0:09:02 | 0:09:06 | |
Stuart and Helen, you're first with The Princess And The Pea. | 0:09:06 | 0:09:09 | |
So Helen, you're a bit of a diva, you're on 100 mattresses and you can still feel the little petit pois | 0:09:09 | 0:09:14 | |
at the bottom of it and you're in pain because of it, right? | 0:09:14 | 0:09:17 | |
And Stuart, you're going to feel joy because you've found your princess, | 0:09:17 | 0:09:21 | |
-she's a true princess cos she can feel the pea. -Yeah. -She's a diva. "I'll have a bit of that." | 0:09:21 | 0:09:26 | |
-Vaughan and Alison, you're Cinderella and Prince Charming. -Yes! | 0:09:26 | 0:09:29 | |
-ALL: Aww! -You're at the ball and you're in a panic cos you've got to get home before midnight. | 0:09:29 | 0:09:35 | |
You are utterly confused. "I've fallen in love with this beautiful woman and she's legging it, | 0:09:35 | 0:09:40 | |
-"what have I done wrong?" -THEY LAUGH -Hm, that sounds familiar. | 0:09:40 | 0:09:44 | |
'Jay and Becky will re-enact Beauty And The Beast, whilst Damien and Chanel will recreate Rapunzel.' | 0:09:44 | 0:09:51 | |
Chloe and Leroy, Sleeping Beauty. It's quite difficult though, this one, cos you're full of despair | 0:09:51 | 0:09:57 | |
because she's been asleep for 100 years and you're full of sadness cos you're waiting for your prince. | 0:09:57 | 0:10:03 | |
Rachel and Nicky are your stylists today. They'll put you in your outfits. | 0:10:03 | 0:10:07 | |
-So get into character now and good luck on the shoot. -ALL: Thank you! | 0:10:07 | 0:10:11 | |
-Our emotion is probably the most... -Difficult. -..real and difficult to convey. I mean, happy, you smile. | 0:10:11 | 0:10:17 | |
But this is like a deep emotion, so we've really got to pull out the A game right now, I think, | 0:10:17 | 0:10:24 | |
and just do our best. On this one, we really have to just go for it, I think. | 0:10:24 | 0:10:28 | |
'Here to observe how professional the would-be models are and to pick the best photographs | 0:10:28 | 0:10:33 | |
'is top casting agent and judge Jody Furlong.' | 0:10:33 | 0:10:37 | |
I'm a casting director and I own a model agency. | 0:10:39 | 0:10:42 | |
'If there's one man who can identify new talent and ensure they'll have a successful career, it's Jody.' | 0:10:42 | 0:10:50 | |
For me, it's all about the looks. I couldn't care less about their relationship. | 0:10:50 | 0:10:54 | |
All I'm bothered about is whether they can cut it as models. | 0:10:54 | 0:10:58 | |
'And this week, Jody's insisting that the conditions of the shoot | 0:10:58 | 0:11:02 | |
'are as realistic as possible.' | 0:11:02 | 0:11:05 | |
I've asked for all the clothes to be brought in in a sample size because the reality is, | 0:11:06 | 0:11:10 | |
on a fashion shoot, that's what you get. The girls would be a size six to eight. | 0:11:10 | 0:11:14 | |
Some people will struggle. Stuart and Helen, physically, should be perfect. | 0:11:14 | 0:11:18 | |
So, Helen, a beautiful pea-green dress for you. | 0:11:20 | 0:11:23 | |
-OK? Stuart, nice little country casual look for you. -I like that. | 0:11:23 | 0:11:29 | |
-These are sample sizes, so let's see if they fit. -Yep. | 0:11:29 | 0:11:32 | |
On an editorial shoot like this, it's all about the storytelling, so are they going to be able to do it? | 0:11:33 | 0:11:39 | |
So for them, the challenge is how well they can channel emotion on the shoot. | 0:11:40 | 0:11:44 | |
And we haven't seen lots of emotion so far. | 0:11:44 | 0:11:47 | |
'The pair race to get ready for the shoot, | 0:11:47 | 0:11:50 | |
'but soon face an unexpected problem.' | 0:11:50 | 0:11:53 | |
Breathe, Helen, come on! | 0:11:53 | 0:11:55 | |
'Slimline Helen seems to have the perfect figure for the sample size dress, | 0:11:55 | 0:12:00 | |
'but even she struggles to fit first time. | 0:12:00 | 0:12:03 | |
-And you're in. -SHE LAUGHS | 0:12:07 | 0:12:10 | |
I had to really, really squeeze her in. | 0:12:10 | 0:12:12 | |
But I suppose that's the situation in the real world, that you might not fit in the dress. | 0:12:12 | 0:12:16 | |
# There is no-one like me | 0:12:19 | 0:12:22 | |
'If there's one couple with the looks and self-belief to win the competition, it's these two.' | 0:12:22 | 0:12:28 | |
With my genetics and Helen's genetics, | 0:12:28 | 0:12:32 | |
our kids are going to take over the world. | 0:12:32 | 0:12:35 | |
'But their unusual relationship has left others perplexed.' | 0:12:35 | 0:12:39 | |
-We don't like "I love you". We say, "You belong with me". -And I belong with you. | 0:12:39 | 0:12:45 | |
'And last week, they both failed to secure prominent roles in Lethal Bizzle's music video.' | 0:12:45 | 0:12:50 | |
Helen, I've got you as one of the go-go girls. | 0:12:50 | 0:12:53 | |
Stuart, I've got you as drummer. | 0:12:53 | 0:12:56 | |
'If they can't make an impression today, it could be an unhappy ending for the dazzling duo.' | 0:12:56 | 0:13:01 | |
All my light's going. | 0:13:03 | 0:13:05 | |
Pain and joy. Pain and joy. | 0:13:06 | 0:13:10 | |
Forget being natural. We want you looking great. | 0:13:12 | 0:13:15 | |
'Award-winning portrait photographer Mark Harrison | 0:13:15 | 0:13:18 | |
'is shooting the five couples and turning their fairytales into reality.' | 0:13:18 | 0:13:23 | |
I don't want every frame the same, so you need to give me variations on it. | 0:13:23 | 0:13:27 | |
You can make use of those legs, Helen, as well. | 0:13:27 | 0:13:29 | |
Big eyes. Half of them are half-closed. Both of you. | 0:13:29 | 0:13:35 | |
Small changes in your heads and turns. | 0:13:35 | 0:13:38 | |
'But Stuart and Helen's attempt to convey pain and joy | 0:13:38 | 0:13:42 | |
'seems to have turned into despair and frustration.' | 0:13:42 | 0:13:45 | |
A bit coy, Stuart. Lose the expression like that. That's it. | 0:13:45 | 0:13:49 | |
Stuart, I need to see that pea, yeah? You're looking a little bit uncomfortable. | 0:13:50 | 0:13:54 | |
We're losing eyes. I can't see any eyes in any pictures. | 0:13:55 | 0:13:59 | |
Mark, have a look at what's there. I can't see their eyes at all. | 0:13:59 | 0:14:02 | |
-No, I can't. -I can't see any expression. | 0:14:02 | 0:14:05 | |
You're not giving me much variation here, guys. I want to press the button and see small changes. | 0:14:05 | 0:14:10 | |
I'm looking at these frames here. | 0:14:10 | 0:14:13 | |
You're looking at the pea and you're looking out the window. I'm not seeing the connection there at all. | 0:14:13 | 0:14:18 | |
It's quite a hard prop to use. It's quite awkward. | 0:14:18 | 0:14:21 | |
It was harder for Stuart, he did a lot of the moving. | 0:14:21 | 0:14:23 | |
Your right shoulder is a little bit awkward. That's it. Now we can see the dress. That's better. | 0:14:23 | 0:14:28 | |
Think about your outfit. Good. | 0:14:28 | 0:14:31 | |
-It's getting a lot better. -Three, two, one, up it goes. | 0:14:31 | 0:14:35 | |
-Good. -That's the best so far! -OK! | 0:14:35 | 0:14:39 | |
Hopefully, we've at least got one decent picture. Hopefully. | 0:14:39 | 0:14:44 | |
-Thank you so much for your time. -'But is it too little, too late?' | 0:14:44 | 0:14:48 | |
At some points, it seemed like we were just repeating ourselves and I was having to move. | 0:14:50 | 0:14:54 | |
-Sorry for that. -No, no, no, don't apologise, just learn. | 0:14:54 | 0:14:58 | |
-Thank you very much. -Lovely working with you. -Bless you. | 0:14:58 | 0:15:01 | |
-Well done. -See you later. -See you in a bit. | 0:15:01 | 0:15:03 | |
He's give us feedback, so for him to not be so positive about it is like, | 0:15:03 | 0:15:08 | |
"Oh, God, we'll have to really up our game". | 0:15:08 | 0:15:10 | |
I think they're expecting everything to go perfect and it hasn't, has it? | 0:15:10 | 0:15:14 | |
We are halfway through a competition. They're meant to have had modelling experience. | 0:15:14 | 0:15:19 | |
For God sake, how hard is it? | 0:15:19 | 0:15:21 | |
'Another poor photo shoot for Stuart and Helen, | 0:15:21 | 0:15:24 | |
'who will now need to impress in the relationship challenge if they want to avoid the chop.' | 0:15:24 | 0:15:30 | |
So go into a position where you feel comfortable. | 0:15:32 | 0:15:35 | |
'Throughout Bolton Castle, | 0:15:35 | 0:15:37 | |
'the wannabe models are rehearsing for their big moment | 0:15:37 | 0:15:40 | |
'and for Damien and Chanel, it's almost time to make a fairytale entrance.' | 0:15:40 | 0:15:45 | |
I am playing Rapunzel and my emotion is joy. | 0:15:45 | 0:15:49 | |
I've got pride, which is... | 0:15:49 | 0:15:52 | |
It sounds a bit challenging, but I'm just getting round it and trying to think about what I can do. | 0:15:52 | 0:15:57 | |
I'm interested in finding out how they deal with having clothes that don't fit. | 0:15:57 | 0:16:01 | |
Ooh! It's freezing! | 0:16:01 | 0:16:04 | |
Damien should be cool, he's tall and slender-ish. | 0:16:04 | 0:16:06 | |
But Chanel, she's got really big hips and big boobs, as well, | 0:16:06 | 0:16:10 | |
which is great for some shoots, but this one I think will be a problem for her. | 0:16:10 | 0:16:14 | |
-It might be a bit tight across the chest. -We better try the other option. | 0:16:14 | 0:16:18 | |
Great little figure on her, but she's got these boobs | 0:16:18 | 0:16:22 | |
that literally were going nowhere near the sample dress. | 0:16:22 | 0:16:25 | |
So in the end, we had to try and swap the outfit over, | 0:16:25 | 0:16:29 | |
put a different version on, and even that, to be honest, the silk lining is slightly torn inside. | 0:16:29 | 0:16:35 | |
Hold on, it's stuck on my chest. | 0:16:35 | 0:16:38 | |
It's hard to cover my boobs up and try and not have them out there. | 0:16:38 | 0:16:41 | |
So I think it's kind of good that I was wearing something like this. | 0:16:41 | 0:16:44 | |
But I think it fits, it works. | 0:16:44 | 0:16:47 | |
'If the couple struggle with sample sizes now, | 0:16:47 | 0:16:50 | |
'chances are they'll face the same problems in the future, | 0:16:50 | 0:16:53 | |
'a fact that could count against them in this week's casting decision.' | 0:16:53 | 0:16:58 | |
Variety fashion shoot. Keep an eye on where your light is, | 0:16:58 | 0:17:01 | |
that you're in the light, close together, act it out. | 0:17:01 | 0:17:04 | |
Here we go. Right. Not too far apart, cos this has got to be close together for this to work. | 0:17:04 | 0:17:09 | |
Rapunzel. Damien, you're wrapped up with hair, man! | 0:17:09 | 0:17:13 | |
Come on! You're wrapped up with hair! It's not every day! Joy! There we go. | 0:17:13 | 0:17:19 | |
Pull it tight round him. Wrap this guy up now. | 0:17:19 | 0:17:21 | |
Chanel, you've got a problem with the dress. I know it's not your usual thing. | 0:17:24 | 0:17:28 | |
-It's all right, it's just a bit hard to... -It's a hard one to make gorgeous, I do admit. | 0:17:28 | 0:17:33 | |
I know that they send sample sizes. | 0:17:33 | 0:17:35 | |
I am a small size, but I do have slightly larger boobs than the average girl, | 0:17:35 | 0:17:39 | |
which does make it a bit difficult. But you just have to make it work. | 0:17:39 | 0:17:43 | |
'Chanel's attempts to convey joy are a success, | 0:17:43 | 0:17:46 | |
'but Damien looks less comfortable portraying pride.' | 0:17:46 | 0:17:49 | |
What's that reaction on your face, Damien? | 0:17:51 | 0:17:54 | |
Not long to go. Every frame different. Think of your body shape in that maternity frock. | 0:17:54 | 0:17:59 | |
I think, Damien, you haven't moved the whole shoot. | 0:17:59 | 0:18:02 | |
Is there any way we can change your point of view? Now you're getting it! Cool! Let's go with that! | 0:18:02 | 0:18:08 | |
The cat that got the cream, Damien. | 0:18:08 | 0:18:10 | |
We got very good feedback and comments from the photographer. | 0:18:10 | 0:18:15 | |
-You're looking better. You two are good. OK. -A bit more pride, Damien. | 0:18:15 | 0:18:20 | |
So, yeah, I felt it went really well. | 0:18:20 | 0:18:23 | |
-Good. -I think we've probably got it now, don't you? -Last shot. | 0:18:23 | 0:18:27 | |
You're going to scream at me. Three, two, one. SHE SCREAMS | 0:18:27 | 0:18:32 | |
-SHE LAUGHS -Lovely! Finally! | 0:18:32 | 0:18:36 | |
Excellent. Thank God! A good picture, good energy and a bit of modelling finally. | 0:18:36 | 0:18:41 | |
Yeah, they were good. They were much better. They got it. | 0:18:41 | 0:18:45 | |
I think that me and Chanel are probably the most versatile couple here. | 0:18:45 | 0:18:50 | |
It makes the photographer's life so much easier. You just set it up and let them do it. | 0:18:50 | 0:18:54 | |
Not perfect, but pretty good. | 0:18:54 | 0:18:56 | |
Come on, darling. | 0:18:56 | 0:18:59 | |
Wait, give me a ride back. | 0:18:59 | 0:19:01 | |
'As they wait their turn, one couple use their free time to make the most of their first trip to Yorkshire. | 0:19:01 | 0:19:07 | |
-'Now they know where it is.' -Oh, my God, this is so amazing. | 0:19:07 | 0:19:11 | |
Hop on your stallion. | 0:19:11 | 0:19:13 | |
'Australian ballroom dancers Vaughan and Alison | 0:19:20 | 0:19:23 | |
'are the most unconventional couple in the group.' | 0:19:23 | 0:19:25 | |
-We're practising Christians. We go to church. -We want to think we make being Christian cool. | 0:19:25 | 0:19:31 | |
'The couple have a rock-solid relationship, | 0:19:31 | 0:19:34 | |
'but their modelling skills leave something to be desired.' | 0:19:34 | 0:19:37 | |
It was really awkward. It was difficult to watch. | 0:19:37 | 0:19:41 | |
'If the couple don't deliver an outstanding performance today, | 0:19:41 | 0:19:45 | |
'their dreams of becoming professional models could soon be over.' | 0:19:45 | 0:19:49 | |
Vaughan and Alison worked wonders. | 0:19:50 | 0:19:52 | |
In fact, probably the sample size was slightly bigger on Alison cos she is teetering on a size six. | 0:19:52 | 0:19:58 | |
Vaughan, perfect sample size. | 0:19:58 | 0:20:00 | |
Whoo-hoo! I'm a five. | 0:20:00 | 0:20:02 | |
'The slipper fits, as does the rest of the clobber for Cinderella Alison and Prince Charming Vaughan.' | 0:20:02 | 0:20:09 | |
I love your hair especially. You look fantastic. | 0:20:09 | 0:20:11 | |
-I wonder if you can keep it. -It brings out the prince in me. | 0:20:11 | 0:20:14 | |
The outfits that they're wearing look like what they probably wear every day when they go dancing. | 0:20:14 | 0:20:20 | |
-Very lovely. -So they should feel comfortable in the environment. | 0:20:20 | 0:20:24 | |
But my patience is kind of dwindling at this point. We are more than halfway through the competition. | 0:20:24 | 0:20:29 | |
They've got to start modelling and delivering what they're here to deliver. | 0:20:29 | 0:20:33 | |
And we're going now. Three, two, one. | 0:20:35 | 0:20:39 | |
Vaughan, shapes. You're in the shot, as well, mate, don't forget. Good. | 0:20:39 | 0:20:45 | |
'The couple are supposed to portray the emotions of panic and confusion, | 0:20:45 | 0:20:49 | |
'but they're struggling to settle into their roles.' | 0:20:49 | 0:20:52 | |
You don't look very happy. You guys all right? OK. So move and settle. | 0:20:52 | 0:20:57 | |
Ooh, that's very theatrical. OK. | 0:20:58 | 0:21:01 | |
It just looks really posed. It looks beautiful. You both look gorgeous, but for a different brief. | 0:21:01 | 0:21:07 | |
You've also got to sell me these clothes, all right? | 0:21:07 | 0:21:10 | |
This is an editorial shoot. | 0:21:10 | 0:21:12 | |
-It's an editorial shoot with four minutes left and it's not Swan Lake. -OK. | 0:21:13 | 0:21:17 | |
Closer together. Can we do closer together? | 0:21:17 | 0:21:21 | |
-But not too balletic. -I keep doing it! -You do. Stop it. | 0:21:21 | 0:21:25 | |
'Despite encouragement from Mark, it just doesn't get any better.' | 0:21:25 | 0:21:30 | |
That was really hard. I'm trying to think of something positive to say. | 0:21:30 | 0:21:34 | |
-There is nothing positive to say. -No. | 0:21:34 | 0:21:37 | |
They would've been sent home so fast | 0:21:37 | 0:21:41 | |
because they just didn't get it at all. | 0:21:41 | 0:21:43 | |
That wasn't a fashion shoot, that was like a dance shoot | 0:21:43 | 0:21:48 | |
-or a... -They're not even ballet dancers, | 0:21:48 | 0:21:50 | |
but it was total balletic, sort of, Black Swan, wasn't it? I don't know what she thought she was doing. | 0:21:50 | 0:21:56 | |
I was just trying to follow direction, but honestly, | 0:21:56 | 0:22:00 | |
I was just standing there going, | 0:22:00 | 0:22:02 | |
"I'm trying to do what I'm told and I'm trying to do what they asked us to do," but there was too many cooks. | 0:22:02 | 0:22:08 | |
I don't think you've got one usable picture there. I really don't. | 0:22:08 | 0:22:11 | |
So everything off apart from your knickers, please. | 0:22:12 | 0:22:16 | |
'Next up, Jay and Becky. | 0:22:16 | 0:22:20 | |
'The couple's mismatched appearance has led to criticism from some photographers.' | 0:22:21 | 0:22:26 | |
You look quite odd together. It's a bit brother and sister. | 0:22:26 | 0:22:29 | |
'So on this shoot, they'll have to work extra hard to look like the perfect couple. | 0:22:31 | 0:22:37 | |
-'And to make things tougher, Jay will have to pose with an unusual prop.' -What do you think? | 0:22:37 | 0:22:44 | |
-'But Becky's got bigger problems to deal with.' -It's very long. -Very long! | 0:22:44 | 0:22:50 | |
It's a full-length gown, on a five-foot-seven girl, absolutely perfect. | 0:22:50 | 0:22:54 | |
On a five-foot-three girl, it's absolutely drowning her. | 0:22:54 | 0:22:58 | |
-I was going to do you with no shoes on. -OK. -But cos of the height, I'll put shoes on you to lift it. -OK. | 0:22:58 | 0:23:04 | |
Becky said she was five-foot-three. Are we sure she is? Maybe five-foot-one. | 0:23:04 | 0:23:09 | |
Becky and Jay are starring in Beauty And The Beast. | 0:23:12 | 0:23:16 | |
It's going to be quite a role reversal for these two | 0:23:16 | 0:23:19 | |
because he's very mild and gentle, | 0:23:19 | 0:23:22 | |
so I really can't wait to see if he can give us the emotion we need in this shot. | 0:23:22 | 0:23:26 | |
-Right, let's do this. -OK. Three, two, one and... | 0:23:26 | 0:23:30 | |
Editorially speaking, would they ever be booked together with their height difference? I'm not sure. | 0:23:30 | 0:23:35 | |
So they've got to really, really turn it on and prove to us that they look good together today. | 0:23:35 | 0:23:41 | |
Every one different. Change the way you're standing. | 0:23:41 | 0:23:44 | |
-I'm going to look over my shoulder, OK? -Three, two, one and... | 0:23:44 | 0:23:47 | |
-How are you coping with the dress? I'm guessing you're not sample size. How did you adapt it? -We pinned it. | 0:23:47 | 0:23:53 | |
-I think we need to give her a nicer shape. -Tighter. | 0:23:53 | 0:23:57 | |
This is a size six to eight, but I'm quite slim, so it was a bit baggy, | 0:23:57 | 0:24:03 | |
so they're trying to clip everything to make it tighter. | 0:24:03 | 0:24:06 | |
Three, two, one and... | 0:24:06 | 0:24:08 | |
Right, fear. | 0:24:08 | 0:24:11 | |
-Done. Thank you! -Really well done. | 0:24:12 | 0:24:16 | |
-We've waited all day for that. -You can never tell how well things go, | 0:24:16 | 0:24:20 | |
-but under the pressure we were under, I think we did... -We did the best we could. | 0:24:20 | 0:24:24 | |
She's a little bit similar in what she does. Given half a chance, she'll stick her hand on her hip | 0:24:24 | 0:24:29 | |
-and that's it. -I think that's her Page Three background. -Ah. I didn't know that. -Yeah. | 0:24:29 | 0:24:34 | |
'Finally, it's bodybuilder Leroy and novice model Chloe's moment in front of the camera. | 0:24:36 | 0:24:42 | |
'After stealing the show on last week's video shoot, is there anything Leroy can't do?' | 0:24:42 | 0:24:47 | |
-He can do stuntman, trampolining. -Wrestling. | 0:24:47 | 0:24:51 | |
-Acting, spiritualist. -Spiritualist. -Modelling. | 0:24:51 | 0:24:54 | |
-Modelling. -Break dancing. -Singing, rapping. -Yep | 0:24:54 | 0:24:58 | |
-He writes. -Yes. -He writes songs. -He writes songs. | 0:24:58 | 0:25:02 | |
Many talents, that boy. Loads of talents. | 0:25:02 | 0:25:05 | |
'The couple will be trying to depict a scene from Sleeping Beauty | 0:25:05 | 0:25:09 | |
'and Leroy's making sure they've got the beauty part covered.' | 0:25:09 | 0:25:13 | |
-I think your hair's flat. SHE LAUGHS -Well, you can never be too sure. | 0:25:13 | 0:25:17 | |
Chloe and Leroy are up next and I'm a bit worried, because the sample sizes won't suit them at all. | 0:25:20 | 0:25:26 | |
So step in. | 0:25:26 | 0:25:28 | |
How do you feel about wearing full-length? | 0:25:28 | 0:25:31 | |
-Erm... -Cos you are the shortest girl, aren't you? | 0:25:31 | 0:25:34 | |
-I think Becky's shorter than me. -So how tall are you? | 0:25:34 | 0:25:38 | |
-Five foot. -Five foot? -Yeah. SHE LAUGHS -So bra off. | 0:25:38 | 0:25:42 | |
Chloe has just revealed that she's only five foot | 0:25:42 | 0:25:45 | |
and she's just told me that Becky's smaller. | 0:25:45 | 0:25:48 | |
So that means Becky is below five foot. It's crazy! | 0:25:48 | 0:25:52 | |
Can I have some pins, Rach? | 0:25:52 | 0:25:54 | |
We've just had Chloe in a beautiful white gown and the whole thing just swamped her. | 0:25:54 | 0:25:58 | |
We just have to pin like a maniac and it's literally all over the floor. | 0:25:58 | 0:26:02 | |
So, to be honest, it's a godsend that she's laid down. | 0:26:02 | 0:26:05 | |
-Can we get you down to the nitty-gritty? -No problem. -Trousers, top off. | 0:26:05 | 0:26:10 | |
Oh, I've been dreading it all day. Leroy just isn't the shape of a model. | 0:26:10 | 0:26:15 | |
What makes us laugh, it's elimination, right? You're all lined up and then Jody goes, | 0:26:15 | 0:26:20 | |
"I really love you guys, you've done a great picture, but Leroy, you're just too big". | 0:26:20 | 0:26:25 | |
And he goes, "All right." | 0:26:25 | 0:26:28 | |
-Walks out the door, crack, protein bar, shake. -Do you know what I mean? | 0:26:28 | 0:26:31 | |
And then you ask, "What you doing when you get home?" "Going to smash the gym." | 0:26:31 | 0:26:35 | |
"I'm going to get bigger. I'm going to get bigger." | 0:26:35 | 0:26:38 | |
He sits there and he goes, "Because of my size and because I intimidate everyone..." | 0:26:38 | 0:26:45 | |
-I know you're big, I've got eyes! -I'm thinking, "I can see you've got muscles. I can see that. Very good." | 0:26:45 | 0:26:51 | |
He had a shirt on him that he was quite lucky with and I think that's only because he was short. | 0:26:51 | 0:26:56 | |
-So shirt's OK. -Yep. -I think that was the luck of the draw. | 0:26:56 | 0:27:01 | |
-And his trousers. -Let's try it. | 0:27:01 | 0:27:04 | |
He looked like two green sausages. | 0:27:04 | 0:27:06 | |
They're sitting on the butt at the moment. They're tight on the butt at the minute. | 0:27:06 | 0:27:10 | |
-SHE LAUGHS -I'm really scared. | 0:27:12 | 0:27:15 | |
-Oh, no! -SHE LAUGHS | 0:27:15 | 0:27:17 | |
-I feel like the Incredible Hulk about to rip out. Shall we not rip the jacket? -Let's drop. | 0:27:17 | 0:27:23 | |
'Leroy's forced on set without his jacket and wearing ill-fitting trousers. | 0:27:23 | 0:27:27 | |
'On a real editorial shoot, Leroy and Chloe could both be sent home. | 0:27:27 | 0:27:32 | |
'They'll be hoping the judges don't reach the same conclusion.' | 0:27:32 | 0:27:35 | |
-Beauty, Chloe! -OK, stand by. | 0:27:35 | 0:27:39 | |
Taller, Leroy. Keep it tall, mate. | 0:27:40 | 0:27:44 | |
-Why are your trousers undone? -Erm, because they don't fit round the legs. -Oh. | 0:27:44 | 0:27:48 | |
I've got to try and style it out as best as possible. | 0:27:48 | 0:27:51 | |
Unfortunately, the trousers just wasn't working. | 0:27:51 | 0:27:55 | |
-Is this a problem you normally have with trousers? -Yeah. | 0:27:55 | 0:27:58 | |
-Do you want to borrow mine? -HE LAUGHS -Please. It'd help. | 0:27:58 | 0:28:03 | |
If I had other trousers, it would've felt more natural. | 0:28:03 | 0:28:06 | |
'The constant clothing issues are causing both despair and sadness. | 0:28:06 | 0:28:12 | |
-'Fortunately, they're the emotions they have to convey.' -Change head position, Chloe. That's it. | 0:28:12 | 0:28:17 | |
Leroy, it's not working, mate. I think you need to stay taller cos all I'm getting is the lean forward. | 0:28:17 | 0:28:23 | |
-You're coming to get her! -Stay there. | 0:28:23 | 0:28:26 | |
Turn of the head. Beautiful. Good. | 0:28:26 | 0:28:30 | |
-This shoot was one of the harder challenges for us. -Especially as we've never modelled in this... | 0:28:30 | 0:28:35 | |
We're having to think about emotion and clothes, the style, the fantasy of it. | 0:28:35 | 0:28:40 | |
-That's it! -Last few frames now. | 0:28:40 | 0:28:42 | |
-Last couple of frames. Done. Thank you, everyone! -Well done! | 0:28:42 | 0:28:47 | |
For tomorrow's elimination, I do feel a little bit nervous | 0:28:47 | 0:28:51 | |
that we might be in the bottom three, but I think, towards the end, we did quite well. | 0:28:51 | 0:28:56 | |
-So you just don't know. You don't know what anyone else has done. -Yeah. -But we did our best. | 0:28:56 | 0:29:00 | |
-We did our best. Love you, baby. -Love you, too. | 0:29:00 | 0:29:04 | |
'With all five couples photographed, the shoot is drawing to an end. | 0:29:04 | 0:29:08 | |
'And for photographer Mark Harrison, it's had an element of horror story as well as fairytale.' | 0:29:08 | 0:29:13 | |
I think overall my favourite couple would be Becky and Jay. | 0:29:13 | 0:29:17 | |
They looked great, they listened, they made interesting pictures. Straightforward, easy. | 0:29:17 | 0:29:22 | |
The worst couple for me were probably Alison and Vaughan. | 0:29:23 | 0:29:26 | |
The dance thing just took over too much. | 0:29:26 | 0:29:29 | |
I can't photograph people if they're endlessly going to do balletic poses | 0:29:29 | 0:29:33 | |
and Alison just looks very slightly terrified. | 0:29:33 | 0:29:36 | |
'All the couples are thankful that it's time to head back to civilisation. | 0:29:38 | 0:29:43 | |
'And with Damien behind the camera, they reflect on how the day has gone.' | 0:29:43 | 0:29:47 | |
-How did we find it today? -Hard. -Hard. -Hard. | 0:29:47 | 0:29:51 | |
-Really easy and enjoyable. -Buggered. -Lots of fun. | 0:29:51 | 0:29:54 | |
'The search is on for Britain's hottest couple.' | 0:29:56 | 0:29:59 | |
You can't fake the real thing. If we find a real couple who are gorgeous and in love, they'll make a killing. | 0:30:00 | 0:30:06 | |
'Awaiting the winners is a lucrative modelling contract with a top London agency.' | 0:30:06 | 0:30:11 | |
I'll be remembered for being the guy who came in and said, "I'm going to win this". | 0:30:11 | 0:30:15 | |
'But looking the part is just half the battle.' | 0:30:15 | 0:30:18 | |
You're dressed appropriately to go to a wedding in the 80s. | 0:30:18 | 0:30:21 | |
-'As their relationships are also under the microscope.' -For a couple to have any chance of winning, | 0:30:21 | 0:30:26 | |
I need to know they'll be together for at least 12 months. | 0:30:26 | 0:30:29 | |
I hope to find a couple who will be together in 12 years. | 0:30:29 | 0:30:34 | |
'So far this week, they've taken part in a challenging editorial shoot | 0:30:34 | 0:30:39 | |
-'where they had to communicate raw emotions.' -SHE SCREAMS | 0:30:39 | 0:30:42 | |
'Something they'll be asked to do again as the attention turns to their relationships.' | 0:30:42 | 0:30:47 | |
Damien and Chanel, there's more fire in your relationship than you let out. That'll cause a problem. | 0:30:47 | 0:30:53 | |
I don't want to go in there! THEY LAUGH | 0:30:59 | 0:31:03 | |
Why do we get this room? | 0:31:03 | 0:31:05 | |
'After a gruelling day's work, the would-be models are relieved to return to | 0:31:05 | 0:31:09 | |
'their luxury house in Manchester. And now that there are only five couples left in the competition, | 0:31:09 | 0:31:14 | |
'they can all have a bedroom of their own.' | 0:31:14 | 0:31:17 | |
Show me where your room is. | 0:31:17 | 0:31:20 | |
'As the household sort out their new rooms, | 0:31:20 | 0:31:23 | |
'judge Emma arrives to put them through this week's relationship challenge.' | 0:31:23 | 0:31:27 | |
I'm a therapist who specialises in relationships | 0:31:28 | 0:31:32 | |
and I'm here to check our couples are fully committed to each other. | 0:31:32 | 0:31:35 | |
'Over the weeks, relationship judge Emma has been putting the hot couples through their paces | 0:31:36 | 0:31:41 | |
'with some interesting results.' | 0:31:41 | 0:31:44 | |
We never say "I love you" to each other, ever. | 0:31:44 | 0:31:47 | |
I might cry! SHE LAUGHS | 0:31:47 | 0:31:50 | |
Oh, my God, they're see-through! | 0:31:50 | 0:31:53 | |
'It's Emma's job to make sure that | 0:31:53 | 0:31:55 | |
'the winning couple survive the pressures of the modelling industry.' | 0:31:55 | 0:32:00 | |
I want a couple with real chemistry | 0:32:00 | 0:32:02 | |
who are there for each other and support each other. A real partnership. | 0:32:02 | 0:32:06 | |
'But now Emma faces a new test after Tyrone and Salina dramatically quit the competition last week, | 0:32:08 | 0:32:15 | |
'claiming their rivals weren't being honest.' | 0:32:15 | 0:32:18 | |
They all bitch about each other and we're in the middle. | 0:32:20 | 0:32:24 | |
I'm thinking, "Wow, why don't they just be genuine for the cameras?" | 0:32:24 | 0:32:28 | |
Just say, "I don't like you." Just be honest. But everyone's just playing a game. | 0:32:28 | 0:32:33 | |
Sit down. | 0:32:33 | 0:32:35 | |
'Emma is now keen to uncover any issues being kept hidden by the remaining competitors.' | 0:32:35 | 0:32:40 | |
If they can show me that they can have arguments and be constructive around those arguments | 0:32:40 | 0:32:46 | |
and move forward and still be able to connect and live with people, | 0:32:46 | 0:32:49 | |
then I know their relationship will survive, and more importantly, | 0:32:49 | 0:32:53 | |
in an industry where everybody else is going to want to beat them down, they'll be able to handle it. | 0:32:53 | 0:32:58 | |
Tyrone and Salina were an incredibly strong couple. | 0:32:58 | 0:33:02 | |
What they told me was people have been saying things about each other | 0:33:02 | 0:33:08 | |
and that they felt very unhappy that people were saying those things and not fronting those things. | 0:33:08 | 0:33:14 | |
I don't really care whether you're fighting with each other, because actually that's normal. | 0:33:14 | 0:33:19 | |
But why are we not communicating that? | 0:33:19 | 0:33:23 | |
Generally, I like all of you, but I wouldn't trust none of you. | 0:33:23 | 0:33:27 | |
I'm very honest. I'll stare at you in the face and tell you to shut up, but I'm looking at you. | 0:33:27 | 0:33:32 | |
But I don't want to come across, not arrogant, but aggressive. | 0:33:32 | 0:33:37 | |
I think in you there is this real fire | 0:33:37 | 0:33:40 | |
-that doesn't often get its chance to shine. -I watch and observe. | 0:33:40 | 0:33:44 | |
But then there's times when you have to shout and shout and shout. | 0:33:44 | 0:33:47 | |
It's all about communication. | 0:33:47 | 0:33:51 | |
Cos part of this process, for me, isn't just about your relationships with each other. | 0:33:51 | 0:33:57 | |
It's about a relationship with an industry that will rip you up. | 0:33:57 | 0:34:01 | |
So, cards on the table, | 0:34:01 | 0:34:04 | |
who's struggling with who and why? | 0:34:04 | 0:34:06 | |
I definitely, when I walked in, straight away, Vaughan, I just thought, | 0:34:06 | 0:34:12 | |
"I think he's a bit straight." Just a couple of little things where he was a bit short with people | 0:34:12 | 0:34:17 | |
and a bit... I thought rude and a bit snappy. | 0:34:17 | 0:34:20 | |
I said to Stuart, "Are you an s-stirrer? A shit-stirrer? | 0:34:20 | 0:34:25 | |
"Is that what you do? Do you just go around trying to put people off?" | 0:34:25 | 0:34:30 | |
-Cos that's what I thought. That was my first impression. -Vaughan, what people see in you, | 0:34:30 | 0:34:34 | |
those snap judgements where you're kind of being very on-the-line and trying to be as honest as possible | 0:34:34 | 0:34:40 | |
and trying to be part of it, the big thing for you, it's always about self-protection. | 0:34:40 | 0:34:45 | |
'Not only is Vaughan happy to accept criticism, he's also happy to give it out.' | 0:34:45 | 0:34:50 | |
I'm struggling with Damien and Chanel, because we all have the chance to adapt and to change, | 0:34:50 | 0:34:56 | |
but their personalities are quite strong. You're a strong girl. | 0:34:56 | 0:35:00 | |
I feel there's more fire in your relationship than you're letting out. That will cause a problem. | 0:35:00 | 0:35:05 | |
Yeah, we've always said we're a fiery couple. We both have such strong opinions and we debate a lot. | 0:35:05 | 0:35:11 | |
The big thing for us, coming into this house, was we knew we're going to be constantly around each other | 0:35:11 | 0:35:16 | |
and there'll be points where we'll want to rip each other's heads off. | 0:35:16 | 0:35:20 | |
We've been trying to calm down and grow up a bit. | 0:35:20 | 0:35:23 | |
We're trying to think of other methods where we can both stay calm and then voice our opinions, | 0:35:23 | 0:35:29 | |
rather than letting it out in front of all of you lot. | 0:35:29 | 0:35:31 | |
That's why you two are very well suited, because there's this real sensitive undercurrent. | 0:35:31 | 0:35:37 | |
Ideally, obviously, I want you to talk about your feelings. | 0:35:37 | 0:35:40 | |
I want you to confront issues as they arrive and be unafraid of each other's reactions, | 0:35:40 | 0:35:45 | |
cos we can resolve things that go wrong. | 0:35:45 | 0:35:47 | |
No-one will get eliminated because they're arguing. | 0:35:47 | 0:35:51 | |
But I want to know that the people who make it | 0:35:51 | 0:35:55 | |
are resilient, well-rounded couples | 0:35:55 | 0:35:57 | |
who can live with each other and with competition. | 0:35:57 | 0:36:02 | |
-Yeah? -ALL: Yeah. | 0:36:02 | 0:36:05 | |
'But will Emma consider the group session to be a success?' | 0:36:05 | 0:36:09 | |
-Thank you! -Take care, sweetheart. | 0:36:09 | 0:36:12 | |
I think that, as far as people connecting and getting on, that exists, they do get on. | 0:36:12 | 0:36:17 | |
I think the love-fest is beginning to crumble | 0:36:17 | 0:36:20 | |
because even though I've gone in, people still have a right to say nothing. | 0:36:20 | 0:36:24 | |
I make it safe for them to vent. | 0:36:24 | 0:36:27 | |
I loved that session and, like, Emma hit a raw nerve | 0:36:27 | 0:36:31 | |
with what that was all about, cos she was spot-on with her intuition. | 0:36:31 | 0:36:37 | |
'As the evening draws in, the aspiring models take some time out to cool down. | 0:36:42 | 0:36:48 | |
'Before heading upstairs for an early night | 0:36:49 | 0:36:52 | |
'to finally enjoy having their own bedrooms.' | 0:36:52 | 0:36:55 | |
I think everybody's definitely going to up the ante now we're in separate rooms. | 0:36:55 | 0:37:00 | |
-Do you think? -Yeah, definitely. -I don't know. | 0:37:00 | 0:37:02 | |
Because everyone's going to get more of an opportunity | 0:37:02 | 0:37:05 | |
to discuss winning, to discuss the challenges. | 0:37:05 | 0:37:08 | |
-Moving rooms, I think it's quite a good thing for us. -Yeah. | 0:37:08 | 0:37:11 | |
-Cos we wanted to be alone for a bit. -It might be our last night, so we get one night together at least. | 0:37:11 | 0:37:17 | |
I'm quietly confident about tomorrow. I think we'll do all right. | 0:37:17 | 0:37:21 | |
It's just whether they gave us a good picture or not. You never know what they'll give us. | 0:37:21 | 0:37:25 | |
-So... -We'll see. | 0:37:25 | 0:37:28 | |
-Should I wear jeans or shorts today? -You should do whatever makes you feel happy. | 0:37:38 | 0:37:43 | |
'It's the day of the judges' casting decision. But before the couple have time to worry about who could leave, | 0:37:43 | 0:37:48 | |
'judge Jody's about to surprise them with a new, unexpected challenge.' | 0:37:48 | 0:37:53 | |
This week's been all about communication and to me that means honesty. | 0:37:53 | 0:37:57 | |
I need to see the real model. I've come to the house to surprise them and give them a little challenge. | 0:37:57 | 0:38:03 | |
-Oh, good morning! -Hi, guys. -ALL: Hi! | 0:38:03 | 0:38:06 | |
Today I'm going to be doing a photo shoot with you | 0:38:06 | 0:38:09 | |
as if you'd come to my office | 0:38:09 | 0:38:11 | |
and I want you stripped back of everything. | 0:38:11 | 0:38:14 | |
Yeah? You're going to be getting rid of all your makeup, all your hair extensions, | 0:38:14 | 0:38:20 | |
all your fake eyelashes, everything. | 0:38:20 | 0:38:22 | |
-Polaroid-style photos. -Whoo! | 0:38:22 | 0:38:26 | |
OK, that's your challenge. Off you go to your rooms and get ready. | 0:38:26 | 0:38:29 | |
I literally haven't got anything to do. | 0:38:31 | 0:38:34 | |
I don't really wear makeup day-to-day, anyway. | 0:38:34 | 0:38:37 | |
It's not a struggle for me to be natural at all. | 0:38:37 | 0:38:39 | |
I think you've just got to, you know, be happy with what you've got and try to make the best of it. | 0:38:39 | 0:38:44 | |
'And Jody's targeting one would-be model in particular.' | 0:38:44 | 0:38:48 | |
-Helen, you're going to be getting rid of your makeup. -Yes. -Let's look at how much makeup you've got on. | 0:38:48 | 0:38:53 | |
-Quite a lot. Quite a lot. -HE LAUGHS | 0:38:53 | 0:38:55 | |
-I tried to do it quite natural today. -Can we just see this wipe? | 0:38:55 | 0:38:59 | |
-And that's just one. We could probably do another five. -About five. | 0:38:59 | 0:39:03 | |
'Jody's advice isn't limited to makeup. | 0:39:03 | 0:39:06 | |
'He also thinks losing the hair extensions will help Helen's modelling career.' | 0:39:06 | 0:39:11 | |
You've got a really strong face and if you've got a strong face, just go with it. | 0:39:11 | 0:39:15 | |
Don't try and hide it behind long hair. I'd like you to have really short hair, like, here. | 0:39:15 | 0:39:19 | |
-Please don't cut my hair and send me home. -Might do. -Jody, man! | 0:39:19 | 0:39:23 | |
-You cannot do this! -HE LAUGHS | 0:39:23 | 0:39:26 | |
'If Helen wants to prove that she can be flexible, she must take the judges' advice | 0:39:26 | 0:39:30 | |
-'and agree to the chop.' -Stuart! | 0:39:30 | 0:39:33 | |
I can't even imagine it right now. I don't even know. I'll be like, "Oh, my God, I've got no hair". | 0:39:33 | 0:39:39 | |
-Hi, Helen. Are you OK? Are you nervous? -Yeah. | 0:39:39 | 0:39:43 | |
'Jody's even arranged for hair stylist Vince to carry out the emergency procedure.' | 0:39:43 | 0:39:49 | |
She's quite an insecure girl, Helen. When I tell people that, they go, "She can't be insecure!" | 0:39:49 | 0:39:54 | |
cos she's stunning, but she is, and I think all the hair extensions is part of that. | 0:39:54 | 0:39:58 | |
-As short as what? -'As Helen and Vince get to work, | 0:39:59 | 0:40:03 | |
'the rest of the household go au naturel.' | 0:40:03 | 0:40:05 | |
What I'm doing in this photo today is if you've just come to a go-see. | 0:40:06 | 0:40:10 | |
So I'm only going to take four photos. One head-on, one full-length and a couple of poses. | 0:40:10 | 0:40:15 | |
-That's all. -OK. -But I won't give you any direction. | 0:40:15 | 0:40:18 | |
Head and shoulders picture. | 0:40:18 | 0:40:21 | |
OK. Two poses for me. | 0:40:21 | 0:40:23 | |
You've not looked at me once. HE LAUGHS | 0:40:35 | 0:40:38 | |
-This is the nervous thing. I get so nervous. -But I can't have models who don't like to look at the camera. | 0:40:38 | 0:40:44 | |
-I get... I hate it. -Well, you're in the wrong job, then. -I know. | 0:40:44 | 0:40:51 | |
So, I've just done a blank canvas, natural shoot, like I'd do in my office if people came to a go-see, | 0:40:51 | 0:40:56 | |
and it was very interesting, some of the things I found out about the models. | 0:40:56 | 0:41:00 | |
And very interesting for them to know I don't want to see all the fakery, I want to see what they look like. | 0:41:00 | 0:41:05 | |
So, guys, I'll see you all later on at judging. | 0:41:05 | 0:41:08 | |
Do I want to see you with no makeup and white T-shirts? No. | 0:41:08 | 0:41:11 | |
Because it's an occasion, to make an impression. | 0:41:11 | 0:41:14 | |
But do I want to see loads of fake hair and fake tan and fake eyelashes? I don't want that, either. | 0:41:14 | 0:41:19 | |
-I need a middle ground and it's for you to work out what that is. Good luck. -ALL: Thank you! | 0:41:19 | 0:41:24 | |
'Jody is pleased with the results, but he won't get to see how Helen's new hairdo turns out | 0:41:24 | 0:41:30 | |
'until they meet again at the casting studio.' | 0:41:30 | 0:41:33 | |
-There you go. All done. -Oh, thanks, angel. | 0:41:33 | 0:41:37 | |
I am happy with my new hair, but if I go home today, | 0:41:37 | 0:41:40 | |
I'll think, "Oh, why did they even put me in that position?" | 0:41:40 | 0:41:44 | |
THEY LAUGH | 0:41:48 | 0:41:51 | |
-I like it! -Do you? -Yeah. | 0:41:51 | 0:41:54 | |
-Do you like it? -I do, I like it. I love it. I knew they'd go that short. | 0:41:55 | 0:41:59 | |
I promise I'd tell you. You know I'd tell you. | 0:41:59 | 0:42:02 | |
ALL: Oooh! | 0:42:06 | 0:42:09 | |
APPLAUSE | 0:42:10 | 0:42:12 | |
-That look really amazing, really stylish. -And it suits your face shape. -Do you think? | 0:42:16 | 0:42:20 | |
It gives you the major jaw line, as well. It brings all the attention to your jaw line. | 0:42:20 | 0:42:25 | |
You look so mature like that. | 0:42:25 | 0:42:27 | |
-I don't think you need makeup at all. -Shut up! I do. | 0:42:27 | 0:42:32 | |
'But after a difficult photo shoot in Yorkshire, will the new look save the couple at the casting decision? | 0:42:32 | 0:42:39 | |
'It's time to find out. | 0:42:40 | 0:42:42 | |
'It's here at the casting studio that the fate of the would-be models | 0:42:57 | 0:43:01 | |
'will be decided by top agent Jody Furlong, | 0:43:01 | 0:43:04 | |
'and relationship expert Emma Kenny.' | 0:43:04 | 0:43:08 | |
So, guys, we did a natural shoot today and you've all come here with a much more natural look, | 0:43:28 | 0:43:33 | |
which I'm very pleased to see. The whole point of coming to a casting | 0:43:33 | 0:43:37 | |
is you've got two minutes to show the best of you. | 0:43:37 | 0:43:40 | |
You need to be very professional and know what your best angles are. | 0:43:40 | 0:43:43 | |
So when you go into a casting you just go snap, snap, done. | 0:43:43 | 0:43:47 | |
The other thing is your hair. What do you think of it? | 0:43:47 | 0:43:51 | |
At first I thought, "Oh, you're going to cut it!" But I thought, well, if this is | 0:43:51 | 0:43:55 | |
the way I want to be styled and looked at as a model, I have to do it." | 0:43:55 | 0:43:58 | |
You still have some length there. It's versatile. You could wear it up, there's lots you can do with it. | 0:43:58 | 0:44:04 | |
You could have it in a sharp bob. You've messed it up a bit today. | 0:44:04 | 0:44:07 | |
So there's still versatility there for you to play with. | 0:44:07 | 0:44:10 | |
It's a hair style, you didn't have a hair style before. | 0:44:10 | 0:44:13 | |
-You had horrible ratty extensions. I don't want to see them ever again. -Never. | 0:44:13 | 0:44:19 | |
So this week you had a photo shoot inspired by fairytales where you had to communicate emotions. | 0:44:20 | 0:44:26 | |
You also had a session with me this week about honest communication. | 0:44:26 | 0:44:29 | |
So, Vaughan and Alison, let's see your picture. | 0:44:29 | 0:44:34 | |
I actually think it was better than what I thought it would be. | 0:44:37 | 0:44:40 | |
She's inherited my hand. | 0:44:40 | 0:44:43 | |
That scares me because this picture, it's a joke. | 0:44:43 | 0:44:48 | |
-Is that confusion and panic? -No. -No. You did nothing. | 0:44:48 | 0:44:53 | |
You stood there looking, actually, for the first time a bit like a model. | 0:44:53 | 0:44:58 | |
But with nothing, no emotion, there wasn't any movement at all, you just stood there like a plank. | 0:44:58 | 0:45:03 | |
Every single image, apart from when you decided to do jazz hands, that was the only time you moved. | 0:45:05 | 0:45:12 | |
And all you did was ballet poses. Every single pose was a dance move. | 0:45:12 | 0:45:17 | |
It was just a big joke, the whole thing. It was abominable. | 0:45:17 | 0:45:21 | |
-But Vaughan, you look very handsome. -Thank you. -I thought he was very handsome. -Thank you. -I'm sorry. | 0:45:22 | 0:45:29 | |
-So how did my session with you guys go? -I love getting honesty out of everyone. Lovely. | 0:45:31 | 0:45:37 | |
I thought it was good because we sometimes are a little afraid to say this is hard sometimes. | 0:45:37 | 0:45:42 | |
-Or we find something difficult. -Or say, "Damn it, I'm pissed off today!" -Yeah. | 0:45:42 | 0:45:47 | |
There's a bit of me, when I see you in the photo and I talk to you, | 0:45:47 | 0:45:51 | |
I kind of want to go, "Just relax". Everything is so presented. | 0:45:51 | 0:45:57 | |
And I just want to know whether you could bring down those barriers a little bit, | 0:45:57 | 0:46:02 | |
and let us just see you being OK, or not OK, or a bit of a mess. | 0:46:02 | 0:46:06 | |
-He's definitely taken that onboard. -I've been like that the last few days. | 0:46:06 | 0:46:10 | |
'Stuart and Helen have struggled in previous shoots. | 0:46:10 | 0:46:14 | |
'And this week, another photographer was left frustrated.' | 0:46:14 | 0:46:18 | |
You're not giving me much variation here, guys. | 0:46:18 | 0:46:21 | |
-I can't see their eyes at all. -No. -I can't see any expression. | 0:46:21 | 0:46:25 | |
Helen, you were really good. | 0:46:29 | 0:46:32 | |
Really good. Looking through all the frames there's lots of pictures with a stroppy look, just woken up. | 0:46:32 | 0:46:38 | |
It was really good. | 0:46:38 | 0:46:41 | |
Stuart, I've no clue what you were doing. Every single picture, it's the side of your face, side, side, side. | 0:46:41 | 0:46:47 | |
There's no hint of trying to look to the camera. | 0:46:48 | 0:46:51 | |
In lots, you're not looking at Helen. We picked one where you are. | 0:46:51 | 0:46:54 | |
There was no sense of joy. I think we had one smile. It was really weird. | 0:46:54 | 0:46:59 | |
I know I can do better than that. I know I can do it. | 0:47:01 | 0:47:04 | |
That is of no interest to me, cos I don't know it right now. | 0:47:04 | 0:47:07 | |
I think you're losing confidence. because you're dealing with things emotionally which are tougher | 0:47:10 | 0:47:15 | |
and when you entered this challenge, this whole environment, it was about you being a modelling couple. | 0:47:15 | 0:47:21 | |
And what it's turned out to be is you being in a relationship and modelling. | 0:47:21 | 0:47:25 | |
So, Jay and Becky, let's see your photo. | 0:47:28 | 0:47:30 | |
-I look pretty scary there. -Do you know why, Jay? Because you were absolutely phenomenal. -Thank you. | 0:47:32 | 0:47:38 | |
Out of everybody here, you were the only one the photographer thought had done any modelling before. | 0:47:40 | 0:47:46 | |
In every shot, you had a different pose, you had a different emotion. You were brilliant. | 0:47:46 | 0:47:51 | |
'For this shoot, the couples were given sample-sized outfits, | 0:47:51 | 0:47:55 | |
'which only highlighted Becky's little problem.' | 0:47:55 | 0:47:58 | |
Very long! Very long! | 0:47:58 | 0:48:00 | |
-How tall are you, Becky? -Five-foot-three. | 0:48:00 | 0:48:03 | |
-How tall are you, Becky? -I am five-foot-three! | 0:48:04 | 0:48:07 | |
When I last got measured, I was five-foot-two and three quarters. | 0:48:07 | 0:48:11 | |
I think you're smaller than that. The stylist thinks you're much smaller than that. | 0:48:11 | 0:48:16 | |
-She had to pin stuff up, and it's a struggle. -OK. | 0:48:16 | 0:48:19 | |
'During Emma's session, Jay and Becky were the quietest members of the group.' | 0:48:19 | 0:48:24 | |
You are very open, very honest, but the thing about honest communication is, | 0:48:24 | 0:48:29 | |
it has to be firstly honest, and secondly communicated. | 0:48:29 | 0:48:33 | |
-So I would like to see a bit more. -OK, thank you. | 0:48:33 | 0:48:36 | |
'Becky wasn't the only model to struggle with the sample-sized clothes.' | 0:48:36 | 0:48:41 | |
-So how tall are you? -Five foot. -Five foot? -Yeah. -Oh, my God. | 0:48:41 | 0:48:45 | |
-Shall we not rip the jacket? -Let's drop. | 0:48:45 | 0:48:48 | |
The struggle we had with you on set was both of you with clothes. | 0:48:50 | 0:48:54 | |
Chloe, you were safe laying down because if you'd had to stand up, | 0:48:55 | 0:48:59 | |
that dress would've been all over the floor. | 0:48:59 | 0:49:02 | |
And Leroy, your trousers, we couldn't get them done up, we had problems with jackets. | 0:49:02 | 0:49:07 | |
There's pictures with your flies completely open cos you couldn't get your trousers done up. | 0:49:07 | 0:49:12 | |
Chloe, you do look really nice in this picture. But your job wasn't to look nice. | 0:49:12 | 0:49:17 | |
Your job was to look sad. | 0:49:17 | 0:49:19 | |
Leroy, you're hanging from a tree. You look like King Kong. | 0:49:19 | 0:49:23 | |
So, overall... | 0:49:24 | 0:49:27 | |
Just a shame really, unfortunately, because I didn't feel comfortable. | 0:49:27 | 0:49:32 | |
Because I wasn't able to move. I literally wasn't. | 0:49:32 | 0:49:35 | |
From my point of view, I want to get to know you more. | 0:49:36 | 0:49:40 | |
And Chloe particularly, I want you to start being more real about the way it feels. | 0:49:40 | 0:49:46 | |
-My advice to you would be find your voice and keep it. -Thank you. | 0:49:46 | 0:49:51 | |
'Damien and Chanel performed well, both on the photo shoot and in Emma's session. | 0:49:51 | 0:49:55 | |
'But have they done enough to avoid being sent home?' | 0:49:55 | 0:49:59 | |
That's it, make it longer. Now you're getting it! Cool! Right, let's go with that. | 0:49:59 | 0:50:03 | |
SHE SCREAMS | 0:50:03 | 0:50:05 | |
Let's see your picture. | 0:50:05 | 0:50:07 | |
HE LAUGHS | 0:50:08 | 0:50:11 | |
-Do you know what? -Go for it. You try and explain this to me. | 0:50:12 | 0:50:15 | |
I tell you what, the funny thing is, our emotions were joy, she looks very joyous, obviously, | 0:50:15 | 0:50:21 | |
and mine was pride. Now, the last two shots we had of ours was Chanel screaming | 0:50:21 | 0:50:27 | |
and me trying to keep my pride element, but also being, like, "What the hell is she doing?" | 0:50:27 | 0:50:33 | |
You did all right, Damien, you were sat being proud. But that's all you did. | 0:50:33 | 0:50:37 | |
You sat there, being proud. In every shot you didn't move, you did exactly the same shot. | 0:50:37 | 0:50:42 | |
Chanel, this wasn't your best shot. But it summed up for me what all your pictures were about. | 0:50:42 | 0:50:48 | |
Every time I ask you to talk about things, you're always really willing to partake in that, | 0:50:48 | 0:50:53 | |
-so good job. -No problem. I hope I don't talk too much, though. -No, I want you to, more and more. | 0:50:53 | 0:50:58 | |
'With mixed performances from the wannabe models, the judges have a lot to consider. | 0:51:01 | 0:51:06 | |
'It's now time to decide which of the couples will be in the bottom three.' | 0:51:06 | 0:51:12 | |
He might as well not be there, I don't understand what's going on with him at the moment. | 0:51:12 | 0:51:16 | |
I think, as a couple, they are the least connected. | 0:51:16 | 0:51:20 | |
There's a side to them that seems very contrived. | 0:51:20 | 0:51:23 | |
'Vaughan and Alison, Stuart and Helen, and Leroy and Chloe are in the bottom three. | 0:51:26 | 0:51:33 | |
'Now they have one last chance to explain why they should stay in the competition.' | 0:51:33 | 0:51:39 | |
-So, Vaughan and Alison, why should you stay this week? -We really want this. | 0:51:39 | 0:51:43 | |
From a relationship point of view, we've nailed it. | 0:51:43 | 0:51:46 | |
We have adapted very quickly, and as a brand, we could represent very well. | 0:51:46 | 0:51:52 | |
-Stuart and Helen. -I think we just want to be able to show more of what we can do | 0:51:52 | 0:51:56 | |
and excel in other areas like our relationship, as well. | 0:51:56 | 0:51:59 | |
-Leroy and Chloe, why should you stay? -I know I'm a bit larger than the average guy, which is fair enough, | 0:51:59 | 0:52:06 | |
but generally, I think from where the competition is concerned, from the photos that I've seen, | 0:52:06 | 0:52:11 | |
for the lack of experience that Chloe and I both have, | 0:52:11 | 0:52:14 | |
I genuinely do feel that every shoot we have turned out pretty much the best pictures. | 0:52:14 | 0:52:19 | |
Thank you, guys. We're going to go away and make our decision. | 0:52:19 | 0:52:22 | |
Stuart and Helen, this should have been their week, and he was rubbish. | 0:52:28 | 0:52:32 | |
Vaughan and Alison, they're not models, they're never going to be models. | 0:52:32 | 0:52:37 | |
But the strength of their relationship is really unusual. | 0:52:37 | 0:52:40 | |
I've had an issue with Leroy and Chloe from the first week. | 0:52:40 | 0:52:43 | |
The thing is, all I'm hearing off you at the moment is that most of our models can't model. | 0:52:43 | 0:52:48 | |
-I'm not going to be happy with any result this week, but... -So have you made a decision? | 0:52:50 | 0:52:55 | |
-I've made a decision. -OK. Let's go and tell them. | 0:52:56 | 0:52:59 | |
It's been tough. | 0:53:07 | 0:53:10 | |
But we have made our decision. | 0:53:13 | 0:53:15 | |
This week I could have quite easily sent all of you home. | 0:53:15 | 0:53:19 | |
But overall, the decision is... | 0:53:22 | 0:53:25 | |
..going home is Leroy and Chloe. | 0:53:27 | 0:53:30 | |
Sorry, guys. | 0:53:32 | 0:53:34 | |
Give me a cuddle. | 0:53:35 | 0:53:38 | |
I'd like you to know that this isn't a reflection on your relationship, | 0:53:41 | 0:53:44 | |
and, in fact, we agreed that your relationship is really strong. | 0:53:44 | 0:53:48 | |
And that you've been a credible part of this group. | 0:53:48 | 0:53:53 | |
But there is a point where this is a competition about both relationships and modelling. | 0:53:53 | 0:53:57 | |
And on that level, unfortunately, you just didn't quite make the grade. | 0:53:57 | 0:54:01 | |
-Is it sweat? -It's you starting me off. | 0:54:04 | 0:54:07 | |
-Is it all right to say something? -Absolutely. -Just really quick. | 0:54:07 | 0:54:11 | |
Whenever you try to do something, you are always met with an opposition, you know? | 0:54:11 | 0:54:16 | |
And the most important thing is to never give up on any hope and dream that you have ever got. | 0:54:16 | 0:54:20 | |
Regardless of this, I go home with my prize, anyway. So I'm happy. | 0:54:20 | 0:54:26 | |
-APPLAUSE -We couldn't fight it, or I couldn't. | 0:54:33 | 0:54:35 | |
It's more about me, I guess, because we're a pair. | 0:54:35 | 0:54:38 | |
-Guys, how are you feeling? -OK. | 0:54:40 | 0:54:44 | |
I'm so sorry that it's you two. | 0:54:44 | 0:54:46 | |
-Do you think you will take something positive away from this? -Oh, definitely. I've learnt so much. | 0:54:46 | 0:54:51 | |
We've done so much that we'd never have been able to do. Definitely, we've learnt lots. | 0:54:51 | 0:54:56 | |
-I think it's just made us grow more as a couple. -Yeah, definitely. -Probably more so... | 0:54:56 | 0:55:00 | |
-Have you realised how tight you are as a couple? -Yeah. | 0:55:00 | 0:55:04 | |
To be honest, that was something I didn't ever doubt, but it made me realise how strong the bond is, | 0:55:04 | 0:55:08 | |
-which is quite nice. -It takes a long time to get to the standard that you got to really quite quickly. | 0:55:08 | 0:55:14 | |
You should be proud of yourselves for that, and keep taking the protein shakes and... | 0:55:14 | 0:55:18 | |
-Yeah, and the protein bars and the flapjacks. -And the bars and the flapjacks because it works for you. | 0:55:18 | 0:55:24 | |
-OK, good luck to you both. -Thank you. -Give me a hug. | 0:55:24 | 0:55:28 | |
-It was the most intense thing I've ever been through. -The most intense, it's definitely getting harder. | 0:55:30 | 0:55:36 | |
I'm really relieved. I'm so happy that we're still here now because I think we need to up our game. | 0:55:36 | 0:55:42 | |
I think we need to be more confident and really shine. | 0:55:42 | 0:55:47 | |
-Well, it's me, just me. -It's not just you, it's not, Stuart. It's both of us. | 0:55:47 | 0:55:51 | |
I know we're lucky cos I nearly threw it away for both of us. | 0:55:51 | 0:55:54 | |
-'Next time on Hot Like Us...' -She wanted a threesome with you. | 0:55:56 | 0:56:02 | |
'..the couples must win over the public, answer some probing questions...' | 0:56:02 | 0:56:07 | |
-Where is the strangest place you and your partner have ever had sex? -The side of a motorway. | 0:56:07 | 0:56:12 | |
-'..and swap partners in a bid to scene steal from their rivals.' -Dirty bitch. | 0:56:12 | 0:56:18 | |
Subtitles by Red Bee Media Ltd | 0:56:21 | 0:56:25 | |
E-mail [email protected] | 0:56:25 | 0:56:29 | |
. | 0:56:29 | 0:56:29 |