:00:08. > :00:13.TRANSMIT well, hello, and welcome to Wednesday's It Takes Two. Tonight I
:00:14. > :00:18.am treating you - two delectable couples on the sofa. They have
:00:19. > :00:22.proved themselves untouchable, Mark and Iveta time. Break it down. I am
:00:23. > :00:26.gutted he's not in his gold jacket. You made your minds up to keep them
:00:27. > :00:30.here, thank goodness. It's Deborah and Robin. Finally, it's very cold
:00:31. > :00:34.outside, but he's turning up the heat in here. It's Ian Waite -
:00:35. > :00:37.shirtly on Strictly - who would have thought it? This is Strictly: It
:00:38. > :01:32.Takes Two! Nice! CHEERING AND APPLAUSE
:01:33. > :01:37.Well, hello, and welcome to It Takes Two. On Saturday night, we saw Mark
:01:38. > :01:41.and Iveta giving the dancefloor an MC Hammering. We loved it. I'll be
:01:42. > :01:45.talking to them in just a moment, but first, let's remind ourselves of
:01:46. > :01:48.their weekend story. It was all very flat foot and
:01:49. > :01:51.stompy. BOOING.
:01:52. > :01:57.The cha-cha-cha you actually did was danced, I'm afraid, very badly. I'll
:01:58. > :02:00.tell you what, you're full of talent. I won't tell you what
:02:01. > :02:05.Craig's full of. You worked really hard on those details, just
:02:06. > :02:12.brilliant, loved it. It was unique. It was different. It
:02:13. > :02:19.was memorable and very, very funny. Three. 8. 7. Oh, we did so well. He
:02:20. > :02:23.looked so good. I couldn't take my eyes off him. I am going to wear
:02:24. > :02:28.this in real life, definitely. We had such a good time, no matter what
:02:29. > :02:31.Craig says. We had a good time. Please welcome Mark and Iveta.
:02:32. > :02:35.APPLAUSE Yeah! Please tell me you're going to
:02:36. > :02:39.keep that jacket. It was so good! Definitely, yes. I think so. And the
:02:40. > :02:45.Hammer pants too. And the pants. It is a complete look, obviously. Two
:02:46. > :02:50.words for you - awesome sauce. My son says that's what they say on the
:02:51. > :02:54.streets, must be really good. Your first eights - how many times have
:02:55. > :02:58.you watched it back? With my kids, loads. We loved it, didn't we? It
:02:59. > :03:02.was such a great week because it was so fun to do that when we did it and
:03:03. > :03:06.we got it all right, we did it the best we'd ever done it. It was a
:03:07. > :03:09.brilliant night. That's how you need it to be, the best you have ever
:03:10. > :03:14.done it on the floor for everyone to see. Obviously, people were
:03:15. > :03:21.hysterical in glee online. You broke the number of comments - SID says
:03:22. > :03:27."His MC Hammer hybrid is going to be one of those dances I watch over and
:03:28. > :03:31.over again." We have to look at you at this point - a cha-cha to hip-hop
:03:32. > :03:37.- how did you come up with the idea? It was brilliant? First of all, I
:03:38. > :03:41.love the song. I used to listen to it as a little girl. Because he's so
:03:42. > :03:44.fun, I always think of songs that would bring that out of him. As soon
:03:45. > :03:50.as I mentioned it to him, he loved it. "OK, let's do it." That's how MC
:03:51. > :03:54.Hammer used to do it in his days in his routine, so I made sure it's
:03:55. > :03:58.pure cha-cha because everything, if you look, is pure cha-cha, but we
:03:59. > :04:02.added a little bit at the beginning and the end. We just had this
:04:03. > :04:06.flavour going. We must talk about this pure cha-cha because Len was
:04:07. > :04:09.saying he loved the traditional cha-cha content and Craig was saying
:04:10. > :04:13.there was no traditional cha-cha content. Who was right? Who do you
:04:14. > :04:17.agree with? Len, every time, every time. Of course. He'll love that. I
:04:18. > :04:21.think it's because we were selling the concept so much, why cha-cha
:04:22. > :04:26.maybe became overlooked because it wasn't just cha-cha. It was the
:04:27. > :04:30.costumes and a slow-mo moment, but it was a lot of cha-cha. If you look
:04:31. > :04:35.back and ignore all of that and look at the steps we're doing, it's
:04:36. > :04:39.mainly cha-cha. We got the comments of the salsa not being enough salsa,
:04:40. > :04:42.and you made sure there was enough cha-cha in this. Apart from the end,
:04:43. > :04:46.it was all cha-cha and apart from the slow motion bit obviously. That
:04:47. > :04:50.was just so good! It was like don't ever let it stop. It was so
:04:51. > :04:54.brilliant. Let's talk also about the scores. How confusing is it you in
:04:55. > :04:59.the disparity between scores? Craig giving you a 3: Len giving you an 8.
:05:00. > :05:04.What do you make of all of that? It was a bit odd. Listen, you've got to
:05:05. > :05:08.take what the judges said and take it on the chin. Hopefully, this week
:05:09. > :05:12.I can prove to Craig that I have been working on it and gotten better
:05:13. > :05:16.at the things he criticised me on of it was a bit odd one was really low
:05:17. > :05:20.and the others high. If they'd all been similar, you could kind of go,
:05:21. > :05:24.fair enough, but it was a bit odd, wasn't it? The good thing was you
:05:25. > :05:27.definitely made an impression on the audience and everyone at home.
:05:28. > :05:33.That's not the only impression you have made recently, Mr Benton -
:05:34. > :05:39.ah-hah! Have a look. Hello. My name is Iveta lucky-poo-poo. I am dancer.
:05:40. > :05:44.I am four times world champion. How did I get stuck with you? I am five
:05:45. > :05:49.times American champion. I am two times Great Britain champion. Look
:05:50. > :05:54.at you. Oh, my God. I could have had beautiful Ben or Ashley, but I get
:05:55. > :05:59.you. If Mark makes a mistake, I will break him! I like to test you, to
:06:00. > :06:04.always test you every day. Don't walk into my space. I will crush
:06:05. > :06:12.you. Really keep you on a knife edge. You can do this lift, Mark,
:06:13. > :06:19.but if you drop me... (Her voice) I will break you! Did it work?
:06:20. > :06:22.So good! It's so uncanny as well. It's ridiculous. If you closed your
:06:23. > :06:25.eyes, you wouldn't know the difference! You could be both
:06:26. > :06:30.people. It would be incredible. Exactly. Let's talk about if waltz,
:06:31. > :06:37.an elegant dance. We love you bring a tale to every story. Will there be
:06:38. > :06:40.any Bentonesque sides to this or will you play it straight I think
:06:41. > :06:45.we're going to play it straight this week, especially after last week. We
:06:46. > :06:48.want to show I can dance and Iveta said I could make a beautiful
:06:49. > :06:52.dancer, so hopefully I'll do my best to make it graceful and elgamut and
:06:53. > :06:57.I have been enjoying doing it. Wonderful. One, two, threes - don't
:06:58. > :07:02.follow me. I know nothing. Or one and two and threes. It's so
:07:03. > :07:06.confusing! Something really lovely we found out is you have formed a
:07:07. > :07:10.nice friendship with Dave. Yes. And you check in with each other once a
:07:11. > :07:14.week to find out how you're doing? We do, yes. We have a little bit of
:07:15. > :07:19.a comfort talk every Wednesday or Thursday. He rings out to say how
:07:20. > :07:26.are you doing? I am like, "How are you doing?" We talk about things
:07:27. > :07:34.like chassises... Chassises, not ones on cars? Yes. And other moves,
:07:35. > :07:37.things I never thought I would find myself talking about. Good luck with
:07:38. > :07:42.your waltz this week and well done on MC Hammer. It will go down in
:07:43. > :07:46.Strictly history. Mark and Iveta! Once again, it's time to put your
:07:47. > :07:51.Strictly knowledge to the test with a game. The question is, can you
:07:52. > :08:20.tell me who this former dancing celebrity is?
:08:21. > :08:30.Hmm. Did you guess who it was yet? Find out later in the show. Now it's
:08:31. > :08:38.time for the first instalment of "Two" - he's here with his warm-up.
:08:39. > :08:44.It's Ian Waite. Look who's here - Ian Waite... Yes!
:08:45. > :08:49.All week - our week is complete. Thank you. Fully clothed again. If
:08:50. > :08:53.only you would take your top off now and again. Hello, gorgeous. Did you
:08:54. > :09:02.enjoy the delights Saturday night? Yes. I wasn't with my dog this week.
:09:03. > :09:06.I was with my friends, Jason, Derek, Carrie and Heather... Friends, I
:09:07. > :09:10.can't remember their names. It was funny because they were saying I was
:09:11. > :09:13.like a fifth judge. Is this one of your dreams? It might happen, one
:09:14. > :09:17.day. Let's talk about the couples this week. You're going to look in
:09:18. > :09:22.the training rools, give us some top tips. Hopefully they'll work on
:09:23. > :09:28.these by the weekend. Joanna and Kevin -- Susanna and Kevin are doing
:09:29. > :09:32.an American smooth. I loved her samba, very Tarzan and Jane, wasn't
:09:33. > :09:37.it? But this is a very style of dance, lots of smooth movements,
:09:38. > :09:40.also, this is a foxtrot American smooth, not the traditional sort of
:09:41. > :09:45.one. What I wanted to point out was this area here, and that's her feet.
:09:46. > :09:50.She needs to make sure on the foxtrot pieces she does she flicks
:09:51. > :09:55.up that toe so it transfers the weight on to the back foot so she's
:09:56. > :09:59.never stuck with the weight forward. Can you show us that? Yes, I can.
:10:00. > :10:04.Just releasing the toes like that, back. Releasing the toes,
:10:05. > :10:05.transferring the weight. Beautiful, beautiful.
:10:06. > :10:15.APPLAUSE Pasha and Rachel, it's a passionate
:10:16. > :10:21.Paso for pash-face and her. She reminds me of a previous partner of
:10:22. > :10:25.mine, Zoe Kid. She turned into a very lovely ballroom dancer. I think
:10:26. > :10:29.that's the same with Rachel. I think she could turn into a very nice
:10:30. > :10:33.dancer. She has all the potential, has the great body. What she needs
:10:34. > :10:38.to do is straighten that knee, and she needs to straighten that back
:10:39. > :10:42.leg and get her hips underneath. What Len always talks about, tucking
:10:43. > :10:49.the bottom under? Yes, so that she can create a strong - even as a
:10:50. > :10:53.female, when they do walks and stuff, they should still walk like
:10:54. > :10:59.that... Like a girl. Hips underneath and walking. So the men walk like
:11:00. > :11:02.that and so do the ladies. This is how he walks around the supermarket,
:11:03. > :11:11.ladies and gentlemen, if you ever see him, in the fruit department.
:11:12. > :11:15.Patrick is doing a salsa. He's he's a Latin man. He's looking brilliant,
:11:16. > :11:19.I think, actually. All of a sudden, he looks like he has confidence in
:11:20. > :11:24.his own ability. That's what you need, to have no inhibitions and
:11:25. > :11:30.just go for it. His body is moving quickly. I think it will suit him.
:11:31. > :11:34.But what I will say is... An if. There is a saying I always say is
:11:35. > :11:40.when in doubt, stick it out. I am talking about his arms. Thank you
:11:41. > :11:47.for clarifying that. Karen says that too. Ben and Kristina, he wowed last
:11:48. > :11:52.week in his salsa in a vest. This week, for a quick step, how is his
:11:53. > :11:56.footwork? He is doing some trotting steps, the trots, I call them, and
:11:57. > :12:00.surprisingly light on his feet. Ben's a big kind of bruiser, but in
:12:01. > :12:09.this dance, he looks very light. There is a step here - watch. We'll
:12:10. > :12:14.do it quickly - he's going to do the Rhonde and what he needs to do is
:12:15. > :12:18.stretch his toe. If you could do it with me - one, two, three, close,
:12:19. > :12:23.one, two, three, close. That is not easy in these heels. No, it's not.
:12:24. > :12:28.You need to come from behind to the front. And you'll get it right.
:12:29. > :12:33.Another question, "The double 18 are doing the foxtrot -" great, we all
:12:34. > :12:37.loved it. How is the foxtrot looking for Abbey? She's not releasing her
:12:38. > :12:41.toes everywhere. It's important when you're doing this dance to do that
:12:42. > :12:44.because it's a safety mechanism to transferring the weight. OK. It will
:12:45. > :12:49.get her in the right place. Otherwise, it will feel like he's
:12:50. > :12:53.dancing against a brick wall, but in saying that you know, he's upped her
:12:54. > :12:57.content this week. It's more difficult, and she gets better every
:12:58. > :13:01.week, so... Good, good stuff. I think it's going to be good. She has
:13:02. > :13:05.a good top line. She needs to maintain it. Dave and Karen, it's a
:13:06. > :13:10.party dance for him. It's the Saulsa, it's a snakedance. It's
:13:11. > :13:15.arms. Has he got it in bundles? Not just yet. He is adorable, though. To
:13:16. > :13:19.be honest, he hasn't done much this week because he has been filming a
:13:20. > :13:24.lot. He has that move down! Come on. I thought this was a brilliant move.
:13:25. > :13:27.He does it very well. He has the hair for it. He has this inner rock
:13:28. > :13:32.God coming out of him. It's fantastic. Look at that. I am going
:13:33. > :13:37.to give him some of these. Oh, King day! As a little nod to Prince
:13:38. > :13:40.George and his Coronation... Not quite old enough to be King yet!
:13:41. > :13:46.LAUGHTER Bless him. Christening! I meant
:13:47. > :13:51.christening. Thank you, Ian. We'll have more from him a little later
:13:52. > :13:55.on. There is a whole stadium of people working backstage to bring
:13:56. > :14:01.you Strictly every Saturday night. We asked our mate, the gorgeous Lisa
:14:02. > :14:07.Riley so find out a little bit more. It Takes Two - our work experience
:14:08. > :14:14.girl here at the Elstree studios. I have exclusive access to find out
:14:15. > :14:17.what makes Strictly so fabulous! I found out my task is with the
:14:18. > :14:22.lighting team, and this is where all the magic happens.
:14:23. > :14:27.Hello, Mark. Sit there. Oh, this is so exciting! What's going to be my
:14:28. > :14:32.first task? I think we better put you on a follow spot shortly. Follow
:14:33. > :14:37.spot! I am up for the challenge, if you trust me. Of course, I trust
:14:38. > :14:41.you. It's only rehearsal. A little bit out of breath. I just climbed up
:14:42. > :14:45.five flights of stairs. Look how high up we are. It's amazing. The
:14:46. > :14:53.galley is going to talk you through this performance. You can do the
:14:54. > :14:59.whole rehearsal for them. Every time they shout spot E, that's me? That's
:15:00. > :15:04.you. Lisa, you're a bit too wide. Too wide. That's it, better. Not
:15:05. > :15:12.that. A bit liger - a bit too small now. I have lost them! I have lost
:15:13. > :15:16.them. Stay on them. There we go. I like it now because they're in the
:15:17. > :15:20.same spot. Big finish. I don't know how you concentrate hearing all of
:15:21. > :15:28.these voices in your head. It's not as easy as it looks. The guys make
:15:29. > :15:32.it look easy. Job well done. Thank you, Lisa. We're here with Dave with
:15:33. > :15:36.the most technical part I think. He's in control of everything being
:15:37. > :15:39.fired on the floor, all the projections and lights. It's all in
:15:40. > :15:43.your hands. Do you want to swap seats? I am going to have a go!
:15:44. > :15:48.Going to do it. The theme they have is Indiana Jones and on the floor of
:15:49. > :15:52.the studio is loads of rocks. With this button we're going to make them
:15:53. > :16:02.crumble. It has to be on time. When I say go, hit the go button. Go and
:16:03. > :16:09.then press? Do it as I say. Go. Did I do it right? That's fine! Oh. This
:16:10. > :16:16.is more nerve-racking than dancing. I can't bear the pressure. Go. I
:16:17. > :16:24.made the floor change! At least I got that one right. Made a few
:16:25. > :16:29.mistakes but got that one right. That's all right. They'll think I
:16:30. > :16:32.did it. I am going to blame you. Can I consolidate anymore information
:16:33. > :16:36.today? The answer is yes. Explain what you provide to the lighting
:16:37. > :16:41.team? We make all the graphics to go on to the LED screens and that get
:16:42. > :16:48.projected on to the floor. What is an LED screen? Lots of small
:16:49. > :16:52.lightbulbs that form a grid. Each individual lightbulb is a pixel.
:16:53. > :16:59.They'll create the image. That's the picture we see at home? Yes. Do you
:17:00. > :17:05.want to have a go? " Craig, be nice." Happy with that? Yeah. Look.
:17:06. > :17:13.I have done my design. What do you think of it - "Craig, be nice"
:17:14. > :17:16.It's a dis-aster! What a brilliant end to such a
:17:17. > :17:23.fantastic day. I have had a ball. Well, lights out.
:17:24. > :17:27.Thanks, lovely Lisa. Never underestimate the power of a little
:17:28. > :17:31.lighting. Look at that! Jez, put your tools away. It's time now to
:17:32. > :17:36.meet our second couple of the night. We thought they had plenty of fizz
:17:37. > :17:41.on Saturday but the judges said they needed to buck up their technique.
:17:42. > :17:45.Let's remind ourselves of Deborah and Robin's weekend story. Had
:17:46. > :17:49.plenty of fizz. You have to buck your feet up. I love your
:17:50. > :17:54.enthusiasm, love the way you come out, got a brilliant smile. Just
:17:55. > :17:58.need to work on the technique a bit. The kicks I have to say were very,
:17:59. > :18:04.very lame, not your dance. You have so much enthusiasm, and I know you
:18:05. > :18:13.can come back stronger next week. Five . Six. Six! We did it. We did
:18:14. > :18:18.it. We did it. We got through it. You did fantastic. I am really
:18:19. > :18:24.proud. You gave it the wellie I wanted you to give it. No technique,
:18:25. > :18:29.but lots of wellie. Serious amounts of wellie! Please welcome Deborah
:18:30. > :18:33.and Robin. Hello, you two. I can't take him seriously without the hair
:18:34. > :18:37.- without that wig, I am not even going to talk to you. Well done on
:18:38. > :18:41.Saturday, the jive. How with was it for you on the floor? Touch. I
:18:42. > :18:48.struggled with the jive. You know, I had - I know I keep saying this - I
:18:49. > :18:54.still enjoyed it, but I knew it wasn't going to work -- be my best
:18:55. > :18:57.dance, and I knew that. It makes you self-conscious. If there is one you
:18:58. > :19:02.love and you have the hang of it - if there are any doubts in your mind
:19:03. > :19:05.- which bits do you think you got right and did well? I love the whole
:19:06. > :19:10.- you know, I have discovered dancing, and I just love the dancing
:19:11. > :19:15.of it. There were some moves in there I was quite pleased with,
:19:16. > :19:21.actually. In particular, which ones? I was stompy. You know, I didn't get
:19:22. > :19:26.off - I said, the bets I knew - were annoyingly the bits I got wrong, but
:19:27. > :19:30.I still enjoyed it. Well done on you for going in there and keeping a
:19:31. > :19:34.straight face when you're faced with Robin in that incredible Barnett. It
:19:35. > :19:38.was so beautiful. It was glistening, it was so shiny. Did you enjoy
:19:39. > :19:43.wearing that? I did. It's in the incinerator now. Oh, no. Less about
:19:44. > :19:47.the wig, but those pants were amazing. Those you have kept, of
:19:48. > :19:51.course. Yeah! You know, I was just a prop for him last week. You
:19:52. > :19:59.understand that, don't you? I know. We have the hang of this. You have
:20:00. > :20:01.had lots of messages. Anni said, ""Robin Windsor looked like Shaggy
:20:02. > :20:06.of Scooby-Doo with that wig." You do! I am so glad those pants went
:20:07. > :20:08.home with you. Was there any disappointment that left you
:20:09. > :20:14.disheartened going into this week, or have you put it all behind you?
:20:15. > :20:20.Honestly, no, it wasn't my best dance I did struggle with it. I am
:20:21. > :20:24.incredibly grateful to still be through. It's made me think, I need
:20:25. > :20:29.to work on technique. . I just need to get better! Let's talk about the
:20:30. > :20:33.quick-step in week four - stunning, it was, but nothing can dishearten
:20:34. > :20:37.your love for dance because you really have properly fallen head
:20:38. > :20:42.over heels. Let's have a look. Strictly has given me a huge love,
:20:43. > :20:47.the love of dancing. Good. That feelings great! I'm having fun.
:20:48. > :20:50.# Don't stop now # I'm having a good time, having a
:20:51. > :20:55.good time!# Maybe not. I love that. It's a whole
:20:56. > :21:00.new different side of me people weren't expecting to see. It's
:21:01. > :21:06.great, love it. I got excited by the dance by doing that. I am glad. It
:21:07. > :21:12.feels great when you get it right, doesn't it? To get to my stage in
:21:13. > :21:17.life to love something so much so late, I wish I'd found it earlier. I
:21:18. > :21:23.am still loving it, but it's a bit weird. I was enjoying myself then.
:21:24. > :21:29.Every now and then I catch a glimpse and think, is that me? What am I
:21:30. > :21:33.doing? How did this happen to me - but in a lovely way because I am
:21:34. > :21:38.loving it. I love it. It is so infectious.
:21:39. > :21:41.Let's talk about the Viennese waltz this week. How is going to in the
:21:42. > :21:44.training room so far? Brilliantly, absolutely brilliantly. She's loving
:21:45. > :21:47.this dance. Not only that she's loving the music and the concept.
:21:48. > :21:50.She's just loving everything about this week, so if all continues the
:21:51. > :21:53.way it has been going, it's going to be fantastic this Saturday. Of
:21:54. > :21:57.course, the judges were talking about working on your technique. She
:21:58. > :22:02.putting you through your paces? I imagine he is. So, the first time
:22:03. > :22:07.I've ever actually had to spend an hour with my arms hooked over a
:22:08. > :22:12.broomstick. Why? What does that do, Robin? Just for fun! Just for fun.
:22:13. > :22:16.She was having problems with rotation, and she doesn't really
:22:17. > :22:20.like to move her shoulders to help her rotate, so having this stick
:22:21. > :22:24.across the back, all the time she's having to rotate. We can then go in
:22:25. > :22:29.a straight line down the floor because you were kind of veering
:22:30. > :22:33.off. Spinning around! We're getting the there bit by bit. Can we talk
:22:34. > :22:38.about something very lovely - your husband leaves you little presents
:22:39. > :22:41.every week, doesn't he? He sends me flowers every week, but do you know,
:22:42. > :22:45.the loveliest thing - I didn't know he was doing this. He's researching
:22:46. > :22:49.the dance I am doing, and he's sending me the appropriate flowers
:22:50. > :22:55.for the dance! So it's always got a relevance, and he didn't even tell
:22:56. > :23:00.me that. It's making me well up. He didn't even tell me that my sister
:23:01. > :23:08.said, "You understand why you're getting those flowers." Turns out
:23:09. > :23:11.he's a romantic. Keep hold of him! Deborah and Robin, everybody. It's
:23:12. > :23:17.getting emotional around here, I tell you. Earlier I set you a
:23:18. > :23:18.challenge to guess who our mystery former celebrity dancer was. Did you
:23:19. > :23:41.work it out? Tissues! Would you Adam and Eve it? It's me,
:23:42. > :23:50.Ricky Groves. Love that boy. Hello, Ricky. Good you get it right? Time
:23:51. > :23:55.for part two of his warm-up. It's Ian Waite.
:23:56. > :23:58.One helping is never enough. Please welcome back Ian Waite.
:23:59. > :24:05.APPLAUSE Oh, I forgot to say resplendent in
:24:06. > :24:10.orange this week. Not to my -- nod to my Dutch friends. They're
:24:11. > :24:13.watching it back home. Let's talk about the couples, Sophie and
:24:14. > :24:17.Brendan with the cha-cha-cha following on from their glorious
:24:18. > :24:21.foxtrot last week. How is she looking? She's looking very good.
:24:22. > :24:26.It's going to be a good Latin dance for her. She needs to work on her
:24:27. > :24:29.cha-cha action a little bit, she needs to straighten those knees a
:24:30. > :24:34.little bit quicker and have a little bit of a slicker action. What I want
:24:35. > :24:38.to do is stop it here and zoom in because I wanted to talk about the
:24:39. > :24:42.checking action. Right. What is a check, first of all? Basically, a
:24:43. > :24:46.check is when you stop the change of the direction you're going, so it's
:24:47. > :24:51.changing the direction. You can either do it - if it's quick,
:24:52. > :24:56.sometimes you can do it on straight legs, or you can do it, if you've
:24:57. > :25:02.got time, to check in with the back knee, 60% of the weight on the front
:25:03. > :25:08.foot and 40% on the back foot, but no daylight between your legs. No
:25:09. > :25:15.daylight between your legs. OK. Natalie and Artem, a great dance
:25:16. > :25:19.from them last week, this week, carnival samba.
:25:20. > :25:26.There are going to be carnival influences in here. She was using
:25:27. > :25:29.her arms a lot. It's fantastic in synchronisation with Artem because
:25:30. > :25:32.when I want to stop this in a particular position, and I am going
:25:33. > :25:37.to circle because I want to emphasise the arms, I want to
:25:38. > :25:39.obviously get the matching. To be honest, I could have stopped it
:25:40. > :25:44.anywhere. She's matching him so well. What's great is she's doing
:25:45. > :25:49.like a figure 8 - oh, take that out of the way, and we'll draw, shall
:25:50. > :25:53.we? He's broken it now, going to be in trouble... A figure of 8 with the
:25:54. > :25:57.arms all the time like this which is fantastic, that matches his arms.
:25:58. > :26:03.That's the fluidity of the dance, very, very good. Keep it up. Fiona
:26:04. > :26:07.and Anton are doing the quick-step. She's with Anton Du Beke. Surely,
:26:08. > :26:13.this will be quality. You know what? She's very light on her feet. She's
:26:14. > :26:16.doing scattered hassies there, and doing well too, moving across the
:26:17. > :26:21.room very fluidly. I would like to point out - I would like to stop it
:26:22. > :26:27.here and draw a little bit here because what she needs to do - I
:26:28. > :26:33.know they're going through the steps now, but what she needs to do is
:26:34. > :26:37.banana her bodi... Done! Gremlins in the machine - someone will be
:26:38. > :26:43.flogged for this. She needs to banana her body like that towards
:26:44. > :26:47.him. Nice. Also as a little nod to the Great British Bake-off, there's
:26:48. > :26:53.a couple of... Done for Francis, by the way! Woo-hoo! Ashley andOla, we
:26:54. > :26:57.know he can Viennese waltz, but the question is, can he jive? You know
:26:58. > :27:01.what? He's got bags energy, which is what you need for jive. It's all
:27:02. > :27:07.about the amount of energy you can show and put across. What I would
:27:08. > :27:11.like to emphasise is he's a bit flat footed in places, and on these kicks
:27:12. > :27:15.there is no inner thigh connection with his feet and legs. He needs to
:27:16. > :27:21.have some sort of compactness with his legs. He needs to stretch the
:27:22. > :27:25.toe. Is that a pointy toe? Yes, pointy toe. So everything needs to
:27:26. > :27:30.be very contained, so it needs to be underneath him - he needs to kick,
:27:31. > :27:33.but not out. I am sure he'll take that onboard. Deborah and Robin are
:27:34. > :27:38.doing the Viennese waltz. We have been talking about it there, could
:27:39. > :27:42.be good for them. How does it look? Most of it is very good. She's
:27:43. > :27:46.struggling with this reverse turn. It's more difficult because you've
:27:47. > :27:53.got to take turns in going around each other, but here she's doing a
:27:54. > :27:57.fleckle and her footwork is fantastic in that. What I want to do
:27:58. > :28:01.is try the reverse turn, so a reverse turn - I go around, you go
:28:02. > :28:05.around. I go around, you go around. This is all very well. Get back over
:28:06. > :28:08.there, quick, and tell me about Mark and Iveta! Let's is a look at them
:28:09. > :28:12.because they're doing the waltz as well. Is this going to be a lucky
:28:13. > :28:15.dance for Mr Benton? I think it's going to be a very good dance for
:28:16. > :28:20.them. I loved his cha-cha last week, but what I wanted to say was his top
:28:21. > :28:24.line is impeccable, but what he needs to do is lower into the ones
:28:25. > :28:29.and get a bit more rise and fall. OK. Just demonstrate that for us
:28:30. > :28:37.now. So he needs to go down up and lower... At that... Down, up,
:28:38. > :28:43.down... Leave him to that and have a little chat. That is it for today. A
:28:44. > :28:45.big thank you to all of my guests. Tomorrow I'll be joined by Abbey and
:28:46. > :28:49.Aljaz, Natalie and Artem, Susanna and Kevin and Strictly's costume
:28:50. > :28:54.designer Vicky Gill plus we'll have all the latest training room
:28:55. > :28:57.stories, and we'll see you at 6. 30pm tomorrow. How can I possibly
:28:58. > :29:02.concentrate when this man is doing this here? And one, two, three, one,