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Into the night. This week they're fighting for a place in Strictly's | 0:00:33 | 0:00:39 | |
Wembley team and they're not holding back. Music maestro. | 0:00:39 | 0:00:48 | |
I think I'm going to throw up. here to save the day. Get ready, | 0:00:48 | 0:00:58 | |
0:00:58 | 0:00:58 | ||
Apology for the loss of subtitles for 43 seconds | 0:00:58 | 0:01:41 | |
Live from Television Centre, please welcome your hosts, Bruce Forsyth | 0:01:42 | 0:01:51 | |
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APPLAUSE Oh, I like this. Beautiful. Thank | 0:02:00 | 0:02:10 | |
0:02:10 | 0:02:11 | ||
you so much. If you're stopping sit down. Oh, good they're stopping. | 0:02:11 | 0:02:15 | |
Right good evening, ladies, gentlemen and children. Welcome to | 0:02:15 | 0:02:20 | |
Strictly Come Dancing. It's nice to see you, to see you... Nice! Have | 0:02:20 | 0:02:26 | |
you had a good week? I've had a busy week. Promoting my album. I | 0:02:26 | 0:02:28 | |
shouldn't have said that, never mind! | 0:02:28 | 0:02:33 | |
LAUGHTER I've been on lots of show that's | 0:02:33 | 0:02:37 | |
week. I was on The One Show with Alex. I was on the Chris Evans | 0:02:37 | 0:02:42 | |
breakfast show. We had a lot of fun. I love that man. There's one | 0:02:42 | 0:02:47 | |
programme I will not be doing. programme's that? How to look good | 0:02:47 | 0:02:52 | |
naked. APPLAUSE | 0:02:53 | 0:03:02 | |
0:03:03 | 0:03:06 | ||
No. If you're watching Gok Wan... I'm sorry, girlfriend, the answer's | 0:03:06 | 0:03:16 | |
0:03:16 | 0:03:16 | ||
no! There we are. APPLAUSE | 0:03:16 | 0:03:21 | |
Last week, Luini's exit sent shock waves through -- lulu's exit sent | 0:03:21 | 0:03:26 | |
shock waves through the ballroom. It's going to be a big one next | 0:03:26 | 0:03:31 | |
week. All of our couple will be dancing in front of more than 6,000 | 0:03:31 | 0:03:36 | |
people at Wembley Arena. That's right. | 0:03:36 | 0:03:44 | |
It is the big one. I like the woo, that was good. We're loving the woo. | 0:03:44 | 0:03:48 | |
Just the thought of Wembley brings plenty of pre-match nerves. Which | 0:03:48 | 0:03:53 | |
of our remaining stars can handle the pressure. Shall we find out? | 0:03:53 | 0:04:03 | |
0:04:03 | 0:04:03 | ||
Apology for the loss of subtitles for 43 seconds | 0:04:03 | 0:05:00 | |
certainly will, my darling, let's Much excitement in the studio | 0:05:00 | 0:05:06 | |
tonight. There they all are. CHEERING | 0:05:06 | 0:05:12 | |
They're up for it this lot. somebody else come on? While I've | 0:05:12 | 0:05:16 | |
got you all together, I'm sure you'd like to welcome back Len! | 0:05:16 | 0:05:25 | |
APPLAUSE Welcome back Len. Thank you. Which | 0:05:25 | 0:05:29 | |
of course, means Craig will no longer be head judge. | 0:05:29 | 0:05:36 | |
CHEERING Do you know, I think that's the | 0:05:36 | 0:05:41 | |
first time you've ever got a cheer. So enjoy it, wallow in it. | 0:05:41 | 0:05:44 | |
Have a wallow. The eagle eyed amongst you will | 0:05:44 | 0:05:49 | |
have noticed that Holly has a new partner in Brendan. | 0:05:49 | 0:05:54 | |
Bit more about that later on. For now, it's business as usual as our | 0:05:54 | 0:05:59 | |
stars will be performing, the judges scoring and the couples | 0:05:59 | 0:06:02 | |
ranked on the leaderboard. scores will be combined with your | 0:06:02 | 0:06:06 | |
votes and sadly, one couple's Wembley dreams will fade. That's | 0:06:06 | 0:06:09 | |
right. If you're a digital viewer, press the red button for live | 0:06:09 | 0:06:12 | |
commentary. We've got Karen Hardy and her host with the most is West | 0:06:12 | 0:06:19 | |
End megastar, Michael Ball. Good luck to you both. | 0:06:19 | 0:06:22 | |
Nice to have Michael. All right then, let's get down to business. | 0:06:22 | 0:06:29 | |
Our first couple is Alex Jones and her partner, James. | 0:06:29 | 0:06:35 | |
Where are they? Over there. Good luck. Right now, because of all | 0:06:35 | 0:06:41 | |
their dance training and presenting The One Show, Alex is starting to | 0:06:41 | 0:06:45 | |
feel very tired, which is only natural. She wanted an afternoon | 0:06:45 | 0:06:51 | |
nap today and said "Bruce, will you come to my room and sing me a | 0:06:51 | 0:06:55 | |
lullaby?" I said "What makes you think my singing will send you to | 0:06:55 | 0:07:02 | |
sleep?" Shut up! Don't seat joke before I get there. She said "It | 0:07:02 | 0:07:05 | |
worked with the audience last week." They didn't go to sleep, | 0:07:05 | 0:07:10 | |
Alex! They didn't. They did not go to sleep. They were | 0:07:10 | 0:07:16 | |
in a, they were in a state of utter bliss. And you can't prove | 0:07:16 | 0:07:26 | |
otherwise. Right, here they are in training. Good luck to you all. | 0:07:26 | 0:07:36 | |
0:07:36 | 0:07:38 | ||
It all started off swimmingly and then, da da da, the net of the | 0:07:38 | 0:07:43 | |
dress got caught in my heel. carried on like a trooper. | 0:07:43 | 0:07:47 | |
Admittedly there were a few steps which aren't exactly as I had | 0:07:47 | 0:07:51 | |
choreographed. I actually didn't mind the end of our routine, | 0:07:52 | 0:07:55 | |
because I think we'd done so well to get to that point. I loved that | 0:07:55 | 0:08:03 | |
part. Extra point. We fell over live on the television. This week, | 0:08:03 | 0:08:08 | |
we're dancing the jive. Quite fast, isn't it? Can't keep up with me. | 0:08:08 | 0:08:14 | |
can. Can't. Can. I think we could market this into a DVD. Jive away | 0:08:14 | 0:08:19 | |
your jelly. We're starting the DVD now. James thinks he's fitter than | 0:08:19 | 0:08:24 | |
me. He should be, he is a professional dancer, but we'll see. | 0:08:24 | 0:08:28 | |
# Let's get physical # I want to get physical | 0:08:28 | 0:08:33 | |
# Let's get into physical # Let me hear your body talk # | 0:08:33 | 0:08:43 | |
0:08:43 | 0:08:47 | ||
Here we go! Like dancing with a 64- year-old honestly. I'll push myself | 0:08:47 | 0:08:57 | |
0:08:57 | 0:09:04 | ||
till I collapse. Dancing the jive, Alex Jones and | 0:09:04 | 0:09:14 | |
0:09:14 | 0:09:14 | ||
Apology for the loss of subtitles for 43 seconds | 0:09:14 | 0:11:05 | |
CHEERING AND APPLAUSE What about this! Give her the doll back. You | 0:11:05 | 0:11:10 | |
were born to dance. You're really coming on. Whilst you get your | 0:11:10 | 0:11:15 | |
breath back, it's a good time to welcome our fabulous singers, Dave | 0:11:15 | 0:11:20 | |
Arch and his wonderful orchestra. APPLAUSE | 0:11:20 | 0:11:26 | |
Not forgetting our judges! APPLAUSE | 0:11:26 | 0:11:31 | |
If you've just switched on and thought Jennifer grey is looking a | 0:11:31 | 0:11:36 | |
bit rough this week, she's not, it's just that Len's back. I can | 0:11:36 | 0:11:40 | |
honestly say, Len, it wasn't the same without you. Thank you. | 0:11:40 | 0:11:49 | |
APPLAUSE Let's all be honest. It was better. | 0:11:49 | 0:11:56 | |
But not the same, you see. What do you think of this first offering? | 0:11:56 | 0:12:01 | |
When the doll started I thought, here we go. But no you blossomed. | 0:12:01 | 0:12:07 | |
You busted out all over the place. OK, the kicks could have been a bit | 0:12:07 | 0:12:11 | |
sharper. You missed one of the little passes, but it was so full | 0:12:11 | 0:12:19 | |
of verve and gusto, I thought it was terrific. Well done. | 0:12:19 | 0:12:24 | |
You're doing wonders with this girl, I tell you. Alesha, what about you? | 0:12:24 | 0:12:27 | |
Your energy is fantastic. You were going for it. Your confidence is | 0:12:27 | 0:12:31 | |
growing. I can feel that. You need to refine some of your tests. Tiny | 0:12:31 | 0:12:36 | |
things, point your toes, finish off your moves. Other than that an | 0:12:36 | 0:12:46 | |
0:12:46 | 0:12:47 | ||
incredible opening to the show. You were a joy to watch. Bruno? Oh, yes. | 0:12:47 | 0:12:53 | |
Bring on the fun Alex. You had the enthusiasm of a manic Cheerleader, | 0:12:53 | 0:12:57 | |
backing the right side. You went for it bright, lively, the timing | 0:12:57 | 0:13:02 | |
was G you missed the pass and went on the wrong foot. Yes you have to | 0:13:02 | 0:13:09 | |
flick correctly. I'm telling you, I had so much fun with you. | 0:13:09 | 0:13:15 | |
How about you, Craig? That effigy I have to say is remarkable likeness | 0:13:15 | 0:13:25 | |
of James. It is! Getting on with the performance itself was | 0:13:25 | 0:13:28 | |
extremely confident, which was brilliant. There is no real | 0:13:28 | 0:13:34 | |
accuracy or precision in the steps and by pointing your feet on the | 0:13:34 | 0:13:39 | |
kicks that would have helped delineate the line. Fair comment, | 0:13:39 | 0:13:49 | |
but we loved you. Thank you, Bruce. Off you go. | 0:13:49 | 0:13:57 | |
Yes! Come on. Alesha said an incredible opening to the show. She | 0:13:57 | 0:14:01 | |
was right. Rewind six years ago, to the start of this, did you think | 0:14:01 | 0:14:06 | |
you'd handle the pressure of this? James has done an incredible job. | 0:14:06 | 0:14:11 | |
Six weeks ago I'm sorry. I knew what you meant. I didn't think I | 0:14:11 | 0:14:18 | |
would be able to. Nor did I. It was nice to give it a good go. Len said | 0:14:18 | 0:14:21 | |
you blossomed and were full of gusto. Looked like you enjoyed | 0:14:21 | 0:14:27 | |
every second of that. We enjoyed this week. It's been a laugh. | 0:14:27 | 0:14:31 | |
the doll? Hard to tell them apart. It's got more hair than me. Scores | 0:14:31 | 0:14:41 | |
0:14:41 | 0:14:58 | ||
31 out of 40, congratulations. Really strong start. Job down their | 0:14:58 | 0:15:04 | |
number and call later on if you want to see Alex dance at Wembley | 0:15:04 | 0:15:11 | |
The couples with the lowest combined scores will be leaving the | 0:15:11 | 0:15:15 | |
competition. If you want to go to Wembley, clap your hands. They're | 0:15:15 | 0:15:21 | |
up for it. Now our next couple Robbie Savage | 0:15:21 | 0:15:26 | |
and his partner, Ola. APPLAUSE | 0:15:26 | 0:15:32 | |
Popular couple. Robbie is doing the American smooth and he's been | 0:15:32 | 0:15:36 | |
wondering what sort of tails to wear. I said "You mean white tails | 0:15:36 | 0:15:43 | |
or black tails?" He said no, "Pig tails or ponytails." | 0:15:43 | 0:15:48 | |
APPLAUSE I think he was having a bad hair | 0:15:48 | 0:15:54 | |
day. I thought that bit was funny, any way. Here they are in training, | 0:15:54 | 0:16:04 | |
0:16:04 | 0:16:04 | ||
if you're going to be like that. I loved the dance. I love it. There | 0:16:04 | 0:16:09 | |
was a tear in my eye at the end so I can't understand the comments. | 0:16:09 | 0:16:13 | |
didn't really feel the connection. I would have liked to see that more. | 0:16:13 | 0:16:18 | |
Devoid of any emotion. Why just negative comments? Robbie is always | 0:16:18 | 0:16:23 | |
concentrating on the negative. He can't hear the positives. There's a | 0:16:23 | 0:16:29 | |
lot of positives there. It was your most correct performance to date. | 0:16:29 | 0:16:32 | |
I made my mum and wife cry on Saturday night. That's all that | 0:16:32 | 0:16:38 | |
counts. The dream of getting to Wembley reminds me so much of when | 0:16:38 | 0:16:44 | |
I was a kid. Savage beats one, a nutmeg. He's going to light up | 0:16:44 | 0:16:54 | |
0:16:54 | 0:16:55 | ||
Wembley. Oh! Robbie? Robbie... are you? I'm your Fairy Godmother. | 0:16:55 | 0:17:01 | |
I'm here to make your dreams come true. If you stop stealing mummy's | 0:17:01 | 0:17:04 | |
hair straighters in and listen to everything your teacher says, you | 0:17:04 | 0:17:08 | |
will make it to Wembley. Do you think I could score the winner in | 0:17:08 | 0:17:13 | |
the FA Cup final? I mean you can dance at Wembley. You've got what | 0:17:13 | 0:17:21 | |
it takes. Savage takes to the floor, the | 0:17:21 | 0:17:28 | |
scores are in. It's a ten off Len. It's a ten from Alesha. A ten off | 0:17:28 | 0:17:37 | |
Bruno. A ten off Craig - yes! Dancing the American smooth, Robbie | 0:17:37 | 0:17:47 | |
0:17:47 | 0:17:47 | ||
Apology for the loss of subtitles for 43 seconds | 0:17:47 | 0:19:22 | |
CHEERING AND APPLAUSE What about this pair? Wonderful. That was so | 0:19:22 | 0:19:28 | |
beautiful. What a team. You're quite a team now. Alesha, what did | 0:19:28 | 0:19:33 | |
you think? You really are a ballroom boy. Great use of steps. | 0:19:33 | 0:19:36 | |
Great lifts, although they were a little erratic at times. You know | 0:19:36 | 0:19:39 | |
what, you're continuing the success of last week. You're constantly | 0:19:39 | 0:19:45 | |
moving in the right direction. Great job. All because of Ola. I | 0:19:45 | 0:19:50 | |
blame Ola. Right now then Bruno? You are | 0:19:50 | 0:19:55 | |
really becoming a Smooth Operator. I like the variety of steps, the | 0:19:55 | 0:20:00 | |
way you went from slow to fast. Sometimes a bit rough still. But it | 0:20:00 | 0:20:04 | |
goes with the territory with Savage. I love the way you can sway both | 0:20:05 | 0:20:12 | |
ways. No! Because there were elements of Latin and ballroom | 0:20:12 | 0:20:15 | |
combined in this American smooth, which I see very rarely. No, it's | 0:20:15 | 0:20:25 | |
true, isn't it? Ola, it's true? Yes. You're right. Now then Craig? | 0:20:25 | 0:20:31 | |
thought you had beautiful arm placement in the running promenades. | 0:20:32 | 0:20:35 | |
I can see that you were working that beautifully. You have to be | 0:20:35 | 0:20:40 | |
aware of other moments that your arms are out in second because your | 0:20:40 | 0:20:45 | |
hands do this weird thing like this. So do watch that, my darling. I | 0:20:46 | 0:20:50 | |
agree a lot of mix of style, which was fantastic. Great control in the | 0:20:50 | 0:20:57 | |
lifts, brilliant. The step -touch moment was a bit awkward, I would | 0:20:57 | 0:21:01 | |
have eliminated that, having watched you do it. But the whole | 0:21:01 | 0:21:11 | |
routine was rather good. Wow, what happened? Len? Actually, | 0:21:11 | 0:21:14 | |
Robbie, when he was doing those strange fingers was looking at you | 0:21:14 | 0:21:20 | |
actually. LAUGHTER | 0:21:20 | 0:21:24 | |
I wondered where you were at first, I didn't know you were on the | 0:21:24 | 0:21:27 | |
naughty step. Once you got cracking, I tell you what, you're getting | 0:21:27 | 0:21:33 | |
better and better. Well done to you. Absolutely. We all love you. Off | 0:21:33 | 0:21:43 | |
0:21:43 | 0:21:48 | ||
you go and be proud. Look at that. Better and better. | 0:21:48 | 0:21:54 | |
Bruno's Smooth Operator. Even Craig said rather good. Wow. Ola was | 0:21:54 | 0:21:58 | |
fantastic. Fabulous choreography. We know you have strong | 0:21:58 | 0:22:02 | |
footballer's legs but those arms were made for lifting. My feet | 0:22:02 | 0:22:06 | |
weren't made for football, I wasn't very good at that. Playing at | 0:22:06 | 0:22:10 | |
Wembley next week would be amazing, for Ola as well. Were you worried | 0:22:10 | 0:22:20 | |
0:22:20 | 0:22:37 | ||
he was going to drop you. Yeah, no, 31 and a seven from Craig. You have | 0:22:37 | 0:22:44 | |
to be happy with that. Very happy. Thank you. | 0:22:44 | 0:22:50 | |
Call this number later in the show if you want to make Robbie's goal | 0:22:50 | 0:22:55 | |
of dancing at Wembley come true. We know how much that would mean. | 0:22:55 | 0:22:58 | |
Massively. Now the judges scores might not be enough to save your | 0:22:58 | 0:23:04 | |
favourites. Pick up the phone to do your bit for our boys and girls. | 0:23:04 | 0:23:07 | |
Now for our next couple, Audley Harrison and his partner, Natalie. | 0:23:07 | 0:23:15 | |
APPLAUSE Another couple that you all love, I | 0:23:15 | 0:23:20 | |
know. Audley is such a mountain of a man. I said, "I bet there's | 0:23:20 | 0:23:24 | |
nothing in this world that scares you." He said, "Well I'm not keen | 0:23:24 | 0:23:29 | |
on those four legged things with tails that swish round your | 0:23:29 | 0:23:35 | |
ankles." I said "You mean rats?" He said, "No, I mean horses." Isn't | 0:23:35 | 0:23:43 | |
that a stupid joke. That's stupid. Here they are in training. | 0:23:43 | 0:23:49 | |
Last Saturday was amazing. I just want you to push it more, take | 0:23:49 | 0:23:52 | |
ownership of the dance and feel confident leading Natalie around. | 0:23:52 | 0:23:56 | |
You're getting there. You should be proud. That feels fantastic, when | 0:23:56 | 0:24:00 | |
it mattered most we got a higher score and I danced to the best of | 0:24:00 | 0:24:04 | |
my ability. That's what you do when you're under pressure, you put in a | 0:24:04 | 0:24:08 | |
great performance. That is amazing. I was in the bottom two for the | 0:24:08 | 0:24:12 | |
third time. I said, you know what, I'm down but not out. There's still | 0:24:12 | 0:24:17 | |
a chance that I could stay in the show. That's how it panned out. | 0:24:17 | 0:24:21 | |
Surviving again... Audley and Natalie. | 0:24:21 | 0:24:28 | |
# I'm a survivor, keep on surviving. The cha-cha-cha is that Latin | 0:24:28 | 0:24:36 | |
flavour. This is where I've got to go for it. Red light. Focused, | 0:24:36 | 0:24:40 | |
ready to rumble. Come on, take charge, lead me. What I want Audley | 0:24:40 | 0:24:44 | |
to do this week is lead, lead me. That's so weak. He has to lead. | 0:24:44 | 0:24:48 | |
He's got no choice. We lead with our hands come on. Go. | 0:24:48 | 0:24:54 | |
competition is getting very touch. If you're not improving technically, | 0:24:54 | 0:24:59 | |
then why are you here? Amazing, again. This is a Latin dance. | 0:24:59 | 0:25:03 | |
Saturday night we're going to be ready to light up the dance floor. | 0:25:03 | 0:25:11 | |
Cha-cha-cha. It is hot in here, Dancing the cha-cha-cha, Audley | 0:25:11 | 0:25:21 | |
0:25:21 | 0:25:21 | ||
Apology for the loss of subtitles for 43 seconds | 0:25:21 | 0:26:59 | |
CHEERING AND APPLAUSE Audley, you amaze me every week. A real bit of | 0:26:59 | 0:27:05 | |
rhythm there, for a big guy, you really move. Bruno? Audley, before | 0:27:05 | 0:27:10 | |
I speak, I really, really like you, you know, but... Cha-cha-cha, | 0:27:11 | 0:27:17 | |
timing, timing, timing, precision, precision, precision. There wasn't | 0:27:17 | 0:27:21 | |
hardly any. I mean, the National Rail on a bank holiday has better | 0:27:21 | 0:27:25 | |
timing. I know you're cool and relaxed and laid back. You know | 0:27:25 | 0:27:29 | |
you're a great personality, yes. But at this stage, you should give | 0:27:29 | 0:27:35 | |
us more impact on this Latin dances, you should hit it. Go for it, | 0:27:35 | 0:27:43 | |
sharper, cleaner, finish it. I do like you, though, I like you a lot. | 0:27:43 | 0:27:50 | |
Now then, Craig? I don't actually mean to be awful, but it was leaden, | 0:27:50 | 0:27:58 | |
heavy, laboured. It was torpid and not your finest hour. | 0:27:58 | 0:28:02 | |
There wasn't yours either. Len, what did you think? I've got the | 0:28:02 | 0:28:08 | |
feeling the only way you're going to Wembley is on the Jubilee Line. | 0:28:08 | 0:28:16 | |
Oh, well. Hold your horses... Listen, they're actually wrong, | 0:28:16 | 0:28:24 | |
your timing was very, very good. You never went off the time. You | 0:28:24 | 0:28:28 | |
had rhythm. It wasn't your best dance, but you did your best. I | 0:28:28 | 0:28:32 | |
think that's very important that everyone comes out and gives it | 0:28:32 | 0:28:37 | |
their best shot and that you did. Yes, taking that into consideration, | 0:28:37 | 0:28:41 | |
the size of the man wha. About you Alesha? It's harsh what the judges | 0:28:41 | 0:28:46 | |
are saying, but some of it is true. This dance exposed you. I know | 0:28:46 | 0:28:50 | |
you're working hard and trying, I mend you for that. I don't think | 0:28:50 | 0:28:54 | |
this particular dance suited you. Difficult dance, but don't listen | 0:28:54 | 0:29:03 | |
to them. You're my favourite. APPLAUSE | 0:29:03 | 0:29:13 | |
0:29:13 | 0:29:21 | ||
Come on up here. You bring the ballroom fight every week. Go on... | 0:29:21 | 0:29:25 | |
You always manage to do the best performance on the night, | 0:29:25 | 0:29:30 | |
congratulations for that. comments were harsh. Is it the | 0:29:30 | 0:29:40 | |
Jubilee Line? Or the Met row poll tan? -- metropolitan. The ballroom | 0:29:40 | 0:29:46 | |
hold is more suited to me. I gave it my best shot. I didn't get the | 0:29:46 | 0:29:50 | |
routine wrong, but punching it, it was hard to get it. I gave it my | 0:29:50 | 0:30:00 | |
0:30:00 | 0:30:15 | ||
best shot. That's what we love Where's Craig going with three says | 0:30:16 | 0:30:19 | |
Audley. He'll be running out of the building by the time you get hold | 0:30:19 | 0:30:24 | |
of him. Make a note of this number, and call later if you want Audley | 0:30:24 | 0:30:28 | |
to step into the arena for another bout of dancing next week. Are you | 0:30:28 | 0:30:32 | |
up for that? Definitely, 100%. Hopefully ballroom as well. Yeah, | 0:30:32 | 0:30:36 | |
American smooth. All of our stars will need your | 0:30:36 | 0:30:41 | |
votes. Now for our next couple, Harry Judd | 0:30:41 | 0:30:45 | |
and his partner... CHEERING | 0:30:45 | 0:30:51 | |
He's got a partner, Aliona! Can't stop it. | 0:30:51 | 0:30:56 | |
Very popular man. And getting more popular every week. Now this week | 0:30:56 | 0:31:03 | |
one of his fans got into his dressing room, puckered up and left | 0:31:03 | 0:31:09 | |
a great big lipstick mark on his mirror. And if you do it again, | 0:31:09 | 0:31:11 | |
Bruno... LAUGHTER | 0:31:11 | 0:31:17 | |
You're going to be in trouble. I'm warning you. OK, here they are in | 0:31:17 | 0:31:24 | |
training. On last week's show, I was so happy | 0:31:24 | 0:31:27 | |
with my performance, because I'd had such a stressful week. It built | 0:31:27 | 0:31:32 | |
up to that one moment. I thought it was absolutely fantastic. I think | 0:31:32 | 0:31:37 | |
you're having fun. But I want you to kick it up a notch, really let | 0:31:37 | 0:31:41 | |
go. The competition is getting harder and harder. I have to, each | 0:31:41 | 0:31:48 | |
week, make it my goal to up my game. This week is the Argentine tango. | 0:31:48 | 0:31:55 | |
Things were going smoothly until Tom and Danny dts came in dressed | 0:31:55 | 0:31:59 | |
as gauchos. We have come to assist you with your Argentine tango. | 0:31:59 | 0:32:04 | |
didn't really help. In fact, they.opposite. Show us what you've | 0:32:04 | 0:32:13 | |
got. I feel sorry for her. We've doing some practise. I think we | 0:32:13 | 0:32:19 | |
could do better. Music maestro. think we intimidated him a bit. | 0:32:19 | 0:32:27 | |
really pulled it out of the bag. It's like black belt in karate. You | 0:32:27 | 0:32:35 | |
only get a black tache when you have mastered the dance. McFab-U- | 0:32:35 | 0:32:41 | |
lus. Don't worry if you can't get up to that standard by Saturday. | 0:32:41 | 0:32:46 | |
Don't expect to be as good as you guys, but thanks for the help. I'll | 0:32:46 | 0:32:51 | |
be thinking of Tom and Danny on Saturday night? No I won't. | 0:32:51 | 0:32:57 | |
No help whatsoever. Dancing the Argentine tango, Harry Judd and | 0:32:57 | 0:33:07 | |
0:33:07 | 0:33:07 | ||
Apology for the loss of subtitles for 43 seconds | 0:33:07 | 0:34:43 | |
CHEERING AND APPLAUSE Our first standing ovation. Oh, yes. They are | 0:34:44 | 0:34:53 | |
0:34:54 | 0:34:56 | ||
wild about Harry. Look at this! That says it all. What can I say? | 0:34:56 | 0:35:00 | |
You're working so well together and all this, oh, I tell you, it was | 0:35:00 | 0:35:06 | |
beautiful. OK Craig, what did you think? It had authority, dominance, | 0:35:06 | 0:35:11 | |
command, control. It was filth and I loved it! | 0:35:11 | 0:35:20 | |
APPLAUSE Craig, do you want one of your pill | 0:35:20 | 0:35:26 | |
snlz I've had one, darling. pink one. Right OK. I do understand | 0:35:26 | 0:35:29 | |
Craig and I understand the audience standing and everything else, | 0:35:29 | 0:35:36 | |
because it was a very, very clever routine. But, for me, where was the | 0:35:36 | 0:35:45 | |
intensity of it? I want to be... Look I know, the steps were great. | 0:35:45 | 0:35:51 | |
But it's all about the mood of being transported to a club in | 0:35:51 | 0:35:56 | |
Buenos Aries. I didn't feel that. I felt it was placed, clinical, | 0:35:56 | 0:36:06 | |
0:36:06 | 0:36:08 | ||
neat... There was no passion you silly little thing. | 0:36:08 | 0:36:18 | |
Wash your mouth out. I do apoll -- I do apologise to all and sun dri. | 0:36:18 | 0:36:24 | |
Sorry. I think Len is jet lagged. It was intense, strong, sexy, | 0:36:24 | 0:36:28 | |
passionate, incredible control. I've said to you before, you hold | 0:36:28 | 0:36:31 | |
your body so well, and that's the strength of body you needed for | 0:36:32 | 0:36:41 | |
that dance. You delivered it. Great job. | 0:36:41 | 0:36:48 | |
I'll tell you what it was, it was moodier than a thunder storm in the | 0:36:48 | 0:36:52 | |
pampas. I'm telling you that! It was strong, manly, with a mean | 0:36:52 | 0:36:57 | |
streak, which is exactly what the Argentine tango should be about. | 0:36:57 | 0:37:02 | |
You're hooks were absolutely, the ganch yoz is what they are called, | 0:37:02 | 0:37:05 | |
perfect. You've never been stronger. You've never been more attractive. | 0:37:05 | 0:37:13 | |
APPLAUSE I should get off quick. Guard him. | 0:37:13 | 0:37:23 | |
0:37:23 | 0:37:28 | ||
Away you go. What about that, that was McFab-u- | 0:37:28 | 0:37:33 | |
lus. Craig loved it. Bruno loved it even more. Craig and Len arguing | 0:37:33 | 0:37:39 | |
over you. What's that like? It's fun to watch actually. I mean, as I | 0:37:40 | 0:37:43 | |
always say everyone's entitled to their opinion. Tonight I felt the | 0:37:43 | 0:37:47 | |
passion. I really enjoyed that. Probably my favourite so far. | 0:37:47 | 0:37:53 | |
audience loved it. You had a standing ovation. Everyone's | 0:37:53 | 0:37:56 | |
entight told their own opinion, I respect Len's opinion. But I am | 0:37:56 | 0:38:00 | |
saying I did enjoy that. Three huge lifts. Good to see you putting | 0:38:01 | 0:38:03 | |
those guns to good use, Aliona. Good work. | 0:38:03 | 0:38:13 | |
0:38:13 | 0:38:37 | ||
It's raining tens! Congratulations. 37, two tens, your highest score. | 0:38:37 | 0:38:43 | |
How does that feel? Amazing. Best moment by far. What do you think? | 0:38:43 | 0:38:49 | |
The number to call later if you want our Harry to sizzle on the | 0:38:49 | 0:38:53 | |
dance floor next Saturday. Next week, eight of our couples will | 0:38:53 | 0:38:56 | |
dance at Wembley Arena. No-one wants to be left behind on the | 0:38:56 | 0:39:03 | |
bench. Next up is Jason and his partner | 0:39:03 | 0:39:09 | |
Kristina. CHEERING AND APPLAUSE I know you've | 0:39:09 | 0:39:13 | |
been looking forward to them. Right, they're doing the Viennese waltz. I | 0:39:13 | 0:39:17 | |
said to Jason, "You'll be the second most famous Australian ever | 0:39:17 | 0:39:24 | |
to do the Viennese waltz." He asked who was the most famous. I said | 0:39:25 | 0:39:31 | |
"Waltzing Matilda." Don't laugh. I met her! In fact, I danced with her. | 0:39:31 | 0:39:34 | |
It was like dancing with an Australian rugby player with a | 0:39:34 | 0:39:41 | |
frock on. Any way, talk about give us a twirl, here they are in | 0:39:41 | 0:39:48 | |
training. I have to say the rumba I loved. | 0:39:48 | 0:39:54 | |
There were -- was great stuff in that routine. I got a little bored. | 0:39:54 | 0:40:03 | |
It waents there. -- It wasn't there. You win some, you lose some. I'm an | 0:40:03 | 0:40:10 | |
Aussie. You fight back. Jason. Kristina, I'm ready for dancing. | 0:40:10 | 0:40:12 | |
The Viennese waltz is far more difficult than I thought. I can see | 0:40:13 | 0:40:20 | |
you going argh. No, I'm not. Swins will be a challenge. Quicker, no. | 0:40:20 | 0:40:23 | |
I've lost you. Kristina has arranged something slightly strange | 0:40:23 | 0:40:28 | |
in order to sort out my diziness. What is that? Come on Jason, enjoy | 0:40:28 | 0:40:32 | |
the ride. I'm feeling like I'm trapped in a thing that's round and | 0:40:32 | 0:40:37 | |
it's going to spin me right round, baby, right round. Do you want to | 0:40:37 | 0:40:44 | |
go faster? Kristina, I think I'm going to throw up. It was good fun. | 0:40:44 | 0:40:48 | |
Come on now, Jason. I am loving Strictly. I'm having such a great | 0:40:48 | 0:40:53 | |
time. As long as my friends and family are enjoying watching me, | 0:40:53 | 0:41:01 | |
I'm happy. I feel great. Jason, I've been watching you on the show | 0:41:01 | 0:41:05 | |
and you look every bit as good as you did 23 years ago. You're doing | 0:41:05 | 0:41:15 | |
0:41:15 | 0:41:19 | ||
fantastically well. Keep it up and Dancing the Viennese waltz, Jason | 0:41:19 | 0:41:29 | |
0:41:29 | 0:41:29 | ||
Apology for the loss of subtitles for 43 seconds | 0:41:29 | 0:43:09 | |
CHEERING AND APPLAUSE Lovely, lovely. Jason, Kristina, a lovely | 0:43:09 | 0:43:15 | |
Viennese waltz. I tell you, Len start us off. Lovely foot work, | 0:43:15 | 0:43:19 | |
lyrical movement. You attempted the fleckerl, a difficult step, that | 0:43:19 | 0:43:23 | |
standing thing. You did that pretty good. I liked it a lot. I'm telling | 0:43:23 | 0:43:28 | |
you, it was very, very good. Well done. | 0:43:28 | 0:43:34 | |
All right then. Alesha, what did you think? A very dramatic Viennese | 0:43:34 | 0:43:37 | |
waltz. Great movement around the floor and I love the connection | 0:43:37 | 0:43:41 | |
between you both. You really danced together tonight. I love the fight | 0:43:41 | 0:43:48 | |
in you, Jason. Good job. OK Bruno? That had such drive. You were back | 0:43:48 | 0:43:55 | |
in the zone tonight, Jason. On it all the way through. You used some | 0:43:55 | 0:43:59 | |
very intricate choreography to your advantage, everything had a meaning. | 0:43:59 | 0:44:04 | |
You never, never lost of style. Well done. | 0:44:04 | 0:44:10 | |
There you are. Can't argue with that. Now then, Craig finish us off. | 0:44:10 | 0:44:15 | |
This dance could be a ten, but it's not because your arms are letting | 0:44:15 | 0:44:20 | |
you down. You must work on them. The hands are still flat. The arms | 0:44:20 | 0:44:24 | |
are wooden. You've got to extend from the shoulder to the elbow, | 0:44:24 | 0:44:27 | |
through to the wrist and then to the end of the fingers. You have to | 0:44:27 | 0:44:31 | |
have shaping. Without that, it's just going to look like it is and | 0:44:31 | 0:44:40 | |
remain a poor ballroom. It's a shame. | 0:44:40 | 0:44:45 | |
It was amazing. You're picking on his thumb. It's not perfect, | 0:44:45 | 0:44:55 | |
0:44:55 | 0:44:56 | ||
darling. Just A Minute, children, children! CHILDREN! | 0:44:56 | 0:45:01 | |
You said you're working on that. You're conscious of it. You're | 0:45:01 | 0:45:04 | |
working on it. It's all going so well. We loved it. | 0:45:04 | 0:45:14 | |
0:45:14 | 0:45:21 | ||
It's the spin doctor. Back in the zone said Bruno. Looks like you've | 0:45:21 | 0:45:25 | |
got your mojo back. It felt like it was there. It felt like the | 0:45:25 | 0:45:29 | |
character was there. I tried to float it and make it a lot softer | 0:45:29 | 0:45:32 | |
than the dress run today. You know, sometimes it works and sometimes it | 0:45:32 | 0:45:36 | |
doesn't. I think that's the nature of the competition. I think it | 0:45:36 | 0:45:38 | |
worked. What do you think? APPLAUSE | 0:45:38 | 0:45:46 | |
We try our best. As a seasoned performer, you are must relish the | 0:45:46 | 0:45:51 | |
thought of Wembley. It's massive. I'm grateful we've got this far. | 0:45:51 | 0:45:54 | |
There's such an incredible amount of talent here. True. | 0:45:54 | 0:45:58 | |
LAUGHTER There is, even James is looking | 0:45:58 | 0:46:03 | |
good tonight. Wembley is a massive thing. Thanks to the British public | 0:46:03 | 0:46:07 | |
for voting for us and getting us that far. That's the most important | 0:46:07 | 0:46:17 | |
0:46:17 | 0:46:37 | ||
34! Was there a discrepancy in the score there's? Just waiting to hear, | 0:46:37 | 0:46:42 | |
we'll come back to you. Write down this number if Jason and Kristina | 0:46:42 | 0:46:49 | |
get your vote, and call later if you want our waltzing aud -- Aussie | 0:46:49 | 0:46:54 | |
to say "Hello Wembley". I am sure it will be something special. | 0:46:54 | 0:46:58 | |
get there, it will be amazing. week, it is a Strictly first. We're | 0:46:58 | 0:47:03 | |
moving to Wembley Arena. Yeah baby. Where our remaining stars have the | 0:47:03 | 0:47:09 | |
pleasure of dancing live in front of more than 6,000 people. And | 0:47:09 | 0:47:15 | |
they'll be following in the glitzy footsteps of legendary Wembley | 0:47:15 | 0:47:22 | |
performers and one in particular springs to mind. | 0:47:22 | 0:47:26 | |
They await the appearance now of a professional entertainer, Bruce | 0:47:26 | 0:47:33 | |
Forsyth. He's been entertaining us for years. The man is a legend. | 0:47:34 | 0:47:38 | |
Shouldn't he get his nighthood by now? True. | 0:47:38 | 0:47:48 | |
0:47:48 | 0:47:50 | ||
Get ready for a Savage special. Twinkle toes. | 0:47:50 | 0:47:56 | |
COMMENTATOR: Right in the corner. Didn't he do well. | 0:47:56 | 0:48:01 | |
Who's that over there? Apparently some sort of entertainment legend | 0:48:01 | 0:48:08 | |
over here. Really, he's no Rolf Harris. | 0:48:08 | 0:48:13 | |
Nice one, Brucie. Nice one son. COMMENTATOR: Nice one Brucie, is | 0:48:13 | 0:48:21 | |
the cry. Nice to see you, to see you... NICE! That Catchphrase will | 0:48:21 | 0:48:26 | |
never catch on. Anybody here from Newcastle? Anybody here from | 0:48:26 | 0:48:33 | |
Liverpool? What's Brucie doing here? He's probably here promoting | 0:48:33 | 0:48:37 | |
his Wembley show next week. What that generation game? Nah, | 0:48:37 | 0:48:42 | |
something to do with dancing. that dancing show on prime time BBC | 0:48:42 | 0:48:46 | |
One on Saturday night. Which celebrity would sign up for that? | 0:48:46 | 0:48:50 | |
Nice one Brucie, let's have another one. | 0:48:50 | 0:48:56 | |
Isn't that great! Just to clarify, that was a nine from Bruno, giving | 0:48:56 | 0:49:03 | |
Jason and Kristina an overall total of 35. Even better. What about that. | 0:49:03 | 0:49:08 | |
I want to see my bit at Wembley again. | 0:49:08 | 0:49:11 | |
Any way, remember, any way, didn't I do well at that? | 0:49:11 | 0:49:18 | |
APPLAUSE Just A Minute, didn't I look young! | 0:49:18 | 0:49:24 | |
And virile and strong. All right, all right. Our next couple tonight | 0:49:24 | 0:49:26 | |
is Chelsee Healey and her partner, Pasha. | 0:49:26 | 0:49:35 | |
APPLAUSE And they are doing the foxtrot. It | 0:49:35 | 0:49:40 | |
mean that's Chelsee has to be a lady. She does a wonderful job. | 0:49:40 | 0:49:44 | |
When I saw her this afternoon she was holding her little finger out | 0:49:44 | 0:49:50 | |
at exactly the right angle while she was drinking a pint of stout. | 0:49:50 | 0:49:55 | |
In one go. What a little lady, I mean, ladette. Any way, here they | 0:49:56 | 0:50:03 | |
are in training. Since the first week, I've just | 0:50:03 | 0:50:07 | |
realised how much work I've got to put in to pull off a dance on the | 0:50:07 | 0:50:12 | |
night. You keep dancing like that and nobody's going to put you in | 0:50:12 | 0:50:19 | |
the corner. Nine! To get all nines was a brilliant feeling. This | 0:50:19 | 0:50:23 | |
foxtrot is fast, precise and above all, sophisticated. Everything that | 0:50:23 | 0:50:31 | |
I'm not. Swan wings instead of chicken wings. Chelsee naturally | 0:50:31 | 0:50:36 | |
bursts into a funky dance and when she laughs, she snorts a little bit. | 0:50:36 | 0:50:45 | |
She's a little bit like Eliza Doolittle. We're trying to turn her | 0:50:45 | 0:50:52 | |
into a real lady. It's posh in here. Repeat after me. The rain in Spain | 0:50:52 | 0:50:57 | |
stays mainly on the plain. The rain in Spain stays mainly on the plain. | 0:50:57 | 0:51:07 | |
0:51:07 | 0:51:14 | ||
Wonderful. Oh, brilliant. I'm still starving. Excuse me there young man, | 0:51:14 | 0:51:23 | |
do you have any pie and mash? afraid not Madam. That's more like | 0:51:23 | 0:51:33 | |
it. Come on Paddy Ashdown, tuck in. Dancing the foxtrot, Chelsee Healey | 0:51:33 | 0:51:43 | |
0:51:43 | 0:51:43 | ||
Apology for the loss of subtitles for 43 seconds | 0:51:43 | 0:53:22 | |
CHEERING AND APPLAUSE Lovely, Chelsee. That was beautiful. What a | 0:53:22 | 0:53:26 | |
lovely long slide you did there, did you have a cushion underneath? | 0:53:26 | 0:53:32 | |
No, but I've hurt my back. Only joking. Don't joke like that dear. | 0:53:32 | 0:53:36 | |
Sorry. Alesha? Elegant, graceful. Wonderful arm placement as usual | 0:53:36 | 0:53:40 | |
and great control. You're equally as strong in ballroom dancing as | 0:53:40 | 0:53:45 | |
you are in Latin. That makes you the one to beat. Tonight, you truly | 0:53:45 | 0:53:51 | |
are a lady. Absolutely stunning. There you go! The grace you have | 0:53:51 | 0:53:58 | |
abeautiful. Bruno? Oh, yes, my fair Chelsee. You are a gorgeous little | 0:53:58 | 0:54:02 | |
thing. And so sophisticated tonight. In your arms particularly. It | 0:54:02 | 0:54:07 | |
really was like the soft wings of a dove. I adore you. You were | 0:54:07 | 0:54:15 | |
gorgeous. Right how about you Craig? You are | 0:54:15 | 0:54:19 | |
hopping on that last turn a bit, because you lost your centre, sadly, | 0:54:19 | 0:54:25 | |
but you're starting to tick all my boxes. Well done. | 0:54:25 | 0:54:32 | |
And your boxs are very hard to tick. They are indeed. Len? Well, you | 0:54:32 | 0:54:35 | |
will also tick all my boxes if you work on your foot work a little bit | 0:54:35 | 0:54:41 | |
more and try to just get the correct foot work. But I love | 0:54:41 | 0:54:44 | |
watching you. I don't expect you to be able to dance with this much | 0:54:44 | 0:54:52 | |
ease and elegance. Well done. Just A Minute. I'm giving you | 0:54:52 | 0:54:57 | |
permission to go and have another pint of stout. Yes! Off you go. | 0:54:57 | 0:55:07 | |
0:55:07 | 0:55:14 | ||
Pasha, well done. Sophisticated, have you ever been | 0:55:14 | 0:55:19 | |
called that before? Never, no. you still in character? By gosh, I | 0:55:19 | 0:55:26 | |
am. By gosh, you've changed. I've definitely not changed. From party | 0:55:26 | 0:55:30 | |
girl to foxtrot lady. Where do you hide all that lovely energy. It's | 0:55:30 | 0:55:40 | |
0:55:40 | 0:55:59 | ||
contained tonight. She's a Princess Possibly the best reaction to a ten | 0:55:59 | 0:56:03 | |
we've ever had. Amazing, congratulations. Happy with that, | 0:56:03 | 0:56:08 | |
safe to say. I am, very happy. nine from Craig, whoa, ticking his | 0:56:08 | 0:56:16 | |
boxles. The number to ring later on if you want our northern light to | 0:56:16 | 0:56:19 | |
brighten up Wembley Arena next week. Sound good? Very, very, very, very | 0:56:19 | 0:56:24 | |
good. Still to come: Find out what | 0:56:24 | 0:56:28 | |
happens when Holly dances a rumba with new partner, Brendan. | 0:56:28 | 0:56:33 | |
Looking forward to that. Plus our Russell is rough and ready | 0:56:33 | 0:56:43 | |
0:56:43 | 0:56:43 | ||
with his American smooth. I can't Lots to come. Next tonight is Anita | 0:56:43 | 0:56:48 | |
Dobson and her partner, Robin. APPLAUSE | 0:56:48 | 0:56:54 | |
She's lovely that Anita. And do you know, at 62, Anita is the oldest | 0:56:54 | 0:56:58 | |
person left in this competition. I said to her, "What's it like | 0:56:58 | 0:57:03 | |
spending so much time with young people half your age?" He said, | 0:57:03 | 0:57:08 | |
"You should know. You're doing it now." Wasn't that hurtful? Why did | 0:57:08 | 0:57:15 | |
she turn on me. Here they are in training. | 0:57:15 | 0:57:21 | |
Last Saturday's show, I loved it. It was absolutely skit rating. -- | 0:57:21 | 0:57:25 | |
exhilirating. Now I see why you're a national treasure. I didn't | 0:57:25 | 0:57:32 | |
realise I'd become one. I hope to be a global treasure one day. We're | 0:57:32 | 0:57:36 | |
doing the Argentine tango, which is quite scary. I hate this bit. | 0:57:36 | 0:57:41 | |
hate this. We need seduction, sensuality, intensity, which is | 0:57:41 | 0:57:46 | |
going to be quite difficult because we're always about fun. We have | 0:57:46 | 0:57:50 | |
trouble being serious and looking at each other. No more giggles this | 0:57:50 | 0:57:54 | |
week. The laughter police are here. No smiling. It's all about the | 0:57:54 | 0:58:00 | |
seriousness of the dance. So Anita, this is a test. There'll be no | 0:58:00 | 0:58:10 | |
0:58:10 | 0:58:19 | ||
smiling in this room, OK? Tickle, No smiling. | 0:58:19 | 0:58:28 | |
# Where you from, you sexy thing? # # We will, we will rock you # | 0:58:28 | 0:58:30 | |
No laughing. LAUGHTER | 0:58:30 | 0:58:40 | |
0:58:40 | 0:58:42 | ||
Now that is funny. Dancing the Argentine tango, Anita | 0:58:42 | 0:58:52 | |
0:58:52 | 0:58:52 | ||
Apology for the loss of subtitles for 43 seconds | 0:58:52 | 1:00:24 | |
CHEERING AND APPLAUSE I tell you what, what about that?! Look at | 1:00:24 | 1:00:32 | |
this. Anita, look! Enjoy all this. And | 1:00:32 | 1:00:42 | |
1:00:42 | 1:00:48 | ||
The story, don't tell me what the story was all about. It was there, | 1:00:48 | 1:00:57 | |
the drama. Well Bruno? Oohhh, Anita, unleashes her basic instinct. All | 1:00:57 | 1:01:03 | |
sexy mama, queen of drama, you can tango. | 1:01:03 | 1:01:08 | |
And all that kicking and you missed him every time. You were going for | 1:01:08 | 1:01:13 | |
it, but you missed. Craig? I didn't think you were entirely responding | 1:01:13 | 1:01:16 | |
to Robin's lead and that's what needs to happen in this dance. | 1:01:16 | 1:01:20 | |
There needs to be a lot more cross and throw away to every single | 1:01:20 | 1:01:25 | |
gauncho you do. I love the spinning you do. It's amazing. I thought the | 1:01:25 | 1:01:32 | |
routine was absolutely fantastic. Great choreography, but the drama | 1:01:32 | 1:01:37 | |
in the whole thing was electrifying. Len? It smouldered. You know what I | 1:01:37 | 1:01:40 | |
mean, I liked the feeling of the dance. I liked the little touch | 1:01:40 | 1:01:46 | |
that's came. Robin look as way, come back here, you. And for me, | 1:01:46 | 1:01:49 | |
that's what Argentine tango is about, it's about creating a mood | 1:01:49 | 1:01:53 | |
and an atmosphere. I felt you got that. | 1:01:53 | 1:02:00 | |
Yes, you certainly did. Alesha, were you moved? You totally drew me | 1:02:00 | 1:02:03 | |
into the story. And you look sensational. I just want to say | 1:02:03 | 1:02:11 | |
that. You still need to work on strengthening your body, overall I | 1:02:11 | 1:02:15 | |
loved the drama. The intensity and the mood you created, good job. | 1:02:15 | 1:02:20 | |
You are a revelation. Robin, well done with this fine lady. Off you | 1:02:20 | 1:02:30 | |
1:02:30 | 1:02:32 | ||
go. Be very proud. Yes, Anita, we salute you up here! | 1:02:32 | 1:02:39 | |
Yes indeed. Queen of drama, you sexa mama said Bruno. So much | 1:02:39 | 1:02:42 | |
Argentine attitude. The serious tango we have found a dance that | 1:02:42 | 1:02:47 | |
wipes the smile off your face. indeed. There it is, the Strictly | 1:02:47 | 1:02:57 | |
1:02:57 | 1:03:11 | ||
smile. We loved it. The scores are 33! That's a great score. The smile | 1:03:11 | 1:03:17 | |
is back in place. Call when lines open later if you want Anita and | 1:03:17 | 1:03:22 | |
her million dollar smile to light up the dance floor next Saturday. | 1:03:22 | 1:03:26 | |
At bbc.co.uk/Strictly keep up do- to-date with the back stage | 1:03:26 | 1:03:34 | |
ballroom and updates and exclusive gossip. We're also on Twitter. Time | 1:03:34 | 1:03:38 | |
for the next couple, Holly Valance and her partner, for this week, | 1:03:38 | 1:03:42 | |
Brendan Cole. CHEERING | 1:03:42 | 1:03:50 | |
Now, due to Artem's injury, which I'm sure you've all heard about, | 1:03:50 | 1:03:54 | |
Brendan has gallantly stepped in to take his place. It's been such an | 1:03:54 | 1:03:58 | |
eventful week, to say the least. Forget all the rumours, here's | 1:03:58 | 1:04:06 | |
exactly what happened. Last week, we almost didn't make it | 1:04:07 | 1:04:10 | |
on stage because Artem had been pretty seriously injured. He hurt | 1:04:10 | 1:04:16 | |
his back. I said to myself, all of that work will go to nothing if I'm | 1:04:16 | 1:04:20 | |
not going to perform that night. The doctor told me that if you | 1:04:21 | 1:04:26 | |
maintain the pain level, you can do it. I wasn't surprised by how well | 1:04:26 | 1:04:31 | |
he handled it I. I knew he would go and be all Russian about it and | 1:04:31 | 1:04:37 | |
dance all out. Things went fantastically. Second ain't bad. | 1:04:37 | 1:04:41 | |
Because of Artem's injury, I was a bit of a damsel in distress this | 1:04:41 | 1:04:49 | |
week. Oh, Artem. But luckily any knight in shining armour arrived. | 1:04:49 | 1:04:55 | |
Fear not Princess Holly. I'm here to save the day. Fancy coming and | 1:04:55 | 1:05:02 | |
dantsing with me? Brendan! Holly is adjusting OK to a new partner. It's | 1:05:02 | 1:05:06 | |
a weird situation. You get so close to your partner, then all of a | 1:05:06 | 1:05:11 | |
sudden, in comes the new guy. Brendan Cole's got my hand. Just | 1:05:11 | 1:05:16 | |
what you've always wanted. Artem is doing the choreography. Even though | 1:05:16 | 1:05:21 | |
I'm in the chair most of the time, I cannot just sit down. I should be | 1:05:21 | 1:05:25 | |
doing nothing, but I can't help it. This has been a really tough week, | 1:05:25 | 1:05:32 | |
but the show must go on and thanks to Brendan, it can. | 1:05:32 | 1:05:42 | |
1:05:42 | 1:05:42 | ||
Apology for the loss of subtitles for 43 seconds | 1:05:42 | 1:07:21 | |
Dancing the rumba, Holly Valance CHEERING AND APPLAUSE Well done | 1:07:21 | 1:07:25 | |
both of you. How about that. That was wonderful. | 1:07:25 | 1:07:32 | |
A wonderful mood. Craig, will you start us off? I thought we'd got | 1:07:32 | 1:07:36 | |
rid of you, Brendan. Actually, I'm quite pleased you're back, because | 1:07:36 | 1:07:45 | |
I am loving this new partnership. It's really, really good. Amazing. | 1:07:45 | 1:07:49 | |
Len? It was all very nice and precise. I would like you to get a | 1:07:49 | 1:07:53 | |
little bit more emotionally involved in the dances. You know, | 1:07:53 | 1:07:59 | |
it just lacked that. Just get a bit more togetherness going on. Alesha? | 1:07:59 | 1:08:09 | |
1:08:09 | 1:08:09 | ||
And look up. Not you. Considering you've had to change partners this | 1:08:09 | 1:08:13 | |
week, you have done exceptionally well. I cannot imagine that what | 1:08:13 | 1:08:17 | |
that must have felt like. Well done to you Brendan. All the basic steps | 1:08:17 | 1:08:21 | |
were there. I did feel the emotion. The only thing I would say, I think | 1:08:21 | 1:08:25 | |
there's so much more to come from you, and I look forward to seeing | 1:08:25 | 1:08:30 | |
You move beautifully. Your body's so sinnuous. You have sex within | 1:08:30 | 1:08:37 | |
you. Len is right, I could see more outward, but this routine was very, | 1:08:37 | 1:08:45 | |
very good. Very, very good. I did put myself forward. Away you go. It | 1:08:45 | 1:08:55 | |
1:08:55 | 1:09:01 | ||
was wonderful! Come on. We have Artem here. Were you proud | 1:09:01 | 1:09:06 | |
of Holly's performance? Absolutely, 100%. It was awesome. | 1:09:06 | 1:09:09 | |
professional partners for the price of one. Can't be bad. I a very | 1:09:09 | 1:09:15 | |
lucky girl. Craig is loving this new partnership. Really well done. | 1:09:15 | 1:09:25 | |
1:09:25 | 1:09:38 | ||
We wish you a speedy recovery. 34 out of 40. That's a top score. | 1:09:38 | 1:09:42 | |
Everyone else had nine weeks to get to know their partner. How many | 1:09:42 | 1:09:47 | |
days did you have? Five, four? cannot tell you how fantastic the | 1:09:47 | 1:09:50 | |
week has been. This girl is a gem. Well done Artem. That must have | 1:09:50 | 1:09:56 | |
been hard. Well done. Call later when phone lines open if you don't | 1:09:57 | 1:10:00 | |
want Holly to leave right now and you want her back for more next | 1:10:00 | 1:10:07 | |
week. One more performance to come. Have we saved the best till last? | 1:10:07 | 1:10:11 | |
OK, our final couple is Russell Grant and his partner, Flavia. | 1:10:11 | 1:10:15 | |
APPLAUSE There we are. Everybody loves this | 1:10:15 | 1:10:23 | |
man. Over the past few weeks, Russell has been told he needs to | 1:10:23 | 1:10:28 | |
be more macho. More masculine. I said "What dance are you doing | 1:10:28 | 1:10:33 | |
tonight?" He said, "The American smooth. That's macho and very | 1:10:33 | 1:10:43 | |
1:10:43 | 1:10:44 | ||
masculine. What song are you dancing to? He said, "I Am What I | 1:10:44 | 1:10:52 | |
Here they are in training. Going out there to sit on a horned bull | 1:10:52 | 1:10:57 | |
was just fantastic. It had all the ingredients of fun | 1:10:57 | 1:11:07 | |
and we just loved it. Deplted and fabulous at the same time, I -- | 1:11:07 | 1:11:13 | |
demeanted and fabulous at the same time. I loved it. You could give me | 1:11:14 | 1:11:17 | |
whatever scores you want and I would still dance. I try my best, | 1:11:18 | 1:11:26 | |
but I'm always going to be Mr Show business. Astonishing. This week's | 1:11:26 | 1:11:30 | |
number is so me, it makes me feel like bursting into song. | 1:11:30 | 1:11:34 | |
# I am what I am # I don't want praise | 1:11:34 | 1:11:40 | |
# I don't want pity # I get this urge that comes all over | 1:11:40 | 1:11:47 | |
me. I don't know what it is. Is it called musicality? It's showbiz. | 1:11:47 | 1:11:52 | |
# So what if I love each feather and each bangle # | 1:11:52 | 1:11:57 | |
Because he loves the song so much, he wants to sing along. Obviously, | 1:11:57 | 1:12:00 | |
he doesn't concentrate on what his feet are doing. I need to do that | 1:12:00 | 1:12:10 | |
1:12:10 | 1:12:10 | ||
again. Russell, are you finished yet? I'm sorry guys, but we have a | 1:12:10 | 1:12:19 | |
show to put on on Saturday. Rehearsals, come on. | 1:12:19 | 1:12:29 | |
1:12:29 | 1:12:29 | ||
Apology for the loss of subtitles for 43 seconds | 1:12:29 | 1:14:16 | |
Dancing the American smooth, CHEERING AND APPLAUSE What about it. | 1:14:16 | 1:14:26 | |
1:14:26 | 1:14:28 | ||
Come back here. Well done again. That was fantastic. | 1:14:29 | 1:14:33 | |
I don't know how you manage not to overdo it. | 1:14:33 | 1:14:37 | |
LAUGHTER Any way, Len? Well, I am what I am. | 1:14:37 | 1:14:40 | |
You are what you are. And that was what that was. | 1:14:40 | 1:14:45 | |
LAUGHTER You came out from that screen like | 1:14:45 | 1:14:53 | |
a giant ferero roche. It made me laugh honestly. Well done. Alesha? | 1:14:53 | 1:14:58 | |
That certainly was the dance of two halves. The first half, a good mix | 1:14:58 | 1:15:02 | |
of steps and the second half a snapshot of your imagination. It | 1:15:02 | 1:15:08 | |
looks like a fun place to be. couldn't wait to get out of that | 1:15:08 | 1:15:14 | |
closet, could you? APPLAUSE | 1:15:14 | 1:15:21 | |
You literally exploded out of it like, you really are your own | 1:15:21 | 1:15:31 | |
1:15:31 | 1:15:34 | ||
special creation. Craig? Immortal, darling. | 1:15:34 | 1:15:42 | |
APPLAUSE Is that it? It was sensational, | 1:15:42 | 1:15:46 | |
both of you. Well done. What a week of laughs you must have had. | 1:15:46 | 1:15:56 | |
1:15:56 | 1:16:11 | ||
Off you go. One word "wow". Look at this. Safe | 1:16:11 | 1:16:17 | |
to say they loved it. Relove you Russell. Thank you, darling. | 1:16:17 | 1:16:21 | |
Immortal darling, said Craig. It was absolutely brilliant. When you | 1:16:21 | 1:16:25 | |
started this series, you had two goals: One to get to the Hallowe'en | 1:16:25 | 1:16:28 | |
show and the other to get to Wembley. One down, one to go. | 1:16:28 | 1:16:32 | |
well if I get to Wembley, I've got a big entrance. | 1:16:32 | 1:16:42 | |
1:16:42 | 1:17:08 | ||
Have you? Another one. How you I'm transfixed by your golden eyes. | 1:17:08 | 1:17:12 | |
Call shortly, if you want our show stopper Russell to dance at Wembley | 1:17:12 | 1:17:16 | |
next Saturday. Would you be looking forward to the roar of over 6,000 | 1:17:16 | 1:17:24 | |
people? I thought you said roar of over 60. Any age will do me. That's | 1:17:24 | 1:17:29 | |
it. All of our couples have pulled out all the stops, once again, with | 1:17:29 | 1:17:39 | |
1:17:39 | 1:17:46 | ||
their fabulous routines. Let's have You can change all that. You have | 1:17:46 | 1:17:56 | |
1:17:56 | 1:18:03 | ||
the power because the phone lines Lines close at 8.45pm. Voting | 1:18:03 | 1:18:07 | |
details can be found at bbc.co.uk/strictly. To help you | 1:18:07 | 1:18:11 | |
decide, here's a reminder of tonight's cracking routines and the | 1:18:12 | 1:18:21 | |
1:18:22 | 1:18:22 | ||
Apology for the loss of subtitles for 43 seconds | 1:18:22 | 1:20:51 | |
That's. You've all been marvellous. I hope you'll agree that our nine | 1:20:51 | 1:20:55 | |
stars have done some something here that they should all be proud of. | 1:20:55 | 1:21:00 | |
Sadly the couple with the lowest combined score will not be on the | 1:21:00 | 1:21:05 | |
bus going to Wembley. They'll be leaving the competition. Make sure | 1:21:05 | 1:21:09 | |
you pick up the phone. Your votes can change everything. Your stars | 1:21:09 | 1:21:13 | |
need you. In the results show tomorrow at 7.25pm, Tess and | 1:21:13 | 1:21:19 |