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This week on Strictly, with six couples remaining, and the | 0:00:01 | 0:00:06 | |
competition tougher than it's ever been, as the workload intensified | 0:00:07 | 0:00:09 | |
its all about the steps, the technique, and the flower. One | 0:00:10 | 0:00:13 | |
celebrity, one professional, one training room. Were going to stay | 0:00:14 | 0:00:20 | |
here for as many hours as is needed. There will be no room for error. The | 0:00:21 | 0:00:25 | |
toughest week yet. One dance was hard enough, but now we've got to | 0:00:26 | 0:00:32 | |
learn two. No looking back. I hope this training pays off. And the one | 0:00:33 | 0:00:37 | |
celebrity, nope strictly future. Anyone could be going home. It's | 0:00:38 | 0:00:43 | |
terrifying. We have to get it right. Nobody is safe. | 0:00:44 | 0:01:30 | |
Live from the BBC, this is Strictly Come Dancing! | 0:01:31 | 0:01:34 | |
It's Saturday night and we're live from the Strictly ballroom! | 0:01:35 | 0:02:06 | |
We've just about recovered from last week's Blackpool special, where | 0:02:07 | 0:02:09 | |
sadly it was fifth time unlucky for Jamelia and Tristan and their | 0:02:10 | 0:02:13 | |
We're now left with seven celebrities who have had seven days | 0:02:14 | 0:02:20 | |
not only to learn a brand new routine, | 0:02:21 | 0:02:22 | |
but also to prepare themselves for tonight's Quickstepathon! | 0:02:23 | 0:02:26 | |
Yes, seven couples, 28 elbows, legs and hands, all flying around | 0:02:27 | 0:02:29 | |
And with so much ballroom business to get through we need the help | 0:02:30 | 0:02:38 | |
of our awesome foursome - please welcome the Judges! | 0:02:39 | 0:02:44 | |
Our couples are all backstage and with double the dances, they're | 0:02:45 | 0:03:19 | |
EastEnders actress Kellie Bright, and her partner Kevin Clifton. | 0:03:20 | 0:03:33 | |
TV presenter Anita Rani, and her partner Gleb Savchenko. | 0:03:34 | 0:03:38 | |
From BBC Proms and Radio 3, presenter Katie Derham, | 0:03:39 | 0:03:40 | |
Star of Call The Midwife, Helen George, | 0:03:41 | 0:03:45 | |
Actress Georgia May Foote, and her partner Giovanni Pernice. | 0:03:46 | 0:03:51 | |
Singer and TV personality Peter Andre, | 0:03:52 | 0:03:54 | |
And finally from the Wanted, pop star Jay McGuiness, | 0:03:55 | 0:04:00 | |
There they all are - our sensational seven. | 0:04:01 | 0:04:20 | |
All of them have been in the top two of the leaderboard, all of | 0:04:21 | 0:04:23 | |
Dancing first tonight is Kellie Bright and her partner | 0:04:24 | 0:04:34 | |
Last week Kellie scored her first ten. | 0:04:35 | 0:04:41 | |
Tonight, they're dancing a salsa to a classic | 0:04:42 | 0:04:44 | |
from the Jackson 5, and they're really hoping the Judges will say | 0:04:45 | 0:04:47 | |
Blackpool was honestly one of the best nights ever. I loved it so | 0:04:48 | 0:05:03 | |
much. You might have noticed! Tight, clean, I loved it. | 0:05:04 | 0:05:11 | |
CHEERING AND APPLAUSE Honestly, the utter amazement that | 0:05:12 | 0:05:14 | |
we get to stay each week is just brilliant. | 0:05:15 | 0:05:20 | |
This week, Kevin Clifton and I are doing a salsa. We've got the | 0:05:21 | 0:05:28 | |
quickstep to prepare as well, so I don't know how we're going to make | 0:05:29 | 0:05:33 | |
it work. I'm nearly 40, and throwing myself around like a teenager! Every | 0:05:34 | 0:05:39 | |
muscle hurts, all down the top of my back is on fire. The hardest routine | 0:05:40 | 0:05:43 | |
I've ever done. Great, just finished a full day of training. My body | 0:05:44 | 0:05:50 | |
feels broken. I'm now already on my way to rehearsal. I haven't stopped | 0:05:51 | 0:05:57 | |
thinking about the routine and the lifts. There's a drop that we do | 0:05:58 | 0:06:01 | |
which I don't think there's ever been done before on strictly. I've | 0:06:02 | 0:06:05 | |
never seen anything like it. If we get this even a millimetre wrong, | 0:06:06 | 0:06:10 | |
she could end up with a broken nose, like that. I'm worried about the | 0:06:11 | 0:06:16 | |
lifts. If we pull it off, it will be amazing. That's the case with the | 0:06:17 | 0:06:21 | |
whole routine, if we don't, it will be awful. | 0:06:22 | 0:06:29 | |
Dancing the Salsa, Kellie Bright and Kevin | 0:06:30 | 0:06:31 | |
CHEERING AND APPLAUSE Oh, yes! I know you are so pleased | 0:06:32 | 0:08:21 | |
with yourself! You survived those lifts! I'm so relieved. That was | 0:08:22 | 0:08:28 | |
absolutely brilliant. Before we hear from the judges, get your breath | 0:08:29 | 0:08:32 | |
back. That's welcome our brilliant lights thing is, Hayley, Patrick, | 0:08:33 | 0:08:38 | |
Andrea, Tommy, and of course the live orchestra. | 0:08:39 | 0:08:41 | |
Len, pressure is on tonight, they've had to master two dances. | 0:08:42 | 0:08:44 | |
I'm going to put it into text talks, G, R, eight. Now you were like two | 0:08:45 | 0:09:01 | |
sizzling sausages on a barred the queue, hot, rhythm, your bomb was | 0:09:02 | 0:09:07 | |
bionic, coming out of your special lift was a bit wobbly but other than | 0:09:08 | 0:09:11 | |
that I saw nothing but fabulous. CHEERING AND APPLAUSE | 0:09:12 | 0:09:17 | |
And the bionic bottom! You scored them ten last week, how did that | 0:09:18 | 0:09:25 | |
compare? The first of the magnificent seven has started | 0:09:26 | 0:09:27 | |
beautifully, this evening. It could not have started better. You were | 0:09:28 | 0:09:33 | |
flying, you are like two courting fireflies, all over the place, | 0:09:34 | 0:09:37 | |
extremely fast, extremely difficult, all the steps you put in, I don't | 0:09:38 | 0:09:40 | |
know how you managed to deliver them. Just a tiny tiny dismount, | 0:09:41 | 0:09:46 | |
overall though, great. CHEERING AND APPLAUSE | 0:09:47 | 0:09:54 | |
Very good. Craig. I quite liked the Joan Collins stroppy opening, | 0:09:55 | 0:10:00 | |
throwing the drink over them, great hits, fantastic energy, you always | 0:10:01 | 0:10:04 | |
bring that to the States, which I absolutely love. It did lose a bit | 0:10:05 | 0:10:10 | |
of ability in and out of the lifts, but apart from that, absolutely | 0:10:11 | 0:10:16 | |
great. Those lifts are so daring. Darcey, what did you think? It's | 0:10:17 | 0:10:21 | |
true what the boys were saying about the lifts, they are difficult and | 0:10:22 | 0:10:24 | |
it's another skill to have. You asked at such a strong dancer and | 0:10:25 | 0:10:29 | |
you are putting too much effort into it. Get him to do all the work! It's | 0:10:30 | 0:10:34 | |
funny, because you are strong and I continue going for it and you throw | 0:10:35 | 0:10:38 | |
him and it's such a thing to have experienced but I have to say you | 0:10:39 | 0:10:42 | |
pulled off the rest of the dance. I loved how you flirted with him until | 0:10:43 | 0:10:46 | |
the end, very nice. CHEERING AND APPLAUSE | 0:10:47 | 0:10:50 | |
Unanimous from the judges, what a strong start. Take your bionic | 0:10:51 | 0:10:54 | |
bottom upstairs, carry on the party, Claudia, off you go. | 0:10:55 | 0:10:56 | |
CHEERING AND APPLAUSE I didn't fall over! You said this | 0:10:57 | 0:11:12 | |
could either go either really well or terribly wrong committee said it | 0:11:13 | 0:11:15 | |
is the hardest dance you've ever done. All credit to Kellie, it's not | 0:11:16 | 0:11:20 | |
very often we get through this whole routine without going wrong and I | 0:11:21 | 0:11:23 | |
kept saying, shall we simplify the bit and Kellie said no, I really | 0:11:24 | 0:11:28 | |
want to do it and get it right she blogs about it. You must have loved | 0:11:29 | 0:11:33 | |
the judges' comments, sizzling sausages. Bionic bum and sizzling | 0:11:34 | 0:11:44 | |
sausages! This has been our most exhausting routine yet, I've never | 0:11:45 | 0:11:48 | |
done lifts before so trying to find a lift that works for us, we changed | 0:11:49 | 0:11:53 | |
it halfway through the week, but I loved it. The scores are end. | 0:11:54 | 0:12:00 | |
You must be over the moon? Three less than last week and also I could | 0:12:01 | 0:12:22 | |
see you when you got the eights, I'm happy with that. If you enjoyed | 0:12:23 | 0:12:27 | |
seeing them argue over a text message, let's be honest, we have | 0:12:28 | 0:12:28 | |
all done it. Call: Later, we have the Quickstepathon | 0:12:29 | 0:12:42 | |
which involves all the couples dancing at the same time. It's time | 0:12:43 | 0:12:46 | |
for a TV first, this is the terms and conditions athon. | 0:12:47 | 0:13:11 | |
Voting won't open until after the Quickstepathon. Your vote won't | 0:13:12 | 0:13:17 | |
count and you may still be charged. Thank you. Tests. -- test. | 0:13:18 | 0:13:24 | |
Our next couple is Katie Derham and her partner Anton Du Beke. | 0:13:25 | 0:13:27 | |
They're doing the Argentine tango. | 0:13:28 | 0:13:30 | |
It's a dance where a lot of attention is on the legs. | 0:13:31 | 0:13:33 | |
Mind you, with legs like Katie's, whenever she dances, there's lot | 0:13:34 | 0:13:36 | |
Dancing the Argentine tango, Katie Derham and Anton Du Beke. | 0:13:37 | 0:13:50 | |
Dancing with Anton was pretty special. It was your best dance. | 0:13:51 | 0:13:57 | |
That's nearly 40 four stop I'm going to call it 40, because I don't know | 0:13:58 | 0:14:02 | |
what's that like. It was fantastic to get a score like that in | 0:14:03 | 0:14:06 | |
Blackpool, doing a dance I loved. Job done. Step and step. The | 0:14:07 | 0:14:11 | |
Argentine tango, there's a lot of impressive kicks and flicks and | 0:14:12 | 0:14:15 | |
sliding the feet up and down your legs, his legs. So far I've been | 0:14:16 | 0:14:19 | |
mostly kicking myself. This time I was doing a scissor kick and scissor | 0:14:20 | 0:14:26 | |
kicked my foot. It looks like it's done. Made me sore. I have been | 0:14:27 | 0:14:31 | |
putting the hours in nobody said it would be a walk in the park. We have | 0:14:32 | 0:14:36 | |
to find as much time as we can rehearsals. That's it, we've had our | 0:14:37 | 0:14:41 | |
training for today. Anton, I have to get this right. I'm sorry. Next time | 0:14:42 | 0:14:46 | |
we do this, we will be in the studio. Scary. I can practice at | 0:14:47 | 0:14:50 | |
home and I will, no question about that. It always feels so much more | 0:14:51 | 0:14:58 | |
real rehearsing in this studio. Now I just want I hope that on Saturday | 0:14:59 | 0:15:02 | |
night we can do a really great job in front of the audience. | 0:15:03 | 0:15:05 | |
Dancing the Argentine tango, Katie Derham and Anton Du Beke. | 0:15:06 | 0:15:09 | |
CHEERING AND APPLAUSE Gorgeous. Putting those | 0:15:10 | 0:17:05 | |
legs to good use. Bruno, did that ignite your passion? Drop dead | 0:17:06 | 0:17:16 | |
gorgeous. A high-class court San, with an irresistible appeal in the | 0:17:17 | 0:17:22 | |
body of evidence. You can't afford it Anton. She's going to run rings | 0:17:23 | 0:17:26 | |
around you. The lines you've done tonight are some of the best you've | 0:17:27 | 0:17:30 | |
ever done. Really. But you've got the legs for it. Beautifully | 0:17:31 | 0:17:36 | |
choreographed routine. It showed off your best quality, your legs. A | 0:17:37 | 0:17:40 | |
couple of things, just the hooks, a bit sharper. It's like kicking | 0:17:41 | 0:17:44 | |
somebody in the bum, it has to have that action and retraction. That's | 0:17:45 | 0:17:47 | |
the only thing I could see that could be improved upon. | 0:17:48 | 0:17:57 | |
Craig? Yes, he's I ring about the ganchos they need to bounce off | 0:17:58 | 0:18:01 | |
Anton's inner thighs. You need to explore that a bit more. You can | 0:18:02 | 0:18:06 | |
afford to... Erm...... Turn your foot out in lunges just a fraction. | 0:18:07 | 0:18:11 | |
They're a bit turned in. You were reacting a little late to Anton's | 0:18:12 | 0:18:16 | |
leads, which would just make you go up. You wobbled out of that spin as | 0:18:17 | 0:18:22 | |
well. You lost your balance and picking your feet up too much. Apart | 0:18:23 | 0:18:25 | |
from that, darling, it was wonderful. | 0:18:26 | 0:18:31 | |
Ended on a high. Darcey could these lovely legs take Katie to the | 0:18:32 | 0:18:34 | |
quarter finals? I think so definitely. You are very beautiful. | 0:18:35 | 0:18:38 | |
It's the impact you make as soon as you come on the dance floor. The | 0:18:39 | 0:18:42 | |
difficulty and complexity of this dance is how hard it is for, | 0:18:43 | 0:18:47 | |
especially the woman, to be able to feel in control and I did feel that | 0:18:48 | 0:18:52 | |
the clarity is still missing, you know? You know what it is, it's | 0:18:53 | 0:18:55 | |
trying to exaggerate the still moments. So after you've done a | 0:18:56 | 0:19:00 | |
flick, I don't need to still shaking. That's when I feel unsure. | 0:19:01 | 0:19:04 | |
The improvement you made, the intent and work, I can see, has gone in. | 0:19:05 | 0:19:07 | |
Well done E -- well done. Len, last week, you | 0:19:08 | 0:19:14 | |
said that Katie had her best dance yet. How did this compare? Well, | 0:19:15 | 0:19:19 | |
there's no doubt about it, it was a fantastic dance. The amount of work | 0:19:20 | 0:19:24 | |
that went into that and the cleverness of the choreography and | 0:19:25 | 0:19:28 | |
the foot work was wonderful. What, for me, was lacking a little bit, it | 0:19:29 | 0:19:33 | |
lacked, on occasions, a little bit of compact. It was a little bit | 0:19:34 | 0:19:47 | |
open. I wasn't really transported to the quayside at Argentina. I nearly | 0:19:48 | 0:19:52 | |
brought a hard hat in tonight and I wish I had now! Overall, a great | 0:19:53 | 0:19:57 | |
job. Well done. Overall great comments from all four | 0:19:58 | 0:20:01 | |
judges. Thank you judges. Walk those legs up to Claudia. Well done, Katie | 0:20:02 | 0:20:03 | |
and Anton! APPLAUSE | 0:20:04 | 0:20:17 | |
Absolutely nuts for it up here. Hola. You wanted to be part of this | 0:20:18 | 0:20:25 | |
whole thing so you could do the Argentine tango. Fact. Was it | 0:20:26 | 0:20:28 | |
everything you wanted it to be? I loved it. This is such a beautiful, | 0:20:29 | 0:20:32 | |
dramatic dance. We've had a great week learning it. I loved performing | 0:20:33 | 0:20:39 | |
it. Bruno says the best line he's seen you provide in the competition. | 0:20:40 | 0:20:42 | |
That's a very nice thing to hear. Excellent lines. Anton, did you ever | 0:20:43 | 0:20:48 | |
think you would stay in long enough to do an Argentine tango? Oh, aren't | 0:20:49 | 0:20:53 | |
you just... We're all surprised. The scores are in: | 0:20:54 | 0:21:13 | |
That's a good score. Not quite as high as last week, but still... | 0:21:14 | 0:21:22 | |
Thafrz OK. That's OK. If you were hooked by Katie's leg wraps, please | 0:21:23 | 0:21:30 | |
call: or vote online when the vote opens later. I know you're reading | 0:21:31 | 0:21:37 | |
and all that. Lots of 30s. Yeah, you're happy? He's over the moon. | 0:21:38 | 0:21:42 | |
Still to come Peter Andre gets out his cupcakes. Don't worry, that | 0:21:43 | 0:21:45 | |
isn't code. Our next couple is Helen George | 0:21:46 | 0:21:46 | |
and her partner Aljaz Skorjanec. They're doing a Viennese waltz, and | 0:21:47 | 0:21:49 | |
Helen is playing the part of a woman Don't tell me Aljaz is still up | 0:21:50 | 0:21:56 | |
in Blackpool. Last Saturday's show was incredible. | 0:21:57 | 0:22:15 | |
It was our most theatrical dance. It needed to be messed up a little bit. | 0:22:16 | 0:22:19 | |
I'm a little bit embarrassed that I got emotional. I wanted them to | 0:22:20 | 0:22:24 | |
enjoy the dance. But there are worse things that can happen. This week, | 0:22:25 | 0:22:28 | |
we're doing a beautiful Viennese waltz. The judges are definitely | 0:22:29 | 0:22:31 | |
going to be looking for perfection. I think we have a lot of work to do. | 0:22:32 | 0:22:43 | |
No pressure. No pressure. Don't change your posture for a | 0:22:44 | 0:22:47 | |
second. Sometimes I have off days, but today is an off day. We're | 0:22:48 | 0:22:54 | |
struggling a bit. It's very traditional. Natural turns. Keep | 0:22:55 | 0:23:00 | |
this shoulder down. Reverse turns. Wow, I've forgotten it all. The | 0:23:01 | 0:23:06 | |
Viennese waltz is not as easy as I thought. I've lost my confidence a | 0:23:07 | 0:23:09 | |
bit. Talk me through it before we do it. I keep tripping up. I've been | 0:23:10 | 0:23:13 | |
putting too much pressure on myself. It's the pressure of wanting to do a | 0:23:14 | 0:23:17 | |
good job for Aljaz. You don't want to put that person down. I can see | 0:23:18 | 0:23:22 | |
his face getting disappointed when I'm not doing the hold. It's the | 0:23:23 | 0:23:25 | |
worst thing in the world. I'm going to go out there on Saturday night, | 0:23:26 | 0:23:31 | |
having worked hard all work and do well for Aljaz and impress the | 0:23:32 | 0:23:32 | |
judges and the audience. Dancing the Viennese waltz, | 0:23:33 | 0:23:36 | |
Helen George and Aljaz Skorjanec. CHEERING AND | 0:23:37 | 0:25:31 | |
APPLAUSE Exquisite! Beautiful. Thank you. Goose bumps then. Thank you. | 0:25:32 | 0:25:38 | |
Gorgeous. That looking perfect from where I was standing. Let's ask the | 0:25:39 | 0:25:42 | |
experts. Craig, you were critical last week. Was this week better? | 0:25:43 | 0:25:48 | |
Yeah, a lot better actually. Beautiful rotation around the floor. | 0:25:49 | 0:25:51 | |
Lovely movement across the floor. The story telling, I have to say, | 0:25:52 | 0:25:56 | |
was absolutely excellent - in and out of hold. Normally when you go | 0:25:57 | 0:26:00 | |
back in hold the story's lost. You maintained it all the way through. | 0:26:01 | 0:26:08 | |
It was absolutely gorgeous. Darcey, you look enraptured | 0:26:09 | 0:26:11 | |
throughout that. It was like being in your dream. I have to say, you | 0:26:12 | 0:26:18 | |
are such a treasure to watch. Together, that close to perfection. | 0:26:19 | 0:26:27 | |
The details, the feeling, the gliding, how you use the floor. You | 0:26:28 | 0:26:32 | |
know, the story did not stop for me, thank you. I loved it. | 0:26:33 | 0:26:40 | |
Len, you're smiling. Tickle my bum and call me Donald. Honestly! | 0:26:41 | 0:26:48 | |
Dancing is a marriage between music and movement. This was a match made | 0:26:49 | 0:26:57 | |
in heaven. Wofrl. -- wonderful. Bruno, make it a full house. I'm | 0:26:58 | 0:27:03 | |
charmed to the core with this dance. Everything came together perfectly. | 0:27:04 | 0:27:08 | |
The sweeping movement, but above all, it's the lightness of the foot | 0:27:09 | 0:27:13 | |
work, it really looked weightless, as if you were dancing on a cloud. | 0:27:14 | 0:27:17 | |
It just had a quality that you've never actually achieved this season. | 0:27:18 | 0:27:20 | |
This is your breakthrough dance, my darling. | 0:27:21 | 0:28:14 | |
I wanted him to be proud, of course. This was beautiful. You haven't had | 0:28:15 | 0:28:25 | |
a ten yet. Would you like one? Well, you know, it would be nice. Let's | 0:28:26 | 0:28:32 | |
see, the scores are in. The judges have their scores. | 0:28:33 | 0:28:39 | |
You wait for one and three,! That's joint top of the series. Oh, my | 0:28:40 | 0:29:09 | |
goodness, that's amazing. Thank you so much. If you don't want to see | 0:29:10 | 0:29:13 | |
Helen in tomorrow night's Dance Off, which will be straight after you see | 0:29:14 | 0:29:17 | |
that gramophone on the antiques road show, please call: | 0:29:18 | 0:29:28 | |
You are shaking. In a good way! Three couples have danced, but we | 0:29:29 | 0:29:38 | |
still have all of this to come. At this point I feel what the tango is. | 0:29:39 | 0:29:43 | |
I don't necessarily do it all the time but I'm finally getting the | 0:29:44 | 0:29:50 | |
vibe. What did I do, what did I do? We're trying to get an American | 0:29:51 | 0:29:54 | |
Smooth, it's still a bit of an Aussie rough. All I can think is I | 0:29:55 | 0:30:01 | |
looked like a sausage, rolling down his leg like a sausage roll. Two, | 0:30:02 | 0:30:08 | |
three and four. When I'm learning I have to pretend to Gleb that I know | 0:30:09 | 0:30:12 | |
what I'm doing even though I haven't got a clue. | 0:30:13 | 0:30:17 | |
CHEERING AND APPLAUSE I'm looking forward to the | 0:30:18 | 0:30:20 | |
Quickstepathon, it's going to be really exciting. I know how to make | 0:30:21 | 0:30:27 | |
it even more exciting, Tess. How? Marbles. | 0:30:28 | 0:30:31 | |
Our next couple is Jay McGuiness and his partner Aliona Vilani. | 0:30:32 | 0:30:34 | |
Their routine tonight is full of drama and intensity, and at this | 0:30:35 | 0:30:37 | |
stage of the competition, nothing less than 100% commitment will do. | 0:30:38 | 0:30:40 | |
It's time for Jay to put the "go" into "tango". | 0:30:41 | 0:30:49 | |
Don't worry, Jay, we will clearly is up for your! Claudia, behave! Last | 0:30:50 | 0:31:00 | |
Saturday our salsa performance was Cuba seemed and it went pretty well. | 0:31:01 | 0:31:07 | |
# the way you make me feel #. Finally, we are seeing some facial | 0:31:08 | 0:31:13 | |
expression. It's setting a precedent as opposed to being a blip. Your | 0:31:14 | 0:31:18 | |
natural hit action, the isolation was all there there, it was | 0:31:19 | 0:31:23 | |
fantastic. You go over the technique with a fine tooth comb, so that is | 0:31:24 | 0:31:30 | |
like gold. This week, we are doing the tango to Prince's when doves | 0:31:31 | 0:31:34 | |
cry. Isle of Dogs the song so much. I'm excited to see what the end | 0:31:35 | 0:31:38 | |
result is going to look like -- I love the song so much. Every week is | 0:31:39 | 0:31:44 | |
the Fayoum process, the way I teach Jay. I'd try to figure out how I | 0:31:45 | 0:31:49 | |
want things to look. When it's formed, she will show me my moves | 0:31:50 | 0:31:54 | |
and I will copy all the things she's doing. But worse! And then, she will | 0:31:55 | 0:32:01 | |
work on placement. Because inevitably, everything is in the | 0:32:02 | 0:32:04 | |
wrong place. Then with music, dancing is better. I'm absolutely | 0:32:05 | 0:32:10 | |
love learning the tango this week, now I hope all the jigsaw pieces | 0:32:11 | 0:32:13 | |
come together nicely and I perform well this Saturday night. | 0:32:14 | 0:32:16 | |
Dancing the Tango, Jay McGuiness and Aliona Vilani. | 0:32:17 | 0:32:21 | |
What about that, ladies and gentlemen? What a reaction! | 0:32:22 | 0:34:21 | |
Listen to that! I think they liked it. The intensity between these two | 0:34:22 | 0:34:31 | |
is like nobody else was in the room. Loved it. Darcey, takes two | 0:34:32 | 0:34:36 | |
the tango. What do you think of their relationship on the floor? Oh, | 0:34:37 | 0:34:47 | |
my, I... She's overcome, she has no words. You know, there was | 0:34:48 | 0:34:50 | |
something, you were just working as one. You know, the music... The | 0:34:51 | 0:34:55 | |
music, how you were using that music how you both hearing it, it was | 0:34:56 | 0:35:02 | |
superb. I mean, just the delivery of the steps. | 0:35:03 | 0:35:07 | |
CHEERING AND APPLAUSE The position, it was all there. But | 0:35:08 | 0:35:11 | |
what I really liked is how modern the use of the choreography, the | 0:35:12 | 0:35:14 | |
approach you gave, that intensity was all there. That was my favourite | 0:35:15 | 0:35:28 | |
dance. Lennon? -- Lens-macro? UMIST missed more two of your leads. I do | 0:35:29 | 0:35:37 | |
look at the feet. You were like a chest master, you plotted your way | 0:35:38 | 0:35:40 | |
around that floor. Every move carefully placed -- chess master. | 0:35:41 | 0:35:45 | |
That was a mango of eight tango, delicious. He loved it. Bruno, you | 0:35:46 | 0:35:54 | |
are a very passionate guy. Did it get your blood pumping? It's boiling | 0:35:55 | 0:36:00 | |
over with delight! Is Jay a match show on a mission? So strong, so | 0:36:01 | 0:36:05 | |
compelling, so focused, but there's one thing you do which is | 0:36:06 | 0:36:09 | |
incredible. You have the ability of splitting the musical beat right in | 0:36:10 | 0:36:13 | |
the centre. You never under, you are never over, you are always on it, | 0:36:14 | 0:36:18 | |
and you do it your body in a way that I find brilliant. I love to see | 0:36:19 | 0:36:22 | |
that. That is what makes a great dancer. It just thrills me, to seize | 0:36:23 | 0:36:30 | |
the way doodads. Were you thrilled with his tango face, Craig? You hear | 0:36:31 | 0:36:35 | |
the music and that's what I adore about you and it's true, Bruno, you | 0:36:36 | 0:36:40 | |
hear it, you were clean, its sharp, its staccato, I wasn't too fond of | 0:36:41 | 0:36:45 | |
the hitch kick you did but that's personal taste, personal takes. But | 0:36:46 | 0:36:49 | |
I absolutely adored it. CHEERING AND APPLAUSE | 0:36:50 | 0:36:55 | |
They all adored it, so did we. Brilliant, brilliant, off you go. | 0:36:56 | 0:36:59 | |
Jay and Aliona, let's hear it. CHEERING AND APPLAUSE | 0:37:00 | 0:37:11 | |
Congratulations, the judges were saying the way you listened to the | 0:37:12 | 0:37:17 | |
music because Aliona, as a choreographer, you don't let him | 0:37:18 | 0:37:21 | |
listen to the music for the first two days of training, is that true? | 0:37:22 | 0:37:26 | |
The first day, then we go into the music very much. Did you enjoy | 0:37:27 | 0:37:32 | |
that? That song was awesome. The choreography was hard but I loved | 0:37:33 | 0:37:35 | |
every second. I'm lost for words. The scores are in. The scores are | 0:37:36 | 0:37:39 | |
in. 38, that is the highest score, you | 0:37:40 | 0:38:04 | |
were... Are you happy? So happy, yes. If you enjoyed that routine and | 0:38:05 | 0:38:10 | |
don't want these two does the cry, call: | 0:38:11 | 0:38:17 | |
Still to come, three words, Anita, Gleb, Rumba. I know, and a fourth | 0:38:18 | 0:38:24 | |
word, Tess. Our next couple is Peter Andre | 0:38:25 | 0:38:27 | |
and his partner Janette Manrara. They're doing an American | 0:38:28 | 0:38:29 | |
smooth, set in a bakery. They're even going to have lots | 0:38:30 | 0:38:32 | |
of real yummy cup cakes Let's make no mistake. I deserved to | 0:38:33 | 0:38:53 | |
be in the bottom two. Peter and Janette. You go out there, you do | 0:38:54 | 0:38:57 | |
it, you enjoy the performance, but we've got to understand that there | 0:38:58 | 0:39:01 | |
are highs and lows. Peter and Janette to stay on strictly. It's | 0:39:02 | 0:39:05 | |
BNR eye-opener for me, you never know what's going to happen now. I | 0:39:06 | 0:39:11 | |
know we had a rough week at Blackpool, but this week, we're | 0:39:12 | 0:39:15 | |
doing and American Smooth. It's hard to do a week like that but I'm still | 0:39:16 | 0:39:20 | |
here, so yes, American Smooth sounds good. It's set in a bakery and I | 0:39:21 | 0:39:26 | |
thought the lift your spirits, cupcakes. You can only have it if | 0:39:27 | 0:39:32 | |
you work hard in rehearsal. Promise. So I did lose a bit of confidence | 0:39:33 | 0:39:36 | |
after the weekend. I'm just having this mental block. I have to push | 0:39:37 | 0:39:43 | |
you. Of course. Don't stress. I'm trying to snap out of it, just a | 0:39:44 | 0:39:48 | |
matter of me believing it. He's working hard this week. I can do | 0:39:49 | 0:39:56 | |
this. Much better, you see? We need a fight attitude about him so he | 0:39:57 | 0:40:01 | |
stays in the competition. If I hold my posture and do the lifts | 0:40:02 | 0:40:05 | |
correctly, if I get the quickstep correct... That was so smooth, you | 0:40:06 | 0:40:10 | |
can do this. Then I will be really happy. | 0:40:11 | 0:40:12 | |
Dancing the American smooth, Peter Andre and Janette Manrara. | 0:40:13 | 0:40:17 | |
CHEERING AND APPLAUSE So you did! Thank you. Get it off | 0:40:18 | 0:42:13 | |
your nose! Well done, my darling. I think I'll give it a miss, thanks. | 0:42:14 | 0:42:17 | |
You two looked good enough to eat. Thank you, Janette, she's been so | 0:42:18 | 0:42:24 | |
good to me this week. You two are great partnership. Len, did it leave | 0:42:25 | 0:42:30 | |
you hungry for more? Two things Peter, that the ladies love, | 0:42:31 | 0:42:35 | |
cupcakes and Peter. What I love about your dancing, it was joyful. | 0:42:36 | 0:42:40 | |
It made you feel good. The music was great, your performance was really | 0:42:41 | 0:42:43 | |
good, especially out of hole. In hold, it got a bit crunchy but I | 0:42:44 | 0:42:51 | |
just enjoyed watching the pair rock you dance, so well done for that. | 0:42:52 | 0:42:59 | |
Thank you. He always gives 110%, Peter. Did it show tonight? Of | 0:43:00 | 0:43:05 | |
course, it was so sweet, I got a sugar rush. You were like two kids | 0:43:06 | 0:43:08 | |
in a candy store and you always interpret. You have a knack of | 0:43:09 | 0:43:13 | |
interpreting the theme that has been given to you, after our comments in | 0:43:14 | 0:43:17 | |
the first few weeks. Now, you are really embracing that which is good. | 0:43:18 | 0:43:20 | |
It's called American Smooth. It requires with all of that playacting | 0:43:21 | 0:43:25 | |
to maintain smoothness throughout, not just side-by-side. As Len said | 0:43:26 | 0:43:31 | |
everything has to flow, especially in hold. Don't start getting | 0:43:32 | 0:43:35 | |
overexcited because then what happens, all of this part goes off a | 0:43:36 | 0:43:40 | |
little bit. That is my comment. Otherwise, the performance was | 0:43:41 | 0:43:46 | |
great. Craig? I wouldn't like to have seen -- I would like to have | 0:43:47 | 0:43:50 | |
seen longer lines, particularly in small details. When you are putting | 0:43:51 | 0:43:54 | |
the cupcake down, you don't throw it, you have to dance that moment. | 0:43:55 | 0:43:58 | |
You have to dance it through, you can't just throw it on the table. He | 0:43:59 | 0:44:05 | |
didn't throw it! Then take bigger steps, darling! A little swing, a | 0:44:06 | 0:44:11 | |
little sway in hold, but you know what, Peter, I love your | 0:44:12 | 0:44:15 | |
performance. Your performance skills are absolutely brilliant. | 0:44:16 | 0:44:20 | |
CHEERING AND APPLAUSE Darcey, Dance Off last week, was he | 0:44:21 | 0:44:25 | |
better this week? It certainly was. I know how difficult it is to come | 0:44:26 | 0:44:30 | |
out of a Dance Off and have that confidence to get back on and you | 0:44:31 | 0:44:34 | |
can see you have worked very hard and you have worked in very hard. | 0:44:35 | 0:44:39 | |
Well done. Your charm, the storytelling, it was sweet, it was | 0:44:40 | 0:44:43 | |
lovely, it carried all the way through. There was a very impressive | 0:44:44 | 0:44:47 | |
one-handed lift aren't you held it here. All of those things, always | 0:44:48 | 0:44:56 | |
added details, I saw that. It looked careful in places. That would be the | 0:44:57 | 0:44:59 | |
only thing. I thought you were holding back. You are normally more | 0:45:00 | 0:45:04 | |
natural and relaxed but you were a bit careful, but still a very | 0:45:05 | 0:45:09 | |
impressive performance. Off you go, thank you so much, Peter. And Jenas. | 0:45:10 | 0:45:11 | |
CHEERING AND APPLAUSE Thank you very much. Cream has gone. | 0:45:12 | 0:45:27 | |
I know you were nervous about the lifts. I'm not going to lie, this is | 0:45:28 | 0:45:33 | |
the most nervous I've ever been, ever! I've been shaking all day. She | 0:45:34 | 0:45:37 | |
said just snap out of it. I'm still nervous. Yeah, you know, I needed to | 0:45:38 | 0:45:43 | |
work hard. I needed to work hard. He needs a cuddle. You pushed him hard. | 0:45:44 | 0:45:48 | |
It's a delicate line with us pros. We want to encourage them to be the | 0:45:49 | 0:45:52 | |
best they can be and push them but still stay positive and happy about | 0:45:53 | 0:45:56 | |
it. I think we got there this week. You worked so hard. I'm so proud of | 0:45:57 | 0:46:00 | |
you. Thank you. Thank you. The scores are in: | 0:46:01 | 0:46:19 | |
31, yeah? Higher than last week. Now if you want our baker -- if you | 0:46:20 | 0:46:27 | |
don't want our baker to be whisked out of the competition, please call: | 0:46:28 | 0:46:35 | |
or vote online when the vote opens later. It's the yeast you can do! | 0:46:36 | 0:46:41 | |
Still to come - Georgia and Giovanni are rockers. That's the musical | 0:46:42 | 0:46:45 | |
sort. Not a pair of comfortable chairs. | 0:46:46 | 0:46:47 | |
Our next couple is Anita Rani and her partner Gleb Savchenko. | 0:46:48 | 0:46:52 | |
This week they're doing a rumba, the dance of love. | 0:46:53 | 0:46:57 | |
And, as Gleb is such a hard taskmaster, | 0:46:58 | 0:47:00 | |
he made Anita practise all the romantic moves again and again | 0:47:01 | 0:47:03 | |
Performing my paso on Saturday was like an out of body experience. | 0:47:04 | 0:47:19 | |
Performing in that place was so awesome. The reaction I got, that | 0:47:20 | 0:47:23 | |
standing ovation that seemed to go on for ages. A ten from Darcey! I'm | 0:47:24 | 0:47:29 | |
totally overwhelmed. There are only seven couples left in the | 0:47:30 | 0:47:32 | |
competition. Everybody is good. The pressure is definitely on. This week | 0:47:33 | 0:47:39 | |
is rumba. It's difficult because it's really different to the paso. I | 0:47:40 | 0:47:45 | |
have to be sensual, sexual. It's the dance of love. No, make it pretty, | 0:47:46 | 0:47:49 | |
not ugly I need to find that person in me. It's very exposing. A little | 0:47:50 | 0:47:54 | |
bit more relaxed, not so tight. I need to get over that. | 0:47:55 | 0:48:00 | |
The rumba is the hottest dance of all the dances. She just needs to | 0:48:01 | 0:48:05 | |
let it go. I'm thinking about the arms. I whole dance is not | 0:48:06 | 0:48:11 | |
comfortable for me at the moment. It's OK. | 0:48:12 | 0:48:14 | |
I don't really see myself as that kind of woman. | 0:48:15 | 0:48:18 | |
Do I move my hips or my knee? What's happening here? You have to not just | 0:48:19 | 0:48:25 | |
do steps, but start feeling. I don't understand what my body's meant to | 0:48:26 | 0:48:28 | |
be doing. On the dance floor Saturday night I need to bring that | 0:48:29 | 0:48:30 | |
sexy, passionate woman to the rumba. Dancing the rumba, | 0:48:31 | 0:48:34 | |
Anita Rani and Gleb Savchenko. CHEERING AND | 0:48:35 | 0:50:29 | |
APPLAUSE Getting hot in here. Wow. I bet the viewers... | 0:50:30 | 0:50:30 | |
CHEERING I bet the viewers TV dinners just | 0:50:31 | 0:50:45 | |
fell right off that laps, that was so passionate. I didn't know where | 0:50:46 | 0:50:48 | |
to look. Gorgeous. Bruno, did you fall in love? It was a true tale of | 0:50:49 | 0:50:55 | |
endless love, unfolding in front of my eyes. So soft, so rounded and you | 0:50:56 | 0:51:01 | |
use your body in a way, I felt you were speaking to each other with | 0:51:02 | 0:51:05 | |
every single move. I have to point out one thing, at the beginning of | 0:51:06 | 0:51:09 | |
this competition, you were always so angular, all that is gone, by magic. | 0:51:10 | 0:51:14 | |
It really is. Just one tiny thing, a couple of | 0:51:15 | 0:51:19 | |
times you put a pronounced -- you could have pronounced a little bit | 0:51:20 | 0:51:22 | |
of hip action. Maybe it was the dress, but it was beautiful though. | 0:51:23 | 0:51:30 | |
As if by magic. Craig, were you moved? I have to go opposite Bruno | 0:51:31 | 0:51:35 | |
there. I felt it was a little bit spiky for my liking. I felt like a | 0:51:36 | 0:51:40 | |
little bit too much attack. I must have been looking at a different | 0:51:41 | 0:51:45 | |
dance, obviously. I have to say I do love the contemporary feel of this | 0:51:46 | 0:51:49 | |
dance. I love what you've done with it, Gleb. A bit more pressure on the | 0:51:50 | 0:51:52 | |
ball of your foot to the floor would have made and a straighter leg would | 0:51:53 | 0:51:56 | |
have created more of the hip action that we look for in this. But you | 0:51:57 | 0:52:00 | |
have turned into a really fine actress, I've got to say. Darcey, | 0:52:01 | 0:52:08 | |
the rumba is notoriously difficult to pull off. It's very exposing. How | 0:52:09 | 0:52:13 | |
did Anita do? It's very difficult. For me, that was a very pollish | 0:52:14 | 0:52:19 | |
performance. Your -- polished performance, your focus, your | 0:52:20 | 0:52:22 | |
intent. I believe in you. When you come out you're describing an the | 0:52:23 | 0:52:26 | |
feeling you're trying to get hold of. He is working you well. He | 0:52:27 | 0:52:34 | |
really S sorry, in a nice way! There was maybe, maybe there were little | 0:52:35 | 0:52:37 | |
things missing technically. As the boys were saying, you know the | 0:52:38 | 0:52:41 | |
pressure along the feet, more resistance, maybe the lines could be | 0:52:42 | 0:52:44 | |
slightly more turned out. Slightly turned in on a lot of things but I | 0:52:45 | 0:52:48 | |
really enjoyed it. Thank you. So did we. Len? I didn't enjoy it. I | 0:52:49 | 0:52:58 | |
can only tell the truth. You know, I don't come here just to blabber on. | 0:52:59 | 0:53:04 | |
Rumba is a story of a developing romance. Now, first of all, you did | 0:53:05 | 0:53:08 | |
a lift. And you're not supposed to. There you go. That I think, well... | 0:53:09 | 0:53:14 | |
He did a lift, what do you want me to say - he didn't do a lift? I'm | 0:53:15 | 0:53:21 | |
sorry everyone. What's all that through the legs business, throwing | 0:53:22 | 0:53:25 | |
her through your legs? Where's all the basic rumba. You went out to | 0:53:26 | 0:53:29 | |
fan, but then you let her go and she wafted along. I'm sorry to - you | 0:53:30 | 0:53:37 | |
know I'm a fan. Last week... It's fine, it's good. BOO. I'm a senior | 0:53:38 | 0:53:45 | |
citizen. Respect your elders. Sorry, it wasn't my cup of tea. | 0:53:46 | 0:53:49 | |
He's a traditionalist. Thank you very much judges. We all loved it. | 0:53:50 | 0:53:55 | |
It was hot. Claudia's upstairs with a bucket of water to cool down. | 0:53:56 | 0:53:59 | |
Anita and Gleb! APPLAUSE | 0:54:00 | 0:54:08 | |
Honestly, did you hear Jay shouting "amazing" all the pros up there | 0:54:09 | 0:54:14 | |
saying it was the best rumba. It's sad that Len didn't like it. It's | 0:54:15 | 0:54:19 | |
fine. It's absolutely fine. We knew, even with the choreography, he knew | 0:54:20 | 0:54:23 | |
he was taking a risk. I enjoyed it. The lyrics of that song are perfect. | 0:54:24 | 0:54:27 | |
I feel like I'm fiebding a -- finding a voice I never knew I had. | 0:54:28 | 0:54:30 | |
Thanks, thanks, mate. Well done. The scores are in: | 0:54:31 | 0:54:51 | |
I thought it was brilliant - nine! A strange split in the judges. | 0:54:52 | 0:55:01 | |
Everyone in this room adored it. If you liked that routine, first | 0:55:02 | 0:55:03 | |
recreate it in your kitchen and then call: or you can vote for free | 0:55:04 | 0:55:15 | |
online when the vote opens later. For all the behind-the-scenes news | 0:55:16 | 0:55:20 | |
and gossip go to Facebook, Twitter or our website. Gleb, am I correct | 0:55:21 | 0:55:23 | |
in saying you just did the box splits? I tried to. | 0:55:24 | 0:55:33 | |
Shall I try again? Why not, sure. Merry Christmas everyone. | 0:55:34 | 0:55:37 | |
Couch. -- ouch. Our final couple to take to | 0:55:38 | 0:55:41 | |
the floor before the Quickstepathon begins is Georgia May Foote | 0:55:42 | 0:55:44 | |
and her partner Giovanni Pernice. For | 0:55:45 | 0:55:46 | |
the last two weeks they've scored Tonight they're doing a paso doble | 0:55:47 | 0:55:48 | |
to "The Final Countdown", and in the countdown to our final, they're | 0:55:49 | 0:55:54 | |
desperate to be on top again. Last weekend was amazing. Not only | 0:55:55 | 0:56:06 | |
did we dance in the Tower Ballroom, but I was wearing my great grandma's | 0:56:07 | 0:56:11 | |
jewellery that Shh... She used to dance in. My actual grandma was | 0:56:12 | 0:56:14 | |
there. You can't get much better than that. Pure ballroom bliss. | 0:56:15 | 0:56:23 | |
Fantastic. We got two tens, 38. Top of the leaderboard. It was just | 0:56:24 | 0:56:30 | |
amazing. This week we are doing paso doble. What's the song. | 0:56:31 | 0:56:34 | |
# It's the final count down... # Great title, as it is the final | 0:56:35 | 0:56:38 | |
count down. If we get through this week, we've made it to the quarter | 0:56:39 | 0:56:44 | |
finals. Show me your paso face. It's a difficult dance because you need | 0:56:45 | 0:56:48 | |
to be really bad boy and girl. That's the character I've got to | 0:56:49 | 0:56:53 | |
find. It's hard when you're still learning the dance. I'm Italian. I | 0:56:54 | 0:56:59 | |
can't be without passion. The only anger I can find at the moment is | 0:57:00 | 0:57:06 | |
when Giovanni frustrates me. We're like brother and sister. We fall out | 0:57:07 | 0:57:09 | |
and then make friends. We have to put that fire into the paso doble. | 0:57:10 | 0:57:13 | |
This week the competition becomes so strong. I know I've got to go out | 0:57:14 | 0:57:17 | |
there and fight. What better dance to go out and fight with than the | 0:57:18 | 0:57:18 | |
paso doble. Dancing the paso doble, | 0:57:19 | 0:57:22 | |
Georgia May Foote CHEERING AND | 0:57:23 | 0:59:26 | |
APPLAUSE Come on. A fiery, full-on paso. You got the place rocking. | 0:59:27 | 0:59:33 | |
CHEERING Well done, brilliant! They're stamping their feet | 0:59:34 | 0:59:36 | |
upstairs. A modern spin on a traditional dance. Craig, what due | 0:59:37 | 0:59:42 | |
think? I missed a little bit of the full Spanish line, what I mean is | 0:59:43 | 0:59:44 | |
getting your shoulders back, that's all. What a dynamic routine. | 0:59:45 | 0:59:50 | |
Fantastic. Darcey, did that rock you? There was | 0:59:51 | 0:59:54 | |
plenty of drama, plent yip of energy. -- plenty of energy. I | 0:59:55 | 0:59:58 | |
believe you take too much strength in the shoulders. It's hard to hold | 0:59:59 | 1:00:03 | |
those down and not show the power. You get a little soft in the arms. I | 1:00:04 | 1:00:06 | |
think you're supple in the shoulders. You can fix the lines a | 1:00:07 | 1:00:09 | |
bit more, and we'll get a better performance. But fabulous energy. | 1:00:10 | 1:00:16 | |
Len? I thought you were brave to start alone. It was a bit too much | 1:00:17 | 1:00:20 | |
dress wafting for me on occasion. But as they said, it was die flappic | 1:00:21 | 1:00:25 | |
and full of energy. In fact, to a point, it got a little bit too | 1:00:26 | 1:00:28 | |
aggressive for me. I'd have liked it, sometimes a little bit less is | 1:00:29 | 1:00:32 | |
more. But lovely performance. Great way to end this part. | 1:00:33 | 1:00:39 | |
Bruno, do you agree? Georgia, the little pocket rocket rocked the paso | 1:00:40 | 1:00:44 | |
doble. She was like Mad Max. Because of all of that, you did Laos a | 1:00:45 | 1:00:48 | |
couple of Spanish lines because you tense in the shoulder. If you tense | 1:00:49 | 1:00:51 | |
on the shoulder, then this becomes this. Careful. Otherwise you rock, | 1:00:52 | 1:00:59 | |
kid! You rocked us too. Rock on up to Claudia. Well done, beautiful job | 1:01:00 | 1:01:03 | |
Georgia and Giovanni! APPLAUSE | 1:01:04 | 1:01:15 | |
Well done, absolutely fantastic. Cheers. Did you love it? Yes, I | 1:01:16 | 1:01:26 | |
loved it. The scores are in. The judges' scores are in. | 1:01:27 | 1:01:40 | |
APPLAUSE Very well done. Do your paso face. | 1:01:41 | 1:01:48 | |
Now do your quickstep face. Oh, good. If you don't want these rock | 1:01:49 | 1:01:53 | |
stars to organise a farewell tour, please call: | 1:01:54 | 1:02:04 | |
Off you go, you have about 14 seconds to get ready. Do it fast. | 1:02:05 | 1:02:12 | |
For all of us. While they get changed in record time, let's see | 1:02:13 | 1:02:13 | |
how the Leader Board looks. At the top, Helen and Aljaz, down at | 1:02:14 | 1:02:29 | |
the bottom, Peter and Janette and Anita and Gleb. | 1:02:30 | 1:02:33 | |
But with an extra seven marks up for grabs in the Quickstepathon, | 1:02:34 | 1:02:36 | |
It's probably the toughest "athon" we've ever had - | 1:02:37 | 1:02:39 | |
and that's just pronouncing it - but how exactly does it work, | 1:02:40 | 1:02:42 | |
it's back. The chance to see all of our couples on the floor at the same | 1:02:43 | 1:02:58 | |
time, like a good old proper dancing competition. This year, all of our | 1:02:59 | 1:03:04 | |
couples are doing a quickstep. So hold on to your feeds! This is going | 1:03:05 | 1:03:08 | |
to be fast! But there are some rules. Rules one, there will be | 1:03:09 | 1:03:15 | |
seven couples competing in our Quickstepathon. The couples have | 1:03:16 | 1:03:18 | |
already drawn their starting positions out of a hat. Everything | 1:03:19 | 1:03:26 | |
fair and square. Rule two, all the couples must stay on the dance floor | 1:03:27 | 1:03:30 | |
for the whole time and they've got to stay in hold. If any of our | 1:03:31 | 1:03:36 | |
couples break hold or do lifts, they'll be automatically | 1:03:37 | 1:03:40 | |
disqualified. I'll be watching! Here is rule three, make sure you nail | 1:03:41 | 1:03:44 | |
that technique. They will be penalised if we see any bad hold on | 1:03:45 | 1:03:49 | |
any bad footwork, or bad floor craft. Now rule four, couples must | 1:03:50 | 1:03:56 | |
be careful not to break the rules regarding line of dance. They have | 1:03:57 | 1:04:02 | |
to keep going round that floor anticlockwise and no bashing, | 1:04:03 | 1:04:05 | |
pushing or shoving. It's going to be fast and if they start bumping into | 1:04:06 | 1:04:11 | |
each other, I'm going to be furious. Rule number five, the weakest couple | 1:04:12 | 1:04:15 | |
in the opinion of the judges will get one mark. However, the strongest | 1:04:16 | 1:04:20 | |
couple will get seven. These marks will be combined with their | 1:04:21 | 1:04:24 | |
individual dances and that has the potential to turn the Leader Board | 1:04:25 | 1:04:31 | |
upside down. So get ready, it's time to get that quickstep on. | 1:04:32 | 1:04:37 | |
So whoever comes first in the Quickstepathon will get | 1:04:38 | 1:04:43 | |
an extra seven marks, whoever comes second will get | 1:04:44 | 1:04:45 | |
an extra six marks, and so on, until the bottom couple will receive | 1:04:46 | 1:04:49 | |
just one extra mark, and those will be added to their existing scores. | 1:04:50 | 1:04:52 | |
Len, this really could mean the difference between the Dance Off | 1:04:53 | 1:05:03 | |
This is like a ballroom competition. What advice do you have | 1:05:04 | 1:05:10 | |
for our couples? In a normal ballroom competition the couples | 1:05:11 | 1:05:12 | |
come on the floor at the same time, so you get I direct comparison. This | 1:05:13 | 1:05:18 | |
one is not much cop, or this one. So you can actually see every thing. We | 1:05:19 | 1:05:22 | |
are fortunate, we have the best seats in the house and there won't | 1:05:23 | 1:05:28 | |
be any ties, so we will get that all clear and it's going to be like an | 1:05:29 | 1:05:32 | |
F1 Grand Prix the music. There are going to be -- they are going to be | 1:05:33 | 1:05:38 | |
moving around that floor, all in the same direction, anticlockwise, no | 1:05:39 | 1:05:44 | |
bumping, keep dancing. The time for talk is over. The time for dancing | 1:05:45 | 1:05:49 | |
is that now. That's welcome our seven couples back onto the dance | 1:05:50 | 1:05:50 | |
floor. Please welcome all the couples to | 1:05:51 | 1:05:54 | |
the floor for the Quickstepathon. Yes! That was brilliant! It was | 1:05:55 | 1:08:02 | |
like... More fun. More fun. Happy. Let's see what the judges thought. | 1:08:03 | 1:08:10 | |
Our first Quickstepathon, they are still conferring. We are conferring, | 1:08:11 | 1:08:14 | |
we have to consider so many things. The variety of steps, how they hold | 1:08:15 | 1:08:20 | |
the frame, how if there is any mistake, if they keep the timing, if | 1:08:21 | 1:08:24 | |
they are smooth, there are moments it should never be jagged, it should | 1:08:25 | 1:08:28 | |
flow all the time. There are so many points to be taken into | 1:08:29 | 1:08:31 | |
consideration. We cannot rush this. It has to be done correctly. I don't | 1:08:32 | 1:08:37 | |
want to rush you too much, but love... We are live! Craig, while | 1:08:38 | 1:08:42 | |
you are scoring can I just asked you? You can, darling. Thank you so | 1:08:43 | 1:08:48 | |
much. You are adorable. How brilliantly do you think our couples | 1:08:49 | 1:08:52 | |
have done? I think they've done an amazing job. When you consider when | 1:08:53 | 1:08:57 | |
we first saw them. APPLAUSE | 1:08:58 | 1:09:01 | |
I know I'm particularly hard on them but they've done such an incredible | 1:09:02 | 1:09:04 | |
job. I don't think I could actually go through what they are going | 1:09:05 | 1:09:07 | |
through. I really couldn't. I'm much safer... Particularly difficult in | 1:09:08 | 1:09:13 | |
this particular instance for the celebrity men to actually glide the | 1:09:14 | 1:09:19 | |
floor, because they are not used to what we call... Cornering people, | 1:09:20 | 1:09:26 | |
getting out, well done. Head judge Len, starting in seventh place could | 1:09:27 | 1:09:32 | |
you please reveal the results of the Quickstepathon. In seventh place is | 1:09:33 | 1:09:36 | |
Peter and Janette. APPLAUSE | 1:09:37 | 1:09:48 | |
Six is Kellie and Kevin. This is Dave and Aliona. Fourth is Anita and | 1:09:49 | 1:10:02 | |
Gleb. Third is Katie and Anton. Second is Georgia and Giovanni. | 1:10:03 | 1:10:09 | |
APPLAUSE Which means our winners are Helen | 1:10:10 | 1:10:18 | |
and Aljaz. IQ very much to the judges -- thank you very much. You | 1:10:19 | 1:10:26 | |
have an extra seven marks, congratulations to you both. | 1:10:27 | 1:10:29 | |
Commiserations to Peter and Janette, who finished last and receive just | 1:10:30 | 1:10:36 | |
one extra mark. I'm so sorry. Darcey, why did our winners | 1:10:37 | 1:10:41 | |
impressed you the most? It's all about being light and spirited. You | 1:10:42 | 1:10:45 | |
have to have no gapping. There should be no bounds. It has to be | 1:10:46 | 1:10:50 | |
calm and composed on top, while it's crazy underneath. It also not to be | 1:10:51 | 1:10:55 | |
affected by anybody else. And they did that. They kept their cool. They | 1:10:56 | 1:11:00 | |
did, wonderfully. Craig, just because we need to know, why did | 1:11:01 | 1:11:04 | |
Peter and Janette impress you the least? It's largely due to the fact | 1:11:05 | 1:11:08 | |
he had the lead actually for the first time and its floor craft, | 1:11:09 | 1:11:13 | |
which takes years and years of practice. That's why it's a bit | 1:11:14 | 1:11:16 | |
difficult for the celebrity men. But they all did really, really well. | 1:11:17 | 1:11:24 | |
Yes, they did. Thank you. Let's have a look at | 1:11:25 | 1:11:29 | |
at the top are Helen and Aljaz, with 46 points. Down at the bottom, Peter | 1:11:30 | 1:11:37 | |
and Janette, with a score of 32. It's not just about the judges' | 1:11:38 | 1:11:42 | |
scores, you can change everything by picking up the phone or going online | 1:11:43 | 1:11:46 | |
to vote for your favourites. The voting is now, I need help, judges, | 1:11:47 | 1:11:51 | |
audience, everyone at home. The vote lines are now three, two, one, open. | 1:11:52 | 1:11:54 | |
CHEERING audience, everyone at home. The vote | 1:11:55 | 1:11:55 | |
lines are now three, two, one, open. CHEERING AND APPLAUSE | 1:11:56 | 1:12:14 | |
the vote closes at 8:30pm. Don't vote if you are watching OnDemand. | 1:12:15 | 1:12:21 | |
And to help you decide, here's a reminder | 1:12:22 | 1:12:23 | |
of tonight's performances and the all-important vote information. | 1:12:24 | 1:14:27 | |
What a busy night of ballroom brilliance. Vote for your favourites | 1:14:28 | 1:14:34 | |
bid for 8:30pm tonight. The votes will be combined with the judges' | 1:14:35 | 1:14:39 | |
scores and the couple with the overall lowest will those -- will | 1:14:40 | 1:14:42 | |
dampen tomorrow night's show. Only six couples will make it | 1:14:43 | 1:14:46 | |
through to next week, It could be one | 1:14:47 | 1:14:48 | |
of the closest quarter finals ever Also tomorrow, if you like your boy | 1:14:49 | 1:14:52 | |
bands a bit classy, you're in luck Plus, you might have seen him | 1:14:53 | 1:14:57 | |
performing with Queen - And our professional dancers will | 1:14:58 | 1:15:01 | |
get you in a spin, with an incredible group performance | 1:15:02 | 1:15:05 | |
set in a laundrette. So for all of that, | 1:15:06 | 1:15:07 | |
make sure you tune in at 7.20pm | 1:15:08 | 1:15:12 |