Browse content similar to Week 7. Check below for episodes and series from the same categories and more!
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Last week on Strictly: The celebrities entered the cauldron of | :00:00. | :00:09. | |
judgment for our Hallowe'en extravaganza. I have to admit, I was | :00:10. | :00:15. | |
slightly distracted. The judges were spellbound. This was magic! Others | :00:16. | :00:21. | |
failed to enchant. Houston, we have a problem. For Rachel, it was her | :00:22. | :00:26. | |
final countdown and the dreaded dance-off revealed that no-one is | :00:27. | :00:30. | |
safe. Our couples are feeling the pressure. Why are you shouting at me | :00:31. | :00:35. | |
all day today? The competition is fierce. I can't do it! I'm doing my | :00:36. | :00:41. | |
best. They all want to keep dancing. I want to go to Blackpool. The game | :00:42. | :00:45. | |
is on! Blackpool! Live from the strick -- Strictly | :00:46. | :01:48. | |
Ballroom, this is Strictly Come Dancing. Please welcome your hosts, | :01:49. | :01:56. | |
Tess Daly and Claudia Winkleman. That was nice. We will be dancing | :01:57. | :02:01. | |
next series! Good evening and welcome to Strictly Come Dancing. A | :02:02. | :02:07. | |
very special welcome to our guests from Headley Court Defence Military | :02:08. | :02:09. | |
Rehabilitation Centre. Lovely to have you with us tonight. Thank you | :02:10. | :02:14. | |
for joining us. Now, the girls are running the show tonight. We are | :02:15. | :02:18. | |
putting on the glitz because for our stars, it is all to dance for. Last | :02:19. | :02:23. | |
weekend's Results Show saw Rachel and Abbey go head-to-head in the | :02:24. | :02:27. | |
dance-off and, sadly, we had to say goodbye to Rachel and Pasha. That's | :02:28. | :02:33. | |
right. Tonight, all of our couples are desperate to make it to the | :02:34. | :02:39. | |
world-famous Blackpool Tower Ballroom next week. You and I will | :02:40. | :02:45. | |
be slightly livid if they don't pull out all the stops. Ladies and | :02:46. | :02:48. | |
gentlemen, are you ready? AUDIENCE: Yes! That was a yes. Shall | :02:49. | :02:55. | |
we do it? Let's. Let's meet... Come on, let me snuggle in. The stars of | :02:56. | :03:03. | |
our show! Pop princess Sophie Ellis-Bextor and her partner, | :03:04. | :03:07. | |
Brendan Cole. Star of stage and screen, Mark Benton, and his | :03:08. | :03:12. | |
partner, Iveta Lukosiute. BBC Breakfast presenter, Susanna Reid, | :03:13. | :03:16. | |
and her partner, Kevin Clifton. England rugby hero, Ben Cohen, and | :03:17. | :03:21. | |
his partner, Kristina Rihanoff. Model and TV presenter, Abbey Clancy | :03:22. | :03:27. | |
and her partner, Aljaz Skornajec. From Hollyoaks, Ashley Taylor Dawson | :03:28. | :03:32. | |
and his partner, Ola Jordan. Casualty star, Patrick Robinson, and | :03:33. | :03:37. | |
his partner, Anya Garnis. TV chef and Hairy Biker, Dave Myers, and his | :03:38. | :03:42. | |
partner, Karen Hauer. And finally Bond girl and author, Fiona | :03:43. | :03:46. | |
Fullerton, and her partner, Anton Du Beke. Yes! Come on! Gorgeous. There | :03:47. | :04:01. | |
they are. As you have seen, we are missing a couple tonight. Sadly, | :04:02. | :04:06. | |
Natalie was taken ill during today's dress rehearsal and won't be dancing | :04:07. | :04:10. | |
on tonight's show. We will give you an update on that later on. All of | :04:11. | :04:14. | |
our couples are desperate to dance their way through to next week. The | :04:15. | :04:20. | |
Tower Ballroom's Wurlitzer organ is calling us. Can you hear it? I love, | :04:21. | :04:27. | |
however, the person who said, "Yes!" There are only enough seats on the | :04:28. | :04:31. | |
bus for nine of our couples. This week, that means your votes are more | :04:32. | :04:34. | |
important than ever. They will be added to our judges' scores. I | :04:35. | :04:41. | |
cannot bear it. Let us begin. Let's. Our first couple is Big Ben and his | :04:42. | :04:55. | |
partner, Kristina. APPLAUSE Last week, Ben stripped off his | :04:56. | :04:59. | |
shirt for a passionate rumba. This week, he is dressed as a sailor. | :05:00. | :05:08. | |
Stay calm! Stay calm, Bruno. Here is what happened to them this week. | :05:09. | :05:17. | |
Last weekend, the paso, I enjoyed it. It was something that I could | :05:18. | :05:21. | |
get involved in. I really enjoyed it. It was a bit strange to get your | :05:22. | :05:26. | |
top off. It suited the dance. I was hoping for fireworks, but there were | :05:27. | :05:30. | |
no fireworks. Len said there were no fireworks and I thought... Then he | :05:31. | :05:38. | |
said... It was an explosion! I think the atmosphere every week has been | :05:39. | :05:42. | |
absolutely incredible. It's really strange. You can't explain it. It is | :05:43. | :05:46. | |
something that you can feel in the air. It is a pleasure to be | :05:47. | :05:52. | |
involved. This jive is incredibly quick. Quicker! Quicker feet. It is | :05:53. | :05:56. | |
the fastest dance of the Latin dances. We are really struggling. I | :05:57. | :06:02. | |
need a sit down. This jive is kind of our little bridge to the | :06:03. | :06:07. | |
Blackpool week. He needs to go back to his rugby roots. I haven't done | :06:08. | :06:15. | |
this for years! Just like in jive. You are so light and quick on your | :06:16. | :06:21. | |
feet. Incredible! That's it. Rugby was helpful. I'm planning a big | :06:22. | :06:26. | |
trick for this weekend and I need a bit of help. Thanks ever so much. | :06:27. | :06:33. | |
Ben has asked me to help him do a back flick. Lift your arms up and | :06:34. | :06:40. | |
grab your legs. He has been a great help. I have a lot more confidence. | :06:41. | :06:44. | |
I'm loving the Strictly experience. It is a once in a lifetime | :06:45. | :06:49. | |
opportunity. I hope this will be enough to get me to Blackpool. | :06:50. | :06:56. | |
Dancing the jive, Ben Cohen and Kristina Rihanoff. | :06:57. | :07:03. | |
Oh yes! Wow, wow, wow! Big Ben is back! They are on their feet. Look | :07:04. | :09:01. | |
at that. Hello, sailor! Hello, gorgeous. What a way to start the | :09:02. | :09:04. | |
show. It wouldn't be a show without them. Let's say hello to Judge | :09:05. | :09:10. | |
Bruno, Judge Len, Judge Darcey and Judge Dredd! LAUGHTER Len, what did | :09:11. | :09:21. | |
you make of Big Ben? Anchors away! Mostly, smooth sailing. I love your | :09:22. | :09:25. | |
commitment. And you are a very competent dancer. You are turning | :09:26. | :09:28. | |
out really good. You need to just work a bit more on your feet. It was | :09:29. | :09:33. | |
a bit like a trifle, fruity up top and a bit of sponge down the bottom. | :09:34. | :09:39. | |
Jive's a hard dance, especially for big guys. You came out and worked | :09:40. | :09:43. | |
it. This audience know what they are looking at, a standing ovation, well | :09:44. | :09:51. | |
done! APPLAUSE Did our sailor float your boat, Bruno? I don't know why, | :09:52. | :09:57. | |
but I have this irresistible urge to join the Navy. Quite a few w girls | :09:58. | :10:09. | |
have -- a few girls have signed up already! It was a bit wobbly at the | :10:10. | :10:14. | |
bottom. The jive is all about the sharpness of the kicks and the | :10:15. | :10:18. | |
flicks. Especially side to side, it is very evident. You really have to | :10:19. | :10:23. | |
hit the beat at the same time as your partner. You have to be on your | :10:24. | :10:28. | |
toes, yeah? If you do another jive, stay on your toes and sharpen up | :10:29. | :10:35. | |
your feet. Otherwise, as always impressive. Craig? The best part of | :10:36. | :10:42. | |
it was the back somersault! I thought you did that beautifully | :10:43. | :10:46. | |
cleanly. It was a bit too leaden, a bit too laboured, as I expected. You | :10:47. | :10:52. | |
are carrying some very heavy equipment. You expected that and so | :10:53. | :10:58. | |
you got it in your mind so you were going to get it! APPLAUSE That is so | :10:59. | :11:04. | |
untrue. I know you are carrying heavy muscles there. That is | :11:05. | :11:08. | |
difficult... Nothing wrong with that. It is difficult to keep up the | :11:09. | :11:14. | |
pace of this dance and the last kick section was completely out of time. | :11:15. | :11:21. | |
I think, my darling, despite your best seaman efforts, that is a | :11:22. | :11:34. | |
failure. I disagree. APPLAUSE Don't worry, darling. It wasn't that bad. | :11:35. | :11:41. | |
Darcey? I did believe you were going to have a hard time with this style. | :11:42. | :11:46. | |
You proved us wrong. Because it is a neat and light and the energy for a | :11:47. | :11:51. | |
big boy, I would have presumed it was going to be hard. You kept it | :11:52. | :11:54. | |
contained. You gave it great attack. There was great energy all the way | :11:55. | :11:59. | |
through. You enjoyed it. I enjoyed it. Thank you. APPLAUSE Thank you. | :12:00. | :12:12. | |
Off you go. Ben and Kristina! APPLAUSE | :12:13. | :12:18. | |
You did great. Craig was grumpy. You did a massive triple backflip. Be | :12:19. | :12:29. | |
proud of him. I am. It was a tough week. There were lots of things and | :12:30. | :12:33. | |
injuries. He did so well. I'm very proud of you. It's been a | :12:34. | :12:38. | |
frustrating week. That is a tough dance. You have muscle and you have | :12:39. | :12:42. | |
all of that business. He is a big boy. When you started - I don't want | :12:43. | :12:46. | |
to rain on your parade - you couldn't move and now you can! | :12:47. | :12:53. | |
Thanks ever so much(!) That was meant to come out differently. The | :12:54. | :12:55. | |
scores are in. What's your reaction - 4? What is | :12:56. | :13:24. | |
that about? You can only control the controllable. We have worked | :13:25. | :13:27. | |
incredibly hard. We kicked off the show and hopefully it will carry on | :13:28. | :13:34. | |
being great. Absolutely. Brilliant. The numbers you need to keep Ben | :13:35. | :13:37. | |
dancing are: Please get permission from whoever | :13:38. | :13:59. | |
pays the bill. The vote won't open until all our couples have danced so | :14:00. | :14:03. | |
please don't vote now. If you do, your vote won't count, you may be | :14:04. | :14:10. | |
charged - it is lose, lose! Ben and Kristina have kicked off the show. | :14:11. | :14:14. | |
Back to you, Tess. Next up we have Fiona and Anton. There they are. | :14:15. | :14:22. | |
Last week, Fiona and Anton went all cutesy with the Charleston and | :14:23. | :14:26. | |
divided the judges. Tonight, they are doing the rock 'n' roll paso | :14:27. | :14:29. | |
doble and it's a dance they are determined to grab by the horns. | :14:30. | :14:35. | |
Last week we danced the Charleston and I loved it. The judges did | :14:36. | :14:44. | |
mention my timing. You have to be aware of timing. That was a bit | :14:45. | :14:49. | |
disappointing. The whole dance was too light and well behaved. It | :14:50. | :14:53. | |
probably was a bit polite. That is the way I was brought up. If I get | :14:54. | :15:00. | |
through this week, Blackpool beckons. I will be the first one on | :15:01. | :15:10. | |
that coach! The paso doble is a re-enactment of the bullfight. That | :15:11. | :15:14. | |
is the whole premise. I am trying to find a new character, you know, some | :15:15. | :15:24. | |
very fiery woman who is going to give Anton hell! I have been | :15:25. | :15:27. | |
practising, but I don't seem to have got it yet. For Fiona to get into | :15:28. | :15:31. | |
character, I thought I would surprise her. Come with me. I wanted | :15:32. | :15:37. | |
to give you the essence of the bullfight. Yeah? And here it is! | :15:38. | :15:45. | |
Voila! First thing you have to do is square up to your opponent. Grrr! Be | :15:46. | :15:59. | |
more fearsome! Go on, be fearsome! Argh! I'm hoping that the character | :16:00. | :16:05. | |
that I discovered on the back of that bull, I can really bring to the | :16:06. | :16:07. | |
dance on Saturday night. Dancing the paso doble, Fiona | :16:08. | :16:12. | |
Fullerton and Anton Du Beke. What about that, then? Paso doble to | :16:13. | :18:06. | |
one of the greatest songs ever, quite possibly. Anton, you are full | :18:07. | :18:11. | |
of surprises. I'm a big surprise to her. I forgot a bit at the end! She | :18:12. | :18:16. | |
was getting on marvellously! He said, "You don't know what you are | :18:17. | :18:21. | |
doing?" At this moment in time, I didn't! What a routine. Get your | :18:22. | :18:28. | |
breath back. Let's welcome the best live band on television, Dave Arch | :18:29. | :18:34. | |
and his orchestra and our sensational singers. Yes! APPLAUSE | :18:35. | :18:40. | |
That was fierce. You were positively fierce. You do so well when you have | :18:41. | :18:45. | |
a character to play? Thank you. Was that passionate for you, Bruno? Good | :18:46. | :18:51. | |
job I have to score her and not YOU! I like your dark side. When you go | :18:52. | :18:59. | |
dark and aggressive and a bit cranky with a skirt. I like it. I don't. I | :19:00. | :19:06. | |
like it. I don't. You went for it. Seriously, your timing was better | :19:07. | :19:11. | |
than his. It was. You kept it going. You kept it going when something | :19:12. | :19:16. | |
went wrong and it takes a lot, you know. Your lines were better, your | :19:17. | :19:20. | |
timing was better. Be careful, sometimes you arch your shoulders. | :19:21. | :19:25. | |
By doing so, you lose the lovely Spanish line and it was very | :19:26. | :19:35. | |
comfortable. I would like to see some Flamenco influences. Well done. | :19:36. | :19:40. | |
Well done for carrying on. Craig? I thought you had a good use of your | :19:41. | :19:47. | |
skirt, darling. Your timing was precise. You did, however, lose your | :19:48. | :19:51. | |
neck as Bruno was suggesting so you do need to pull the shoulders back. | :19:52. | :19:56. | |
For me, it was a bit indifferent. It was average. It was a little bit | :19:57. | :20:03. | |
indifferent. I have to say, forgettable! I don't know if I agree | :20:04. | :20:20. | |
with that fully. Darcey? Fiona, you are a dramatic diva. You have to | :20:21. | :20:24. | |
tell the story. All the way through it - the arms, you created nice | :20:25. | :20:28. | |
shapes with the arms. Bruno is right. I would have liked to have | :20:29. | :20:31. | |
seen it come from the back. If Anton, if you could get hold of her | :20:32. | :20:37. | |
shoulder blades, that would create that shape. It is really important. | :20:38. | :20:42. | |
Generally, I loved what you did with it. You created energy and attack. | :20:43. | :20:55. | |
Very nice. Lots of attack. Len? Please talk. My turn. I must say | :20:56. | :21:02. | |
there was plenty of wafting going on. I did see an element of | :21:03. | :21:09. | |
Flamenco. Funnily enough, I'm a bit out of step with my colleagues. I | :21:10. | :21:13. | |
thought you could have given it a bit more of a fire, a little bit | :21:14. | :21:18. | |
more aggression and a bit more of a wow. What you did, you did very | :21:19. | :21:21. | |
We loved it. We were going nuts. I well. I would have just liked you to | :21:22. | :21:47. | |
We loved it. We were going nuts. I don't know what they were watching. | :21:48. | :21:56. | |
For your knee slide, that was worth a 11. In my head, you are having a | :21:57. | :22:04. | |
crumpet at home, are you throwing on Blur Song 2? Now and again. It is my | :22:05. | :22:10. | |
ringtone. What I loved most is it's taken you all week to get over the | :22:11. | :22:15. | |
shock of making it in last week? Yes. Did you love that? I loved it. | :22:16. | :22:25. | |
I like the bit when he went wrong! We all did. I thought I would add a | :22:26. | :22:31. | |
bit of emotion to the dance to see the fire. No more words. The scores | :22:32. | :22:33. | |
are in. Happy with that? Yes. If you enjoyed | :22:34. | :22:58. | |
seeing Anton dancing to Song 2 by Blur, call: | :22:59. | :23:12. | |
Still, lots more to come tonight, including Dave wearing tartan and | :23:13. | :23:19. | |
Mark will be holding a cat. I'm being serious. Back to you, Tess. | :23:20. | :23:24. | |
Can't wait. Our third couple tonight is Abbey and her partner, Aljaz. | :23:25. | :23:33. | |
Last week, despite scoring 34, they ended nup the dance-off. This week, | :23:34. | :23:36. | |
she is back with a tricky Charleston, but has she been able to | :23:37. | :23:39. | |
turn that frown upside-down? Last Saturday, I felt like it went | :23:40. | :23:50. | |
well and I did my best. Craig said one word. Impressive. I always like | :23:51. | :23:55. | |
to impress Craig. I was so happy with the score of 34. What happened | :23:56. | :24:00. | |
next to be in the bottom two... Abbey and Aljaz. Being in the | :24:01. | :24:04. | |
dance-off was the most terrifying thing. It is heartbreaking. It could | :24:05. | :24:07. | |
have been the last time I was ever going to dance. It is the most | :24:08. | :24:12. | |
amazing experience. It has made me quite scared now. I don't want it to | :24:13. | :24:17. | |
end. I was really down after being in the bottom two last week. This | :24:18. | :24:21. | |
week, I'm dancing the Charleston so I have to cheer up, keep smiling and | :24:22. | :24:25. | |
get on the dancefloor. The Charleston is such a happy dance. If | :24:26. | :24:30. | |
you get the steps perfect, without the smile, the story is not | :24:31. | :24:35. | |
complete. Smile. In order to make me smile more, Aljaz has had a few | :24:36. | :24:39. | |
tricks up his sleeves. One, sell taping my mouth into a smile. Two, | :24:40. | :24:48. | |
drawing a smile on with lipstick. That is how big the smile needs to | :24:49. | :24:52. | |
be. The best trick was to put a picture of my gorgeous baby up. | :24:53. | :24:56. | |
That's guaranteed a smile from me. You need to have her in your head | :24:57. | :25:01. | |
for the Charleston. She is in there. Aljaz has given me some homework. I | :25:02. | :25:05. | |
have to practise my facial expression. I would love to get to | :25:06. | :25:09. | |
Blackpool and I never saw myself dancing full stop, never mind in | :25:10. | :25:13. | |
Blackpool. I have realised just how precious my time on Strictly is. It | :25:14. | :25:17. | |
is the best experience I have ever had in my life. I'm determined to | :25:18. | :25:24. | |
come back this week with a bang! Dancing the Charleston, Abbey Clancy | :25:25. | :25:27. | |
and Aljaz Skornajec. She is back with a bang! Back with a | :25:28. | :27:17. | |
bang! They are on their feet. Look. Well done. Yes. Team Abbjaz! Craig, | :27:18. | :27:27. | |
has she done enough to get to Blackpool? I think she has. I loved | :27:28. | :27:35. | |
the stylisation, the enormous attention to detail was incredible | :27:36. | :27:40. | |
in that dance routine. I loved the hop, pull-backslides that you did. | :27:41. | :27:47. | |
That fantastic step at the end. You did not Charleston quietly. It was | :27:48. | :27:51. | |
loud, my darling, and it was proud! Well done. APPLAUSE You enjoyed | :27:52. | :27:59. | |
that, didn't you? Yes. Darcey? I love the gorgeously mad side of | :28:00. | :28:03. | |
Abbey. This is brilliant. I loved it. So unusual with what you did to | :28:04. | :28:12. | |
that prop. To have a hat and do all those things, that was brilliant. It | :28:13. | :28:16. | |
was the leg action, it was fast and furious. That monkey step at the | :28:17. | :28:22. | |
end, it was great. I enjoyed that. Well done, Aljaz, you have made a | :28:23. | :28:29. | |
true dancer out of Abbey. Has she come back fighting? It was a | :28:30. | :28:34. | |
Charleston. It was going back to the '20s, and that is AA - you don't | :28:35. | :28:43. | |
need the AA - that didn't breakdown at all! That was a beautiful journey | :28:44. | :28:48. | |
and stay in that car, get up the M1, I will see you next week in | :28:49. | :28:56. | |
Blackpool! APPLAUSE Bruno? I couldn't agree more. It is Abbey the | :28:57. | :29:02. | |
IT-girl with a huge hit in her hands. You combined the roles. It | :29:03. | :29:16. | |
was a Charleston, but you had the Bob Fosse influence. You had some | :29:17. | :29:20. | |
nice touches which I found exciting and you really deserve to come to | :29:21. | :29:24. | |
Blackpool. This was wonderful. Thank you. Thank you, judges. You nailed | :29:25. | :29:27. | |
it! Off you go to Claudia. APPLAUSE Are you so happy? Yes, I'm half dead | :29:28. | :29:47. | |
after that! It looked very - you can turn round. You were so sad to be in | :29:48. | :29:53. | |
the dance-off. Then I know you tried really hard. Was your little girl in | :29:54. | :29:57. | |
your head? She was. The whole experience has been amazing. I was | :29:58. | :30:01. | |
trying to do my best so I can stay in. What is the monkey step? I don't | :30:02. | :30:05. | |
know what that is! Never mind. The scores are in. | :30:06. | :30:26. | |
Are you happy? Made up. Now, remember every couple tonight needs | :30:27. | :30:32. | |
your votes. Please call: Here's the thing - life isn't a | :30:33. | :30:48. | |
cabaret. Unless you are dancing on this show! Let's hand back to Tess. | :30:49. | :30:53. | |
Thank you very much. For our next couple, it is Mark and his partner, | :30:54. | :31:01. | |
Iveta. Tonight, Mark is taking on the role of a James Bond villain. | :31:02. | :31:04. | |
Before he hatches a cunning plan to take over the world, first he's got | :31:05. | :31:08. | |
to master the romantic rumba. Here is what Mark and his henchwoman | :31:09. | :31:16. | |
Iveta got up to this week. When it gets to Saturday, everybody knows | :31:17. | :31:20. | |
the dance. It is being able to do the dances with those four judges | :31:21. | :31:27. | |
staring at you. I have never experienced nerves like it. I | :31:28. | :31:32. | |
thought it was heavy, stompy. It was long on performance, and short on | :31:33. | :31:36. | |
technique. Every week I try and do my best. All the things they have | :31:37. | :31:45. | |
said this week, hopefully I can work on it the best I can and it won't be | :31:46. | :31:49. | |
stompy and short on technique and I will get higher marks next week. I | :31:50. | :31:54. | |
know the rumba is one of Iveta's favourite dances. I will do my best | :31:55. | :31:57. | |
to get it right. # I'm sexy and I know it. # | :31:58. | :32:04. | |
It has hip action and the relationship between the man and the | :32:05. | :32:08. | |
woman. We have a relationship that is a proper friendship. | :32:09. | :32:15. | |
# Just the two of us. # He makes me laugh every day. OK. I'm | :32:16. | :32:21. | |
in England. I don't have any family here. Mark is my family. I'm on to | :32:22. | :32:29. | |
you! Although I do have fun, our number one priority is to dance. Get | :32:30. | :32:33. | |
the footwork, hip action. You have to work to make an improvement. | :32:34. | :32:40. | |
Yeah. I will. I never want anyone to think I'm not taking the dancing | :32:41. | :32:43. | |
seriously. That is the reason I'm here. Everybody is raising their | :32:44. | :32:47. | |
game. We have to as well. Especially because it is my birthday next | :32:48. | :32:52. | |
Saturday. I would love to spend it in the Blackpool Tower Ballroom. | :32:53. | :32:58. | |
Dancing the rumba, Mark Benton and Iveta Lukosiute. | :32:59. | :33:02. | |
Our crowd-pleasers have done it again! I have been expecting you. | :33:03. | :34:53. | |
Fabulous costumes. I will have to borrow that later on. Darcey? Did | :34:54. | :34:59. | |
that leave you shaken and stirred? Well, the rumba is a dance of love. | :35:00. | :35:04. | |
It should be sensual, earthy, with seamless moves. If only you had | :35:05. | :35:08. | |
stroked the floor with your foot like you stroked your wite pussy | :35:09. | :35:13. | |
cat, it would have been a stronger rumba. I don't know. You did create | :35:14. | :35:23. | |
some nice lines, but it was a bit too bitty for me. Bruno, stop it! | :35:24. | :35:29. | |
You always set the scene and you always create an interesting story. | :35:30. | :35:35. | |
Not bad. Creates a story. A crowd-pleaser, you two. Len? Well, | :35:36. | :35:45. | |
you have got gold in your finger and lead in your bum! The rumba is a | :35:46. | :35:51. | |
very, very difficult dance for men. You either become all too soft and | :35:52. | :35:55. | |
floppy, or you become too stiff and starchy. To get that balance right | :35:56. | :36:00. | |
is tricky. The other thing - what I love - you are an actor and every | :36:01. | :36:06. | |
dance you play a part. You come out with the character and you come out | :36:07. | :36:20. | |
and work hard. Well done. Bruno? You tried Goldfinger, it ended up a | :36:21. | :36:26. | |
Fish-finger, darling! Slightly off. I agree with Len. I always enjoy | :36:27. | :36:31. | |
what you do. Your characterisations are always spot on. The problem is | :36:32. | :36:36. | |
that the rumba is a dance of perpetual motion. It never ever | :36:37. | :36:40. | |
stops. There was a lot of attitude and posturing, but the movement | :36:41. | :36:44. | |
didn't flow. And in the rumba it has to flow. It is hard for men and | :36:45. | :36:50. | |
there wasn't much movement there. Dr Evil was present - ha ha ha! Scary. | :36:51. | :36:57. | |
He wants to spend his birthday in Blackpool. Will he? I hope he does. | :36:58. | :37:03. | |
It is largely due to the audience at home, but my point is your arms, my | :37:04. | :37:09. | |
dear fellow. On the end of your arms are hands. It is your hands that | :37:10. | :37:15. | |
need shaping. It is all very well to have beautiful arms, which you | :37:16. | :37:19. | |
achieved gorgeously. Unfortunately, there is no shaping, they are just | :37:20. | :37:24. | |
sort of like wet spatulas at the moment! You need to sort that out | :37:25. | :37:28. | |
and Bruno is right. The transitions need to be smoother. I think it is | :37:29. | :37:37. | |
the concept that saved this dance. We loved the entertainment value. | :37:38. | :37:43. | |
Give it up for Mark and Iveta. APPLAUSE Thank you, guys. | :37:44. | :37:56. | |
Come on! Mark, I love you. Awesome. Twins! Huge admirer. Are you | :37:57. | :38:11. | |
disappointed by that? You worked so incredibly hard. They said your arms | :38:12. | :38:18. | |
were beautiful. If I could get the forms right, -- the arms right and | :38:19. | :38:26. | |
the feet - but getting them right together. Can I say thank you to | :38:27. | :38:34. | |
Brian in make-up for this? Tell me you wear that to the supermarket? | :38:35. | :38:39. | |
You should see what I wear when I go out. The scores are in. | :38:40. | :38:59. | |
To help save Mark and Iveta, please call: | :39:00. | :39:09. | |
Or use your gold finger to click on our website. They have their | :39:10. | :39:26. | |
Goldeneye on getting to Blackpool. Tess. Our next couple dancing for | :39:27. | :39:32. | |
their place in Blackpool is Susanna and her partner, Kevin. We are now | :39:33. | :39:39. | |
at the halfway point and we all know that the competition is getting | :39:40. | :39:42. | |
tougher. When the dancing gets tough, the tough get a visit from a | :39:43. | :39:45. | |
former Strictly champion. I'm so excited. Can you imagine | :39:46. | :39:55. | |
doing the Charleston with Kevin dressed as a Weirwolf? Plenty of | :39:56. | :40:01. | |
tricks 'n' treats. To get great comments and to get a nine - I love | :40:02. | :40:07. | |
you Len. I get a bit overwhelmed sometimes when the comments are | :40:08. | :40:11. | |
positive. I love dancing and if that shows, that makes me love it even | :40:12. | :40:20. | |
more. This week, we are dancing the waltz. Follow me. Kevin and I have | :40:21. | :40:28. | |
become really good friends. That means that when we approach | :40:29. | :40:32. | |
something romantic and intimate, it is a little harder for me! Be | :40:33. | :40:37. | |
emotional You will get emotion in a minute. We expected it to be me and | :40:38. | :40:44. | |
Kevin. Around the corner comes the incredible Strictly champion Chris | :40:45. | :40:49. | |
Hollins. There is a lot of talking. He's been a friend of mine for a | :40:50. | :40:55. | |
long time. How are you getting on? What are your tips for a lovely, | :40:56. | :41:00. | |
romantic waltz? You have the facials. It was lovely to sit with | :41:01. | :41:05. | |
Chris and have a good chat with him. Try and get to Blackpool. That is | :41:06. | :41:08. | |
the most incredible place. Don't tell anybody. That is still up there | :41:09. | :41:14. | |
doing a foxtrot, I still get goosebumps. Just go out and enjoy | :41:15. | :41:19. | |
it. It could be the last second. You never know when you are going out. | :41:20. | :41:22. | |
Let me see the hold. She loves the show. She loves being part of it. | :41:23. | :41:27. | |
Good luck. Enjoy it. Seeing Chris and having him visit the training | :41:28. | :41:31. | |
room has given me a confidence boost for Saturday night. Dancing the | :41:32. | :41:38. | |
waltz, Susanna Reid and Kevin Clifton. | :41:39. | :41:42. | |
What a beautiful waltz. Absolutely gorgeous! Come over, Susanna. Have a | :41:43. | :43:36. | |
look around you. Everyone is on their feet. Gorgeous. You two are | :43:37. | :43:45. | |
adorable. Joyful watching you dance. A traditional waltz, that should | :43:46. | :43:49. | |
please you? It did. I was listening to Jeremy Paxman on the Steve Wright | :43:50. | :43:54. | |
Radio Show saying he doesn't understand why newsreaders go on | :43:55. | :44:00. | |
Strictly. Well, Paco, this is why. You get the most fantastic dance. | :44:01. | :44:10. | |
You lit up this ballroom. Fabulous! Bruno? It had such a wonderful sense | :44:11. | :44:17. | |
of timeless elegance. Deeply romantic. Those spins were heavenly. | :44:18. | :44:22. | |
You spun everybody into heaven with you this one, my darling. It was | :44:23. | :44:31. | |
beautiful. It was. Craig? I could not agree more. You brought that | :44:32. | :44:37. | |
frock to life. It was absolutely fantastic. The hesitation moments | :44:38. | :44:46. | |
were beautifully held, a full circle of pivots. I loved it. All good so | :44:47. | :44:51. | |
far. Will she be waltzing into next week, Darcey? She sure will. The | :44:52. | :44:56. | |
boys are right. The precision in your tumble turns at the beginning, | :44:57. | :45:01. | |
those pivots, that is so hard to hold your frame. Beautifully done. | :45:02. | :45:07. | |
The only thing - because I'm getting fussy - I know you have it all. I | :45:08. | :45:11. | |
would love you to stretch even further, don't look comfortable any | :45:12. | :45:17. | |
time. Stretch further the length of your leg. A beautiful, romantic | :45:18. | :45:23. | |
waltz. Loved it. They loved it. We all loved it. Well done. Go on up to | :45:24. | :45:29. | |
Claudia. Susanna and Kev Kev, ladies and gentlemen! -- and Kevin, ladies | :45:30. | :45:33. | |
and gentlemen! Congratulations. You over the moon? | :45:34. | :45:46. | |
So grateful to Kevin because his choreography was a dream to dance. | :45:47. | :45:49. | |
He's a wonderful dream to dance with. Thank you. You are the best | :45:50. | :45:54. | |
partner. When the judges are nice, you said it makes you emotional. I | :45:55. | :45:59. | |
do feel emotional. You want to go to Blackpool. You are dance royalty! If | :46:00. | :46:03. | |
we go to Blackpool with you, can you get us whatever we want? Absolutely. | :46:04. | :46:10. | |
We want green rock! I hope you make it there. That was beautiful. The | :46:11. | :46:12. | |
scores are in. Are you happy? Really happy. That's | :46:13. | :46:39. | |
the highest we've got. I'm so grateful. Thank you so much. If you | :46:40. | :46:45. | |
want these adorable humans to avoid the dance-off, call: | :46:46. | :46:57. | |
It is surreal. I can't work out what is going on. This isn't real. It is | :46:58. | :47:05. | |
all the pivots! This is a home video. Tess? Thank you very much. | :47:06. | :47:10. | |
Next tonight is Dave and his partner, Karen. Dave and Karen are | :47:11. | :47:18. | |
desperate to get to Blackpool. This week, he ended up in Scotland. Yet | :47:19. | :47:23. | |
again, he's gone a tad too far! This is what they did to get in the | :47:24. | :47:30. | |
Scottish frame of mind. Last Saturday night was epic. Obviously, | :47:31. | :47:34. | |
the dancing was nerve-racking but I enjoyed the jive. It was kind of | :47:35. | :47:39. | |
funny but the jive really was non-existent. I know I wasn'tel viz, | :47:40. | :47:47. | |
but it was -- wasn't Elvis, but it was a jive. To get to Blackpool has | :47:48. | :47:52. | |
always been my goal. I used to go to blam pool Blackpool Tower Ballroom | :47:53. | :48:00. | |
with my mum. This week, it is the tango and it is to the Proclaimers | :48:01. | :48:07. | |
500 Miles. It means a lot to me because of its Scottish roots. I | :48:08. | :48:11. | |
lived there for 15 years. I love Scotland. I have deep roots and | :48:12. | :48:15. | |
friends there. I love Scotland so much, I even got married in a kilt. | :48:16. | :48:19. | |
The Scots are a passionate race of people. I'd love to bring that | :48:20. | :48:25. | |
passion into the dance. Wow! The first thing you need is some | :48:26. | :48:34. | |
Highland wear. You can't go into battle without having a rousing set | :48:35. | :48:41. | |
of pipes. Nothing is coming out! Dave, stop. You will need to save | :48:42. | :48:51. | |
all your breath. There is nothing symbolises Scottish food more than | :48:52. | :48:55. | |
the haggis. It is made from lungs, heart, liver and you boil it in a | :48:56. | :49:05. | |
sheep's stomach. Here we go. Mmm... You are never going to take away my | :49:06. | :49:07. | |
dancing shoes! Dancing the tango, Dave Myers and | :49:08. | :49:12. | |
Karen Hauer. What about that! That was special. | :49:13. | :51:07. | |
Come on over, Dave and Karen. I loved it. Alright, you might need a | :51:08. | :51:17. | |
brave heart for this. Judges? Bruno? Dave, oh my God, too much haggis and | :51:18. | :51:26. | |
not enough Argentina! It wasn't an Argentinian tango. It wasn't any | :51:27. | :51:31. | |
tango at all! Listen, you were stomping around like a bees of | :51:32. | :51:35. | |
burden! You were dragging that poor girl. It was like John Sergeant all | :51:36. | :51:41. | |
over again. It was passion. What passion? It was in my eyes! I | :51:42. | :51:49. | |
couldn't feel any. It wasn't so much danced, it was walked. You have to | :51:50. | :52:01. | |
go - it just is - it is very funny. But as a tango... It was a tango. It | :52:02. | :52:07. | |
is not funny either. Dave is trying his hardest and training very hard. | :52:08. | :52:12. | |
Craig? I think you could possibly now write a book on how to survive a | :52:13. | :52:18. | |
grizzly bear attack! I really do. It was a little rough around the edges. | :52:19. | :52:23. | |
Your hands were hideously splayed at times as well. It was very stompy. | :52:24. | :52:28. | |
You obviously have been learning tango and there were a lot of tango | :52:29. | :52:32. | |
steps in there. So well done, really. All credit where it's due. | :52:33. | :52:41. | |
Darcey? There was so much more dance content than in any other dance. | :52:42. | :52:47. | |
There was intent, attack and a fire of passion. We saw the passion! I | :52:48. | :52:52. | |
felt the passion. It is true, it just gets a bit broken and stompy in | :52:53. | :52:57. | |
places. But this is one of your better dances. One of your best | :52:58. | :53:02. | |
dances. Thank you. Thanks, Darcey. Len? A bit of leg and a flash of | :53:03. | :53:08. | |
knicker turns me on a bit. Not so sure on this one! I know why you are | :53:09. | :53:16. | |
called the Hairy Biker! You needed a bit more Irn-Bru. You are | :53:17. | :53:24. | |
unmissable. Well done. Thank you, Len. I would have walked 500 miles | :53:25. | :53:32. | |
to watch that. You rock! Thanks, Tess. Go up to Claudia. Dave and | :53:33. | :53:45. | |
Karen! APPLAUSE Come on. Yes! Unmissable, said Len. You happy? I | :53:46. | :53:49. | |
enjoyed that. I don't know about anybody else. Magnificent. The whole | :53:50. | :53:54. | |
audience were on their feet, they were screaming, hanging off the | :53:55. | :54:00. | |
ceiling. I wanted to go for it! You did. They loved it. Especially when | :54:01. | :54:09. | |
you were... Like mules. The scores are in. | :54:10. | :54:24. | |
You alright? I am with that. We are in the 20s. Dreamy. The only way is | :54:25. | :54:36. | |
up. Quite. Dave and Karen want your votes. Call: | :54:37. | :54:45. | |
Dave would walk 500 miles and 500 more - but it would be easier for | :54:46. | :54:53. | |
him to get on the bus to Blackpool. Your votes can get him a seat! Still | :54:54. | :54:59. | |
to come: Sophie and Brendan dancing the first Argentine tango of the | :55:00. | :55:02. | |
series and Patrick is doing something wonderful. Tess? Thank | :55:03. | :55:06. | |
you. As we said earlier on, Natalie and Artem will not be dancing this | :55:07. | :55:11. | |
evening. Natalie had been rehearsing all week for a jive but she was | :55:12. | :55:21. | |
taken ill earlier today. On Saturday night, you are feeling this churning | :55:22. | :55:25. | |
nerves but I know I'm experiencing the best opportunity of my life. | :55:26. | :55:36. | |
Fab-u-lous. You never disappoint. To receive a comment like that is a | :55:37. | :55:42. | |
huge compliment. What's wrong with me? 10! We were blown away. You have | :55:43. | :55:48. | |
to treat every dance as if it is your last and enjoy it as if it is | :55:49. | :55:55. | |
your last. This week, we are dancing the jive and we are dancing to Tina | :55:56. | :56:02. | |
Turner so it will be wild. It is fast and furious, this jive. There | :56:03. | :56:06. | |
is no let-up. At the moment, I kind of fade out about two-thirds of the | :56:07. | :56:14. | |
way through. Earlier today, in studio rehearsals... We were dancing | :56:15. | :56:17. | |
the routine. It was good and she was smiling. Then the next second she | :56:18. | :56:22. | |
stopped and started walking off. Next thing I see Natalie fainted. I | :56:23. | :56:28. | |
was radioed to come to the dancefloor. When I got there, it was | :56:29. | :56:34. | |
quite apparent she had fainted. She collapsed. The medic was there. We | :56:35. | :56:39. | |
couldn't pick her up. She was shaking a lot. And crying. We moved | :56:40. | :56:46. | |
her to her dressing room. I have advised her to continue to eat and | :56:47. | :56:49. | |
drink and hopefully, she will be able to dance tonight. Just worried. | :56:50. | :56:55. | |
Natalie thinks she can perform and b obviously we will have to -- and | :56:56. | :57:00. | |
obviously we will have to wait and see how she feels closer to the | :57:01. | :57:06. | |
time. Natalie continued to feel unwell during dress rehearsals. She | :57:07. | :57:11. | |
has been examined and she will be getting a further check-up later. | :57:12. | :57:15. | |
Under the rules of Strictly, the contestant is granted a bye. This | :57:16. | :57:20. | |
means they will not dance tonight so please don't try to vote for them. | :57:21. | :57:27. | |
If she is past as being medically fit next week, they will perform | :57:28. | :57:32. | |
live in Blackpool. How disappointed are you? I am really upset for | :57:33. | :57:37. | |
Natalie. She was really looking forward to performing this dance. It | :57:38. | :57:41. | |
looked incredible. I am gutted for her. Is she OK? I don't know. She | :57:42. | :57:51. | |
was left at the hospital. She is doing such a great job. Please get | :57:52. | :57:58. | |
better and hopefully, you know, next week. Alright. We send all our love. | :57:59. | :58:02. | |
Please get well soon and we hope to see you next week. Tess? Thank you. | :58:03. | :58:07. | |
Get well soon from all of us. Our next couple is Ashley and Ola. There | :58:08. | :58:16. | |
they go. There they are. Last week, Ashley was praised by the judges but | :58:17. | :58:20. | |
they all picked up on his poor posture. This week, he's been | :58:21. | :58:24. | |
bending over backwards to get it right. Last week, I loved the dance | :58:25. | :58:31. | |
we had. It was a character and I think when I'm in character it takes | :58:32. | :58:36. | |
away a lot of the pressure. Watch that neck. I have this weird habit | :58:37. | :58:41. | |
of going with my neck and my shoulders come in. The technique is | :58:42. | :58:45. | |
all there, but I know you can polish it. That's given me the confidence | :58:46. | :58:49. | |
to go forward and make sure I have polish, I have shine and I have the | :58:50. | :58:57. | |
finer details down. Quickstep this week is the hardest dance I have | :58:58. | :59:01. | |
done so far. I don't like the posture. Sorry. The judges have told | :59:02. | :59:04. | |
me that. My biggest problem has been posture. You need to practise | :59:05. | :59:08. | |
everywhere you go. Sit like that and it will come naturally. We don't | :59:09. | :59:12. | |
have that much time so I have decided to go to Hollyoaks set to | :59:13. | :59:17. | |
get that bit more time with him. Here I am on the Hollyoaks set to | :59:18. | :59:21. | |
see what is happening behind-the-scenes and if Ashley's | :59:22. | :59:28. | |
practising his steps. Action. I went around Hollyoaks... Look what I have | :59:29. | :59:32. | |
found. Danny. I got to dance with one of the boys, a bit of a hunk. | :59:33. | :59:37. | |
Lovely posture. I might have to take you on Saturday rather than Ashley! | :59:38. | :59:44. | |
Yes. I saw him in action. I hope she rots in hell. Just waiting for | :59:45. | :59:48. | |
Ashley to come off the set. Hopefully, I can do a couple of | :59:49. | :59:56. | |
steps with him. Hello. Nice posture. I'm a lad from the North West. It | :59:57. | :00:01. | |
would mean a lot for me to dance on Strictly back at home. Good look, | :00:02. | :00:10. | |
Ash. Get the posture right, kid! Dancing the quickstep, Ashley Taylor | :00:11. | :00:13. | |
Dawson and Ola Jordan. They are on their feet in the | :00:14. | :01:58. | |
studio! Have a look around. Have a look at that then. You absolutely | :01:59. | :02:03. | |
attacked that. Listen to them in the studio. Wow. Are you going to be his | :02:04. | :02:12. | |
griRl after -- girl after that, Darcey? That was amazing. The | :02:13. | :02:18. | |
quickstep, the origins come from the jazz era and it should have no | :02:19. | :02:22. | |
bounce and it should have light, trotting footwork. You gave us so | :02:23. | :02:25. | |
much of that and it was consistent all the way through. You didn't die | :02:26. | :02:30. | |
on us. It is a difficult step. You kept it going all the way through. | :02:31. | :02:35. | |
And the improvement in the angle of your head and your top line... | :02:36. | :02:42. | |
APPLAUSE You kept it. You kept it. It is so easy to get tired. You know | :02:43. | :02:47. | |
that is where it shows first. Well done. Len? You kept your energy up | :02:48. | :02:58. | |
throughout the dance. I know how tiring this dance is. I don't think | :02:59. | :03:01. | |
people realise how difficult it is to do a quickstep. There's so many | :03:02. | :03:06. | |
elements. You have to keep the hold, posture and movement, the top line | :03:07. | :03:11. | |
has got to stay quiet, while down in your feet and legs it is fast and | :03:12. | :03:15. | |
hectic. I tell you, Ashley Taylor Dawson, that was tailormade! | :03:16. | :03:25. | |
APPLAUSE Bruno? You see, Ashley, a bit of spit-and-polish and the | :03:26. | :03:30. | |
sparks are flying! I mean, really the difference. The control all over | :03:31. | :03:34. | |
the dance was right there. You were skimming around like two | :03:35. | :03:40. | |
dragonflies. You had a little twinkle in your eyes. You enjoyed | :03:41. | :03:44. | |
it. Your frame was better. Your footwork was better. Your timing was | :03:45. | :03:50. | |
better. Wonderful. Better all round. Craig? Yes, some really sharp | :03:51. | :03:56. | |
opening moves there. Your frame and posture now is fixed. All you have | :03:57. | :04:01. | |
to do now is fix all the gapping throughout, darling. It is a small | :04:02. | :04:07. | |
thing. I loved the scissor step and getting back into hold and going off | :04:08. | :04:11. | |
on your journey. Fantastic energy. You took a bit of your footwork | :04:12. | :04:16. | |
impact into your upper body, but a small thing. I thought it was | :04:17. | :04:24. | |
amazing. Amazing. Well done, you. Off you go. APPLAUSE Ashley and Ola! | :04:25. | :04:35. | |
Well done. That was a game changer. You did so well. Again, you do - you | :04:36. | :04:45. | |
don't have long to train. A brand-new baby, you are at | :04:46. | :04:49. | |
Hollyoaks. Are you happy? Over the moon. Very happy. Posture, posture, | :04:50. | :04:55. | |
posture. We worked really hard. Are you over the moon? Very happy. And | :04:56. | :05:00. | |
very proud. Well done. Alright. Enough of that. The scores are in. | :05:01. | :05:22. | |
Are you happy? Amazing. Can I go home now? You can't. Well done. If | :05:23. | :05:29. | |
you want Ashley and Ola to dance again, call: | :05:30. | :05:39. | |
For all the sights and sounds of tonight, you can find us on Facebook | :05:40. | :05:49. | |
or Twitter. Love you for nodding. There are still two more couples | :05:50. | :05:54. | |
left to dance. Next up tonight is Sophie and Brendan. There they go. | :05:55. | :06:01. | |
Last week, their jive failed to impress the judges but tonight, | :06:02. | :06:05. | |
Sophie is hoping her Argentine tango will turn a few heads and not just | :06:06. | :06:13. | |
her own! Here they are in training. I really enjoyed Saturday night, | :06:14. | :06:17. | |
seeing everybody in their outfits and make-up was brilliant. My | :06:18. | :06:21. | |
performance is really annoying. I did it wrong. There is so much more | :06:22. | :06:26. | |
in you th could come out on this dancefloor. Get out there and attack | :06:27. | :06:30. | |
it! Every week, I think is this the week when I do it wrong? It happened | :06:31. | :06:37. | |
so I know that feeling. You have to deal with that because it is live. | :06:38. | :06:44. | |
What can you do? This week we are dancing the Argentine tango. | :06:45. | :06:54. | |
Audiences Loch love -- audiences love it. It is challenging. PoR | :06:55. | :07:01. | |
passion, more fire. -- more passion, more fire. I'm not aware of the | :07:02. | :07:06. | |
judges when I'm dancing. This time, I can see them out of the corner of | :07:07. | :07:10. | |
my eye. It is you and me out there, that is it. The good news is I | :07:11. | :07:15. | |
believe in you that you can do this. This is where we start getting into | :07:16. | :07:18. | |
the character of the dance. It is passionate, power. If we can start | :07:19. | :07:23. | |
it now, it will be there in buckets on Saturday. I have finished another | :07:24. | :07:28. | |
session. Brendan keeps saying we need to attack it. So I'm making a | :07:29. | :07:32. | |
promise - I will come in tomorrow and really go for it. I really want | :07:33. | :07:37. | |
to do well this week. That was nice. Good girl. Lovely position. That is | :07:38. | :07:43. | |
fantastic. This week has been a massive learning experience. | :07:44. | :07:47. | |
Hopefully, I will do this dance justice and I will be dancing my way | :07:48. | :07:53. | |
to Blackpool. Dancing the Argentine tango, Sophie Ellis-Bextor and | :07:54. | :07:55. | |
Brendan Cole. Alright! Yes! They are on their feet | :07:56. | :09:43. | |
in the studio, ladies and gentlemen. Back on form! I knew this dance was | :09:44. | :09:49. | |
going to suit you. They are on their feet. Red hot. First Argentine tango | :09:50. | :09:56. | |
of the series. Len? The ballroom tango is far more formal. You get | :09:57. | :10:01. | |
into that hold and you have to stay in it throughout the dance. They say | :10:02. | :10:05. | |
the ballroom tango is like a man dancing with his wife. The Argentine | :10:06. | :10:09. | |
tango is like a man dancing with his mistress! It is a little bit more | :10:10. | :10:14. | |
flirtatious. You can do lifts, you don't have to keep that hold, you | :10:15. | :10:17. | |
can change the hold and the dynamic of the dance. It is far less formal. | :10:18. | :10:25. | |
Brendan, old my gaze! Fantastic choreography. It was so interesting | :10:26. | :10:34. | |
to watch. It was. All the ingredients were there. I loved the | :10:35. | :10:38. | |
story of it, the lifts were great, the steps were great. Again, Sophie, | :10:39. | :10:45. | |
I would like a bit more passion coming out in it and getting a bit | :10:46. | :10:48. | |
more involved in the dance. I know that is awkward to do if you don't | :10:49. | :10:52. | |
fancy doing it. That is what I would like to see a bit. But, I tell you | :10:53. | :10:56. | |
what, it was a cracking routine and well done. Indeed. Bruno? You always | :10:57. | :11:06. | |
have an incredibly stylish eye for wonderful detail. It was like yes, | :11:07. | :11:12. | |
if you can afford it, you can join me. LAUGHTER High class all the way. | :11:13. | :11:21. | |
We will see if we have time for you. The shapes, the choreography, the | :11:22. | :11:27. | |
lines, wonderful. I tend to agree with Len. There is a gutsy feeling | :11:28. | :11:32. | |
in the Argentine tango. It has to come from inside you. Release that | :11:33. | :11:36. | |
fire. Sometimes it is good a bit of dirt, a bit of dirt sometimes | :11:37. | :11:41. | |
doesn't hurt. We have to see that. Because it tends to be the same kind | :11:42. | :11:46. | |
of character. Now we want to see another facet of you. The ability is | :11:47. | :11:50. | |
there and the beauty of the dance is there. It needs a bit more strength | :11:51. | :11:57. | |
and variety in the characterisation. Constructive. Thank you. Craig? | :11:58. | :12:03. | |
There were a few unstable moments, for instance at the beginning you | :12:04. | :12:09. | |
lost your balance a bit. You may not have noticed. I certainly did. You | :12:10. | :12:14. | |
are supposed to be watching me! She was. Her leg got a bit stuck. When | :12:15. | :12:21. | |
you did that wonderful hook spin lift, I loved that. Getting up from | :12:22. | :12:28. | |
that, you looked a bit precarious. Mainly in all your stop moments, you | :12:29. | :12:32. | |
were holding yourself so solid that you were about to fall over. I | :12:33. | :12:39. | |
absolutely loved the routine. It's finished on a positive note. Thank | :12:40. | :12:47. | |
goodness. Darcey? Sophie, each lift you got into you were in magic | :12:48. | :12:53. | |
positions, beautiful lines. Brendan, that lift that went down to the | :12:54. | :12:57. | |
ground smoothly and it was so clean. I have to say that was very | :12:58. | :13:01. | |
difficult to do because every time he got you in there you hit it. I | :13:02. | :13:06. | |
like that still stiffness that was created there. I think the boys are | :13:07. | :13:14. | |
right. If you did what you do with your body and the shapes you create | :13:15. | :13:21. | |
and you did then what you - the character and the face - we would | :13:22. | :13:24. | |
have such a rounded performance. You have so much so I want to be picky | :13:25. | :13:28. | |
with you because I know you have it in you. Keep pushing. I want to see | :13:29. | :13:35. | |
you in Brighton. You will. Brie Brighton? -- Brighton? Let's hear it | :13:36. | :13:42. | |
for Sophie and Brendan. APPLAUSE | :13:43. | :13:53. | |
Well done. Well done. Very well done. I thought it was fiery. They | :13:54. | :13:59. | |
talked a lot about dirt and fire and balance. We were all confused up | :14:00. | :14:03. | |
here. That is quite nice to hear. I did feel - I felt like I was in @ | :14:04. | :14:08. | |
right zone. It -- I felt like I was in the right zone. You were | :14:09. | :14:10. | |
brilliant. The scores are in. I'm slightly disappointed with 8. I | :14:11. | :14:36. | |
think this girl is magical. The week I have had in training has been | :14:37. | :14:43. | |
phenomenal. That felt phenomenal. Sweet Dreams are made of votes! | :14:44. | :14:47. | |
Call: Only one more couple left to dance. | :14:48. | :14:58. | |
Tess? That's right. Our final couple | :14:59. | :14:59. | |
tonight is Patrick and Anya. This week, Patrick had two reasons | :15:00. | :15:11. | |
to celebrate. Not only did he do a fantastic routine last Saturday, but | :15:12. | :15:15. | |
on Wednesday he celebrated his 50th birthday. And what better way to | :15:16. | :15:19. | |
celebrate than with a nice high score from the judges? Let's hope | :15:20. | :15:25. | |
they are feeling generous. Yeah, that's you lot! This is his special | :15:26. | :15:33. | |
week. For me, last Saturday was fantastic. The energy and the power | :15:34. | :15:37. | |
and the drive came from having been in the dance-off the previous week. | :15:38. | :15:42. | |
The judges' comments were fantastic. That was a spooky riot of a | :15:43. | :15:46. | |
quickstep. The energy was phenomenal. Great work. Len's | :15:47. | :15:52. | |
comments were very funny. I'm going to pickle my walnuts! Getting two 9s | :15:53. | :16:01. | |
is fantastic. Hopefully, it will go up-and-up. When I think about | :16:02. | :16:05. | |
Blackpool, it is like playing football at Wembley. It would mean | :16:06. | :16:08. | |
everything in terms of doing this competition to get there. I'm | :16:09. | :16:13. | |
pushing Patrick a lot. In the previous weeks, I have had to take | :16:14. | :16:16. | |
the lifts out. Putting them in now, they are tricky, but spectacular. | :16:17. | :16:22. | |
This week is Patrick's birthday. One of my goals was to be in Strictly on | :16:23. | :16:27. | |
my 50th birthday. I'm here. It would be incredible to be the oldest | :16:28. | :16:32. | |
winner of Strictly. He wants to rehearse, but celebration is in | :16:33. | :16:38. | |
order. I'll 'm having a dripb -- I'm having a drink with my colleagues. | :16:39. | :16:42. | |
# Happy birthday # Dear Patrick | :16:43. | :16:44. | |
# Happy birthday # To you. # Anya threw me a surprise | :16:45. | :16:57. | |
party in training. Look at the cake. Make a wish. What did you wish for? | :16:58. | :17:07. | |
If I tell you, it won't come true. I've had an incredible birthday and | :17:08. | :17:14. | |
to top it off would be getting through to Blackpool. Dancing the | :17:15. | :17:18. | |
American Smooth, Patrick Robinson and Anya Garnis. | :17:19. | :17:23. | |
A show stopper! Enjoy that standing ovation! It's a nice present. You | :17:24. | :19:20. | |
smooth mover, you. Wow! That was pure Hollywood! Wasn't it just? All | :19:21. | :19:26. | |
the dazzle of Tinseltown. What was amazing - you kept going through the | :19:27. | :19:31. | |
jazzy sequences into the control and restraint of the foxtrot. It is so | :19:32. | :19:37. | |
hard to do. To go full-out, back in, elegance, stylish. Out again. It was | :19:38. | :19:43. | |
one of the best dances. You just happened at the end, you messed up! | :19:44. | :19:55. | |
Let's not talk about it. Craig? An incredible save at the end. True | :19:56. | :20:00. | |
professional, darling. That was exquisite. It was exciting. You are | :20:01. | :20:05. | |
the best male celebrity in this competition. Oh my goodness! Doesn't | :20:06. | :20:10. | |
get better than that from Craig. Darcey? Sorry. Craig is right. You | :20:11. | :20:25. | |
ooze style. You are my movie star. Perfection. Even you showed no | :20:26. | :20:32. | |
weaknesses in those lifts. Even though there was a fluff at the end, | :20:33. | :20:38. | |
that didn't matter. I will see you in Blackpool. Thank you very much. | :20:39. | :20:44. | |
Len? As Henry VIII would say, take him to the Tower! The Tower Ballroom | :20:45. | :20:50. | |
in Blackpool! A joy. Thank you, judges. Incredible praise. Off you | :20:51. | :20:54. | |
go. Happy birthday to you. APPLAUSE Well done. What a week. Happy | :20:55. | :21:13. | |
birthday. That was so knock-out! Let's go to the scores. | :21:14. | :21:37. | |
Thank you. Well done. Did you like that? You will need these numbers: | :21:38. | :21:59. | |
It was magnificent. That is it. I feel emotionally drained. Let's have | :22:00. | :22:06. | |
a look at where everyone is on the leaderboard. At the top, Patrick and | :22:07. | :22:14. | |
Anya with 9 points. Then there is Abbey and Aljaz and Susanna. | :22:15. | :22:23. | |
At the bottom is Dave and Karen with 3 points. Remember, you have the | :22:24. | :22:31. | |
power to change all of that by picking up the phone. I have news. | :22:32. | :22:35. | |
The vote is open. Calls cost 15p from a mobile. Other | :22:36. | :22:50. | |
networks may vary. Please get the bill payer's permission before you | :22:51. | :22:56. | |
call. Or you can vote online at bbc.co.uk/strictly. Guys, I'm | :22:57. | :23:01. | |
reading. You will also find full terms and conditions. Lines close at | :23:02. | :23:11. | |
#. -- 8.25pm tonight. Here is a reminder of tonight's performances. | :23:12. | :23:14. |