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Line | From | To | |
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partner Anya are here. CHEERING They've just about | :00:16. | :00:17. | |
recovered from Saturday's bloodthirsty jive. Here to talk | :00:18. | :00:20. | |
kicks and flicks are Sophie and Brendan. | :00:21. | :00:25. | |
CHEERING And sadly no pumpkin costume this week. Just Ian and his | :00:26. | :00:28. | |
trusty wand for another Wednesday Warm Up. | :00:29. | :00:32. | |
CHEERING AND APPLAUSE Cheer This is Strictly It Takes Two. | :00:33. | :01:27. | |
CHEERING Well hello gorgeous. Welcome to | :01:28. | :01:32. | |
Wednesday's It Takes Two, with the weekend edging closer it is time for | :01:33. | :01:37. | |
an ex-Clive first peek at the dancefloor clients we can expect on | :01:38. | :01:42. | |
Saturday night. I can feel a Wednesday warm-up coming on. | :01:43. | :01:49. | |
Please welcome the housewives' favourite, Ian Waite! | :01:50. | :01:58. | |
CHEERING They have done a poll and it is all true. Let's look back to | :01:59. | :02:02. | |
last week. Hallowe'en, what did you make of the whole show? I loved the | :02:03. | :02:06. | |
show. I thought that all the make-up and the costuming was fantastic. | :02:07. | :02:11. | |
Incredible. A big round of applause for that. Good work. And I liked all | :02:12. | :02:17. | |
the story lines but it will be great this | :02:18. | :02:17. | |
the story lines but it will be great fifth or sixth week. It is a good | :02:18. | :02:39. | |
reminder that you have to get behind your favourites and pick up the | :02:40. | :02:44. | |
phone. You do. Following on from what Karen hardy said was a | :02:45. | :02:51. | |
faultless Charleston Susanna and Kevin have a waltz. What I would | :02:52. | :02:55. | |
like to see is her controlling the rise and fall a little bit more. | :02:56. | :02:59. | |
When she's lowering, she needs to make that nice and smooth and get a | :03:00. | :03:04. | |
little deep interthe lowering. But what I wanted to do was first of all | :03:05. | :03:11. | |
circle this area here. As you can seekers as she's going into this -- | :03:12. | :03:18. | |
as you can see, as she is going into this pivot she is lowering her | :03:19. | :03:24. | |
shoulders. If she lifts that shoulder it will get shorter on this | :03:25. | :03:26. | |
side. She needs to shoulder it will get shorter on this | :03:27. | :03:47. | |
takes on the part of matador. She is an actress so all the | :03:48. | :03:51. | |
characterisation of the paso doble she should have. I've stopped it | :03:52. | :03:56. | |
here. I want you to look at the arms. We know what's coming. | :03:57. | :04:01. | |
Sometimes they go a little narrow. She needs to maintain the strength. | :04:02. | :04:06. | |
It is like the Flamenco dancers, they have this air around them all | :04:07. | :04:11. | |
the time, no matter what they are doing. Do try keep that. I do like | :04:12. | :04:17. | |
Anton's longer hair this week. The way it wafts into his eyes is quite | :04:18. | :04:25. | |
saucy. Abbey and Aljaz, the Charleston, what is not to love? I | :04:26. | :04:29. | |
think this is going to be the dance of the night. Mark my words. It is | :04:30. | :04:36. | |
going to be a comeback for them. They are doing | :04:37. | :04:54. | |
going to be a comeback for them. That's so cute. That's what we used | :04:55. | :04:58. | |
to do. Natalie and Artem has not had a bad dance yet, this week they are | :04:59. | :05:02. | |
doing the jive. This looks quite impressive. I think this is going to | :05:03. | :05:08. | |
be another fantastic dance for her. She's got the flicking action. I | :05:09. | :05:12. | |
particularly like this step... What's that called? I don't know, | :05:13. | :05:20. | |
it's a lasso sort of step. Shall we have a go? O Lord. You go around, | :05:21. | :05:31. | |
round you go. Sorry everyone. Oh Lord I should have worn a vest. I do | :05:32. | :05:37. | |
apologise. That was a disaster wasn't it! The only thing she's got | :05:38. | :05:42. | |
work on this week is might compact. Which means? When she does her | :05:43. | :05:46. | |
flicks and kicks they Which means? When she does her | :05:47. | :06:05. | |
dance. What do you think? I love this use of chairography there. It | :06:06. | :06:11. | |
is a chair. They are using a chair. I think this, this will really suit | :06:12. | :06:16. | |
Sophie. The characterisation and the character of the dance I think will | :06:17. | :06:21. | |
really suit her. It is going to be a passionate and steamy dance, I can | :06:22. | :06:24. | |
see that. I think there might be a lot of these going on. Whizz-bangs! | :06:25. | :06:33. | |
Fireworks. My dog was going mad last night. What did the dog think of the | :06:34. | :06:39. | |
show? He loved it. Thank you very much Ian Waite! | :06:40. | :06:42. | |
CHEERING We will of course be talking about the boys later on. | :06:43. | :06:46. | |
While there was no murder on the dancefloor - they made me say it! | :06:47. | :06:52. | |
There was blood after Sophie got her claws into Brendan. Here's a | :06:53. | :06:56. | |
reminder of their jive. Your knees all the | :06:57. | :07:14. | |
reminder of their jive. Your knees there and attack it;; Your kicks and | :07:15. | :07:16. | |
flicks have to be on the beat. You have really point your feet and your | :07:17. | :07:22. | |
timing tonight wasn't as good as it always is. | :07:23. | :07:29. | |
6, 7, 8, 7. As long as I get a chance to dance next week I can | :07:30. | :07:32. | |
build on it and learn from it. If I don't, I will forever hate the jive. | :07:33. | :07:38. | |
Welcome the man eater and her Brendan! Can I just say, your | :07:39. | :07:46. | |
make-up and hair on Saturday, you looked incredible. What did you | :07:47. | :07:51. | |
think when you looked in the mirror? Hallowe'en was so much fun. The | :07:52. | :07:55. | |
costume department, the make-up department, what a phenomenal job. | :07:56. | :08:00. | |
It was incredible. You said you were left a little frustrated by this | :08:01. | :08:05. | |
dance. When you look back on it now, how due feel about it? I | :08:06. | :08:23. | |
dance. When you look back on it now, horrible. If it happens on the dress | :08:24. | :08:26. | |
run it is fine but on the night it is so frustrating. Brendan, how | :08:27. | :08:35. | |
frustrating is it for you to help a pro when it is live without talking | :08:36. | :08:38. | |
to them? Of course it is difficult. You expect it to be there | :08:39. | :08:41. | |
I was gutted for Sophie. We had a really good week of training, it | :08:42. | :08:51. | |
felt right. It went wrong early, a drunking sailor didn't happen. Too | :08:52. | :08:55. | |
drunk! Where it is fast you lose the impetus. Sophie lost that pump that | :08:56. | :09:00. | |
you need. There's been this emphasis on kicks and flicks for the jive. It | :09:01. | :09:05. | |
is not really a kick and a flick but a pumping action. You pump the legs, | :09:06. | :09:11. | |
so it doesn't go to a straight leg, or would break your knees. You pump, | :09:12. | :09:14. | |
pump, pump and Sophie was doing it or would break your knees. You pump, | :09:15. | :09:35. | |
off your chest. The scores dipped into the 20s again. But think it was | :09:36. | :09:42. | |
fair score broken? Absolutely. No, it was. You know at the end of the | :09:43. | :09:48. | |
dance whether it has gone fantastically or perhaps not so | :09:49. | :09:53. | |
much. We both looked at each other and were so disappointed, but it was | :09:54. | :09:58. | |
a joint effort and I knew how good Sophie could have been. So in the | :09:59. | :10:03. | |
20s, perfect. Bruno pointed out you had gone a little bit wrong at one | :10:04. | :10:07. | |
point. How kind of confident but feel out on the floor, and how do | :10:08. | :10:12. | |
you feel when you have gone wrong, how due recover? I've been waiting | :10:13. | :10:17. | |
for that feeling every week, so in a weird way it is device night to have | :10:18. | :10:23. | |
gone through it. You finish the routine, it doesn't feel lovely, it | :10:24. | :10:26. | |
feels pretty horrible routine, it doesn't feel lovely, it | :10:27. | :10:46. | |
dance it again. We have noticed in the training room, you can't correct | :10:47. | :10:51. | |
on the dancefloor, as you can't talk to her, you don't even have to talk | :10:52. | :10:56. | |
to each other in the training room. Spooky. When Brendan is working on a | :10:57. | :11:00. | |
routine, he does this thing of not telling me what the move is we are | :11:01. | :11:05. | |
trying to do and going, come here a minute... Hand twist, turn away and | :11:06. | :11:14. | |
go woom! Sometimes it feels like we are playing an elaborate game. What | :11:15. | :11:21. | |
am I trying to do? I don't know. Pah, pah... It is in my head. This | :11:22. | :11:28. | |
is not working to me. I need somebody who understands what's in | :11:29. | :11:33. | |
here. Wish you would communicate more what I'm supposed to be doing. | :11:34. | :11:37. | |
Like more what I'm supposed to be doing. | :11:38. | :11:56. | |
questions. I need tow write the answers on these cards with a pen, | :11:57. | :12:02. | |
and don't show Sophie. I want tow tell Sophie the answer with the | :12:03. | :12:07. | |
power of your mind. Let's play... Here we go, question one. Brendan, | :12:08. | :12:12. | |
which judge would you most like to challenge to a dance-off? | :12:13. | :12:17. | |
He's sending the money to Sophie now. Is she receiving? Sophie your | :12:18. | :12:25. | |
answer, please. I'm saying Craig. Craig! It works! Brilliant. Brendan | :12:26. | :12:31. | |
fuss, weren't partnered with Sophie, which other celebrity would you like | :12:32. | :12:38. | |
to have danced with? He so muches quite sure. A bit too quick for my | :12:39. | :12:46. | |
liking. Think outside the box Sophie. | :12:47. | :13:06. | |
liking. Think outside the box Ooh. Use the power of the mind and | :13:07. | :13:14. | |
the pen. Speak to me. No speaking, this is supposed to be telepathy! I | :13:15. | :13:22. | |
have nothing, sorry. One out of three! | :13:23. | :13:24. | |
APPLAUSE I think that went very well indeed. Let's talk about the | :13:25. | :13:30. | |
Argentine tango. This is the dance that everybody loves. How are you | :13:31. | :13:34. | |
getting on with all that lovely leg work Sophie? It is such a lovely | :13:35. | :13:39. | |
dance. I'm loving this week. It is very full on. It's a very complex | :13:40. | :13:43. | |
lovely bit of choreography that Brendan's put together. But I like | :13:44. | :13:47. | |
the challenge. This is the chance when I started all my friends were | :13:48. | :13:52. | |
like, I hope you get to do that dance, so I feel privileged. This | :13:53. | :13:56. | |
really could be special. I really want it to be something very special | :13:57. | :13:57. | |
for us. want it to be something very special | :13:58. | :14:16. | |
Sophie and Brendan! From one dancing partnership to another. With six | :14:17. | :14:20. | |
weeks to go until their big day, the wedding, and their wedding dance, | :14:21. | :14:26. | |
the it is time to catch up with Natalie Lowe's proteges Mel and | :14:27. | :14:30. | |
Gordon. They've milked their music. I'm disappointed that Agadoo was | :14:31. | :14:35. | |
vetoed. We now have six weeks before the wedding which for any couple is | :14:36. | :14:40. | |
a freakout moment. We are trying to fit in as much practise as we can, | :14:41. | :14:46. | |
in the kitchen, doing the chores or even brushing our teeth. Tonight I'm | :14:47. | :14:52. | |
intrusion music to Mel and Gordon's routine. I'm really excited about | :14:53. | :14:57. | |
the music. It is weird when you count it through. The although | :14:58. | :15:01. | |
Natalie warned us that when the music starts we are starting from | :15:02. | :15:06. | |
scratch again, I can't wait. They are going to remember | :15:07. | :15:07. | |
My First, My Last, My Everything. Let's put it to music. I can let | :15:08. | :15:29. | |
myself go for with the music. You feel like you are in a club anted | :15:30. | :15:33. | |
real. Just keeping the time with the music on is really difficult | :15:34. | :15:37. | |
compared to just having her count it out for us. I've struggled with that | :15:38. | :15:42. | |
a bit. And breathe, Gordon. It is really bad that you have to remind | :15:43. | :15:46. | |
me to do that! I need to remember to relax into it a bit more or I will | :15:47. | :15:50. | |
collapse halfway through on the wedding night. That will be a | :15:51. | :15:55. | |
disaster See it in your eyes when you go wrong. I know, the look of | :15:56. | :16:00. | |
terror. The bit of the dance I'm worried about is the wriggly shimmy | :16:01. | :16:07. | |
bit. Wriggle, wriggle... This is quite an intimidating environment | :16:08. | :16:11. | |
once they get out there and it is her wedding day I think she will | :16:12. | :16:15. | |
apply herself. It looked good from where I was standing. I don't | :16:16. | :16:36. | |
apply herself. It looked good from cannot lose chemistry. He makes me | :16:37. | :16:40. | |
laugh when I look at hem. At least she's not crying. I've got a section | :16:41. | :16:44. | |
in the dance where I drop back and fall into Gordon, which I've got to | :16:45. | :16:47. | |
trust that he will be there to catch me. She would probably feel better | :16:48. | :16:56. | |
if Ben Cohen was back there, but hopefully I won't drop her once. I'm | :16:57. | :17:01. | |
not worried, that's for sure. High five. | :17:02. | :17:06. | |
That is how Mel and Gordon are getting on in training. Don't they | :17:07. | :17:11. | |
look brilliant? Hopefully we'll all be invited to the wedding. How about | :17:12. | :17:16. | |
the rest of our celebrities? It is time for a second helping of Waite's | :17:17. | :17:24. | |
Wednesday Warm Up. Look who is back | :17:25. | :17:27. | |
Waite everybody. Thank you. Bring the dog in one week. On Saturday | :17:28. | :21:21. | |
Patrick and Anya will be tackling an American smooth. Last weekend it was | :21:22. | :21:26. | |
the quickstep which wowed the audience and the judges, placing | :21:27. | :21:31. | |
them second on the leaderboard I was bewitched by the routine but | :21:32. | :21:35. | |
bewilledered by the energy, the speed, the joy of the dance... That | :21:36. | :21:39. | |
really was a spooky riot of a quickstep. It was outstanding. Very | :21:40. | :21:45. | |
well done. It was full of character. Your timing, as always, exceptional. | :21:46. | :21:52. | |
Great work. Patrick, that was fast! Great work. Well done. | :21:53. | :22:01. | |
The comments were fantastic and brilliant and if it is the highest | :22:02. | :22:05. | |
score to date, brilliant and if it is the highest | :22:06. | :22:27. | |
were out there? Were you loving it, but think, hang on, Robinson, you've | :22:28. | :22:33. | |
got it? I loved the dance from when I saw Anya doing all the moves, I | :22:34. | :22:37. | |
thought, that's great. I can't wait to do that. The week before you were | :22:38. | :22:43. | |
in bottom two and on Sunday who got called up first? What did you think | :22:44. | :22:51. | |
when you heard Tess call your name? I screamed so loud, he didn't hear | :22:52. | :22:57. | |
anything. I was like, oh! That's my yes. It must be such a relief. Yes. | :22:58. | :23:02. | |
You did say last week, Anya, the salsa was the worst possible dance | :23:03. | :23:08. | |
you could do with a poorly arm. How did the quickstep compare? The | :23:09. | :23:13. | |
quickstep was quick, obviously. But I didn't hold back, because I knew I | :23:14. | :23:15. | |
had to go 100% with him. The I didn't hold back, because I knew I | :23:16. | :23:37. | |
personal lesson. Thank you Ian, why weren't you there for me last week? | :23:38. | :23:43. | |
The only criticism was from Len, who said there was a lack of body | :23:44. | :23:46. | |
contact. Is this something you were aware of in training? That was again | :23:47. | :23:51. | |
down the his arm. It all makes sense No, the as well as I think it was | :23:52. | :23:56. | |
correct. He's got a lot of natural rhythm so we've got to keep the | :23:57. | :24:01. | |
hold. I've got to keep it rigid. It is hard. It is so unnatural. This -- | :24:02. | :24:09. | |
is this dancing? But it is beautiful. Craig said he loved the | :24:10. | :24:13. | |
theatricality of the performance. How much did the make-up and the | :24:14. | :24:19. | |
music rolled into one help? For me it was great. From the cost yurges | :24:20. | :24:23. | |
in terms of having the tails. They said, do you wants a hat? I said, | :24:24. | :24:24. | |
let's try a hat. When the hat said, do you wants a hat? I said, | :24:25. | :24:47. | |
seen you dance here, it doesn't look much slower. It is probably just as | :24:48. | :24:52. | |
quick as the quickstep. Oh, my goodness me. We can't go backwards, | :24:53. | :24:59. | |
so we've just got to keep going. You are allowed some lifts in the | :25:00. | :25:04. | |
American smooth. How is that going to go with his dodgy arm? | :25:05. | :25:09. | |
Tentatively at the moment, thank you very | :25:10. | :25:10. | |
We are pushing it but we are just having to see how it goes. Some | :25:11. | :25:17. | |
gentle placement and maybe some springboards. Yes, trying out new | :25:18. | :25:24. | |
things. You've got an amazing track to dance to, Harry Connick Junior. | :25:25. | :25:30. | |
It couldn't be better. # It had to be you # | :25:31. | :25:34. | |
Beautiful. You love # It had to be you # | :25:35. | :25:56. | |
loved one of his albums but all the tracks on there. I'm there. It is | :25:57. | :26:04. | |
the hero Gene Kelly thing. If he loves song... Exactly St You've got | :26:05. | :26:10. | |
to feel it haven't you? Before we go, today is a very special day, | :26:11. | :26:14. | |
ladies and gentlemen. It is Patrick's 50th birthday! | :26:15. | :26:20. | |
CHEERING Happy birthday. Thank you everybody. Looking so good for 50. | :26:21. | :26:25. | |
And it seem there is a lot of birthday love for you from your | :26:26. | :26:30. | |
friends at Casualty. If I could buy you anything for your birthday, I | :26:31. | :26:36. | |
would buy you pointy feet. Why you not pointing your feet? You are a | :26:37. | :26:40. | |
naughty boy. Such a good dancer but you are not pointing your feet. | :26:41. | :26:46. | |
Happy 50th Patrick. You don't look a day | :26:47. | :26:46. | |
No, he is not 507. What do you think of his dancing... Shocking! This is | :26:47. | :27:09. | |
the worst acting I think I've ever done! Happy birthday Patrick. Thank | :27:10. | :27:16. | |
you ladies. CHEERING Comedy from Casualty. | :27:17. | :27:21. | |
Lovely. And not wanting to be left out, the Strictly class of 2013 have | :27:22. | :27:26. | |
got in on the birthday action too. Happy birthday Patrick. Happy | :27:27. | :27:32. | |
birthday Patrick. You look so good for 50, buddy. Happy birthday | :27:33. | :27:38. | |
Patrick. Loads of love. I want to say, in Russian, happy birthday. I | :27:39. | :27:44. | |
wish you all the best. Hope you have an amazing day. Happy birthday old | :27:45. | :27:50. | |
man. No, I can't say that! As soon as I sigh next time I'm going to hug | :27:51. | :27:56. | |
you and kiss you and crush you with love. | :27:57. | :27:57. | |
you and kiss you and crush you with CHEERING AND APPLAUSE | :27:58. | :28:17. | |
And what would a birthday be without a bit of cake? Here's Jonathan with | :28:18. | :28:27. | |
the cake. Oh, stop that now. Come on everybody, in you come. Bring your | :28:28. | :28:34. | |
party hats. Stop it! Blow out your candles Patrick. | :28:35. | :28:42. | |
CHEERING That's it for today, a big thank you | :28:43. | :28:46. | |
to all of my guests. Tomorrow, all the latest news from the training | :28:47. | :28:49. | |
rooms, and Ben and Kristina, Fiona and Anton and Dave and Karen will be | :28:50. | :28:53. | |
in the studio. Plus, having just about recovered from Hallowe'en, | :28:54. | :28:55. | |
Strictly costume designer Vicky Gill will be here to talk us through the | :28:56. | :28:58. | |
weekend's costumes. Goodnight. | :28:59. | :29:03. |