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I have made it to the quarterfinals.
I can't believe it's musicals week. | 0:00:21 | 0:00:31 | |
I feel so, so lucky to be here. I'm
having the time of my life. I can't | 0:00:31 | 0:00:41 | |
slow down now. I've got to keep
working hard. It's not time to go | 0:00:41 | 0:00:51 | |
home. It's not time to go home. It's
not time to go home. | 0:00:51 | 0:01:01 | |
# Food, food glorious food... | 0:02:00 | 0:02:16 | |
# To make blooms for a penny... | 0:03:15 | 0:03:26 | |
-- two blooms for a penny...
#. | 0:03:29 | 0:03:40 | |
APPLAUSE | 0:04:44 | 0:04:54 | |
It's a Musicals Special. | 0:04:55 | 0:04:56 | |
This is Strictly Come Dancing. | 0:04:56 | 0:05:00 | |
Please welcome your hosts... | 0:05:00 | 0:05:02 | |
Tess Daly. | 0:05:02 | 0:05:05 | |
And Claudia Winkleman. | 0:05:05 | 0:05:15 | |
Hello and welcome to
Strictly Come Dancing - | 0:05:15 | 0:05:17 | |
our Musicals Special. | 0:05:17 | 0:05:19 | |
A massive thank you to our
professional dancers | 0:05:19 | 0:05:21 | |
and remaining couples
for that amazing Oliver | 0:05:21 | 0:05:23 | |
themed routine. | 0:05:23 | 0:05:29 | |
Wasn't it great? | 0:05:29 | 0:05:31 | |
It left us all wanting more
and the good news is, | 0:05:31 | 0:05:33 | |
there's plenty more to come. | 0:05:33 | 0:05:35 | |
Last week, after a dramatic
night of double | 0:05:35 | 0:05:36 | |
dancing it was Joe who
topped the leaderboard. | 0:05:36 | 0:05:38 | |
And there was more drama
when Alexandra and | 0:05:38 | 0:05:40 | |
Gorka faced Susan and Kevin
in the Dance Off and | 0:05:40 | 0:05:43 | |
Susan left the show. | 0:05:43 | 0:05:46 | |
Our remaining six celebrities
will be giving it their | 0:05:46 | 0:05:49 | |
all in a bid to reach
next week's Semi Final. | 0:05:49 | 0:05:52 | |
And as it's our Musicals
Special we're expecting | 0:05:52 | 0:05:54 | |
them to make a real song
and dance about it. | 0:05:54 | 0:05:56 | |
As always, they'll need
to impress this chorus line. | 0:05:56 | 0:05:58 | |
Please welcome the judges. | 0:05:58 | 0:06:02 | |
Darcey Bussell. | 0:06:02 | 0:06:04 | |
Bruno Tonioli. | 0:06:04 | 0:06:06 | |
Craig Revel Horwood. | 0:06:06 | 0:06:09 | |
And Shirley Ballas. | 0:06:09 | 0:06:16 | |
APPLAUS | 0:06:16 | 0:06:22 | |
APPLAUSE | 0:06:22 | 0:06:28 | |
The judges, everyone. | 0:06:28 | 0:06:29 | |
Musical. | 0:06:29 | 0:06:30 | |
Our six couples are
backstage waiting in the | 0:06:30 | 0:06:32 | |
wings, so let's raise
the curtain and welcome... | 0:06:32 | 0:06:34 | |
BOTH: Our Strictly Stars. | 0:06:34 | 0:06:41 | |
EastEnders star, Davood Ghadami
and his partner Nadiya Bychkova. | 0:06:41 | 0:06:44 | |
Pop star Mollie King,
and her partner AJ Pritchard. | 0:06:44 | 0:06:46 | |
Actress and Radio Presenter,
Gemma Atkinson | 0:06:46 | 0:06:47 | |
and her partner Aljaz Skorjanec. | 0:06:47 | 0:06:52 | |
Entertainer and Radio Broadcaster,
Debbie McGee and her | 0:06:52 | 0:06:54 | |
partner Giovanni Pernice. | 0:06:54 | 0:06:59 | |
From Holby City, Joe McFadden
and his partner Katya Jones. | 0:06:59 | 0:07:03 | |
Singer and Theatre
Star Alexandra Burke | 0:07:03 | 0:07:04 | |
and her partner Gorka Marquez. | 0:07:04 | 0:07:10 | |
There they are - our six stars. | 0:07:21 | 0:07:26 | |
A couple of cats,
Mary Poppins and even | 0:07:26 | 0:07:28 | |
the Phantom of the Opera. | 0:07:28 | 0:07:30 | |
All hoping for rave reviews tonight. | 0:07:30 | 0:07:33 | |
You will be able to vote
for your favourites later | 0:07:33 | 0:07:36 | |
on. | 0:07:36 | 0:07:37 | |
Your votes will be added
to the judges' scores | 0:07:37 | 0:07:39 | |
to decide which two couples
will face the Dance | 0:07:39 | 0:07:41 | |
Off in Sunday night's Result Show. | 0:07:41 | 0:07:44 | |
It's then down to the Judges
alone to decide who | 0:07:44 | 0:07:46 | |
stays in the competition
and with only two weeks | 0:07:46 | 0:07:48 | |
until the Final nobody wants
to put a foot wrong. | 0:07:48 | 0:07:53 | |
And treading the boards
first tonight is Gemma | 0:07:53 | 0:07:55 | |
and her partner Aljaz. | 0:07:55 | 0:08:01 | |
Tonight they're dancing
a Quickstep to 'Hello | 0:08:01 | 0:08:05 | |
Dolly' and they're hoping
it will lead to Gemma | 0:08:05 | 0:08:07 | |
saying "Hello Semi Final!" | 0:08:07 | 0:08:11 | |
I absolutely loved our samba on
Saturday. I did. We didn't get the | 0:08:19 | 0:08:25 | |
comments and scores we wanted. Your
hands looked like soup ladles. But | 0:08:25 | 0:08:29 | |
we had fun. Wiki 11... Quarterfinal.
You ready? This week, we are doing a | 0:08:29 | 0:08:39 | |
quick step to hello Dolly from hello
Dolly. At times, Aljaz says, it's | 0:08:39 | 0:08:49 | |
easy, you just do this, and I'm
thinking... I don't want to be | 0:08:49 | 0:08:57 | |
falling flat on my face. At the
minute, there was a possibility I | 0:08:57 | 0:09:01 | |
could. It is like a swan swimming in
a pond. The feet are going 1 million | 0:09:01 | 0:09:06 | |
miles an hour but the top is still.
We're going to try and channel our | 0:09:06 | 0:09:11 | |
innocent ones. I'm not there get,
I'm more of a duck, but I will get | 0:09:11 | 0:09:18 | |
there, I think. -- I'm not there
yet. He is the boss, he knows what | 0:09:18 | 0:09:25 | |
he's on about. Dieting tips --
starting to make a little bit more | 0:09:25 | 0:09:33 | |
sense now. I need to channel it
through and out of my body. | 0:09:33 | 0:09:39 | |
Hopefully, I can turn into a swan
when I need to on the dance floor. | 0:09:39 | 0:09:47 | |
Dancing the Quickstep,
from the musical Hello Dolly | 0:09:47 | 0:09:49 | |
Gemma Atkinson and Aljaz Skorjanec. | 0:09:49 | 0:09:51 | |
MUSIC: "Hello, Dolly!" | 0:09:58 | 0:10:04 | |
APPLAUSE | 0:11:37 | 0:11:47 | |
Well, hello, Gemma. | 0:11:48 | 0:11:51 | |
What a start to the show! | 0:11:51 | 0:11:58 | |
What a reception from the audience.
Her little face! | 0:11:58 | 0:12:04 | |
Before we hear from
the critics let's | 0:12:04 | 0:12:06 | |
welcome back our brilliant
live singers Hayley, | 0:12:06 | 0:12:07 | |
Patrick, Andrea, Tommy
and of course our very | 0:12:07 | 0:12:09 | |
own musical maestro
Dave Arch and his | 0:12:09 | 0:12:11 | |
wonderful orchestra. | 0:12:11 | 0:12:21 | |
Thank you, boys and girls. | 0:12:21 | 0:12:22 | |
Did Gemma pull out all
the stops for tonight's | 0:12:22 | 0:12:24 | |
Quarter Final, Shirley? | 0:12:24 | 0:12:28 | |
I think you did very well. It is
such an iconic piece of music, and | 0:12:28 | 0:12:34 | |
just Hello, Dolly. You came down the
stairs and started. I just felt it | 0:12:34 | 0:12:38 | |
could have had a little bit of 20%
more in the acting skills, but you | 0:12:38 | 0:12:47 | |
had your swanlike posture, and
immaculate frame. You did some | 0:12:47 | 0:12:55 | |
immaculate movement, beautiful
footwork, I just felt it needed 20% | 0:12:55 | 0:12:58 | |
more.
APPLAUSE | 0:12:58 | 0:13:03 | |
She is an actress, Bruno - did she
shine in the spotlight? She got my | 0:13:03 | 0:13:07 | |
attention. I love the Broadway diva
entrance. Back up, boys, here comes | 0:13:07 | 0:13:12 | |
Gemma! What I think happened, on
those kind of showbiz, razzmatazz | 0:13:12 | 0:13:22 | |
sequences, you held your own. She is
right, once you went on hold and did | 0:13:22 | 0:13:30 | |
the quickstep proper, the character
lost impact a little bit. It came | 0:13:30 | 0:13:34 | |
back again on the grand Broadway
ending, but at this stage, you have | 0:13:34 | 0:13:38 | |
to fire on all cylinders all the way
through. I thought it was a very | 0:13:38 | 0:13:43 | |
good turn. Lovely turn! Craig? It
needed to be lighter. It looked | 0:13:43 | 0:13:50 | |
laboured and heavy to me. The
scatter chassiss... I loved all the | 0:13:50 | 0:14:05 | |
quotation at the beginning, to the
music, that was wonderful. And I | 0:14:05 | 0:14:09 | |
loved the theatricality.
APPLAUSE | 0:14:09 | 0:14:10 | |
. Darcey? It was certainly a hot,
cheeky quickstep. You brought | 0:14:10 | 0:14:18 | |
everything to the character, and the
personality stayed with you, I | 0:14:18 | 0:14:22 | |
believe. I am with Craig on this -
to create a better likeness, it came | 0:14:22 | 0:14:28 | |
from your posture. If it could be
more taut and tighter in the lines, | 0:14:28 | 0:14:33 | |
you would get that effect. Then it
would show off all that wonderful | 0:14:33 | 0:14:39 | |
choreography you were producing. And
it was wonderful. Thank you for | 0:14:39 | 0:14:48 | |
kicking off the show, Gemma and
Aljaz. | 0:14:48 | 0:14:55 | |
That was absolutely brilliant. Just
so you know, the last time you open | 0:15:03 | 0:15:07 | |
the show was shown number one. Yes!
That was a while ago! And you were | 0:15:07 | 0:15:15 | |
like, I really don't like being in
Holt. And now you do. You've enjoyed | 0:15:15 | 0:15:18 | |
that, didn't you? The film is just
brilliant. | 0:15:18 | 0:15:27 | |
The scores are in. | 0:15:27 | 0:15:28 | |
The judges have their scores. | 0:15:28 | 0:15:29 | |
Craig Revel Horwood... | 0:15:29 | 0:15:38 | |
Darcey Bussell... Shirley Ballas...
And Bruno Tonioli... It is more than | 0:15:38 | 0:15:51 | |
last week. Just so you know, what is
sweet, the professional is going | 0:15:51 | 0:15:57 | |
like this, do it. You're trying to
make him better. Thank you for | 0:15:57 | 0:16:00 | |
making me feel bad. | 0:16:00 | 0:16:04 | |
If you thought Gemma
and Aljaz's quickstep | 0:16:04 | 0:16:05 | |
was a lovely start to the show,
then you will need to make | 0:16:05 | 0:16:08 | |
sure they get your vote. | 0:16:08 | 0:16:10 | |
All the details you need
are on your screen now | 0:16:10 | 0:16:12 | |
and voting will open later on. | 0:16:12 | 0:16:14 | |
Please do. | 0:16:14 | 0:16:16 | |
As it's a musicals special I've been
put in charge of Aladdin's lamp. | 0:16:16 | 0:16:20 | |
I would love someone to help me
with the terms and conditions. | 0:16:20 | 0:16:24 | |
Here we go. | 0:16:24 | 0:16:26 | |
Oh, it works? | 0:16:26 | 0:16:32 | |
CHEERING
This is wonderful. Take it away, | 0:16:32 | 0:16:38 | |
Russell. | 0:16:38 | 0:16:48 | |
# Calls to the short number
from a mobile cost 15p. | 0:16:50 | 0:16:56 | |
This is happening. You are not
asleep. | 0:16:56 | 0:17:04 | |
# Calls to the long number cost 15p,
plus your network's access | 0:17:04 | 0:17:08 | |
charge and please ask
the bill payer's permission. | 0:17:08 | 0:17:16 | |
Ladies and gentlemen, I give you
Russell. Thank you. | 0:17:16 | 0:17:19 | |
You can vote online by visiting
bbc.co.uk/strictly where you will | 0:17:19 | 0:17:21 | |
also find terms and conditions. | 0:17:21 | 0:17:24 | |
You having a nice time? Lovely,
because I have met everybody again | 0:17:24 | 0:17:29 | |
but I do not know what you dress me
up like this. We could not help | 0:17:29 | 0:17:33 | |
herself. | 0:17:33 | 0:17:35 | |
Voting won't open until all our
couples have danced. | 0:17:35 | 0:17:37 | |
Don't call yet as your vote won't
count and you may still be charged. | 0:17:37 | 0:17:40 | |
Tess. | 0:17:40 | 0:17:41 | |
Next tonight, dancing
for a place in our semifinal, | 0:17:41 | 0:17:44 | |
is Mollie and her partner, AJ. | 0:17:44 | 0:17:48 | |
CHEERING | 0:17:48 | 0:17:50 | |
Mollie's improvement over the last
few weeks has really | 0:17:50 | 0:17:52 | |
impressed the judges. | 0:17:52 | 0:17:53 | |
Tonight, she's hoping to keep that
up as she takes on one | 0:17:53 | 0:17:56 | |
of Strictly's toughest
challenges, the rumba. | 0:17:56 | 0:18:00 | |
Come on. | 0:18:00 | 0:18:01 | |
Saturday night, my gosh. It was my
favourite Saturday yet. I just | 0:18:06 | 0:18:12 | |
thought, this could be your last
time, so just enjoy it and that is | 0:18:12 | 0:18:15 | |
exactly what I did. That is the way
to get to the final. Thank you. | 0:18:15 | 0:18:22 | |
Mollie and AJ. The white people have
taken time out to Broad for us is | 0:18:22 | 0:18:26 | |
the most amazing feeling. This week,
we are dancing the rumba. We are | 0:18:26 | 0:18:33 | |
doing it to a song from Grease. To
help me get to grips with it, I | 0:18:33 | 0:18:38 | |
think counting out loud, AJ said I
should not be stepping on one, but | 0:18:38 | 0:18:45 | |
two, three, four. It is
mind-boggling. I hope I will get to | 0:18:45 | 0:18:49 | |
grips with it that way. Hello.
Hello. I wanted to get him something | 0:18:49 | 0:18:53 | |
to say thanks for this journey
together. It is such an achievement | 0:18:53 | 0:18:59 | |
we have got this far. Mollie has
given me the most amazing present, a | 0:18:59 | 0:19:03 | |
gift of pure memories. That was the
first week, going to training. Each | 0:19:03 | 0:19:08 | |
photo says something completely
different, from one week to the | 0:19:08 | 0:19:12 | |
next. That seems like ages ago. It
is the best present she could have | 0:19:12 | 0:19:17 | |
got me. It is amazing how much we
have done. I feel emotional. We have | 0:19:17 | 0:19:22 | |
worked so hard this week, I hope we
can continue to fill up the pages | 0:19:22 | 0:19:27 | |
with more memories. This will be at
our rumba photograph. Another | 0:19:27 | 0:19:31 | |
fantastic you. | 0:19:31 | 0:19:35 | |
Dancing the rumba,
from the musical Grease. | 0:19:35 | 0:19:37 | |
Mollie King and AJ Pritchard! | 0:19:37 | 0:19:39 | |
MUSIC: "Hopelessly Devoted To You". | 0:19:48 | 0:19:53 | |
APPLAUSE
CHEERING | 0:21:26 | 0:21:36 | |
Well done.
Amazing. Did you watch the kiss? I | 0:21:36 | 0:21:46 | |
was so close. You put everything
into that, including yourself. You | 0:21:46 | 0:21:54 | |
could actually be sandy. Brilliant.
The rumba, not the easiest dance, | 0:21:54 | 0:21:59 | |
especially in front of your dad, AJ,
I knows he is in the audience. That | 0:21:59 | 0:22:06 | |
chemistry lived believable to me.
What do you think? Or, yes. I could | 0:22:06 | 0:22:12 | |
feel my -- the fireworks myself. I
was not expecting your ability to | 0:22:12 | 0:22:18 | |
translate all this wonderful emotion
into such a beautiful motion. | 0:22:18 | 0:22:24 | |
Tonight, really, your quality of
movement was better than ever, | 0:22:24 | 0:22:28 | |
especially the way, it is so hard to
get a move moving through your bag | 0:22:28 | 0:22:32 | |
into your arms. I have never seen
you doing that before. I really | 0:22:32 | 0:22:37 | |
never have. You did so well. You
have improved so much. | 0:22:37 | 0:22:40 | |
CHEERING
You can see the improvement. Can | 0:22:40 | 0:22:45 | |
you? First of all there was a
full-blown lift in it and you had | 0:22:45 | 0:22:50 | |
already started the rumba on the
platform. What a lift, it was | 0:22:50 | 0:22:56 | |
fabulous. I would accept thing you
-- I would accept you jumping into | 0:22:56 | 0:22:59 | |
his arms, but you try to turn it
into something spectacular. It was | 0:22:59 | 0:23:04 | |
spectacular. I do not agree with
Bruno. I thought you were dancing by | 0:23:04 | 0:23:09 | |
numbers. You need more extension in
the body. You had some hip action | 0:23:09 | 0:23:13 | |
which was good and lovely straight
legs. I liked it. Stop throwing | 0:23:13 | 0:23:18 | |
things, Bruno.
There was lot of it -- there was a | 0:23:18 | 0:23:23 | |
lot of being in the audience. I do
not think the agreed. Darcey. This | 0:23:23 | 0:23:28 | |
is one of my favourite musicals and
how you played the image of the pure | 0:23:28 | 0:23:32 | |
sandy, it was divine. Your timing
was really nice as well, sweet and | 0:23:32 | 0:23:39 | |
romantic for a rumba. It is unusual.
I would have liked it more sensual. | 0:23:39 | 0:23:45 | |
If that could have been created
through stronger resistance through | 0:23:45 | 0:23:49 | |
the feet, for me, I would have
preferred that. It would have | 0:23:49 | 0:23:53 | |
followed stronger through the body.
I thought it was a little bit late | 0:23:53 | 0:23:59 | |
and girly. Instead of womanly. They
are so sweet. I wanted a little bit | 0:23:59 | 0:24:06 | |
more to it. Anyway, a really good
effort. Just not my favourite. | 0:24:06 | 0:24:11 | |
Shirley. Rumba lady. I thought you
embrace the characters, I absolutely | 0:24:11 | 0:24:21 | |
believed your love story. I want to
start with that. I do agree with | 0:24:21 | 0:24:26 | |
Craig, you did throw in the lift. It
was beautifully executed but you had | 0:24:26 | 0:24:31 | |
started to rumba already. When you
started at the beginning, there was | 0:24:31 | 0:24:37 | |
no AJ there. You had to start that
on your own. To Michael, three, | 0:24:37 | 0:24:43 | |
four. Fantastic. You did a swivel on
two, three, you did a swivel on | 0:24:43 | 0:24:50 | |
four, you held your one, and then
Hugh Dan stand you did not step on | 0:24:50 | 0:24:54 | |
one. Your timing was impeccable.
Timing. The rumba Queen. Very | 0:24:54 | 0:25:01 | |
difficult to do. I felt like you
were totally on your feet. I think | 0:25:01 | 0:25:06 | |
the portrayal of this dance was a
bit girly. The music was not going | 0:25:06 | 0:25:10 | |
to be are they, I thought you got it
just right. Thank you. We loved it. | 0:25:10 | 0:25:16 | |
You're making more memories for that
lovely book. I beautiful job. Off | 0:25:16 | 0:25:22 | |
you go. Mollie and AJ. You did
amazing. I am so proud of you. Well | 0:25:22 | 0:25:35 | |
done, you have been calling it the
dance of them. I have. You have had | 0:25:35 | 0:25:40 | |
real problems. You're all by
yourself at the beginning. It was | 0:25:40 | 0:25:45 | |
late, AJ, AJ. All week I have been
trying to do the cans, so it is | 0:25:45 | 0:25:49 | |
great that Shirley said it was good,
it was amazing. You have worked so | 0:25:49 | 0:25:57 | |
hard. You love Grease but you have
never been able to play sandy | 0:25:57 | 0:26:01 | |
before? Are always used to put shows
and for my grandparents, they had to | 0:26:01 | 0:26:06 | |
watch. One of my sisters was sandy,
and I was the others. I am finally | 0:26:06 | 0:26:11 | |
sandy. | 0:26:11 | 0:26:16 | |
The scores are in. | 0:26:16 | 0:26:17 | |
The judges have their scores. | 0:26:17 | 0:26:20 | |
That is the first time you have ever
got two nines. You reacted. We are | 0:26:39 | 0:26:46 | |
so uncool. No, you're very cool. | 0:26:46 | 0:26:50 | |
If you loved Mollie and AJ's Grease
inspired rumba and would like to see | 0:26:50 | 0:26:54 | |
them dance in next week's semifinal,
please give them your support. | 0:26:54 | 0:26:56 | |
All the details are up on your
screen now and voting will open once | 0:26:56 | 0:27:00 | |
all our couples have danced. | 0:27:00 | 0:27:02 | |
Look. | 0:27:02 | 0:27:05 | |
Still to come, smoke
will fill the ballroom. | 0:27:05 | 0:27:09 | |
Meaning either Davood
is the Phantom Of The Opera, | 0:27:09 | 0:27:11 | |
or I've left a moussaka in the oven. | 0:27:11 | 0:27:13 | |
Tess. | 0:27:13 | 0:27:14 | |
Next up is Joe and his
partner, Katya. | 0:27:14 | 0:27:20 | |
CHEERING
Definitely the Musacchio. | 0:27:20 | 0:27:28 | |
They're dancing to a song
from the musical Cabaret. | 0:27:28 | 0:27:30 | |
As an actor, Joe's taken on plenty
of roles but tonight he's got | 0:27:30 | 0:27:32 | |
How amazing was Saturday night? It
was good. The best Saturday night. | 0:27:37 | 0:27:42 | |
It was superb. To get two tens, and
two nines was beautiful. We were | 0:27:42 | 0:27:53 | |
best overall. It feels good. It
feels really good. This week, it is | 0:27:53 | 0:28:01 | |
the samba. It is Money, Money, from
Cabaret. I have done a few musicals | 0:28:01 | 0:28:09 | |
in my time, the first one when I was
12 years old at school in Glasgow. | 0:28:09 | 0:28:13 | |
Maybe I can show you where my love
of acting started. Really? A trip | 0:28:13 | 0:28:19 | |
down memory lane. Joe McFadden,
actor. Hello. Nice to see you. Good | 0:28:19 | 0:28:25 | |
to see you. What kind of student was
Joe? Fantastic. It is spotlight on | 0:28:25 | 0:28:31 | |
him and the way he goes. I have some
footage up my sleeve. It was a real | 0:28:31 | 0:28:38 | |
trip down memory lane. Oh, no. You
love being on stage. It is perfect | 0:28:38 | 0:28:43 | |
for our musicals weak performance.
My old stomping ground. We performed | 0:28:43 | 0:28:48 | |
in front of my old school. It seems
perfect to come back on musicals | 0:28:48 | 0:28:53 | |
weak to win I developed my love of
acting and musicals and hopefully I | 0:28:53 | 0:28:57 | |
will pull it out of the bag at the
weekend. | 0:28:57 | 0:28:59 | |
CHEERING
Good luck Joe and Katya. | 0:28:59 | 0:29:07 | |
Dancing the samba,
from the musical Cabaret, | 0:29:07 | 0:29:08 | |
Joe McFadden and Katya Jones! | 0:29:08 | 0:29:10 | |
MUSIC: "Money, Money". | 0:29:17 | 0:29:21 | |
APPLAUSE | 0:30:53 | 0:31:02 | |
You're on the money, Joe! Brilliant. | 0:31:04 | 0:31:13 | |
Show tunes, you're in your element. | 0:31:13 | 0:31:18 | |
Wasn't that brilliant? Look at that!
Those acting skills of yours were | 0:31:18 | 0:31:27 | |
put to good use there. | 0:31:27 | 0:31:28 | |
He topped the leaderboard last week. | 0:31:28 | 0:31:30 | |
How did he do tonight, Craig? | 0:31:30 | 0:31:34 | |
I was all ready for this samba to
fail, with the idea and the concept, | 0:31:34 | 0:31:38 | |
but you know what? It was
incredible. The characterisation, | 0:31:38 | 0:31:46 | |
timing, it was engaging, I loved it.
We love it when Craig loves it. | 0:31:46 | 0:31:52 | |
Darcey? Wonderful characterisation,
how you were able to gel such an | 0:31:52 | 0:31:58 | |
iconic role as the host with this
samba cinema incredibly difficult, | 0:31:58 | 0:32:04 | |
and you kept in character all the
way through with all that difficult | 0:32:04 | 0:32:07 | |
technique. The feet were slightly
turned out, but the flexibility and | 0:32:07 | 0:32:13 | |
the shadow roles at the end... Does
Joe have what it takes to make this | 0:32:13 | 0:32:23 | |
semifinal, Shirley? Absolutely. When
you got this samba at this late | 0:32:23 | 0:32:29 | |
stage in the game, I was extremely
nervous, but you married everything | 0:32:29 | 0:32:33 | |
together. You're acting skills are
off the chart will stop walking from | 0:32:33 | 0:32:38 | |
that corner said this, into your
natural role and your shadow role at | 0:32:38 | 0:32:43 | |
the end. Fantastic! Divinely
decadent, and slightly twisted. | 0:32:43 | 0:32:54 | |
That's not me! The character, you
brought him perfectly to life. | 0:32:54 | 0:33:01 | |
Imagine a samba in Berlin, the
Kitcat club, 1931 - it could not | 0:33:01 | 0:33:05 | |
have been better than that. The
comments couldn't be better commie | 0:33:05 | 0:33:16 | |
really -- couldn't be better,
really. | 0:33:16 | 0:33:21 | |
Joe and Katya, congratulations.
You've found it nerve-racking | 0:33:30 | 0:33:32 | |
because it was a different kind of
samba, slower, I believe. We loved | 0:33:32 | 0:33:39 | |
it, absolutely loved it. And it has
been your dream to be in a musical? | 0:33:39 | 0:33:45 | |
It has. I just want to say a quick
hello to my drama teacher who | 0:33:45 | 0:33:51 | |
couldn't be there. I owe everything
to her. | 0:33:51 | 0:33:53 | |
The scores are in. | 0:33:53 | 0:33:54 | |
The judges have their scores. | 0:33:54 | 0:33:58 | |
Thank you, darling. Thank you so
much. You look so cute. | 0:34:17 | 0:34:23 | |
If you enjoyed Joe and Katya's samba
and would like to see see them | 0:34:23 | 0:34:27 | |
dancing in next week's semifinal,
then you will need to vote for them. | 0:34:27 | 0:34:30 | |
All the details you need
to show your support | 0:34:30 | 0:34:32 | |
are on the screen and voting
will open towards | 0:34:32 | 0:34:34 | |
the end of the show. | 0:34:34 | 0:34:35 | |
There is all of this still to come. | 0:34:35 | 0:34:38 | |
The hardest thing about this routine
is that everything is slow and | 0:34:42 | 0:34:47 | |
controlled, so you really have to
have strength in your muscles. We | 0:34:47 | 0:34:52 | |
can have lifts here, which is great,
but you want to make sure they are | 0:34:52 | 0:34:56 | |
right and work with the music and
are pleasing to the eye. I had been | 0:34:56 | 0:35:00 | |
waiting to do a charleston. Every
time I have seen one, I have been | 0:35:00 | 0:35:04 | |
like, I wish that was me. I hope we
can deliver this. I'm looking | 0:35:04 | 0:35:10 | |
forward to all of that. What have
you got there? It is a little dog | 0:35:10 | 0:35:17 | |
from the Oliver routine. I've got
him totally under control, don't | 0:35:17 | 0:35:20 | |
worry! What's next? It is and they
are dressed as Cats. Wrong word! | 0:35:20 | 0:35:31 | |
And dancing next is Debbie
and her partner, Giovanni. | 0:35:31 | 0:35:38 | |
They're dancing to a song
from the musical Cats and they're | 0:35:38 | 0:35:41 | |
hoping this American smooth
will have the judges | 0:35:41 | 0:35:43 | |
purring with delight. | 0:35:43 | 0:35:44 | |
There wasn't one second of the
Argentine tango I didn't enjoy. The | 0:35:51 | 0:35:55 | |
atmosphere in the studio was
tingling. You were totally | 0:35:55 | 0:35:59 | |
unbelievable. I wish I could dance
like you, my darling. Wow! | 0:35:59 | 0:36:07 | |
Quarterfinals! Ready to go?
Absolutely. This week, Debian | 0:36:07 | 0:36:18 | |
Giovanni are getting their claws
into an American Smooth. -- Debbie | 0:36:18 | 0:36:26 | |
and Giovanni. The thing I find
interesting about this dance is that | 0:36:26 | 0:36:30 | |
there are so many spins, and it is
really important to get the | 0:36:30 | 0:36:32 | |
technique right. Where are you
going? I am the man, I am wearing | 0:36:32 | 0:36:39 | |
the trousers. Giovanni's worried he
has put so many pivots, but those | 0:36:39 | 0:36:47 | |
are the least of my worries. We have
the faintest lifts, where he thinks | 0:36:47 | 0:36:51 | |
I am a 20-year-old and not a
59-year-old, but I do get excited | 0:36:51 | 0:36:55 | |
because I can't believe I'm actually
them. It's that muscle where I am in | 0:36:55 | 0:37:00 | |
pain. Because I am suffering with a
back problem, I am struggling with | 0:37:00 | 0:37:06 | |
the lifts this week, but I will give
it everything I've got to get them | 0:37:06 | 0:37:11 | |
right. I feel like I've climbed to
the top of a mountain, but I think | 0:37:11 | 0:37:14 | |
we are set to go. | 0:37:14 | 0:37:17 | |
Dancing the American smooth,
from the musical Cats, | 0:37:17 | 0:37:19 | |
Debbie McGee and Giovanni Pernice! | 0:37:19 | 0:37:23 | |
MUSIC: "Memory". | 0:37:30 | 0:37:35 | |
APPLAUSE | 0:39:14 | 0:39:21 | |
The atmosphere in here! Beautiful!
What a partnership! Shirley is | 0:39:28 | 0:39:40 | |
giving you a standing ovation as
well as the audience. That left - | 0:39:40 | 0:39:44 | |
exquisite! -- that lift. | 0:39:44 | 0:39:49 | |
No wonder you look like
the cat who got the cream. | 0:39:49 | 0:39:52 | |
Two tens last week. | 0:39:52 | 0:39:53 | |
How was Debbie tonight, Darcey? | 0:39:53 | 0:39:55 | |
She was stunning. I am purring with
delight. It was the fluidity, how | 0:39:55 | 0:40:01 | |
one move ran into the next. When you
join together and you turn and | 0:40:01 | 0:40:08 | |
reverse and turn out and then in and
came into Holt, my goodness! The | 0:40:08 | 0:40:13 | |
coordination with the arms and
everything, it was so exquisite. -- | 0:40:13 | 0:40:18 | |
came into hold. And that embrace
must my goodness! -- and that | 0:40:18 | 0:40:31 | |
embrace - my goodness! I think it is
going to be a memory etched in | 0:40:31 | 0:40:38 | |
everybody's hearts for a long time.
It was just beautiful, intimate, | 0:40:38 | 0:40:43 | |
polished. It was inwardly feeling. I
felt every moment with you. When you | 0:40:43 | 0:40:49 | |
did the spinning live, came out and
stay balanced and kept yourself | 0:40:49 | 0:40:55 | |
together, that was hugely impressive
for me. Well done, Debbie. Hugely | 0:40:55 | 0:41:01 | |
impressed with these comments so
far. Bruno? A smash hit! | 0:41:01 | 0:41:11 | |
Interpretation in the technical
skills, flawless, but what you did, | 0:41:11 | 0:41:15 | |
you created a sense of pathos in the
room, it was tangible. You took | 0:41:15 | 0:41:21 | |
everyone with you in the story. The
story was told so beautifully and | 0:41:21 | 0:41:26 | |
flawlessly, it was mesmerising. Look
at Craik's face. Prrrr! I think he | 0:41:26 | 0:41:48 | |
liked it! Thank you, judges. It
doesn't get much better than that, | 0:41:48 | 0:41:53 | |
does it? Give him a lick on the way
past! Give it up for Debian | 0:41:53 | 0:42:02 | |
Giovanni. -- Debbie and Giovanni.
Anton just turn to me and said, that | 0:42:02 | 0:42:15 | |
was amazing. And you had a difficult
week? Very difficult, yes. I think I | 0:42:15 | 0:42:21 | |
forget I'm 59 and keep thinking I'm
20. It caught up with me this week. | 0:42:21 | 0:42:25 | |
But it was worth it. He really
pushes you, but it is worth the | 0:42:25 | 0:42:32 | |
experience. And that was amazing
choreography. Well done. | 0:42:32 | 0:42:40 | |
The scores are in. | 0:42:40 | 0:42:41 | |
The judges have their scores. | 0:42:41 | 0:42:43 | |
I think they're happy. Well done. | 0:43:07 | 0:43:11 | |
If you thought Debbie and Giovanni's | 0:43:11 | 0:43:13 | |
feline American smooth | 0:43:13 | 0:43:15 | |
was the cat's whiskers,
then you will need to vote. | 0:43:15 | 0:43:17 | |
All the details are on your screen
now and the vote will open once | 0:43:17 | 0:43:20 | |
all our couples have danced. | 0:43:20 | 0:43:24 | |
Still to come, Alexandra and Gorka
do a Mary Poppins themed Charleston. | 0:43:24 | 0:43:30 | |
Well done, guys. | 0:43:30 | 0:43:31 | |
Tess. | 0:43:31 | 0:43:33 | |
Our next couple fighting
for their place in the semifinal | 0:43:33 | 0:43:35 | |
is Davood and his partner, Nadiya. | 0:43:35 | 0:43:42 | |
Last week, he delivered | 0:43:42 | 0:43:43 | |
a beautiful waltz. | 0:43:43 | 0:43:44 | |
But tonight we'll see a darker side
of Davood as he takes | 0:43:44 | 0:43:47 | |
on the Argentine tango
as the Phantom Of The Opera. | 0:43:47 | 0:43:49 | |
The waltz, how wonderful was that?
So magical. I had no clue how it had | 0:43:57 | 0:44:03 | |
gone. There were lovely comments
about the whole performance. | 0:44:03 | 0:44:08 | |
Stylish, extremely elegant, I was
totally charmed. Here we are - the | 0:44:08 | 0:44:13 | |
quarterfinals, musicals week... I
want this to be so epic. We are | 0:44:13 | 0:44:20 | |
doing the Argentine tango. The main
theme from Phantom of the Opera. I | 0:44:20 | 0:44:25 | |
believe I am the first male
celebrity doing the Argentine tango, | 0:44:25 | 0:44:29 | |
so no pressure. It is such a
beautiful dance, so intense. Make | 0:44:29 | 0:44:36 | |
sure it is more this... Nadiya
spirits Davood after the West | 0:44:36 | 0:44:46 | |
Do you have some advice? -- off to
the west end for some tips. Would | 0:44:48 | 0:44:58 | |
you like to see a preview of our
Argentine tango? We would love to. I | 0:44:58 | 0:45:08 | |
thought it was passionate and
beautiful. I was hugely impressed. | 0:45:08 | 0:45:13 | |
The Phantom is such an iconic
character. It is such a good story, | 0:45:13 | 0:45:18 | |
it will stand us in good stead and
we will use it all tonight in this | 0:45:18 | 0:45:22 | |
Argentine tango. | 0:45:22 | 0:45:23 | |
Dancing the Argentine
tango, from the musical | 0:45:24 | 0:45:26 | |
The Phantom Of The Opera,
Davood Ghadami and Nadiya Bychkova. | 0:45:26 | 0:45:28 | |
MUSIC: "Phantom Of The Opera". | 0:45:35 | 0:45:39 | |
CHEERING
Brilliant, brilliant. | 0:47:16 | 0:47:25 | |
Goodness me. Yes. The standard of
dancing tonight. We wanted drama and | 0:47:25 | 0:47:40 | |
you brought it. Thank you very much.
Our first male celebrity to do the | 0:47:40 | 0:47:46 | |
Argentine tango. How did he do? I
liked the character and you had some | 0:47:46 | 0:47:51 | |
spectacular lifts, but you had some
stumbling problems this evening and | 0:47:51 | 0:47:56 | |
some balance issues. I am sure you
could feel that. I would have liked | 0:47:56 | 0:48:00 | |
you to be more in control. It did
not go the best this evening. OK. | 0:48:00 | 0:48:04 | |
Bruno. It powerful, menacing
presence, yes, good figures and | 0:48:04 | 0:48:11 | |
images, but it was not slick enough.
You cannot be wobbly in the | 0:48:11 | 0:48:16 | |
Argentine tango. It is starting
Panther. Moments were unsteady. It | 0:48:16 | 0:48:21 | |
was a good effort, but. OK. Yes, I
think that hampered your lead a | 0:48:21 | 0:48:28 | |
little bit. I did not feel like you
were leading the dance. However, I | 0:48:28 | 0:48:32 | |
love the concept, and I love the
fact that you maintain the Nadiya's | 0:48:32 | 0:48:38 | |
balance through the arabesque turn.
I really liked it. An excellent | 0:48:38 | 0:48:45 | |
leading man. Darcey. You started off
immaculately. I believe that the | 0:48:45 | 0:48:51 | |
balance and control, as Craig said,
in the Times, the arabesque, it was | 0:48:51 | 0:48:55 | |
here, but as it got faster, trying
to maintain that there were balance | 0:48:55 | 0:49:00 | |
problems. That is so difficult in an
Argentine tango, but well done. | 0:49:00 | 0:49:04 | |
Thank you. We all thought you were
amazing. You were a complete novice. | 0:49:04 | 0:49:11 | |
You have come so far in this
competition. He should be proud of | 0:49:11 | 0:49:16 | |
themselves. It is Davood and Nadiya.
Well done. | 0:49:16 | 0:49:20 | |
CHEERING
Well done. | 0:49:20 | 0:49:27 | |
They loved it. The atmosphere in the
studio was electric. Did you feel | 0:49:27 | 0:49:32 | |
that? Maybe it got to me too much,
maybe that made me go. But I loved | 0:49:32 | 0:49:36 | |
it and the atmosphere was great. It
is fantastic and massive | 0:49:36 | 0:49:45 | |
congratulations, you're engaged.
CHEERING | 0:49:45 | 0:49:46 | |
. | 0:49:46 | 0:49:48 | |
The scores are in. | 0:49:48 | 0:49:49 | |
The judges have their scores. | 0:49:49 | 0:49:51 | |
29. Yes. Slightly disappointed?
Gets, there were some balance | 0:50:02 | 0:50:07 | |
issues, so that is fit enough. But I
loved it. They said it was a great | 0:50:07 | 0:50:12 | |
dance. | 0:50:12 | 0:50:13 | |
If you adored Davood and Nadiya's
dramatic Argentine tango | 0:50:13 | 0:50:15 | |
and you want to see them in next
week's semifinal, please | 0:50:15 | 0:50:18 | |
make sure you vote. | 0:50:18 | 0:50:19 | |
All the details you need
are on your screen now and voting | 0:50:19 | 0:50:22 | |
will open very shortly at the end
of the show. | 0:50:22 | 0:50:24 | |
If you want to know more
about Strictly, go to the website. | 0:50:24 | 0:50:28 | |
This week, AJ unveils his life-sized
matchstick model of Elaine Paige. | 0:50:28 | 0:50:33 | |
It is quite mesmerising. | 0:50:33 | 0:50:34 | |
Tess. | 0:50:34 | 0:50:35 | |
Look who I'm with! | 0:50:35 | 0:50:37 | |
It's Denise Lewis and Ed Balls. | 0:50:37 | 0:50:40 | |
Lovely to see you. | 0:50:40 | 0:50:41 | |
Ed, what's it like to be
back in the ballroom? | 0:50:41 | 0:50:48 | |
Fond memories? It brings back all of
the nerves and the excitement. I | 0:50:48 | 0:50:51 | |
have got to say, I could never get
anywhere near the quality we have | 0:50:51 | 0:50:55 | |
seen tonight. They have been
brilliant. The standard is | 0:50:55 | 0:50:58 | |
sensational. You will enjoy this. | 0:50:58 | 0:51:02 | |
Right, our final couple is Alexandra
and her partner, Gorka. | 0:51:02 | 0:51:08 | |
Tonight, she's dancing
for a place in the semifinal | 0:51:08 | 0:51:10 | |
and she needs this Charleston
to be | 0:51:10 | 0:51:12 | |
supercalifragilisticexpialidocious! | 0:51:12 | 0:51:15 | |
I love dancing the rumba but I feel
I allowed my nerves to get the | 0:51:20 | 0:51:23 | |
better of me. I felt it lacked any
sort of connection and chemistry. | 0:51:23 | 0:51:30 | |
You never know what is going to
happen in this competition. I was | 0:51:30 | 0:51:34 | |
not shot we were in the bottom two,
but I thought, I have to give it my | 0:51:34 | 0:51:39 | |
all. Thankfully we are still here to
fight another week. | 0:51:39 | 0:51:46 | |
For musicals weak, Alexandra and
Gorka I dance seeing a Charleston to | 0:51:46 | 0:51:52 | |
a song from Mary Poppins. But what
is it called, Gorka? Super... No, it | 0:51:52 | 0:52:00 | |
is
Supercalifragilisticexpialidocious. | 0:52:00 | 0:52:00 | |
I will channel my inner Mary
Poppins. Hold on, that is Debbie | 0:52:00 | 0:52:05 | |
McGee's trick. I did it first.
Ready? I am ready. Let's do it. Why | 0:52:05 | 0:52:14 | |
are we in your kitchen? Because of
all your hard work teaching me how | 0:52:14 | 0:52:18 | |
to dance, I want to put you a meal.
Thank you, I'm starving. Do you like | 0:52:18 | 0:52:24 | |
to cook? I love cooking. It is a
typical English meal like spaghetti | 0:52:24 | 0:52:29 | |
Bolognese. What do you think of the
food? It is very good. The pastor is | 0:52:29 | 0:52:34 | |
on point. Hopefully on Saturday
dance will be as good as she is in | 0:52:34 | 0:52:39 | |
the kitchen. Let's do a Charleston.
If the judges like her Charleston as | 0:52:39 | 0:52:47 | |
much as Gorka like my cooking, we're
in for a great night. | 0:52:47 | 0:52:54 | |
Dancing the Charleston,
from the musical Mary Poppins, | 0:52:54 | 0:52:55 | |
Alexandra Burke and Gorka Marquez! | 0:52:55 | 0:53:05 | |
MUSIC:
"Supercalifragilisticexpialidocious" | 0:53:08 | 0:53:12 | |
CHEERING | 0:54:37 | 0:54:42 | |
My goodness. Yes. | 0:54:47 | 0:54:51 | |
What a show-stopper! | 0:54:51 | 0:54:55 | |
What a show-stopper! | 0:54:55 | 0:54:57 | |
You've bounced back
from the dance-off. | 0:54:57 | 0:55:01 | |
You have raised the roof. You have
brought the house down. Bruno is | 0:55:01 | 0:55:06 | |
still dancing. I am going,
Supercalifragilisticexpialidocious. | 0:55:06 | 0:55:12 | |
Super Alexandra. Perfect in every
possible way. It really was the show | 0:55:12 | 0:55:22 | |
stopper we needed to end this
fantastic night. Well done. Thank | 0:55:22 | 0:55:27 | |
you, Bruno. So true. So much swivel.
Surely you have to be impressed, | 0:55:27 | 0:55:32 | |
Craig? Yes, you had better swivel
than Gorka. Well done, I love that, | 0:55:32 | 0:55:39 | |
brilliant. Darcey. It was absolutely
terrific. The ease, the energy, and | 0:55:39 | 0:55:50 | |
who could tell who was not the
professional? You were up there. My | 0:55:50 | 0:55:55 | |
goodness, the amount of detail you
gave us. It did not stop. You did | 0:55:55 | 0:56:00 | |
not take a breath. Even with a plain
swivel, you give us twisting and | 0:56:00 | 0:56:04 | |
turning. Every possible. Fabulous.
Thank you. The energy, Shirley? Last | 0:56:04 | 0:56:13 | |
week you were in the bottom two and
this week you were stratospheric. I | 0:56:13 | 0:56:17 | |
loved it, you were brilliant. It is
official. You are a hit. She is | 0:56:17 | 0:56:24 | |
fabulous. We will not forget that
for a long time, Alexandra and | 0:56:24 | 0:56:31 | |
Gorka. Well done. How did you feel?
I feel like I am in shock. You | 0:56:31 | 0:56:43 | |
wanted to do this dance more than
any other. Absolutely, it is so much | 0:56:43 | 0:56:47 | |
fun. No wonder, she is better than
me. Gorka, you are very good at | 0:56:47 | 0:56:55 | |
dancing. Well done, Gorka. It is an
honour to close the show. Such an | 0:56:55 | 0:57:02 | |
honour to close the show, and that
the quarterfinals it means so much, | 0:57:02 | 0:57:07 | |
so I am just grateful. Happy. Happy.
This guy is just learning. | 0:57:07 | 0:57:14 | |
The scores are in. | 0:57:14 | 0:57:16 | |
The judges have their scores. | 0:57:16 | 0:57:18 | |
CHEERING
That must feel amazing. It does. | 0:57:31 | 0:57:38 | |
After last week.
INAUDIBLE | 0:57:38 | 0:57:46 | |
Say the song title for us? | 0:57:46 | 0:57:48 | |
If you thought Alexandra
and Gorka's Charleston was super | 0:57:48 | 0:57:50 | |
and you think they deserve a place
in next week's semifinal, | 0:57:50 | 0:57:53 | |
then please vote for them. | 0:57:53 | 0:57:54 | |
All the details are up
on your screen now and voting | 0:57:54 | 0:57:57 | |
will open in a few moments. | 0:57:57 | 0:57:58 | |
That's it. | 0:57:58 | 0:58:00 | |
All of our couples have performed
so it's time to look | 0:58:00 | 0:58:03 | |
at the leaderboard. | 0:58:03 | 0:58:03 | |
Remember, you can change all that
by picking up the phone | 0:58:15 | 0:58:18 | |
or going online and voting
for your favourites. | 0:58:18 | 0:58:20 | |
And the vote is now open! | 0:58:20 | 0:58:23 | |
CHEERING | 0:58:23 | 0:58:24 | |
Calls to the short number
from a mobile cost 15p. | 0:58:24 | 0:58:27 | |
Calls to the long number cost 15p,
plus your network's access | 0:58:27 | 0:58:29 | |
charge and please ask
the bill payer's permission. | 0:58:29 | 0:58:31 | |
You can vote online by visiting
bbc.co.uk/strictly where you will | 0:58:31 | 0:58:34 | |
also find terms and conditions. | 0:58:34 | 0:58:36 | |
Voting closes at 8:45 tonight. | 0:58:36 | 0:58:38 | |
Please don't try to vote
if you're watching on demand. | 0:58:38 | 0:58:43 | |
You cannot dance. | 0:58:43 | 0:58:44 | |
To help you decide, here's
a reminder of tonight's | 0:58:44 | 0:58:47 | |
performances and the all
important vote information. | 0:58:47 | 0:58:48 | |
What a night it's been. | 1:00:39 | 1:00:41 | |
Our stars have done everything
they can so please remember | 1:00:41 | 1:00:43 | |
to vote for your favourites
before 8:45pm tonight. | 1:00:43 | 1:00:48 | |
The Glitterball Trophy
is on the horizon, but only five | 1:00:48 | 1:00:50 | |
couples will make it
through to next week's semifinal. | 1:00:50 | 1:00:54 | |
Two couples will face each other
in the dance-off in tomorrow | 1:00:54 | 1:00:56 | |
night's results show,
when one couple must | 1:00:56 | 1:00:58 | |
leave the ballroom. | 1:00:58 | 1:01:00 | |
Also tomorrow, for one night only,
our professional dancers will be | 1:01:00 | 1:01:03 | |
joining the Dreamgirls
for a very special routine. | 1:01:03 | 1:01:08 | |
Plus, we'll have music
from Leading Ladies Beverley Knight, | 1:01:08 | 1:01:10 | |
Amber Riley and Cassidy Janson. | 1:01:10 | 1:01:13 | |
They'll be performing
I'm Every Woman. | 1:01:13 | 1:01:16 | |
So, for all of that and to find out
who will be the tenth couple | 1:01:16 | 1:01:19 | |
to leave the competition,
join us tomorrow at 7:20. | 1:01:19 | 1:01:23 | |
Stay tuned as we're about to get
you in the Christmas mood | 1:01:23 | 1:01:26 | |
with a short animation
about a little girl | 1:01:26 | 1:01:28 | |
who loves to dance. | 1:01:28 | 1:01:30 | |
But in the meantime, keep dancing! | 1:01:30 | 1:01:37 | |
SCHOOL BELL RINGS | 1:01:43 | 1:01:45 |