:00:11. > :00:16.Welcome to Tuesday's show. I have a stellar line-up. They live to dance
:00:16. > :00:22.another day - Richard and Erin are here. APPLAUSE Pull yourself
:00:22. > :00:27.together! We discuss skirt-ography with Fern and Artem.
:00:27. > :00:30.And fresh from their fleckerl-fest of Saturday night, Louis and Flavia
:00:30. > :00:40.are here. And to explain what a fleckerl is and how to spell it,
:00:40. > :01:13.
:01:13. > :01:19.Karen Hardy is here. APPLAUSE Shall This is Strictly: It Takes Two.
:01:19. > :01:23.Please welcome your host, Zoe Ball. APPLAUSE
:01:23. > :01:28.Hello. Welcome to It Takes Two. The weekend is over and the celebs are
:01:28. > :01:32.back in the training room. For one couple, there is an air of relief
:01:32. > :01:37.after Sunday night's close call. Richard and Erin survived the
:01:38. > :01:47.dance-off after their cha-cha-cha. Here is a reminder of what happened.
:01:47. > :01:52.It was the weirdest cha-cha-cha, but in a sick way I enjoyed it!
:01:52. > :02:00.Those cha-cha-cha walks, darling, belong in a drag show! This is the
:02:00. > :02:09.Richard I wanted to see. Relaxed, full of life. You are a better
:02:09. > :02:15.dancer than having to camp it all up. You can just go for it.
:02:15. > :02:19.wasn't entirely convinced. They wanted a bit of a show so we put on
:02:20. > :02:25.a show. We fliend out which of you will be back -- find out which of
:02:25. > :02:32.you will be back again to dance next week. Richard and Erin.
:02:32. > :02:39.Richard and Erin. Richard and Erin. So they may have withered a bit at
:02:39. > :02:44.the weekend. They are back in full bloom - Richard and Erin! APPLAUSE
:02:44. > :02:48.Oh... My palms are clammy watching that back. It is not nice. It is
:02:48. > :02:56.not ideal. You have been there yourself. I know. Never in the
:02:56. > :02:59.dance-off, love! I see! So it starts! Were you expecting to find
:02:59. > :03:04.yourselves in the bottom two at the weekend? How much of a shock was
:03:04. > :03:07.that? Everybody was so nervous backstage during Saturday's show
:03:07. > :03:13.because it was such a level playing field in the fact we had all put in
:03:13. > :03:17.so many hours and it was the first time one of us would go. So no-one
:03:17. > :03:23.could call it. We all watched the rehearsals and everyone was like,
:03:23. > :03:30."Wow, that is good." Then when you put in an outfit like that - with a
:03:30. > :03:35.dry weave, which I have kept for you! Please... LAUGHTER Shall I
:03:35. > :03:42.give it back to Jedward. That is really - can someone remove this
:03:42. > :03:48.from me? It's the gift that keeps on giving! How did the routine go
:03:48. > :03:52.on Saturday? The routine went well. There's this bit at the beginning,
:03:52. > :03:56.you do your clicks down the floor, sometimes they are out of time and
:03:56. > :04:03.sometimes they are spot on. I'm doing this, and they were spot on
:04:03. > :04:08.time. She was all over the place! It was awful. There was one bit
:04:08. > :04:16.when I slide between your legs and I had a pair of fish-nets on - and
:04:16. > :04:22.one of my heels got stuck and I didn't know whether I was going to
:04:22. > :04:28.get up on time. Don't you hate that?! Where do you go from there?
:04:28. > :04:32.It is Saturday night. After a call to camp it up last week, this week
:04:32. > :04:39.then Len says Richard is too good for that. Are you getting mixed
:04:39. > :04:43.messages? There is a blurring of the lines. When Craig said it was
:04:43. > :04:51.like a Vegas showgirl - that's the first time I have been called that
:04:51. > :04:53.- well on television! You have to give everything you have got. The
:04:53. > :04:56.most extraordinary thing was standing there, your heart thumping,
:04:56. > :05:04.knowing you could be voted off and trying to keep a straight face when
:05:04. > :05:09.you know you are standing there with this weave. In Mary Berry's
:05:09. > :05:13.bomber jacket! Bang on trend. have to say. Could I borrow it?
:05:13. > :05:18.Mixed messages from the judges aside, it does seem that you may
:05:18. > :05:24.have got yourself a bit confused as to which show you are competing in?
:05:24. > :05:28.Oh no. # Old man river
:05:28. > :05:38.# He just keeping rolling... # This is on the other channel! We
:05:38. > :05:41.
:05:41. > :05:51.are not doing that show! # You make me want to shout. #
:05:51. > :05:51.
:05:51. > :06:01.# Hey, world, here I am. # # Breaking up is hard to do. #
:06:01. > :06:02.
:06:02. > :06:12.# Knees up Mother Brown... # # Love shack... #
:06:12. > :06:14.
:06:14. > :06:20.# Baby, I remember... # See what I have to put up with?
:06:20. > :06:24.APPLAUSE Well, you can't take it away from us. We have fun. We do
:06:24. > :06:31.have fun. We work hard. If I'm hitting a Duff note, I would like
:06:31. > :06:34.to hit one note in rehearsals! is Hollywood Week. Yes.
:06:34. > :06:40.# Hollywood. # You are doing a quickstep. What
:06:40. > :06:50.more can you tell me? At this juncture, it's - what can we say?
:06:50. > :06:51.
:06:51. > :06:57.Breakfast television is more 5 to 9 this, is more 905! I cannot wait. -
:06:57. > :07:02.- More 9 to 5! I cannot wait. There's still plenty to talk about
:07:02. > :07:12.from boyband moves to a jive so bad it was good. Here to offer her
:07:12. > :07:23.
:07:23. > :07:27.Welcome, Karen! APPLAUSE A whopping five styles of dance at the weekend.
:07:27. > :07:31.So much to discuss. Lisa and Robin in their Viennese waltz, another
:07:31. > :07:35.great performance. Did come in for some criticism about Lisa leading
:07:35. > :07:40.Robin. Did you think that was the case? Shocked and stunned! No-one
:07:40. > :07:44.wants a wet lettuce on the end of their arms, especially no
:07:44. > :07:49.professional! It's beautiful in these early weeks that you have an
:07:49. > :07:52.active woman in your arms. There is a point where you can see she's
:07:52. > :07:57.going into a step and she potentially is about to go wrong
:07:57. > :08:02.here. She is behind. Because she's got this energy she's able to save
:08:02. > :08:08.her own steps rather than Robin having to take a hold and pull her
:08:08. > :08:12.into place. She did it herself. So moving on through this, she will do
:08:12. > :08:19.well because you have an active woman in front of you. She can't
:08:19. > :08:20.lead, that's all. OK. Fern and Artem and their Viennese waltz. Now,
:08:20. > :08:24.this is what we want. An improvement on last week, which is
:08:24. > :08:29.good. She is climbing up the ladder. The judges said she needed to
:08:29. > :08:33.extend her lines more. Yes. I was intrigued about this. Something we
:08:33. > :08:36.always talk about is the arms. If you have a masterpiece of a
:08:36. > :08:40.painting, you need it on the wall and framed. The framing is when we
:08:40. > :08:44.use the arms, that is what shows the masterpiece. Now, potentially
:08:45. > :08:50.here what we are talking about - when I looked at her, she is using
:08:50. > :08:54.her arms. What I think we have got here - she's got the frame on the
:08:54. > :08:58.wall, but we are not got the masterpiece in the middle. If that
:08:58. > :09:02.is what they are picking on in week two, she will be here for a long
:09:02. > :09:07.time. OK. Louis and Flavia and their Viennese waltz. Great
:09:07. > :09:13.comments from all the judges. Darcey was so thrilled to see a
:09:13. > :09:16.fleckerl. What is a fleckerl? know. We have new viewers. Limited
:09:16. > :09:21.steps in the Viennese waltz, it basically goes around the outside
:09:21. > :09:26.of the floor and then suddenly, as we see here, it stops on the spot
:09:26. > :09:31.and goes round and round on the spot. Now, many greats haven't
:09:31. > :09:36.attempted this in the past. I love the fact in week two they put the
:09:36. > :09:40.fleckerl in and even the attempt of some nice footwork. Ball flats and
:09:40. > :09:44.many I have seen before have tippled around on their toes. A
:09:44. > :09:50.very good attempt at a very difficult step. Well done, Louis!
:09:50. > :09:54.Jerry and Anton and their foxtrot. Len said Jerry was too vertical. Is
:09:54. > :09:59.foxtrot hard for a tall lady? not at all. It is more elegant, but
:09:59. > :10:04.what we have to say is back in the 19 20s, she would have been perfect.
:10:04. > :10:09.That was the position, vertical and draped over the man. In the 21st
:10:09. > :10:15.Century, you have got to grab her pony-tail and do a face-lift and
:10:15. > :10:18.pull out. When you think you are out far enough, you stretch again.
:10:18. > :10:23.You can't just throw your head out because it flicks back again. So
:10:23. > :10:29.what you have to do - strength from down below, strength through the
:10:29. > :10:35.torso and create that arch and just keep giving to the man and take
:10:35. > :10:39.away the head. Everyone is practising that at home! She was
:10:39. > :10:46.marvellous. Colin and Kristina. Len and Craig commended Colin for
:10:46. > :10:49.dancing to his height. How was he achieving this? He is doing so well.
:10:49. > :10:53.Dancing to your height - I have chosen an excellent piece of
:10:53. > :10:59.choreography and then I have asked the man upstairs if he would
:10:59. > :11:03.freeze-frame it? He is doing a beautiful freeze-phrase. Look how
:11:03. > :11:08.he goes into hold. From the elbow down is where he is able to adjust
:11:08. > :11:17.the hold. Can we see here from the elbow down, he is still maintaining
:11:17. > :11:22.good elbow line. What we see with this - he's maintained his strong
:11:22. > :11:26.core and all he's adjusted is the lowering of the hand. The lowering
:11:26. > :11:32.of the hand. He's maintaining this. First-class. Good. You are very
:11:32. > :11:37.pleased with Colin. I am. Victoria and Brendan. Huge improvement on
:11:37. > :11:42.last week. She was told she needs to work on her turns. What is wrong
:11:42. > :11:45.with them? We always talk about turning. The main thing we talk
:11:45. > :11:50.about is head-spotting. Look where you are going. This is different.
:11:50. > :11:54.She goes into the turn, but then decides I really don't want to do
:11:54. > :11:59.this any more. Now, imagine you are on a rollercoaster and you are
:11:59. > :12:06.going into the loop the loop. When you go into that, you go in with
:12:06. > :12:12.gusto. You don't go into a loop the loop slowly. What she has got to do,
:12:12. > :12:15.she's got to commit to them so you go full pelt and then what happens
:12:15. > :12:19.is, you drop the energy way after because it has a natural finish to
:12:19. > :12:22.it. What's happening is she is jumping out of the rollercoaster
:12:23. > :12:29.half-way through the loop the loop. Her feet are catching up with her
:12:29. > :12:34.body. She will take your advice and work on it. We have much more to
:12:34. > :12:38.discuss with Latin later on. Karen Hardy! APPLAUSE So after a shaky
:12:38. > :12:42.debut Fern and Artem bounced back with their ballroom on Saturday
:12:42. > :12:52.night. Even managing a little bit of skirt-wafting for Len. They
:12:52. > :12:54.
:12:54. > :12:59.spoil him! You give us such a beautiful feeling when you dance.
:12:59. > :13:06.There was a bit of wafting going on early on. We put it in for you!
:13:06. > :13:12.like a waft! You come alive when you are in the arms of your
:13:12. > :13:22.strapping young man. You seem to like it. The flow around the floor
:13:22. > :13:27.
:13:27. > :13:32.was fantastic. Look, he's smiling. He's being affectionate. He won't
:13:32. > :13:42.be on Monday morning! Please welcome Fern and Artem. He is
:13:42. > :13:43.
:13:43. > :13:47.happy! APPLAUSE We laughed for a couple of seconds. Brilliant.
:13:47. > :13:51.and-a-half! That is progress. How was Saturday for you? Was it good
:13:52. > :13:57.not having to start the show? Blissful. Fourth position was very
:13:57. > :14:01.nice. Lovely. Then you get the rest of the show with your feet up. It
:14:01. > :14:04.was lovely. Do you feel more at ease with ballroom than the Latin?
:14:04. > :14:09.I probably do. The first day Artem showed me the steps for the
:14:09. > :14:14.Viennese waltz, I thought, this is pretty, this is nice. It was lovely
:14:14. > :14:18.careering around the room together with him shouting at me! It was
:14:18. > :14:25.good fun. How much does he shout at you? Quite a bit. Is it scary?
:14:25. > :14:31.has been. I have got it now. I think if he's happy, then I'm happy.
:14:31. > :14:35.That's the formula! Make him happy, he is... He looks so lovely.
:14:35. > :14:39.haven't seen me. I don't want to see that. Great comments from the
:14:39. > :14:44.judges as well Fern. Darcey said you give her a beautiful feeling.
:14:44. > :14:48.Did that make you feel special? There's a strange moment when you
:14:48. > :14:52.are relieved you have done the dancing and you go over and not a
:14:53. > :15:00.lot of it is going in. I'm going yeah, yeah. Then afterwards you go,
:15:00. > :15:04.what did they say? We couldn't hear it. We are deaf as posts! Then they
:15:04. > :15:10.tell us all these comments afterwards. Did they? You seem very
:15:10. > :15:14.proud of Fern on Saturday? I am. Are you? Yes. She is doing great.
:15:14. > :15:19.What is it in particular that you are proud of her with? What is it
:15:19. > :15:23.in particular? She tries her hardest to do the step every single
:15:23. > :15:29.time. OK. It does seem we have noticed that he does like to drill
:15:29. > :15:36.a message home. Oh yes. Have a look. Head, shoulder, knees, toes, knees,
:15:36. > :15:43.toe. Head, shoulder, knees, toe. Could I have a cup of tea? Thighs,
:15:43. > :15:49.hips... Hands, feet, turn out... Heads, shoulders, knees, toes.
:15:49. > :15:57.else? That is about it. In that case, why was I worrying?! APPLAUSE
:15:57. > :16:03.That's a lovely pink scarf. wasn't. It was tied around my
:16:03. > :16:08.ankles. Look what she can do! That's got to come out. Don't show
:16:08. > :16:11.them what we can do! It is Hollywood this week. A bit of
:16:11. > :16:19.glamour. Looking forward to it and what dance do you have? Are we
:16:19. > :16:24.allowed to say? We are. Charleston. And are we allowed to tell you the
:16:24. > :16:28.film? No. You can tell me. I won't tell any of them. Charleston is
:16:29. > :16:36.popular with the audience. It is so much fun. How are you coping with
:16:36. > :16:39.the training? Well, we kind of got the basics done. I say that - it is
:16:39. > :16:43.like dance terminology! I can't necessarily do the steps yet. I
:16:43. > :16:49.know what they are supposed to be. OK. You have them in the right
:16:49. > :16:53.order. That about right? Yes. you holding out a lot of hope for
:16:53. > :17:00.this? I think it will be very good. We have a trick in there, too,
:17:00. > :17:06.which I hope will be very exciting. We have? We have a good trick.
:17:06. > :17:12.It will be pretty impressive. Is it daunting learning a whole new thing
:17:12. > :17:16.on a Monday? In a strange way it isn't so much. I found the three-
:17:17. > :17:26.week run-up to the first programme much harder. Having done that
:17:26. > :17:30.training on This Morning, I prefer to learn like that. Good luck with
:17:30. > :17:34.your Charleston. Very impressed with the legs. Fern and Artem!
:17:34. > :17:40.Thank you. APPLAUSE I will be chatting to Louis and Flavia in a
:17:40. > :17:47.moment. First, this is a reminder of how they got on with their
:17:47. > :17:50.Viennese waltz. It was like a Valentine's Day postcard brought to
:17:51. > :17:57.life. I do need an emotional connection between you and Flavia.
:17:57. > :18:07.That is just as important. I saw the best dance I have seen tonight
:18:07. > :18:10.
:18:11. > :18:16.or last week. Fabulous! That's what I'm talking about! Team work!
:18:16. > :18:24.cool. We are slowly improving. Darcey needs more convincing. We
:18:24. > :18:30.are working on it. We will get there. They have conquered Latin
:18:30. > :18:35.and ballroom to top the leaderboard. Louis and Flavia! APPLAUSE So
:18:35. > :18:40.excited. I have to say a lot of people are in love with your
:18:40. > :18:44.performance on Saturday. Ruth said, "I had tingles up-and-down my spine
:18:44. > :18:47.for this wonderful dancer and his partner." How much did you enjoy
:18:47. > :18:54.it? It was really good. That is what we were trying to portray,
:18:54. > :18:58.tingles in the spine in the right way. Definitely. Very pleasing.
:18:58. > :19:02.Bruno loved the romance between you. Darcey felt there was an emotional
:19:02. > :19:05.connection missing. Why do you think the judges were split on
:19:05. > :19:09.that? I think the Viennese waltz is a tricky one. It depends on what
:19:09. > :19:13.music you have. We had quite a romantic one so that is what we
:19:13. > :19:16.were trying to put across. Having said that, in the ballroom, you
:19:16. > :19:20.have got a lot of distance and you don't look at each other. I think
:19:20. > :19:24.maybe Darcey was picking up on the fact we were in hold for some time
:19:24. > :19:27.so we had no connection there. It is just trying to build that
:19:27. > :19:31.connection when you are together, like the introduction and the
:19:32. > :19:36.ending. Bruno was looking at the overall effect. Bruno was swept
:19:36. > :19:40.away with the whole romance. Speaking of emotional connections,
:19:40. > :19:44.you didn't look best pleased when Bruce was attempting to match make
:19:44. > :19:52.you with Kimberley? It was a bit embarrassing. Just before we have
:19:52. > :19:58.to go on as well. A nightmare. much was made of the now very
:19:58. > :20:02.famous fleckerl? I wasn't expecting that. I have always wanted to
:20:02. > :20:06.attack it on Strictly. This is the chance. I put a little bit of a
:20:06. > :20:10.reverse fleckerl which is quite hard and a natural fleckerl. I'm
:20:10. > :20:14.happy they picked up on it. Sometimes you can pretend you are
:20:14. > :20:18.doing one by running forwards on the spot. You are not doing the
:20:18. > :20:23.correct footwork. She didn't tell me it was difficult. Of course not!
:20:23. > :20:30.It was a bit challenging, but I cracked it. She said, "This is
:20:30. > :20:33.going to be really difficult..." You would... I probably would have
:20:33. > :20:41.struggled with it. We think you have a great teacher. We think that
:20:41. > :20:47.there may be is a secret ingredient behind your success. Oh yes!
:20:47. > :20:54.feeling full of beans? Tummy rumbling? I can't stop thinking
:20:54. > :21:03.about beans on toast! You need mum's Baked beans. Woah! Thanks,
:21:03. > :21:09.Mum. It's less sugar and salt beans as well. Beans are good. This is
:21:09. > :21:15.great fuel for me. I needed to have it. They get me back on track.
:21:15. > :21:20.healthy fuel for your kid. My Mum is a hero. Look at what mums do.
:21:20. > :21:27.Mum's baked beans, recommended by mummies, now with added Flavia!
:21:27. > :21:33.Very good. Did she bring cheesy beans in for you? She did offer.
:21:33. > :21:38.I'm sure she will be coming back. My Mum is a hero. She brings it on
:21:38. > :21:46.a tray for you. So it is Hollywood Week, are you looking forward to
:21:46. > :21:55.unleashing your inner showman? think so. We are dancing to Dirty
:21:55. > :21:59.Dancing. Which one? The big... Had The Time Of My Life. Are you
:21:59. > :22:06.going to be doing... You will have to wait and see. We have had a
:22:06. > :22:11.dabble. Have you got crash-mats in the studio? Yes. Just in case.
:22:11. > :22:19.was thinking about practicing in the lake! Quick, film cameras - I
:22:19. > :22:23.have a pond. Come over! And it's back to Latin for you. Is it a
:22:23. > :22:27.salsa-based Dirty Dancing number? It is a bit more of a Mambo feel.
:22:27. > :22:33.We will try and re-create as much of the movie as we can. I can't
:22:33. > :22:37.wait. Don't drop her. I won't drop her. Do you feel safe in his hands?
:22:37. > :22:42.We will be all right. Are you ready to dazzle Darcey again with your
:22:42. > :22:47.hip action? I will try. I'm looking forward to bringing back some of
:22:47. > :22:54.the hips. That is the plan. Good luck in training. Louis and Flavia!
:22:54. > :23:04.APPLAUSE So she's already broken down the ballroom. Time to look
:23:04. > :23:12.
:23:12. > :23:19.over the Latin. It is Round Two of Karen's back! APPLAUSE Let's get
:23:19. > :23:24.straight to it. Denise and James. Highest scoring dance of the series
:23:24. > :23:29.so far. It was good. Darcey loved the kicks. Why were the kicks so
:23:29. > :23:36.good? She had retraction. Retraction. Explain that? The snake
:23:36. > :23:41.goes in for the kill and it goes... That is the retraction. If you look
:23:41. > :23:45.at these great kicks? It is not like a dad's wedding where you do a
:23:45. > :23:50.floppy kick. She pulls back each time. I'm on to the word "layering"
:23:50. > :23:54.already. What does that mean? That means we have not only got
:23:54. > :24:00.choreography and good timing, we have the essence of quality going
:24:00. > :24:04.in already on week two. Very good girl. Excellent. I have never to
:24:04. > :24:12.this day actually - I would have to look back - ever seen a jive to
:24:12. > :24:21.that level before. Wow! That's - not even Gill Halfpenny?
:24:21. > :24:24.history books will change! It was a very difficult dance. -- Jill
:24:24. > :24:28.Halfpenny. Bless Michael and Natalie. Bruno said it would have
:24:28. > :24:33.been impossible for Michael to jive worse. What did you think? Was it
:24:33. > :24:39.that bad? Listen, let's talk about the counts of a jive. It is quick,
:24:39. > :24:45.quick, quicker, quicker, quick. Get one of those quicks wrong, and this
:24:45. > :24:50.is what could happen. OK. We have this section where - oh missed it.
:24:50. > :24:55.Quick. No, look, he is back off again. No, we are back off again.
:24:55. > :25:00.Now, we are talking one quick wrong. Then you are thrown? That's that.
:25:00. > :25:06.That was the problem. We were more than one quick wrong, sadly. This
:25:06. > :25:10.shows the difference. If you get one quick wrong, sadly - the thing
:25:10. > :25:17.that happens with this as well, the professional ladies cannot save you.
:25:17. > :25:22.In this dance, we are being thrown from one arm to the other. You have
:25:22. > :25:26.to keep up and you are on your own! He will be better next week. Sid
:25:26. > :25:31.and Ola, great energy. I really enjoyed this performance from Sid.
:25:31. > :25:41.The timing was off a little bit? Yes, let's have a look at this
:25:41. > :25:48.timing. We will listen. One, one, two, one, two, one, one, two... Now
:25:48. > :25:52.the "w" and the "t" - why am I doing that? We have salsas -
:25:52. > :25:57.there's arguments where it comes from. We have some that break on a
:25:57. > :26:03.one and some that break on a two. One, two, three, five, six, seven.
:26:03. > :26:08.Two, three, four, six, seven, eight. What are you doing? If one breaks
:26:08. > :26:16.on one count, another breaks on another. What happened was Sid was
:26:17. > :26:20.living the Shakira DVD dream! He was there. He forgot he was in
:26:20. > :26:25.Shepherd's Bush London and he got it all wrong. If you get your
:26:25. > :26:31.counts wrong, your choreography will go wrong. Focus, Sid! He's my
:26:31. > :26:36.dark horse. I know. He is. He is good. Dani and Vincent and their
:26:36. > :26:41.salsa. Darcey praised Dani's amazing isolations in the upper
:26:41. > :26:46.body. What is an isolation? easiest way to show it - Vincent
:26:46. > :26:50.has the most classic isolation of them all when he raises his eyebrow
:26:50. > :26:56.up-and-down. The rest of the body can't get involved. If we look at
:26:56. > :27:00.this bit of choreography that they put in the middle, this shows it.
:27:00. > :27:04.The feet staying still and then moving the other way and rippling
:27:04. > :27:09.through and when we are rippling, you have to move this muscle and
:27:09. > :27:15.you have to roll down your body. Hence the ripple! Hence the
:27:16. > :27:20.isolation. We were always taught we were never allowed to use the
:27:20. > :27:25.isolation word. Today, isolation brings like a texture to it, a bit
:27:25. > :27:31.of interest, but in general you want the dance to flow, you want
:27:31. > :27:35.that continuity. OK. A bit of that isolation gives it a bit of texture.
:27:35. > :27:40.Nicky and Karen and the cha-cha-cha. The judges felt it was too boybandy.
:27:40. > :27:43.What did you feel was missing? mean, he's explained that he got
:27:43. > :27:48.the flicks wrong. In general, what they have got to be doing in the
:27:48. > :27:53.early weeks, they have to get the basics in. The basics in one dance
:27:53. > :27:58.help you in other dances. Now, I know with that bashing that he got
:27:58. > :28:01.they wanted to come back really strong. Bring that club music in,
:28:01. > :28:04.bring that boyband look into it. This is what happened. If you look
:28:04. > :28:09.at this piece of choreography where they have the real boyband, he
:28:09. > :28:14.looks great. Then they pick up a cha-cha-cha step that is about to
:28:14. > :28:17.happen. He gets it all wrong. He's got so much into that theme of the
:28:17. > :28:21.clubbing. What I would like to say to them - what he did week one was
:28:21. > :28:27.beautiful. He just got a big old bashing from the judges. Someone
:28:27. > :28:31.gets it every year. Sadly, it was him. Come back with confidence and
:28:31. > :28:35.quality. He will be gorgeous. will be. Please come back very,
:28:36. > :28:42.very soon. Let's not forget, ladies and gentlemen, footwork is the
:28:42. > :28:46.foundation of movement! I thank you. Karen Hardy! APPLAUSE You said it,