:00:14. > :00:18.Hello and welcome to Tuesday's show. Who is on the sofa? It was the we
:00:18. > :00:23.formers of the weekend, Lisa and Robin are here, the cha-cha champs.
:00:23. > :00:24.They weren't the only ones to pull it out the bag. Sid and Ola are
:00:24. > :00:29.here. APPLAUSE
:00:29. > :00:35.Respect. Keeping up the fun and flirtation it's Fern and Artem. And
:00:35. > :00:45.as if that wasn't enough, Karen will be popping in to re-open
:00:45. > :01:19.
:01:19. > :01:24.Choreography Corner. This is This is Strictly Come Dancing.
:01:24. > :01:28.Please welcome your host, Zoe Ball. Hello. Welcome. It might only be
:01:28. > :01:31.Tuesday, but our celebrities are already feeling the pressure with
:01:31. > :01:38.the dreaded first elimination around the corner, but don't take
:01:38. > :01:40.my word for it, let's ask my first guests. On Friday, Fern and Artem's
:01:40. > :01:48.cha-cha-cha was signed and sealed, but failed to deliver high marks
:01:48. > :01:55.from the judges. Here's a reminder. I think you have a naturally good
:01:55. > :02:00.rhythm, but sadly through the Cuban breaks that was a complete disaster.
:02:00. > :02:05.There was a lot of skirt wafting. You were cheeky all the way and
:02:05. > :02:15.that's lovely. I didn't want the wafting or flirting. You were going
:02:15. > :02:16.
:02:16. > :02:20.at it! Well. I'm so glad I got the first disaster of the series. He's
:02:20. > :02:28.got to get it over and do with. I'm very fond of him, silly, old
:02:28. > :02:31.sausage. Let's hear it for Fern and Artem.
:02:31. > :02:35.APPLAUSE Hello. Welcome to your first
:02:35. > :02:43.programme. Exciting. How was it to be the first one out on Friday
:02:43. > :02:48.night? Well, in a way a relief, because I was terrified, so add an
:02:48. > :02:53.extra layer completely numbed me, but in a bad way, probably. Were
:02:53. > :02:57.you happy to go on first? It's not new for me to go first. I've been
:02:57. > :03:03.going first and it is terrifying and you did an amazing job for
:03:03. > :03:09.going out first and really doing a good job. And working it. Anna said,
:03:09. > :03:14."Amazing performance. Fern threw herself into it and should get
:03:14. > :03:18.credit." Thank you. Mixed comments from the judges. Darcy and Bruno
:03:18. > :03:22.said it was cheeky and flirtatious and Len said too much skirt wafting.
:03:22. > :03:25.What did you make of that? Perfectly fair. There was skirt
:03:25. > :03:31.wafting, because I couldn't do hands. Artem said hold on to the
:03:31. > :03:37.skirt and waft. I thought it was quite effective. That's what I
:03:37. > :03:45.thought! Obviously so. What did you think, Artem, as her teacher?
:03:45. > :03:48.nice. I think for the first week it was great. We went and did the cha-
:03:48. > :03:56.cha. Couple of things went wrong, but look, you did perform and
:03:56. > :04:01.that's what counts. Yeah! That's it. Is he quite hard on you? She's a
:04:01. > :04:06.very hard worker, let's put it this way. He's very hard. He's quite
:04:06. > :04:10.intense. He can be with it. There as been a bit of a theme every year
:04:10. > :04:17.that we have noticed with Artem in the first series and second. But we
:04:17. > :04:27.think you're bringing out another side to Artem Chigvintsev.
:04:27. > :04:32.
:04:32. > :04:38.going to break your hand if you don't do this. I'm going to lose it.
:04:38. > :04:43.Two, three. No, all right. He's not going to terminate me. How does
:04:43. > :04:51.that feel? Great. This season the Terminator will have a slight
:04:51. > :05:01.holiday. Don't be nervous. He puts his arm around me and he gives me a
:05:01. > :05:07.kiss and you think oh h When she gets it right the Terminator goes
:05:07. > :05:12.away. It's becoming a new me that is nice and smiley. The sun beams
:05:12. > :05:20.when he smiles and when it doesn't he's like a little Russian cloud.
:05:20. > :05:26.You want to kill me. I don't want to kill you. If I did, you'd know!
:05:26. > :05:30.APPLAUSE You know, I'm nice until there's a
:05:30. > :05:35.point. Fern's taking over. How is Phil, your lovely husband, coping
:05:35. > :05:39.with all of this? Brilliantly. He's been fantastic. He's known that
:05:39. > :05:43.I've been desperate to come and join the show for a long time and
:05:43. > :05:47.now it's arrived and he, for instance, went shopping yesterday
:05:47. > :05:52.and the fridge is full of food and while I wasn't there, so all the
:05:52. > :05:55.things are good. You are doing the Viennese Waltz? We are going to the
:05:55. > :06:02.cinema. No, that's right. Saturday before that. We are going
:06:02. > :06:10.to the cinema, but then the Viennese Waltz. How is it going?
:06:10. > :06:17.I'm preferring it. Is it easier to pick up? Well, yes, sort of. We
:06:17. > :06:23.have the first couple of hours sorted out then it fell apart. He
:06:23. > :06:28.knows. Good luck this weekend. I hope Len's very happy with you. I
:06:28. > :06:34.have a feeling he might be. Give it up for Fern and Artem. Thank you.
:06:34. > :06:39.APPLAUSE It was only the first week, but
:06:39. > :06:44.there was already choreography controversy with an illegal left,
:06:44. > :06:54.forgotten steps and poor posture. Here to offer her ideas is Karen
:06:54. > :07:00.
:07:00. > :07:04.Karen, welcome to the programme. APPLAUSE
:07:04. > :07:08.Looking gorgeous as ever. Now, at the weekend we had a double-header,
:07:08. > :07:13.Friday and Saturday. We should start with Friday. Everybody did a
:07:13. > :07:18.cha-cha-cha or a waltz. Let's start with Denise and James. Craig said
:07:18. > :07:22.they saved the best for last with this, but Len said her footwork was
:07:22. > :07:26.poor. What did you make of it? great thing about this was all that
:07:26. > :07:30.smoke on the floor, because for everybody at home nobody could see
:07:30. > :07:35.the feet, but Len, I think what's happening straightaway, he's saying
:07:35. > :07:39.this young lady is in it for the long run. I want to see everything
:07:39. > :07:43.exactly right and I'm going straight for the feet. Normally
:07:43. > :07:47.they don't look at feet, but for Denise he wants the feet right and
:07:47. > :07:51.everything, because she is here to stay a long time, I believe.
:07:51. > :07:56.did look very good. Colin and Kristina did the cha-cha-cha and he
:07:56. > :08:02.was a little bit of a surprise of the night. Len said it was the best
:08:02. > :08:07.of the night. What was so good? absolutely loved this man. This man
:08:07. > :08:10.of this stature, he made it his. Look at him relating to the woman.
:08:10. > :08:15.Facial expressions and energy. Basically, we say to everybody,
:08:15. > :08:20.especially of that size, if you've got it, move it. That's what he was
:08:20. > :08:24.doing. There was nothing uncomfortable or lumpy. He had
:08:24. > :08:29.everything activated and moving. We were all drawn into his dance. I
:08:29. > :08:34.thought he was brilliant. I think you quite liked him. I did. Michael
:08:34. > :08:40.and Natalie did the waltz. Michael had a lot of comments about posture.
:08:40. > :08:45.He's a cricketer. Is it a bat that they use in cricket? He needs to
:08:45. > :08:48.bring it up? Good thinking. Could be. We always talk about the
:08:48. > :08:52.professionals how clever they are. Look at the hands. Do you see how
:08:52. > :08:57.Natalie has core graphed that, to start with his hands behind his
:08:57. > :09:02.back? That is clever. Holding the hands, they pull the shoulders back
:09:02. > :09:06.to put them in position, so all he has to do is elevate and in she'll
:09:06. > :09:11.come. Those little secrets, great by Natalie. He will feel strong to
:09:11. > :09:15.start. The only thing is as we got a few more seconds further in, it
:09:15. > :09:21.does start to drop. However, very, very clever. When you are talking
:09:21. > :09:25.about posture, I go and sit up. elevate. Nicky and Karen did the
:09:25. > :09:29.waltz and there was a controversial move, night one, would you believe
:09:29. > :09:39.it, car ensaid it was a squoosh, but it was a lift. What did you
:09:39. > :09:40.
:09:40. > :09:50.make of that? We lower and we prepare and prepare for what? We
:09:50. > :09:51.
:09:51. > :09:56.only lower and prepare for a lift. It's a lift! You know what, I think
:09:56. > :10:01.Nicky was so beaten up by the judges, even I would potentially
:10:01. > :10:05.turn a blind eye about that. Of course, welcoming our wonderful new
:10:05. > :10:11.professional on set for the first time. A little slap, we don't want
:10:11. > :10:15.to see it again. Foor girl, first show. -- poor girl, first show.
:10:15. > :10:20.think another good contender for a long stay in the show. Let's not
:10:20. > :10:26.beat them up too early. Victoria and Brendan with the cha-cha-cha.
:10:26. > :10:30.It wall went a bit wonky. She forgot her steps, but there was a
:10:30. > :10:34.lot of content. There were some great moves. The great thing about
:10:34. > :10:39.the cha-cha-cha, it's all about the tease. You see I'm going after you,
:10:39. > :10:44.you're going after me. Let's play and interact. The content itself
:10:44. > :10:49.was absolutely brilliant. But the one thing - look at this. When she
:10:49. > :10:54.melted sadly it all went to pieces. Now, OK, when you're competing you
:10:54. > :10:57.have got to have a brick wall up in front and you hide all your
:10:57. > :11:02.emotions, everything behind you. You can't come into this show and
:11:02. > :11:09.think my cycling days are over I can drop my wall now, I'm free.
:11:09. > :11:16.Quite the opposite. Another layer has to go up to protect herself and
:11:16. > :11:21.think Brendan is her psych. It's her and brand an all the way. When
:11:21. > :11:26.she is out on the floor it's her and him and don't be distracted by
:11:26. > :11:30.anybody else. Rhythm. Has she got it? Full of it. She's full of
:11:30. > :11:34.rhythm and artistic interpretation, energy. She has the full package,
:11:34. > :11:39.but she has to believe. Fern and Artem and their cha-cha-cha. Both
:11:39. > :11:43.Craig and Len picked up on a few issues with the Cuban breaks.
:11:43. > :11:49.Explain more. The breaks. We are going to talk later about timings,
:11:49. > :11:54.but a Cuban break is a step that goes across the body. Can you see?
:11:54. > :11:59.It's all gone very wrong, because we have slow timings and quick ones.
:11:59. > :12:03.She gets it right, so it looks beautiful when it's working in
:12:03. > :12:08.harmony. But why do we have them? Because we have syncopation, which
:12:08. > :12:13.is fast timings quick, quick, quick. If you're not up with the timings
:12:14. > :12:17.and you have your slows to a quick slightly wrong, it will all go.
:12:17. > :12:23.cha-cha-cha is one of the hardest and if you go wrong with the steps
:12:23. > :12:28.it's like a deck of cards. They all fall down. I think she could be a
:12:29. > :12:35.dark horse. I want to see Fern do well, so put it behind. Move on.
:12:35. > :12:40.Let's be our nation's lady back on the floor and come on. We'll talk
:12:40. > :12:46.more about Saturday later on. Lovely to have you back, Karen.
:12:46. > :12:50.On Saturday Lisa and Robin caused a stir by dancing their way to the
:12:50. > :13:00.top of the leaderboard and imagined to impression Craig in the process.
:13:00. > :13:04.
:13:04. > :13:09.Here's what happened. It was full on, flat out and fun! That was
:13:10. > :13:18.grand! Big! Beautiful it was entertainment. Three words, darling,
:13:18. > :13:28.you, can, dance! I love someone who can take risks. That was a great
:13:28. > :13:32.
:13:32. > :13:38.and amazing end. Well done. I can't believe it! We got the highest
:13:38. > :13:46.score. LAUGHTER
:13:46. > :13:49.Please welcome Lisa and Robin. APPLAUSE
:13:49. > :13:53.Your comments made me laugh. What a result. First show. Look at that.
:13:53. > :14:00.Are you still on a high? Totally. Can't believe it. People in the
:14:00. > :14:04.street have been so gorgeous. They really love Robin and it's
:14:04. > :14:08.fantastic. I never thought that it would get the reaction it did.
:14:08. > :14:13.was -- I was wondering that. Robin, did you have an idea that Lisa was
:14:13. > :14:18.that good and you would get that reaction before the show? A lot was
:14:18. > :14:21.down to the track. That piece of music was infectious and when I
:14:21. > :14:30.started teaching it to Lisa it was the kind of thing I would like to
:14:30. > :14:37.do myself and it was all disco and camp and out there. How unlike you?
:14:37. > :14:42.It was perfect. I was so happy. were. I even shed a little tear.
:14:42. > :14:46.Never cry on national TV. You did. You have to let it out. Isn't that
:14:46. > :14:51.the highest score you've ever got? For opening, late into the
:14:51. > :14:57.competition since I got anything like that. Most of that is down to
:14:57. > :14:59.Lisa, so I'm -- Stop, I'm welling up now. You've had a real punishing
:14:59. > :15:08.schedule, because you've been shooting Waterloo Road too. How
:15:08. > :15:12.have you fitted it in? Robin came up to Scotland, where we are
:15:12. > :15:16.filming. It was weird, because I do a session in the morning and five
:15:16. > :15:19.hours filming and then we have an evening session, but in the evening
:15:19. > :15:25.you were like, "I've got brain freeze." I was thinking about the
:15:25. > :15:30.dialogue for the next day. How actresses are still doing it. I am
:15:30. > :15:34.finished. How they carry on, ten hats off, because it's hard to keep
:15:34. > :15:40.your Strictly brain and acting brain. All that going on and learn
:15:40. > :15:44.the lines too. You looked like you were having so much fun. Is she a
:15:44. > :15:48.good student? Does she do as she's told? I've never laughed so much.
:15:48. > :15:57.With you are learning and working hard, but everything's fun and
:15:57. > :16:01.there's inyou end does all day. -- inuendos all day. Such fun. Also we
:16:01. > :16:10.have seen, Lisa, from looking at your training tapes that you like
:16:10. > :16:19.the hands on approach -- hands-on approach. Fabulous. I don't know
:16:19. > :16:26.about that. And hand, hand, down the body. Seven, eight. Fabulous!
:16:27. > :16:36.Do you like that bit? That is the hardest bit of the routine. I would
:16:36. > :16:44.like to see more aggression. I'm in heaven. I'm not cross! That's it!
:16:44. > :16:48.love my life! We have also heard that you get a little doggy treat
:16:48. > :16:55.now and again if you are a good girl, he takes his top off. Yeah,
:16:55. > :17:00.yeah. That's another thing. It's a chore for me! This every day.
:17:00. > :17:05.get my lines right, the crew have to take their tops off. Derek!
:17:05. > :17:11.right. This week, it's the Viennese Waltz. Very different to the cha-
:17:11. > :17:14.cha and also flirtatious and it's not so it's in hold. I have to be
:17:14. > :17:22.lady-like. I'm a common northerner and I have to be a lady. It's all
:17:22. > :17:26.about the appoints and I do like -- poise. I like getting down, but
:17:26. > :17:35.it's a work in progress. Can you act yourself into the role of some
:17:35. > :17:40.lady, somebody or other? Audrey Hepburn like how, now brown cow.
:17:40. > :17:50.Have you got names for the moves? I like the names for the Cheryl Cole?
:17:50. > :17:51.
:17:51. > :17:58.Any more this week? New one today. It's called the slippio. What do
:17:58. > :18:03.you call it? The contra check. confident are you about the waltz
:18:03. > :18:08.at this point in the week? There's a lot of expectation, so we have to
:18:08. > :18:14.do a good job, but Lisa is like cha-cha, going to a cool wine bar
:18:14. > :18:18.and Viennese Waltz, going to the library. I've got to get her in the
:18:18. > :18:26.mode. Brilliant. Nice analogy. Good luck.
:18:26. > :18:36.APPLAUSE Now, it's time to dissect
:18:36. > :18:42.
:18:42. > :18:48.Saturday's performances with round two of Choreography Corner. We get
:18:48. > :18:54.a second helping of Karen. So much to get through. Louis and Flavia
:18:54. > :18:59.and their cha-cha-cha. Craig said that he was a bit flat-foot the and
:18:59. > :19:05.a little serious. Would you agree? There's a clip here, where we can
:19:05. > :19:09.see it is a bit flat. He makes it look heavy. What does that mean? We
:19:09. > :19:16.are looking for the use of feet, so ball of foot to flat foot. Heels,
:19:16. > :19:20.toes, so on. You know what, I just think he's got big feet. I think
:19:20. > :19:23.what he's got to start doing is articulate the feet as though
:19:23. > :19:27.they're hands, because to be honest he was fantastic, because what they
:19:27. > :19:31.didn't pick up on, he had one of the best hip actions out there and
:19:31. > :19:39.lots of presence. I loved it. I can't wait to see the personality
:19:39. > :19:42.really develop throughout the weeks. Nice tats as well. Just make them
:19:43. > :19:47.out. Kimberley and Pasha did the cha-cha-cha. Darcy and Bruno said
:19:47. > :19:50.he needed better hip action. What were your thoughts? The classic
:19:50. > :19:54.sign is someone doing a good hip action when we look at the legs.
:19:54. > :19:57.Can you see the legs are bent throughout, so she's doing
:19:57. > :20:02.everything on bent legs. It's impossible to create the hip action
:20:02. > :20:10.on bent legs. You have to log one of them out really tight. It's
:20:10. > :20:13.still week one. I thought she came out opening night and delivered a
:20:13. > :20:19.spotless dance. It was nice. We need it to be a little more
:20:19. > :20:23.dangerous to continue through and a bit more fire in it. All in all,
:20:23. > :20:28.beautiful. Dani and Vincent did the waltz and Craig said she had a
:20:28. > :20:32.little trouble with spotting. What does he mean? Quite simple. Here's
:20:32. > :20:36.the classic position here. As she turns away, her eyes are looking
:20:36. > :20:40.down and it goes all wobbly. When we are turning you have to look
:20:40. > :20:46.where you're going, so if you look down you are going to end up on the
:20:46. > :20:49.floor because you'll fall. If I'm going to turn I look out, I look at
:20:49. > :20:53.where I'm going and that's the direction I'll take and I'll be
:20:53. > :20:59.much stronger. When we look down we are going to head in that direction.
:20:59. > :21:06.She has to look out. And up. Show the eyes. Perfect. Can we talk
:21:06. > :21:10.about my dad? Bless him. I was quite anxious on Saturday night. He
:21:10. > :21:17.did the cha-cha-cha. Len said there was lots of choreography in there.
:21:17. > :21:24.How did he cope with it? I thought he was amazing and so too was Iveta,
:21:24. > :21:28.the professional and a bit of Aliona. They've used the red-
:21:28. > :21:31.herring effect. Look at the lady, he's presenting her and showing her
:21:31. > :21:35.off. All the body language is designed, all the steps are
:21:35. > :21:39.designed to present the lady. We are being distracted towards the
:21:39. > :21:45.red herring which I love and she looked stunning, but I loved, most
:21:45. > :21:50.importantly, for all the steps that he had to do, his energy. 74, the
:21:50. > :21:53.oldest contestant we've ever had, he was hardly out of puff and I've
:21:53. > :22:03.seen so many more celebrities completely exhausted. I was very
:22:03. > :22:04.
:22:04. > :22:08.proud of him. So was I. We'll move on. Gerry and Anton did the waltz.
:22:08. > :22:14.Everybody commented on the posing. What is she getting right? When she
:22:14. > :22:19.is in the arms of Anton, that's great. Look at the energy as she
:22:19. > :22:22.moves across. She has a git of speed there. That was probably the
:22:22. > :22:27.most speed of the entire routine, but what does this tell me? It
:22:27. > :22:32.tells me when we hit the ballroom she could potentially look very
:22:32. > :22:37.good. She is in the arms of Anton and together she will be able to
:22:37. > :22:42.move across that floor. I think she is this divine, gorgeous, glamorous
:22:42. > :22:47.woman that will look amazing if it can move as well. Richard and Erin
:22:47. > :22:54.and the waltz. Len said the footwork was the best. Did he mean
:22:54. > :23:00.at point or ever? -- at this point or ever? I think at this moment in
:23:00. > :23:05.time. Colin Jackson was great. This is a lovely little chassis into a
:23:05. > :23:11.fall-away, another and what we saw were the high toes and heel leads
:23:11. > :23:16.and not the greatest, because footwork in the early days is
:23:16. > :23:21.difficult. It's the foundation of movement, so as we develop - I can
:23:21. > :23:26.see you getting misty eyes. As we progress through the weeks this
:23:26. > :23:29.becomes automatic, so they begin to be able to show off so much more
:23:30. > :23:36.upstairs and downstairs takes control. Footwork is the foundation
:23:37. > :23:43.for movement. Thank you very much. APPLAUSE
:23:43. > :23:48.I'll be chatting to Sid and ollo in a moment, but first a -- Ola in a
:23:48. > :23:53.moment, but first a gentle reminder of their waltz. I thought great
:23:53. > :23:57.movement around the floor and fantastic story telling. Well done.
:23:57. > :24:06.I'm going to love watching you every week. You have got something
:24:06. > :24:16.very, very special. From Albert Square to Berkley Square. Correct
:24:16. > :24:24.posture and I was pleasantly surprised. This was very, very good.
:24:24. > :24:34.Yes! Seven! That was brilliant. That was superb. Amazing. Don't cry.
:24:34. > :24:35.
:24:35. > :24:42.I'm not crying. You are. Please welcome Sid and Ola. You were
:24:42. > :24:46.crying. Just a little bit. I did get a little choked up, yeah.
:24:46. > :24:51.not surprised. Because it was lovely comments, first show, very
:24:51. > :24:56.nerve racking and I did wobble a little bit at first, just the first
:24:56. > :25:00.few. You had to walk on your own. Exactly. As soon as I was in her
:25:00. > :25:06.arms I was safe. Fourth on the leaderboard after week one, you've
:25:06. > :25:11.got to be happy? Very, very happy. We didn't expect that, did we?
:25:12. > :25:16.I didn't, not at all. We didn't. Why do you think, because everybody
:25:16. > :25:20.you talk to has been so surprised? I was sat in the audience. Why do
:25:20. > :25:28.you think everyone's so surprised you were so good? It takes a lot of
:25:28. > :25:32.hard work and Ola's a great teacher and hopefully I'm trying to do it
:25:32. > :25:35.well. A bit of a pain, yeah, but. The honesty now. Great comments
:25:36. > :25:40.from the judges. Craig said great movement, fantastic story telling.
:25:40. > :25:43.I nearly cried when I heard him saying that. Darcy says you have
:25:43. > :25:48.something very special. How did that make you feel inside - warm
:25:48. > :25:51.glow? Yeah. I couldn't believe it. I was overwhelmed. We were both
:25:51. > :25:56.very, very surprised with the comments. They've been very harsh
:25:56. > :26:02.on Friday. I thought we expected for them to be harsh. I thought it
:26:02. > :26:08.can't get any worse. Friday was awful. Ripped to pieces. Everyone
:26:08. > :26:12.had bad comments, so we thought we need to get ready. I get bad
:26:12. > :26:21.comments all day from Ola, so I was prepared. She is just preparing you,
:26:21. > :26:24.though. It's good, yeah. It's good! Is she hard? Completely. Talk about
:26:24. > :26:31.trying to build a bit of confidence up and she'll just knock you down
:26:31. > :26:34.in a second. She did that with just a look? Yeah, exactly. It's
:26:34. > :26:38.obviously working, whatever she's teaching you. We have noticed that
:26:38. > :26:43.you have a little bit of trouble keeping away from Ola. Have a look.
:26:43. > :26:47.When I got ollo initially I thought, wow, this is -- Ola, initially, I
:26:47. > :26:56.thought, wow, this is a dream. Everyone likes a little bit of Ola.
:26:56. > :27:02.One, two, good. Beautiful. Now, I sort of want to change. Don't look.
:27:02. > :27:12.Where are you looking? Stay away from me. Get away, get away.
:27:12. > :27:13.
:27:13. > :27:19.away from me! Get that away from me get away, get away. Is that me? Get
:27:19. > :27:25.away from me. You are so close. Stay away. Get away. Where you
:27:25. > :27:35.looking? Don't look at me. Don't look at me. Where are you looking?
:27:35. > :27:37.
:27:37. > :27:44.Ola! I say how it is. That's the only thing. I don't mean it bad. I
:27:44. > :27:49.want him to do well. This week, you are doing the salsa. Are you going
:27:49. > :27:55.to show it all off? We are working on the hips. How are the hips?
:27:55. > :27:59.said they were all right. They're OK. Here we go. This is how it
:27:59. > :28:03.really is. It's like a marriage. What does he need to work on before
:28:03. > :28:13.Saturday? Everything, steps, posture, partnering. Musicality.
:28:13. > :28:17.Everything. There is still a long way to go. OK. All right. You'll be
:28:17. > :28:22.fine, love. I must ask you about how is James, because you sort of
:28:23. > :28:26.smashed his nose? He's OK. He's been to the doctors and he's been
:28:26. > :28:34.sorted now. She is just a lethal weapon. I've been waiting 15 years
:28:34. > :28:40.to do that, so I did it? Good luck with the salsa. Sid and Ola.
:28:40. > :28:45.APPLAUSE That is it for today. A big thank