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This week on Strictly Come Dancing. Ten celebrities remain. Everyone is | :00:13. | :00:22. | |
stepping up their game. We've got to put on a great show. All tended to | :00:23. | :00:27. | |
prove to the judges they deserve their place. It isn't easy, I need | :00:28. | :00:34. | |
to buck my ideas. And it could be curtains. Everyone is spilling sweat | :00:35. | :00:40. | |
and tears to stay in. I've got the bruises to prove it. Got any oxygen? | :00:41. | :00:46. | |
But for one of them it will be in vain. I'd be devastated. | :00:47. | :00:52. | |
Heartbroken. I've got to deliver. I will give it my all. Ten will become | :00:53. | :00:55. | |
nine. Live from the BBC, | :00:56. | :01:39. | |
this is Strictly Come Dancing! Please welcome your hosts Tess Daly | :01:40. | :01:47. | |
and Claudia Winkleman. Hello and welcome to | :01:48. | :01:53. | |
Strictly Come Dancing! We're over halfway through | :01:54. | :02:21. | |
the series and a different couple has topped | :02:22. | :02:23. | |
the leaderboard each week which On last week's Halloween special it | :02:24. | :02:26. | |
was Kirsty and Brendan and Jamelia and Tristan who had to face | :02:27. | :02:32. | |
their fears when they ended up Sadly, it was Kirsty who lost out, | :02:33. | :02:34. | |
becoming the first female celebrity Well, that depends on your votes | :02:35. | :02:39. | |
and the thoughts of the four people Our celebrities have been | :02:40. | :02:47. | |
training non-stop to impress. EastEnders actress, Kellie Bright, | :02:48. | :03:24. | |
and her partner, Kevin Clifton. TV presenter, Anita Rani, | :03:25. | :03:37. | |
and her partner, Gleb Savchenko. From BBC Proms | :03:38. | :03:41. | |
and Radio 3 presenter, Katie Derham, Star of Call The Midwife, | :03:42. | :03:44. | |
Helen George, and her partner, Actress, Georgia May Foote, | :03:45. | :03:49. | |
and her partner, Giovanni Pernice. BBC Broadcaster and Journalist, | :03:50. | :03:56. | |
Jeremy Vine, and his partner, Singer and Loose Women Star, | :03:57. | :03:59. | |
Jamelia, and her partner, Pop star and TV personality, | :04:00. | :04:03. | |
Peter Andre, and his partner, BBC Weather reporter, | :04:04. | :04:12. | |
Carol Kirkwood, her partner, And, finally, from the Wanted, | :04:13. | :04:16. | |
popstar Jay McGuiness There they are, just look at them, | :04:17. | :04:21. | |
our tremendous Top 10, all hoping to be number one on the leaderboard | :04:22. | :04:42. | |
by the end of the night. The two couples with the lowest | :04:43. | :04:45. | |
combined scores from the judges and viewer votes will find themselves | :04:46. | :04:48. | |
in the Dance Off tomorrow night. It will then be down to the judges | :04:49. | :04:50. | |
to decide who stays and who goes. Opening the show tonight, | :04:51. | :04:54. | |
it's Peter Andre They're doing a Charleston and | :04:55. | :04:56. | |
at the start of the routine Janette That's the easy bit, it's dragging | :04:57. | :05:08. | |
him away from it that's the problem. Last week it wasn't my best | :05:09. | :05:26. | |
performance but it was great fun. You perform everything the same way. | :05:27. | :05:29. | |
You have to become another character. I think it's time now to | :05:30. | :05:34. | |
give something completely different and hopefully get a higher score. | :05:35. | :05:40. | |
This week Peter is doing a vaudeville style Charleston. They | :05:41. | :05:45. | |
mentioned you need to play a new character and I think the Charleston | :05:46. | :05:48. | |
is the perfect opportunity. He's right. I know a guy who can help us | :05:49. | :05:56. | |
out at a cabaret bar. Peter, this is Adam and Adam is a vaudeville | :05:57. | :06:00. | |
enthusiast. I'm going to teach you a few games that will hopefully bring | :06:01. | :06:04. | |
your vaudevillian character out. This exercise is all about | :06:05. | :06:08. | |
exaggeration so I want you to follow genetic and you pick up one thing | :06:09. | :06:13. | |
that she does. It is the hearts so we are starting to exaggerate, the | :06:14. | :06:17. | |
most big saturating, did you know you did this with the arms? My | :06:18. | :06:21. | |
favourite bit was the mirroring afterwards because we have that in | :06:22. | :06:25. | |
the routine. Mirror perfectly what she does, still obviously looking. | :06:26. | :06:29. | |
I'm seeing more of a vaudeville performance in Peter. I've learned a | :06:30. | :06:33. | |
few vaudeville pointers to date so I hope I can deliver. | :06:34. | :06:37. | |
Dancing the Charleston, Peter Andre and Janette Manrara. | :06:38. | :06:41. | |
Wow. Brilliant! How about that for a reaction. Goodness me. You are | :06:42. | :08:41. | |
opened the show with a staggering ovation and that reaction. | :08:42. | :08:43. | |
Now, that's what I call a double act! | :08:44. | :08:45. | |
Say hello to my little friend! You have worked wonders. Time to | :08:46. | :08:55. | |
introduce our brilliant live singers. They are incredible. The | :08:56. | :09:02. | |
Charleston is a dance you've been waiting to do. I'm so happy to do | :09:03. | :09:06. | |
something where you can smile and have fun. It is great to see you | :09:07. | :09:15. | |
doing your thing. That was their thing, was that your thing, Len? You | :09:16. | :09:21. | |
started to show, absolute show stopper, your best dance. Tell you | :09:22. | :09:25. | |
what, watch this, bad knee, fantastic! | :09:26. | :09:37. | |
APPLAUSE Wow. Thank you, Len. He had an | :09:38. | :09:43. | |
operation two weeks ago. You said he should take it to the next level, | :09:44. | :09:48. | |
did he? Just what the doctor ordered, you embraced the character | :09:49. | :09:52. | |
and became somebody else and it had a wonderful element of goofy | :09:53. | :09:58. | |
slapstick comedy, the flavour of old-time music halls, very sharp, | :09:59. | :10:02. | |
the scissors action was excellent. Did you put a double bounce in it? | :10:03. | :10:06. | |
There was an element of Lindy hop. That is what I want to seek. I want | :10:07. | :10:11. | |
to see a different performance every time and you delivered. He | :10:12. | :10:16. | |
delivered. I appreciate it. Are you happy? You overbalanced on the left | :10:17. | :10:22. | |
at the end. I understand. BOOING | :10:23. | :10:29. | |
Only by a margin and you saved it. I thought the performance was | :10:30. | :10:31. | |
absolutely exceptional. APPLAUSE | :10:32. | :10:37. | |
He does not say that very often. It does mean a lot. Darcey. I could | :10:38. | :10:45. | |
nearly mistake you as a professional out there. | :10:46. | :10:50. | |
CHEERING As Bruno said you became the | :10:51. | :10:53. | |
character, you became the style, it was excellent. | :10:54. | :10:57. | |
APPLAUSE Thank you very much. Smashing start | :10:58. | :11:01. | |
from the East to. Congratulations. If you don't mind | :11:02. | :11:27. | |
me saying, Janette, you are a phenomenal choreographer. It is a | :11:28. | :11:33. | |
team, Jenny and Darren, thank you so much. It was extraordinary, they | :11:34. | :11:37. | |
said you had plateaued last week and I know you tried hard, you must have | :11:38. | :11:41. | |
been happy with the comments. You know what, I finally woke up, I was | :11:42. | :11:45. | |
sleeping for a few weeks and feel alive again so I'm very happy. Very | :11:46. | :11:50. | |
well done. You've never had nine, how much would you like a nine? It | :11:51. | :11:55. | |
would be amazing. But we just don't know. Cross your fingers. | :11:56. | :12:01. | |
Peter, that is the highest score of the series. Well done. Are you | :12:02. | :12:36. | |
buzzing? You know what, I'm so happy, I can't even tell you, well, | :12:37. | :12:40. | |
I just did! Well done to both of you. | :12:41. | :12:41. | |
6 22 52 12 from your mobile, 09015 22 52 12 from your landline or vote | :12:42. | :12:47. | |
It's time for the terms and conditions. | :12:48. | :12:55. | |
Calls cost 15p plus your network's access charge. | :12:56. | :12:58. | |
Please ask the bill payer's permission. | :12:59. | :13:00. | |
To vote online visit bbc.co.uk/strictly | :13:01. | :13:01. | |
where you'll also find terms and conditions. | :13:02. | :13:04. | |
Voting won't open until all our couples have danced. | :13:05. | :13:09. | |
I love you, Janette, for the nodding. | :13:10. | :13:11. | |
Not only that, but your vote won't count and you may still be charged. | :13:12. | :13:17. | |
Go and call your family! Well done. I'm so excited about the tens. | :13:18. | :13:24. | |
Our next couple is Jamelia and her partner, Tristan MacManus. | :13:25. | :13:26. | |
Jamelia has now been in the Dance Off three times, | :13:27. | :13:34. | |
so we're really hoping she impresses tonight with her Viennese waltz. | :13:35. | :13:39. | |
She's dancing to a song called Trouble, let's hope she keeps out of | :13:40. | :13:44. | |
it. Saturday night I had a brilliant | :13:45. | :13:52. | |
time. Fantastic energy and great storytelling. He said fantastic, | :13:53. | :13:57. | |
great, wicked. Being in the dance-off was a shock. I was in the | :13:58. | :14:01. | |
Leader Board and every time I've been in the middle I've been in the | :14:02. | :14:05. | |
dance-off, not an experience I want to repeat, not again. With it being | :14:06. | :14:11. | |
the Viennese it has to be footwork focused. We have to make sure that | :14:12. | :14:15. | |
we can nail it this week. My first day of training has gone | :14:16. | :14:22. | |
surprisingly well. I feel that it is completely necessary for me to give | :14:23. | :14:26. | |
this dance my absolute all. Nobody is going home until I get this | :14:27. | :14:31. | |
right. It is a new one this week which is great stub we got down to | :14:32. | :14:34. | |
hard work straightaway and I can definitely see progress and a change | :14:35. | :14:37. | |
in attitude so it's great for stop super. I'm not happy being mediocre, | :14:38. | :14:42. | |
I want to do a great dance. You need to nail buffer work, and the judges | :14:43. | :14:48. | |
have pulled as up on it a lot. If that is something we can focus on to | :14:49. | :14:51. | |
get that right we can really climb up the Leader Board. Come on, feet! | :14:52. | :14:55. | |
It is imperative that I master the footwork. I really want to be on the | :14:56. | :15:00. | |
top half of the Leader Board and I'm just going to give it my absolute | :15:01. | :15:01. | |
all. Dancing the Viennese Waltz, | :15:02. | :15:06. | |
Jamelia and Tristan MacManus. Thank you. So are you in that dress. | :15:07. | :17:07. | |
You gave that your all. The guitar case got in the way. Bruno. You were | :17:08. | :17:13. | |
sailing through it on the crest of a wave, my darling. Great floor, great | :17:14. | :17:17. | |
movement. A couple of things you really have to work on. Extend and | :17:18. | :17:24. | |
maintain the arc of your back. Sometimes there is some gapping that | :17:25. | :17:28. | |
is being created. It loses a little bit the shape your movement was | :17:29. | :17:32. | |
good. You were light on your feet. You have to work on these two things | :17:33. | :17:37. | |
OK, yeah? Thank you. Otherwise very good. Craig The top line is | :17:38. | :17:47. | |
problematic. It needs to be an extreme arch to your flak. It had | :17:48. | :17:52. | |
flow and grace until you crashed into the guitar. That was led by | :17:53. | :17:56. | |
Tristan there, darling. Floor craft there. It's OK. I thought you did | :17:57. | :18:06. | |
really, really well. Thank you. You have been focussing on your foot | :18:07. | :18:10. | |
work in training. Darcey, did it play off You look beautiful tonight. | :18:11. | :18:15. | |
The movement around the dance floor you worked hard. Only when you get | :18:16. | :18:20. | |
dizzy do you straighten up. You have to trust Tristan. Keep pushing away. | :18:21. | :18:25. | |
I know that horrible feeling when you get that dizzy you keep doom | :18:26. | :18:30. | |
coming up straight. The fleckerl at the end. You got back together and | :18:31. | :18:35. | |
did a lovely fleckerl at the end. Thank you. Len, what did you think? | :18:36. | :18:42. | |
The song is Trouble, for me the dance was no trouble at all. You | :18:43. | :18:46. | |
breezed through it. Lovely amount of rotation. You worked on the foot | :18:47. | :18:51. | |
work. I can see it, getting those heel leads driving off. Yes. The | :18:52. | :18:55. | |
guitar got in the way a little bit. If you are in the Dance Off this | :18:56. | :19:05. | |
week I'm going to pickle my walnuts. LAUGHTER Thank you judges. | :19:06. | :19:07. | |
Hello. You do look completely gorgeous. Thank you. You really | :19:08. | :19:30. | |
tried this week? Yeah, yeah. How much do you not want to be in the | :19:31. | :19:34. | |
Dance Off? On a scale of - do you just think... No, no, I think you | :19:35. | :19:39. | |
have to remain positive. I just hope that the public will see that I'm | :19:40. | :19:43. | |
working and I'm trying. I really don't want to be there. If you don't | :19:44. | :19:51. | |
me to be there, please, vote for me. You have seen such a change. She | :19:52. | :19:57. | |
tries so hard, doesn't she? We have to change our focus all the time. | :19:58. | :20:01. | |
This week most importantingly was the feet, closing our feet. When | :20:02. | :20:06. | |
mistakes happen you have to compose yourself and keep going. Close your | :20:07. | :20:10. | |
feet. We don't want Len to pickle his walnuts. I genuinely don't know | :20:11. | :20:13. | |
what it means. Two more than last week? I'm really | :20:14. | :20:14. | |
pleased. 6 22 52 11 from your mobile, | :20:15. | :20:36. | |
09015 22 52 11 from your landline or Still to come, Anita and Gleb | :20:37. | :20:41. | |
dance with mops and a bucket. Dancing next tonight is | :20:42. | :20:54. | |
Carol Kirkwood and her partner, Last week, Carol scored | :20:55. | :20:58. | |
a frighteningly low score of 13 for Now, it's week seven and Carol knows | :20:59. | :21:06. | |
that the honeymoon is over and she really has to up her game if she | :21:07. | :21:13. | |
wants to stay in the competition. Being part of the Hallowe'en | :21:14. | :21:28. | |
spectacle was amazing. Your Rumba is grounds for divorce for | :21:29. | :21:34. | |
irreconcilable differences to dance. Next week we will do a lot better | :21:35. | :21:39. | |
and really, really going to push. I don't want to be at the bottom of | :21:40. | :21:43. | |
the leaderboard. I want to prove to those who have faith in me that | :21:44. | :21:49. | |
their faith is well placed. It's amazing to realise how much support | :21:50. | :21:52. | |
the audience has been giving us? I know it. Makes me want to improve | :21:53. | :21:56. | |
and make this dance the best yet. This week reare doing American | :21:57. | :22:00. | |
Fergus Ewing smooth Fergus Ewing foxtrot. I'm worried about the Carol | :22:01. | :22:06. | |
says she lifts. 'S afraid of lift. Let us get into position so I don't | :22:07. | :22:11. | |
kill She disguises it you. By the fear of hurting me. I'm scared and | :22:12. | :22:16. | |
don't want to damage him and ruin his career. When you have never done | :22:17. | :22:19. | |
anything like that, you will be naturally scared. My Cat and myself | :22:20. | :22:24. | |
are wide-awake. All I can think about is lifts. I'm at work and | :22:25. | :22:29. | |
thinking about my dance on Saturday. These lifts, oh, my goodness. Auto | :22:30. | :22:34. | |
you I'm really hoping we have a solid routine this week. It's | :22:35. | :22:37. | |
halfway through the competition now. It's got to be good. That's what I'm | :22:38. | :22:39. | |
aiming for. Dancing the American Smooth, | :22:40. | :22:43. | |
Carol Kirkwood and Pasha Kovalev. How about that then? The lift at the | :22:44. | :22:45. | |
end. Shopping and dancing with Pasha, | :22:46. | :24:33. | |
you've got it all going on. Best combination. Indeed. What a | :24:34. | :24:40. | |
Saturday Saturday night. Craig, did you buy that routine? It was like | :24:41. | :24:45. | |
watching a bumper car ride, actually. You kept crashing in and | :24:46. | :24:49. | |
out of one another, particularly in and out of lifts. Also, you must | :24:50. | :24:54. | |
point your foot and take care of the line of the leg when you are up in | :24:55. | :25:03. | |
that first and last lift. A flexed foot looks absolutely ugly. It made | :25:04. | :25:07. | |
it look a little bit pedestrian. It's a vast improvement over last | :25:08. | :25:16. | |
week. A vast improvement. Is Darcey? Well, without fail I can see the | :25:17. | :25:20. | |
intent and energy you are putting into the dance now. That is such a | :25:21. | :25:24. | |
relief. You have to come out there and sell it. You were selling it. | :25:25. | :25:29. | |
There is a great improve am there. The lines, you were placing the arms | :25:30. | :25:32. | |
with more feeling and grace. You've got to hold that focus right until | :25:33. | :25:37. | |
the very end of the dance. I think you get into the excitement of it | :25:38. | :25:42. | |
all and enjoy it so much that we lose the focus of where the lines | :25:43. | :25:46. | |
are and the arms and that sensitivity. Really, a great | :25:47. | :25:51. | |
improvement. A great improvement, two out of two. Len? Carol, listen, | :25:52. | :25:58. | |
dancing begins with the feet. OK. So we have to start somewhere. If you | :25:59. | :26:02. | |
listen to everyone you will do nothing. One of us is talking about | :26:03. | :26:08. | |
your arms others about the fluidity of the movement, this, that and the | :26:09. | :26:11. | |
other. Let us start with the feet. Let's work, I hope you are back next | :26:12. | :26:15. | |
week, on getting beautiful foot work. So I can say, oh, Carol, that | :26:16. | :26:23. | |
foot work was perfection. My advice - start somewhere, let's start with | :26:24. | :26:32. | |
the feet. Bruno. Carol, I love you because you are consistent. Yeah. | :26:33. | :26:40. | |
She's weather-proof, critic-proof, dance-proof nothing sticks she's | :26:41. | :26:44. | |
like Teflon. Everything keeps sliding away. You have to put it in | :26:45. | :26:52. | |
the right place, right order and listen to the music. I like your | :26:53. | :26:56. | |
consistency, keep going. The audience don't agree with him. | :26:57. | :26:59. | |
Congratulations. Other than Bruno the other judges said there had been | :27:00. | :27:17. | |
real improvement. That must make you feel good It absolutely does. We are | :27:18. | :27:23. | |
loving it. It's such good fun. That was high energy. The lifts. That was | :27:24. | :27:29. | |
a different Carol. I'm fascinated how I to make you grumpy. We will | :27:30. | :27:35. | |
talk about that after the show. You were worried about the lifts, did | :27:36. | :27:41. | |
you enjoy them out there? I did. I was worrying about flattening poor | :27:42. | :27:43. | |
Pasha. Don't be ridiculous. 17. Are you disappointed? It's four | :27:44. | :28:05. | |
more than that last week. Yeah. We have been up-and-down, up-and-down. | :28:06. | :28:09. | |
That's fun. They could you it a journey. We call it the "J" word. | :28:10. | :28:16. | |
If you were sold on that shopping routine, then call: | :28:17. | :28:18. | |
6 22 52 13 from your mobile, 09015 22 52 13 from | :28:19. | :28:21. | |
your landline or vote online free of charge when the vote opens later. | :28:22. | :28:24. | |
Remember, the judges scores are only half the story tonight and your | :28:25. | :28:27. | |
Still to come, Jay gets stuck into an Argentine mango. | :28:28. | :28:31. | |
Been looking forward to saying that for the last 10 years. Tess. | :28:32. | :28:46. | |
Our next couple is Helen George and her partner Aljaz Skorjanec. | :28:47. | :28:48. | |
This week they're doing the Rumba and all week Aljaz has been teaching | :28:49. | :28:52. | |
Helen the dance of love, full of romance and passion - | :28:53. | :28:55. | |
which is probably why Helen's girlfriends chose this week to come | :28:56. | :28:57. | |
the weeks go on because you enjoy it so much and you don't want to be the | :28:58. | :29:11. | |
person that goes home. You have come out of your box, it's a new Helen. | :29:12. | :29:22. | |
Nine! We scored 34, the whole routine was mummylicious. This time | :29:23. | :29:27. | |
Helen is taking some much downtime with her friends from her rumba | :29:28. | :29:33. | |
routine. How is it going? It is going well. How are your hips? I get | :29:34. | :29:40. | |
to see my best girlfriends tonight. We are really proud of you. It is so | :29:41. | :29:45. | |
nice because I have not seen them for ages. Alias seems nice. He seems | :29:46. | :29:53. | |
like a lovely man. -- Aljaz. What are we going to see on Saturday? It | :29:54. | :29:57. | |
will be the most romantic dance so far. Even more than the one when you | :29:58. | :30:05. | |
were mummies? I'm going to show them some steps from the rumba. Imprest? | :30:06. | :30:12. | |
Aljaz invited my friends to dance and my friend Vicky had a lovely | :30:13. | :30:17. | |
chance with Aljaz. He is a lovely man. I think I'm really ready to do | :30:18. | :30:19. | |
the dance on Saturday now. Dancing the Rumba, | :30:20. | :30:23. | |
Helen George and Aljaz Skorjanec. Oh! I say! That was hot, so hot you | :30:24. | :32:31. | |
had to open your shirt to cool down. Simply stunning, emotional. | :32:32. | :32:33. | |
I have to say I was transported into your romantic love story, you took | :32:34. | :32:42. | |
me straight there that is what you need. The feeling, you stroked and | :32:43. | :32:47. | |
caressed the floor with your feet, that's hard to achieve. Aligns, | :32:48. | :32:53. | |
there was so much I liked, thank you. | :32:54. | :32:54. | |
APPLAUSE -- the lines. Len. Basically, what's | :32:55. | :33:08. | |
on the label is not on the tin. I could call this pencil a hammer but | :33:09. | :33:12. | |
it is a pencil. For me that lacked enough basic rumba. There was a | :33:13. | :33:20. | |
couple of opening outs, you went to fan but went nowhere with it. I had | :33:21. | :33:25. | |
a pop the other week with George about the same thing and I've got to | :33:26. | :33:29. | |
try and be consistent this. For me it lacked content. However, having | :33:30. | :33:36. | |
said that, you are a fantastic dancer. | :33:37. | :33:39. | |
APPLAUSE Bruno. My darling, you were like a | :33:40. | :33:46. | |
siren out there whose sole purpose is to seduce and entrap. You entrap | :33:47. | :33:53. | |
me, it was so intense, the performance was absolutely | :33:54. | :33:55. | |
beautiful. The thing is that you're dancing is so uplifting that | :33:56. | :34:00. | |
sometimes the hip action needs to be a little bit more rounded and | :34:01. | :34:03. | |
continuous. That's what makes that kind of rumba Cuban motion flow. But | :34:04. | :34:09. | |
the images and intention and the sex appeal was fantastic. Craig, | :34:10. | :34:18. | |
underneath it all, you are an old romantic at heart. I loved the drama | :34:19. | :34:24. | |
in that and you set up the story beautifully and told the story | :34:25. | :34:27. | |
throughout. I would much prefer to see double underarm turn into a | :34:28. | :34:36. | |
layout. I'm going against Len on that. It's a rumba, you can't change | :34:37. | :34:44. | |
what it is Craig! You are allowed to choose what steps you use from the | :34:45. | :34:48. | |
rumba, you don't have to use every single one of them. There were none. | :34:49. | :34:53. | |
There were some colour in your defence and I liked it. Bruno is | :34:54. | :35:00. | |
getting his coat! Stay with me, it is safer. | :35:01. | :35:01. | |
I tell you what, we were going nuts for it up here. It's always | :35:02. | :35:23. | |
difficult when the judges have a slight barney. What would you like | :35:24. | :35:30. | |
to say to Len who said there was not enough rumba content? I agree in | :35:31. | :35:35. | |
some way but we started the routine with rumba walks and we did the fan | :35:36. | :35:39. | |
and opening outs. There can always be more dancing so try to find the | :35:40. | :35:43. | |
balance between both is a little bit hard but she did an incredible job. | :35:44. | :35:46. | |
You did an incredible job. Eight. 31 is a good score, not as | :35:47. | :36:10. | |
high as last week but you are happy with that? It's the highest rumba | :36:11. | :36:14. | |
score we have had this season so it is great. If you enjoyed the routine | :36:15. | :36:19. | |
to Hello and you don't want them to say goodbye, then please call: | :36:20. | :36:23. | |
09015 22 52 07 from your landline or vote online | :36:24. | :36:27. | |
once we have seen all our couples perform. | :36:28. | :36:37. | |
Still to come, Katie and Anton are dancing with a pair of curtains. | :36:38. | :36:41. | |
Assuming they can pull themselves together! | :36:42. | :36:43. | |
Our next couple is Jay McGuiness and his partner, Aliona Vilani. | :36:44. | :36:46. | |
It's the moment we've all been waiting for, the first | :36:47. | :36:49. | |
So, Len, how does it differ to the ordinary tango and what should | :36:50. | :37:00. | |
The normal tango is more formal, you get into the hold and you stay there | :37:01. | :37:06. | |
and the girl has got to be laid-back. In the Argentine tango | :37:07. | :37:11. | |
you can be together, cheek to cheek, you can be wide apart, you want to | :37:12. | :37:16. | |
see passion, flair and emotion. So, it's a little bit more, you know, | :37:17. | :37:20. | |
you can go to town in the Argentine tango. We want passion and emotion. | :37:21. | :37:27. | |
Buckets of it. I can't wait to see this. Let's see how they got on in | :37:28. | :37:33. | |
training. Last Saturday we had lifts, which I've never done before | :37:34. | :37:37. | |
and on top of that was the character of the Wolf. There was no stressing | :37:38. | :37:42. | |
and no messing. I'd have liked to see more character. We got the | :37:43. | :37:46. | |
approval of the judges and that felt great. Today week started learning | :37:47. | :37:54. | |
the Argentine tango. Turn me. It is very dynamic and sultry and I think | :37:55. | :38:01. | |
the dance will suit Jay. Argentine tango is a specialist dance, so we | :38:02. | :38:05. | |
are going to have experts coming in to explain the injured things about | :38:06. | :38:13. | |
the dance. Let's do this. The experts have shown us some awesome | :38:14. | :38:16. | |
stuff, the way they move together is fascinating. And very small things | :38:17. | :38:21. | |
like the way you hold someone our dance steps too. You can be in front | :38:22. | :38:27. | |
of us. The tango is the result of European culture coming to Argentina | :38:28. | :38:30. | |
in the early 19th-century. What he is going to have to do is try to get | :38:31. | :38:35. | |
posture, intention, navigation skills, footwork. That's very good. | :38:36. | :38:42. | |
He's got a lot to do this week. I'm putting in all of the hours I can in | :38:43. | :38:45. | |
the training room and get home and go over it. I hope I do everyone | :38:46. | :38:49. | |
proud and do the Argentine tango some justice this Saturday. | :38:50. | :38:53. | |
Dancing the Argentine Tango, Jay McGuiness and Aliona Vilani. | :38:54. | :38:55. | |
The audience are going wild, they are going wild. Wow, what a | :38:56. | :40:50. | |
reaction. I love the intimacy, very dramatic. | :40:51. | :41:02. | |
Is that what you were looking for, Len? Yes, polished performance, you | :41:03. | :41:10. | |
must have used a J cloth! It was sleek, slick, nice intensity about | :41:11. | :41:16. | |
it, the lifts were good. I know you are concentrating but sometimes you | :41:17. | :41:19. | |
want to see a little bit of emotion come out through your face. And you | :41:20. | :41:27. | |
keep that very bland. Sometimes that would help to show off the whole | :41:28. | :41:32. | |
thing. But, lovely, clean, clear, crisp and lovely. Lovely. The first | :41:33. | :41:37. | |
Argentine tango, have they set the bar high? Well, I felt it, I did | :41:38. | :41:45. | |
expect excellent. I could feel the macho man bubbling under, you were | :41:46. | :41:51. | |
focused and in the zone. Those lines you were hitting, picture-perfect. | :41:52. | :41:57. | |
The feet were hitting the floor like laser-guided missiles. The precision | :41:58. | :42:03. | |
was incredible. APPLAUSE | :42:04. | :42:08. | |
I was transported to upper-class whereas -- Buenos Aires. I have to | :42:09. | :42:17. | |
agree with Len about the acting side, you could be a lot more | :42:18. | :42:21. | |
intense in this dance and have a lot more purpose in it. Foot wise I | :42:22. | :42:26. | |
thought you were absolutely fine, I thought that was grateful stop but I | :42:27. | :42:32. | |
was desperately lacking gaucho rural, the series of kicks that | :42:33. | :42:36. | |
makes this particular dance stand out from the rest -- gauchos. You | :42:37. | :42:42. | |
did one and that was it. There was lots of opportunity. I wanted this | :42:43. | :42:47. | |
man to come out and shine. It did leave me wanting more. It felt like | :42:48. | :42:53. | |
a warm up to the main event. Thank you, Bruno! Bruno has been making | :42:54. | :43:00. | |
faces and he doesn't agree. Maybe I was watching another show, I don't | :43:01. | :43:06. | |
know. I thought this was brilliant. Darcey, they have rarely been out of | :43:07. | :43:09. | |
the top three, have they maintained that? You execute it to perfection. | :43:10. | :43:16. | |
Those lines, everything Bruno said you are achieving. There was a | :43:17. | :43:21. | |
beautiful detail when you crossed the legs when you lifted and turned | :43:22. | :43:26. | |
out of it, I love what you do. But the same thing, I want to see this | :43:27. | :43:32. | |
fire come out, this desire. It's just missing only that. OK, thank | :43:33. | :43:42. | |
you. OK. Lots to work on but really great job. | :43:43. | :43:45. | |
Off you go and get your scores. Jay and Aliona! | :43:46. | :43:49. | |
Picture-perfect, precise, amazing. But do they want you to growl? I | :43:50. | :44:07. | |
don't understand. Probably. Does that make sense to you? Acting. Yes. | :44:08. | :44:17. | |
Are you all right? Yes. Not so chatty. I will hopefully be here | :44:18. | :44:23. | |
next week and work on it. Oh my god! He is edible! | :44:24. | :44:26. | |
Nine. Now at least you know when you come back what you need to work on. | :44:27. | :44:55. | |
6 22 52 14 from your mobile, 09015 22 52 14 from your landline or vote | :44:56. | :45:01. | |
There are five couples left to dance and all of this still to come. | :45:02. | :45:14. | |
We are Kwik stepping to 42nd Street. I'm in heaven. This is Broadway | :45:15. | :45:28. | |
glamour. It don't feel like the Jive as an acrobatics We are dancing | :45:29. | :45:33. | |
session. The Tango. I musn't smile. I'm struggle with parts of the dance | :45:34. | :45:37. | |
because it's so fast. I'm 24 and I feel 50. The waltz did a beautiful | :45:38. | :45:42. | |
dance. I love it. I just haven't got hold of it yet. | :45:43. | :45:49. | |
Next up is Katie Derham and her partner Anton Du Beke. | :45:50. | :45:51. | |
They're doing a routine that's set in a theatre. | :45:52. | :45:58. | |
Not that sort of theatre. It's a musical theatre. | :45:59. | :46:07. | |
And she's hoping their Quickstep to 42nd Street will get them rave | :46:08. | :46:11. | |
Musical! Hallowe'en, it was always going to be epic. I can't say it was | :46:12. | :46:25. | |
perfect. I know it wasn't. The crowd seemed to love it. They were | :46:26. | :46:28. | |
cheering it. Was brilliant. Then we went over to the judges. It wasn't | :46:29. | :46:33. | |
great, Kate, I wish it was. What do you want me to do? It felt like my | :46:34. | :46:41. | |
happy balloon was popped. Oh, dear. Sorry! Toe, toe. Quickstep, great. | :46:42. | :46:48. | |
Toe, toe, correct. There are steps I'm doing that I know from previous | :46:49. | :46:52. | |
dances. We are doing them an awful lot faster. Looking in good shape at | :46:53. | :46:56. | |
the moment. I got the steps right. I'm loving doing a ballroom dance | :46:57. | :47:00. | |
again. Not bad. What I want to show you is a performance by a tremendous | :47:01. | :47:06. | |
ballroom dancer. It's such a good performance. We watched our Viennese | :47:07. | :47:14. | |
Waltz. . After the dodgy couple of weeks, we can do that well. Remember | :47:15. | :47:17. | |
the feeling of that. Take it into this week. That was great. I'm | :47:18. | :47:23. | |
enjoying dancing with Katie she has such enthusiasm for what she's | :47:24. | :47:30. | |
doing. I'm lucky to be with Anton, who I get on very well indeed. I | :47:31. | :47:37. | |
want to do it for him. It's one of those dances, if it goes well it | :47:38. | :47:41. | |
could be amazing. I just really hope it does and it all comes together on | :47:42. | :47:43. | |
Saturday night. BOOM! Dancing the quickstep, | :47:44. | :47:48. | |
Katie Derham and Anton Du Beke. You've come back strong. A crowd | :47:49. | :49:36. | |
pleaser. Great musical number. Let's see what the critics thought. Bruno? | :49:37. | :49:42. | |
The images I felt I was like on 5th Avenue. So much beauty and glamour. | :49:43. | :49:49. | |
Actually, I have to say, you started that ride really. Like in 5th Avenue | :49:50. | :49:56. | |
there are potholes. Once once you hit the potholes you lose the foot | :49:57. | :50:00. | |
work. The foot work went. The frame then went. The beginning was great. | :50:01. | :50:05. | |
There were so many mistakes - you know, it happened. The potential is | :50:06. | :50:08. | |
there. You have to get it right, really. When it's right, it's great. | :50:09. | :50:13. | |
But it really was - it was hitting one pothole after another. Then | :50:14. | :50:16. | |
everything a little went. It's there. We want to see it. OK. It's | :50:17. | :50:24. | |
there. Two difficult weeks. Are they back on top, Craig? That was an | :50:25. | :50:29. | |
ambitious routine which I think you were right to go for Anton I know | :50:30. | :50:33. | |
that Katie is capable of doing it. If you had one more week on this | :50:34. | :50:37. | |
particular routine you would have absolutely smashed it. But, just | :50:38. | :50:44. | |
tonight, sadly, that didn't happen. It didn't happen. An extra day. Do | :50:45. | :50:51. | |
you think the dance suited Katie It was. It was made for you. You are | :50:52. | :50:55. | |
beautifully light on your feet. The frame and everything. When it's that | :50:56. | :50:59. | |
challenging. It was a very difficult combination of steps you gave her. | :51:00. | :51:03. | |
As they say it's brilliant because - I know you can can do it. When it | :51:04. | :51:09. | |
goes wrong. Then it was too challenging, sadly. You made the | :51:10. | :51:18. | |
mistakes and the core weakens, the frame weakens. It's very | :51:19. | :51:25. | |
frustrating. I know you can do that. Len They were classic, classy, Radio | :51:26. | :51:31. | |
3. Other parts were like 5 Live, sporty, fast, full on. The problem | :51:32. | :51:35. | |
is, when you dance at that speed, with that amount of steps, you can | :51:36. | :51:40. | |
lose a little bit of control, and that's what happened. But, other | :51:41. | :51:46. | |
than that, you can't take away the fact it was a fantastic performance. | :51:47. | :51:52. | |
Well done. Thank you. Thank you, Len. | :51:53. | :52:03. | |
Take a few quick steps up to Claudia. | :52:04. | :52:05. | |
Fantastic. It was superfast, brilliantly put together. We were | :52:06. | :52:23. | |
not aware, were you? A couple. Only a couple. They went on a while, but | :52:24. | :52:29. | |
they were only a couple. They don't even count! It must be lovely to be | :52:30. | :52:35. | |
back in ballroom with the King. So lovely. If I'd known I would have | :52:36. | :52:41. | |
got sleeves. I feel we had a job lot on. | :52:42. | :52:43. | |
26. Were you expected more? Yeah, 46. Katie. I made a couple of | :52:44. | :53:15. | |
mistakes, they spotted them. To keep Katie and Anton dancing | :53:16. | :53:17. | |
through to next week call 6 22 52 05 from your mobile, | :53:18. | :53:20. | |
09015 22 52 05 from your landline or you can vote for free online | :53:21. | :53:24. | |
when the vote opens later. Still to come, | :53:25. | :53:26. | |
Kellie and Kevin do a waltz Our next couple is Anita Rani | :53:27. | :53:29. | |
and her partner Gleb Savchenko. Last week saw Anita flying as | :53:30. | :53:39. | |
Maleficent in her Waltz and it was This week they're doing a Jive | :53:40. | :53:48. | |
dressed as a pair of cleaners. So they're hoping to wipe | :53:49. | :53:52. | |
the floor with the opposition Flying down from the ceiling as | :53:53. | :54:07. | |
Maleficent was incredible. Mr Ballroom said... The waltz was | :54:08. | :54:11. | |
fabulous. That is the best compliment a girl can get. That is | :54:12. | :54:17. | |
one of the most dramatic waltz I've ever seen. Hallowe'en exceeded all | :54:18. | :54:22. | |
my expectations. It was spectacular. This week we're doing a Jive. It's | :54:23. | :54:26. | |
superfast with a lot of foot work. I'm scared. I will take you to a | :54:27. | :54:32. | |
dance class. Some guys doing the Jive have more energy than you and I | :54:33. | :54:36. | |
together. Where are you talking me, Gleb? You'll see. Thank you. Hello, | :54:37. | :54:43. | |
is this a Jive class? Can I join your class. We joined in with the | :54:44. | :54:51. | |
toddler Jive class. My goodness they can move. Who has more energy th | :54:52. | :55:00. | |
toddlers. I will be worn out. It was amazing having them in my class | :55:01. | :55:03. | |
today. We will show you our Jive. What do we get out of 10? I will be | :55:04. | :55:12. | |
thinking of you on Saturday. Hopefully we will do a good job. I | :55:13. | :55:17. | |
hope the children inspired them for the energy they need for the Jive. | :55:18. | :55:24. | |
This is what we have to teach every week. I got a hug. Good luck, Anita | :55:25. | :55:28. | |
and Gleb. Dancing the Jive, | :55:29. | :55:31. | |
Anita Rani and Gleb Savchenko. Yes. You can take it? Just a little | :55:32. | :57:24. | |
bit. I say yes all the time. I can see clearly. Loved the mop. Craig, | :57:25. | :57:30. | |
was it a clean Jive? You can come and clean my house any day. It would | :57:31. | :57:34. | |
be done in less than five minutes. That rate was fast and furious. | :57:35. | :57:38. | |
Energetic. I loved the stylisation of it. You dance in a combat way. | :57:39. | :57:46. | |
With your kicks you didn't quite get the Jive style. I loved the routine. | :57:47. | :57:52. | |
Thank you, Craig. So did the audience. Darcey, enough energy for | :57:53. | :57:56. | |
you? Brilliant, the action the energy. You are one fit lady. She is | :57:57. | :58:02. | |
so fit. You are not out of breath or anything, are you? What is brilliant | :58:03. | :58:07. | |
you are relaxed on top, the legs are, woing hard and sharp for me it | :58:08. | :58:10. | |
was more about the feet. I could have more point and not so flappy. | :58:11. | :58:17. | |
They get flappy. A fab Jive, thank you. Len? For me, it's what I call a | :58:18. | :58:26. | |
full of dance. It was full of fun, full of energy, full of sharp kicks | :58:27. | :58:33. | |
and flicks. I tell you what, steady on now! I'm full of praise because | :58:34. | :58:38. | |
it was terrific. APPLAUSE. | :58:39. | :58:46. | |
Thank you. Bruno? Anita Gleb, you're hired. You're multi tasking | :58:47. | :58:52. | |
beautifully. Tonight, Anita, you broke through the mould. Mould. You | :58:53. | :59:02. | |
on fire. You were selling it, you were tight. Your best dance yet. | :59:03. | :59:14. | |
Thank you! A a A clean sweep with that. You work hard. | :59:15. | :59:18. | |
Go and see if you clean up with the scores. | :59:19. | :59:21. | |
Your best score yet. Your floor work has gone to new levels. You enjoyed | :59:22. | :59:37. | |
the jive, didn't you? I loved it, it is so difficult and there is a point | :59:38. | :59:41. | |
during the week when you say, no way, and then that happens and it's | :59:42. | :59:46. | |
like OK. Gleb jumped on me and I did something so that was OK! You have | :59:47. | :59:51. | |
never had a nine. How much would you like a nine? Well, who wouldn't like | :59:52. | :59:56. | |
nine? I don't want to tempt fate. Nine. Congratulations. If you'd like | :59:57. | :00:25. | |
Anita and Gleb to be mopping up a lot of votes tonight: | :00:26. | :00:30. | |
call 6 22 52 03 from your mobile, 09015 22 52 03 | :00:31. | :00:32. | |
from your landline or vote online when the vote opens later. | :00:33. | :00:35. | |
Still to come, Jeremy does a tango with a horse. | :00:36. | :00:40. | |
Yes, that is fact, welcome to strictly come prancing! | :00:41. | :00:45. | |
Our next couple is Kellie Bright and her partner Kevin Clifton. | :00:46. | :00:49. | |
After last week's dramatic full-on paso it's time for Kellie and Kevin | :00:50. | :00:55. | |
to calm things down with an elegant ballroom number. | :00:56. | :00:57. | |
Even with some extra training at a tea dance, this waltz isn't | :00:58. | :01:04. | |
Saturday night was a brilliant night. | :01:05. | :01:13. | |
I was really pleased that I didn't fall over, or fall off the end of | :01:14. | :01:18. | |
the table. You are a wonderful dancer. As long as I feel I've done | :01:19. | :01:23. | |
my best each week then that is all I can do. | :01:24. | :01:30. | |
That way. It is the waltz this week. I thought a nice way to get into the | :01:31. | :01:34. | |
spirit of this would be to take you to a T Dan -- tea dance. I've always | :01:35. | :01:45. | |
wanted to go to one. The waltz is a traditional dance and to be able to | :01:46. | :01:48. | |
do that at eight tea dance which is also quite traditional is lovely. | :01:49. | :01:54. | |
Does everybody watch Strictly Come Dancing? Who is your favourite? I | :01:55. | :02:00. | |
love coming here, everybody is dancing. It is giving her lots of | :02:01. | :02:06. | |
encouragement and it's a great atmosphere. I was being spun around | :02:07. | :02:12. | |
earlier. You didn't put your head out then either. The support for | :02:13. | :02:18. | |
myself and Kevin has been so lovely. It's got to be at ten! I have to say | :02:19. | :02:23. | |
I prefer this lot to the normal judges! | :02:24. | :02:26. | |
Dancing the Waltz, Kellie Bright and Kevin Clifton. | :02:27. | :02:33. | |
They are on their feet in the studio. | :02:34. | :04:24. | |
You packed everything into that waltz. | :04:25. | :04:26. | |
I could see that you worked on the top line very hard. | :04:27. | :04:29. | |
Darcey, could they be on the move back to the top of the leaderboard? | :04:30. | :04:33. | |
I think so, I really think so. It is wonderful. | :04:34. | :04:39. | |
APPLAUSE What you give is this quality and | :04:40. | :04:44. | |
this finesse. I know because you are a strong lady. I have to say when | :04:45. | :04:49. | |
you get into the top line, which is a great improvement on those | :04:50. | :04:52. | |
shoulders, your core is so strong. X to Kevin and holding back, it's very | :04:53. | :04:58. | |
impressive, it's only be right shoulder. -- next to Kevin. My right | :04:59. | :05:07. | |
shoulder has a life of its own. You are bringing it into it just too | :05:08. | :05:11. | |
much. But there is improvement there and I could see you were trying | :05:12. | :05:15. | |
really hard but I really enjoyed it, though. I really did. | :05:16. | :05:20. | |
APPLAUSE Len, and you enjoy seeing a more | :05:21. | :05:24. | |
graceful side to Kellie? I thought it was full of charm and grace. Yuna | :05:25. | :05:31. | |
how to please Len, three double reverse turns, beautiful -- you know | :05:32. | :05:36. | |
how. There was something going on with your right arm on occasions. I | :05:37. | :05:40. | |
don't know if you got too far over on Kevin's right side but lovely | :05:41. | :05:45. | |
fluid movement. You are a great all-round dancer. Bruno. You are | :05:46. | :05:56. | |
becoming the king and queen of nostalgia, another wonderful trip | :05:57. | :05:59. | |
down memory lane, one of these wonderful Julian Fellowes | :06:00. | :06:01. | |
screenplays, expertly crafted, dutifully detailed a wonderfully | :06:02. | :06:08. | |
acted. I think what happens is I think you get tight, that's what it | :06:09. | :06:13. | |
is. Relaxed the shoulders and that would allow you to keep the fluidity | :06:14. | :06:17. | |
in the top line and also on the underarm terms. But again, it is a | :06:18. | :06:20. | |
great performance. APPLAUSE | :06:21. | :06:26. | |
It makes you look a little hard on the top line rather than soft and | :06:27. | :06:29. | |
femme fatale, darling. You lost a bit of balance at the end but you | :06:30. | :06:35. | |
caught up with it and recovered beautifully and it was a lovely | :06:36. | :06:39. | |
routine. Well done. Thank you, judges. Improving week on week. | :06:40. | :06:44. | |
Get in! Last week you said to me, after some very energetic routines, | :06:45. | :07:05. | |
I'm quite looking forward to the waltz, did you enjoy it? I did enjoy | :07:06. | :07:09. | |
it but it is harder than it looks. You said to Zoe on It Takes Two this | :07:10. | :07:15. | |
will be fine and then oh no. It has been a tough week this week. But you | :07:16. | :07:20. | |
got there. We wanted to show a softer side because we have been | :07:21. | :07:23. | |
doing lots of fast dances and we wanted to show that we can do that | :07:24. | :07:30. | |
as a partnership, showing finesse. Len said you are a great all-round | :07:31. | :07:32. | |
dancer. That is a lovely comment. Eight. Not your best score but an | :07:33. | :07:59. | |
improvement on last week. It is an improvement. | :08:00. | :08:00. | |
If you don't want Kellie and Kevin to pack up and move out | :08:01. | :08:05. | |
of the competition, call: 6 22 52 01 from your mobile, | :08:06. | :08:08. | |
09015 22 52 01 from your landline, or vote online later to keep Kellie | :08:09. | :08:11. | |
We have the same thing, Claudia and I. | :08:12. | :08:20. | |
Next up is Jeremy Vine and his partner Karen Clifton. | :08:21. | :08:22. | |
This week Jeremy's doing the tango, it's a serious dance and to | :08:23. | :08:33. | |
demonstrate the gravitas of the routine, he's dressed up as a cowboy | :08:34. | :08:36. | |
and will be riding a big, plastic horse. | :08:37. | :08:38. | |
I think because it was Halloween and because it was fun I didn't want | :08:39. | :08:49. | |
them to say it was rubbish, and they didn't! Craig gave us a four. Four | :08:50. | :09:01. | |
from Craig! This week we are dancing the tango, it's a very intense | :09:02. | :09:06. | |
dance. It sounds serious. It is serious actually. So they will need | :09:07. | :09:10. | |
all the time they can get and with that in mind Karen heads to Radio 2 | :09:11. | :09:16. | |
for a bit of extra practice. I'm really excited to see him doing his | :09:17. | :09:20. | |
thing in his own environment. Hold your horses, let me get back to | :09:21. | :09:27. | |
Yvonne! Very serious! Hello. It is really nice having her here. He made | :09:28. | :09:33. | |
me feel so at home. BBC Radio 2, we have Karen Clifton in the studio. | :09:34. | :09:36. | |
Jeremy Hunt I were able to talk about the tango. I had the best time | :09:37. | :09:42. | |
on strip become dancing and I want you to say that and that would make | :09:43. | :09:45. | |
me happy. You have to have your chin up. I saw his serious journalist | :09:46. | :09:50. | |
side and that is what you need for the tango. I've got to think happy, | :09:51. | :09:57. | |
happy, news face, love, joy, news face, that's the tango! | :09:58. | :09:58. | |
CHUCKLES Dancing the tango, | :09:59. | :10:01. | |
Jeremy Vine and Karen Clifton. Jeremy, you are back! I'm back | :10:02. | :10:11. | |
because I want to dance with you! Everybody is going wild in the | :10:12. | :10:19. | |
studio. Thank you! Thank you! They really | :10:20. | :12:06. | |
like it. You were the only one | :12:07. | :12:24. | |
in the studio who didn't have I'm trying to read them here. The | :12:25. | :12:27. | |
best cowboy face. Len, was that cowboy routine good, | :12:28. | :12:33. | |
bad, or ugly? What I love is there is always | :12:34. | :12:40. | |
anticipation when you come out, you don't know what to expect and there | :12:41. | :12:47. | |
you are coming out looking like Woody from Toy Story and off you go | :12:48. | :12:53. | |
and into the tango and it is wacky and fun and wild and I always loved | :12:54. | :12:56. | |
watching you. That is how the West was lost, in | :12:57. | :13:07. | |
spite of the odds, like General Custer you went for attack. It was a | :13:08. | :13:11. | |
glorious disaster. BOOING | :13:12. | :13:21. | |
Really! It's true! I don't think they agree with him, Jeremy | :13:22. | :13:22. | |
Craig, you saw an improvement last week and | :13:23. | :13:24. | |
Forrest up that was a big moment for us. Big moment for all of us. | :13:25. | :13:29. | |
It definitely had a staccato nature to it which the dance requires, it's | :13:30. | :13:39. | |
like playing the motto with you, we never know where the limb will land | :13:40. | :13:47. | |
at any time. I enjoyed your little bottom going like this as you went | :13:48. | :13:55. | |
past the desk. We must do that again! Do it again, do it again! | :13:56. | :14:02. | |
Darcey can't speak, she's laughing too much! OK! I have to compose | :14:03. | :14:12. | |
myself! Compose yourself. What is fabulous is your determination, and | :14:13. | :14:17. | |
well done for keeping a straight face all the way through, because I | :14:18. | :14:20. | |
know that is very difficult for you. And there was great improvement | :14:21. | :14:26. | |
in your topline. You get a little bit carried away. | :14:27. | :14:32. | |
APPLAUSE The frame, it is holding it until | :14:33. | :14:36. | |
the very end, and like a lot of things you get a little bit carried | :14:37. | :14:40. | |
away but I will never get bored of watching you, never, never. We all | :14:41. | :14:45. | |
love you. You are an extraordinary creature. | :14:46. | :15:07. | |
If anybody is watching at home and just wants to make this their screen | :15:08. | :15:14. | |
saver. Do that tango face for me. Like that. It's eerie and fantastic. | :15:15. | :15:21. | |
It was a great tango. How much fun have you had. You have been training | :15:22. | :15:25. | |
him, been ill and you have still done it. It's tough keeping a | :15:26. | :15:30. | |
straight face he giggles all the time. There has been a great | :15:31. | :15:38. | |
improvement. Let's not forget the horse. He was vital. | :15:39. | :15:41. | |
I don't want to nag but if you enjoyed Jeremy and Karen | :15:42. | :16:09. | |
dancing with a horse call 6 22 52 10 from your mobile, 09015 22 52 10 | :16:10. | :16:13. | |
from your landline, or vote online for free when voting opens later. | :16:14. | :16:19. | |
Guess how many people are left to dance? One. Phew. Tess. | :16:20. | :16:27. | |
Our final couple is Georgia May Foote | :16:28. | :16:29. | |
After topping the leaderboard last week, and being crowned Len's Queen | :16:30. | :16:33. | |
of Halloween, Georgia is hoping this Gypsy Kings' routine, | :16:34. | :16:35. | |
Last Saturday night was possibly the best night of my entire life. The | :16:36. | :16:54. | |
Queen of Hallowe'en. 9. We were top of the leaderboard. Yes. I could | :16:55. | :16:59. | |
leave now knowing I've done that. Hopefully we will continue each week | :17:00. | :17:03. | |
to be up there at the top. This week we have the Sam pa. What is the | :17:04. | :17:09. | |
concept this week? You pretend to be an actress. Do you miss home? I miss | :17:10. | :17:23. | |
my mum's cooking. Why we don't go on a Manchester Italy slash everything | :17:24. | :17:28. | |
tour. I can't wait. This is Old Trafford. The first thing I think of | :17:29. | :17:34. | |
when I come to Old Trafford is the colosseum. Don't you There is | :17:35. | :17:39. | |
nothing like a colosseum here. There is the Manchester Canal. Or the | :17:40. | :17:46. | |
Manchester Riviera. Where are the gondolas? What do you think that? | :17:47. | :17:53. | |
It's not really Italian. I hope the next stop will be better. Next stop. | :17:54. | :17:59. | |
Italian food here in Manchester. It's really like my mum's cooking. I | :18:00. | :18:08. | |
think our Manchester/Italian tour was perfect. Giovanni might not | :18:09. | :18:12. | |
think it, but it's certainly put me in the mood for Saturday. | :18:13. | :18:16. | |
Dancing the Samba, Georgia May Foote and Giovanni Peniche. | :18:17. | :18:18. | |
The crowd are on their feet. Well done, darling. | :18:19. | :20:12. | |
You owned the dance. APPLAUSE. | :20:13. | :20:27. | |
Enjoy it. What a Samba. Bruno, from one Italian to another. (Speaks | :20:28. | :20:37. | |
Italian) Translate! Don't you understand? Really good. Premier | :20:38. | :20:51. | |
League dancers. It had the flavour and the acceleration of a Ferrari. | :20:52. | :20:56. | |
You were, again, another outstanding performance. Tonight, you just | :20:57. | :21:01. | |
became a fantastic dancer to a level I've never seen before. You were | :21:02. | :21:06. | |
performing it like I've never seen. You were brilliant. A couple of | :21:07. | :21:11. | |
light slight losses of balance. That's the way to go. Don't hold | :21:12. | :21:15. | |
back. Never hold back. Last week, Craig, they topped the leaderboard. | :21:16. | :21:20. | |
What do you think tonight? You handled the speed of that dance so | :21:21. | :21:24. | |
well. So fast. You lost technique along the way. That happens. You | :21:25. | :21:29. | |
missed a hand over here after the promenade runs. Something went | :21:30. | :21:32. | |
wrong. What an incredible dance. Thank you. Congratulations. Thank | :21:33. | :21:38. | |
you, Craig. Darcey? Georgia, I mean both of you, you ate up that dance | :21:39. | :21:43. | |
floor. It was like a bullet coming out of a gun. It was amazing. It was | :21:44. | :21:47. | |
incredible to think that you could hold on to as much technique that | :21:48. | :21:51. | |
you did, being that speed, but fabulous. Thank you. Len? Well, I | :21:52. | :22:02. | |
don't know what coffee you were drinking it weren't decaff. You came | :22:03. | :22:07. | |
out like my favourite pizza, hot and spicy. You killed it. Well done! | :22:08. | :22:14. | |
Killed it, hot, line and sinker they fell for it. | :22:15. | :22:17. | |
Well done. What a dance. What choreography. They completely loved | :22:18. | :22:31. | |
it, didn't they Yeah, it was so fast. OK, thank you very much. Good. | :22:32. | :22:34. | |
Scores are in. Second on the leaderboard. Are you | :22:35. | :22:37. | |
happy? So happy. That's amazing. If you don't want Giovanni to | :22:38. | :23:01. | |
actually be waiting on people in a cafe next week, then call: | :23:02. | :23:05. | |
6 22 52 09 from your mobile, 09015 22 52 09 from your landline or | :23:06. | :23:08. | |
vote online Let's take a look | :23:09. | :23:10. | |
at the leaderboard. At the top, Peter and Janette. He at | :23:11. | :23:25. | |
the bottom Carol and Pasha. Remember you can change all that | :23:26. | :23:38. | |
by picking up Giovanni, I've borrowed one | :23:39. | :23:40. | |
of your friends The voting is now - get ready | :23:41. | :23:50. | |
Ricardo - OPEN. Calls cost 15p plus | :23:51. | :24:02. | |
your network's access charge. Please ask | :24:03. | :24:05. | |
the bill payer's permission. To vote online visit | :24:06. | :24:06. | |
bbc.co.uk/strictly where you'll also find terms | :24:07. | :24:07. | |
and conditions. Please don't vote | :24:08. | :24:09. | |
if you're watching on demand. To help you decide, here's a | :24:10. | :24:12. | |
reminder of tonight's performances We've seen it all - | :24:13. | :24:15. | |
a sensational Samba and, of course, the first | :24:16. | :27:11. | |
Argentine Tango of the series. Our 10 couples have dazzled us with | :27:12. | :27:13. | |
their routines and can do no more. Don't forget voting closes | :27:14. | :27:17. | |
at 8.25pm tonight, so you don't have They're all desperate to stay in the | :27:18. | :27:21. | |
competition, but sadly two couples will have to face the Dance | :27:22. | :27:27. | |
Off in tomorrow night's Results show at 7.15pm, and one couple will be | :27:28. | :27:30. | |
leaving Strictly Come Dancing! We also have a very special | :27:31. | :27:33. | |
Remembrance Day routine from our brilliant professional | :27:34. | :27:35. | |
dancers and a performance from the one and only Seal, who'll | :27:36. | :27:37. | |
be singing his new single, right For all that make sure you tune | :27:38. | :27:40. | |
in at 7.15pm. Come on! Stop causing friction. | :27:41. | :28:07. | |
We're trying to move on. | :28:08. | :28:11. |