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