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from all our couples, blues, they brought the roaring 20s to Elstree. | :00:14. | :00:26. | |
Fiona and Anton are here. His paso-doble showed plenty of front. | :00:27. | :00:30. | |
It's Ben and Kristina. Last weekend's performance had Craig | :00:31. | :00:33. | |
feeling under the weather. We loved it. Will there be sunshine on | :00:34. | :00:40. | |
Saturday? It's Dave and Karen. Lovely impact! Plus it's Vicky Gill. | :00:41. | :00:44. | |
How will we squeeze it all in! Please welcome your host, Zoe Ball! | :00:45. | :01:40. | |
APPLAUSE Hello, and welcome to Strictly: It | :01:41. | :01:44. | |
Takes two. It's Thursday, which means another weekend of delicious | :01:45. | :01:47. | |
dancing just around the corner, and, with no theme this week, it's back | :01:48. | :01:51. | |
to basics for our couples. In a moment, I'll be chatting to Dave and | :01:52. | :01:55. | |
Karen, but, first, let's see how the first of our boys are getting on in | :01:56. | :02:00. | |
training. This week, I am dancing the quick | :02:01. | :02:07. | |
Steph. One, two, three, four. I want to push Ashley. I want him to | :02:08. | :02:12. | |
improve. You're pulling this to to a connection with me. I've put a lot | :02:13. | :02:13. | |
of content in, maybe a bit too much. week. | :02:14. | :02:36. | |
To show the judges we are improving. Last week, I had my highest score. | :02:37. | :02:40. | |
If I can get my posture right, hopefully, I can improve on that. | :02:41. | :02:45. | |
Karen and I will dancing the Tango. It's passionate, and I need some | :02:46. | :02:49. | |
passion in my dance this week if I am going to stay in the competition. | :02:50. | :02:56. | |
Shoulders down, belly up, in the pose! Attitude! | :02:57. | :03:00. | |
Dave is going to find it really difficult when it comes down to the | :03:01. | :03:05. | |
technique. Heel leads, keeping his frame, everything has to be precise. | :03:06. | :03:12. | |
I keep going on one, two, three on that one. We're having issues here | :03:13. | :03:16. | |
and there, especially with timing. It's getting so confusing now. I do | :03:17. | :03:22. | |
- I do get it confusing. I want to get it right for myself and Karen as | :03:23. | :03:24. | |
well. get it right for myself and Karen as | :03:25. | :03:45. | |
Get it now in case! On Saturday, we briefly said farewell to cuddly nice | :03:46. | :03:52. | |
Dave, as you embraced the monster within. Was it begun to go dark | :03:53. | :03:59. | |
side? I am like a panda with an attitude problem, you know what I | :04:00. | :04:03. | |
mean! Did you enjoy it out on the floor on Saturday? I did, yes. I | :04:04. | :04:06. | |
really enjoyed the jive. Funnily enough, my dance was better in | :04:07. | :04:11. | |
rehearsals than on the night. Brendan said they had that problem | :04:12. | :04:15. | |
this week as well. Funny. Frustrating. Yes. Karen, on Tuesday, | :04:16. | :04:21. | |
Karen hardy was saying that she did see lots of jive content in Dave's | :04:22. | :04:26. | |
performance, and she was actually for the first time, I really liked | :04:27. | :04:29. | |
it. Bruno said on Saturday night the jive content was nonexistent. What | :04:30. | :04:33. | |
do you say? I didn't understand that, because I thought I put so | :04:34. | :04:53. | |
do you say? I didn't understand human met gnome. After your | :04:54. | :04:54. | |
performance, you did say that you thought you had lost your nerve a | :04:55. | :04:58. | |
bit, and you were a little bit angry with yourself. Why was that? About | :04:59. | :05:03. | |
two eighths in, there's a trip emstep, and I forgot to do it. It's | :05:04. | :05:07. | |
funny, because I saw a cold ice flash across Karen's eyes, and I | :05:08. | :05:12. | |
felt this in my head, but I just held it there for longer, and nobody | :05:13. | :05:20. | |
else noticed. Hurray! That's because you're improving as a dancer, you | :05:21. | :05:24. | |
know how to get yourself out of a situation like that. Len really | :05:25. | :05:26. | |
enjoyed it. Karen, is it good to have Len in your corner? It's | :05:27. | :05:30. | |
fantastic to have Len, really. His support means a lot to us. First of | :05:31. | :05:33. | |
all, himming the head judge, you know, he really knows his stuff. I | :05:34. | :05:41. | |
mean, they're all magnificent, the junction -- judges, but we really | :05:42. | :05:45. | |
trust Len. We're glad we have him in the | :05:46. | :06:02. | |
trust Len. We're glad we have him in get on very, very well, but when | :06:03. | :06:04. | |
somebody leaves, it is really hard, and the fact it got down to the last | :06:05. | :06:10. | |
two, the fact it wasn't us, we felt really sorry for the person who had | :06:11. | :06:12. | |
to go into the dance-off. So, really, at that point, it is not | :06:13. | :06:17. | |
appropriate to start cheering and rejoicing. That's why, that was it, | :06:18. | :06:22. | |
really. Very much so. But great, everybody phoned and voted so that | :06:23. | :06:25. | |
is all good. Yes. We know you tried really hard to bring out the scary | :06:26. | :06:29. | |
monster at the weekend, but we've also noticed that dancing has | :06:30. | :06:33. | |
brought something else out in Dave. Where is your frame? I am not a dog. | :06:34. | :06:41. | |
You are a dog. Rarrr! You are being well trained. Who's your friend! | :06:42. | :06:46. | |
You're a pedigree, come on. Down! Up! Up! It's like Crufts! Boaaah! | :06:47. | :06:54. | |
Walkees! At least a dog gets a chocolate drop. | :06:55. | :07:15. | |
Hopefully, we won't snip you! Let's hope she doesn't snip snip | :07:16. | :07:20. | |
you. This week you're doing a Tango. Let me see your face. Oh! It is | :07:21. | :07:27. | |
different to a doble face. It's proud, and I am there for the | :07:28. | :07:31. | |
battle. It's not funny, it's a serious Tango | :07:32. | :07:37. | |
face! Your music is amazing. Have a listen. | :07:38. | :07:38. | |
It's not funny, it's a serious Tango face! Your music is amazing. Have a | :07:39. | :07:40. | |
listen. # I would have walked 500 miles. # | :07:41. | :07:45. | |
I mean, Craig apparently and Charlie from the Proclaimers have got | :07:46. | :07:49. | |
involved, sent you a member, they're very proud. What did they say? They | :07:50. | :07:53. | |
wished us the best of luck. They said a lot of people have basically | :07:54. | :07:57. | |
bust some shapes to their tunes and can't wait to see what we do. I bet | :07:58. | :08:02. | |
they've not brought a Tango into it. How do you bring a Scottish feel to | :08:03. | :08:04. | |
it? How do you bring a Scottish feel to | :08:05. | :08:22. | |
Don't answer that! APPLAUSE In | :08:23. | :08:24. | |
a little memorandum, I'll be chatting to Ben and Kristina, but | :08:25. | :08:28. | |
first it's back to the training rooms to see how the rest of the | :08:29. | :08:32. | |
boys are getting on. We are dancing the rumba, one of | :08:33. | :08:38. | |
Iveta's favourite dances. I will do my best to get it right. A good | :08:39. | :08:42. | |
rumba is when you show a great timing, when you create beautiful | :08:43. | :08:46. | |
lines. You see how it softens. We just sort of got the routine mapped | :08:47. | :08:50. | |
out, so I am looking forward now to really trying to polish it for the | :08:51. | :08:53. | |
next couple of days and really try and get the technique. He has a | :08:54. | :08:57. | |
rhythm, and he has by the movement, hip movement. I think his challenges | :08:58. | :09:03. | |
will be keeping it clean. My ambition this week is to get my | :09:04. | :09:09. | |
footwork right and the arms and hips right. There are a lot of different | :09:10. | :09:12. | |
things I've got to bring together for Saturday. | :09:13. | :09:31. | |
things I've got to bring together would like to emulate in that dance. | :09:32. | :09:34. | |
It's very big movements, and you have to cover the whole floor. | :09:35. | :09:40. | |
I am already there. I am going to go round. In terms of the brains, | :09:41. | :09:44. | |
suddenly kicking in and passing it down to the legs, it's a huge | :09:45. | :09:47. | |
challenge for me. I've got to work hard in terms of trying to get it | :09:48. | :09:54. | |
in. This week, we're doing jive. I know | :09:55. | :09:59. | |
it's going to be quick and a lot of footwork. It's the fastest dance of | :10:00. | :10:05. | |
the Latin dances. We are really struggling. | :10:06. | :10:09. | |
It's been tough. I am tired this week, and it's a lot to take in. Th | :10:10. | :10:15. | |
is driving me insane. Hopefully, I can get it right. One of my | :10:16. | :10:20. | |
favourites was again, and again. And again, and again, and again. | :10:21. | :10:23. | |
I am sure he hates again, and again, and again. | :10:24. | :10:43. | |
On Saturday night, that icy paso got judges hot under the collar. Let's | :10:44. | :10:47. | |
hope their next dance gets just as warm a reception. Please welcome Ben | :10:48. | :10:52. | |
and Kristina. Hello, you two. two. , You found your top, thank goodness. | :10:53. | :10:58. | |
Well done! Someone had hidden it! Can I have it back! A personal best | :10:59. | :11:03. | |
for the two of you. Yes. Are you still on a high, Ben? I actually am | :11:04. | :11:07. | |
pretty grounded after I started the jive this week. It's been tough, | :11:08. | :11:10. | |
but, it was nice to get a good result. Especially after all the | :11:11. | :11:14. | |
hard work you put in, so, yes, a good score but you quickly move on | :11:15. | :11:18. | |
to your next dance. Bask in the glory a little bit longer if I was | :11:19. | :11:23. | |
you. Kristina - I told him to enjoy all the comments. They were amazing. | :11:24. | :11:29. | |
When you first drew the psao, did you do an internal fist pump of this | :11:30. | :11:32. | |
is going to be brilliant for Ben? Yes, I knew it would be a good | :11:33. | :11:50. | |
is going to be brilliant for Ben? happen to your shirt? When did you | :11:51. | :11:55. | |
decide to go topless? Christ You know, it wasn't necessary that we | :11:56. | :11:59. | |
were going to go topless, it was the fact that the bolero impact looked | :12:00. | :12:03. | |
like I had borrowed one of my kid's impacted. It was no way I was going | :12:04. | :12:09. | |
to wear that. There was a big debate about it whether we would do it or | :12:10. | :12:12. | |
not. It happened. And it worked. It did work. I must apologise for a | :12:13. | :12:18. | |
little bit of swearing there. Family viewing, I hope you weren't offended | :12:19. | :12:23. | |
by that. Len gave you the first nine of the series. Well done.One point | :12:24. | :12:27. | |
short of perfection. How pleased were you? I am so proud of this man. | :12:28. | :12:31. | |
We started seven weeks ago, never danced before, never put a left foot | :12:32. | :12:39. | |
and the right to music, you know. I am so proud of you, and thank you | :12:40. | :12:41. | |
for putting in all am so proud of you, and thank you | :12:42. | :13:03. | |
dance, which was good, so, yes, it worked. Look, it worked. Moving on | :13:04. | :13:09. | |
to the jive, right! We think we know what you might be | :13:10. | :13:12. | |
doing to dazzle the judges this week. Have a little peak. | :13:13. | :13:20. | |
-- peek. Struggling with your Strictly smile. Cohengate for fresh | :13:21. | :13:31. | |
breath and a glowing smile! I can smile no problem now. Today was the | :13:32. | :13:42. | |
smile. Smiling again! | :13:43. | :13:50. | |
Available nowhere! APPLAUSE | :13:51. | :13:52. | |
Not cheesy at APPLAUSE | :13:53. | :14:12. | |
high heels. It's too bad. Will you be all right on Saturday? I have to | :14:13. | :14:16. | |
dance on flats. I can't put my foot and a dance shoe. This was because | :14:17. | :14:21. | |
this strong man threw you halfway to Birmingham! | :14:22. | :14:24. | |
Don't blame him because actually it was a real accident. We were too | :14:25. | :14:28. | |
close to the wall when I did the sliding through his legs with all | :14:29. | :14:32. | |
the power and momentum, I hit the wall so hard. I thought I had broken | :14:33. | :14:37. | |
the toe, but - Apart from the accident, how is the jive going for | :14:38. | :14:42. | |
you, Ben? Incredibly frustrating, I've got to say. I am used to quick | :14:43. | :14:46. | |
footwork with playing rugby, but trying to put it into a sequence and | :14:47. | :14:50. | |
trying to make it rhythmic, and trying to have rhythm to it is hard | :14:51. | :14:53. | |
work. It's been very, very frustrating this week. Something | :14:54. | :14:56. | |
exciting in your routine, though. I hear there's going to be a trick, | :14:57. | :15:00. | |
and somebody's been helping you with that. Tell me more? You know too | :15:01. | :15:03. | |
much! So, that. Tell me more? You know too | :15:04. | :15:23. | |
my friends is Louis Smith who helped me learn. How handy. We have a clip. | :15:24. | :15:28. | |
This is Ben doing his first back flip. | :15:29. | :15:35. | |
That's made it into the routine on Saturday? Yes. Thanks, Louis, for | :15:36. | :15:40. | |
helping me. He's been absolutely fantastic. Good luck, I hope your | :15:41. | :15:48. | |
foot is all right. Ben and Kristina! Thank you, guys. Good flip. | :15:49. | :15:52. | |
Right, let's head back to the training room to check up on some | :15:53. | :15:57. | |
more of our celebrities. Brendan and I will be dancing the | :15:58. | :16:03. | |
Argentine Tango. It's an exciting dance. Audiences love it. That's | :16:04. | :16:07. | |
cool. I am excited because I think the choreography is superb. | :16:08. | :16:11. | |
Sophie has the attack and the performance, it is just a matter | :16:12. | :16:30. | |
Sophie has the attack and the started out dancing on Strictly, I | :16:31. | :16:33. | |
never imagined I would be able to attempt a routine like this, so, in | :16:34. | :16:37. | |
a personal way, it is incredibly exciting. We are dancing the waltz. | :16:38. | :16:43. | |
It is lovely. It's such a wolf dance. It's the most romantic dance | :16:44. | :16:47. | |
out of all of them, which is a challenge because we tend to just | :16:48. | :16:54. | |
laugh all the time. If I've just come off a news programme, it's hard | :16:55. | :16:58. | |
to access my soppy romantic side. Kevin has been teaching me tumble | :16:59. | :17:02. | |
turns and I still don't really understand. | :17:03. | :17:05. | |
They're quite difficult step to pull off because they are tricky footwork | :17:06. | :17:12. | |
wise. We've done it a number of times today, and I've probably got | :17:13. | :17:15. | |
them right about 25 per cent of the time. If one of in four of those | :17:16. | :17:20. | |
times is on Saturday night, we are sorted. | :17:21. | :17:40. | |
times is on Saturday night, we are much costumes did you have to make? | :17:41. | :17:43. | |
65, something like that. Four or five days you had to do that? Yes. | :17:44. | :17:47. | |
Are you relieved to be back to a normal themed week with the | :17:48. | :17:50. | |
classical Latin? Yes, it's hard going for everybody, but we love it, | :17:51. | :17:55. | |
we need a little calm. Two words: men's impacted, OK? Mark has lost a | :17:56. | :18:02. | |
lot of weight doing the show, and they're saying his impacted are too | :18:03. | :18:11. | |
-- impacted are - jackets are too big. We have to defend the Taylor. | :18:12. | :18:18. | |
The jackest is cut so when they are in hold, when nanograms with | :18:19. | :18:22. | |
standing with air harm down, they look ill-fitting. Mark could do with | :18:23. | :18:27. | |
some taking in. Because he has lost so much weight. Step with me this | :18:28. | :18:30. | |
way. Let's go along here. Thank you very much. You can see | :18:31. | :18:49. | |
way. Let's go along here. Turner is known for a fringe dress, | :18:50. | :18:53. | |
and Natalie was keen to embrace the number. She's got the barnet. Lots | :18:54. | :18:58. | |
of fringing. This is longer. It hasn't been trimmed or fitted. I | :18:59. | :19:01. | |
think that Natalie will take it really short the weekend because she | :19:02. | :19:07. | |
thinks she's Tina. She is bold. Yes. Artem, as we shuffle to Anya, across | :19:08. | :19:13. | |
to a quick shuffle, and what about Artem. Will he have any themes in | :19:14. | :19:18. | |
his costume? He often takes longer than Natalie. I don't believe that! | :19:19. | :19:22. | |
We've got great prints for him but we'll have to see whether he goes | :19:23. | :19:27. | |
with it. This is Anya's dress. Yes. She's doing an American Smooth with | :19:28. | :19:31. | |
the wonderful Patrick. What can you tell us about the design of this | :19:32. | :19:33. | |
dress? We fitted this dress in the summertime and hoped that it would | :19:34. | :19:36. | |
find its way to the show because we guess in terms of dances, and - That | :19:37. | :19:41. | |
far ahead? Yes, they don't often make it to | :19:42. | :20:01. | |
far ahead? Yes, they don't often lifts in the American Smooth. Let's | :20:02. | :20:05. | |
talk about Sophie's dress. She's doing the first Argentine Tango - | :20:06. | :20:07. | |
everybody is very excited about that. Talk me through the design. | :20:08. | :20:11. | |
The design for the dress this week, we've really taken a directive from | :20:12. | :20:15. | |
Brendan because he has been looking at certain influences and would like | :20:16. | :20:18. | |
us to take that on board, so we have. It's a little bit | :20:19. | :20:21. | |
work-in-progress the fitting tomorrow, so hopefully it's what he | :20:22. | :20:25. | |
wants it to be. I like that they get involved. I guess they know the | :20:26. | :20:28. | |
movement and the mood, don't they? Yes. Talk us through the materials. | :20:29. | :20:30. | |
The material on the skirt is important because we don't want | :20:31. | :20:35. | |
Sophie to get her heel caught so if it is a stretch fabric, she will get | :20:36. | :20:43. | |
her heel caught. One layer of satin, no binnedings, so the so the legal | :20:44. | :20:48. | |
can slide off it. It can get tricky with the kicky dog-leg. Karen is | :20:49. | :20:51. | |
doing a Tango to with the kicky dog-leg. Karen is | :20:52. | :21:12. | |
will have to see. I didn't want to know the answer to that. Whatever he | :21:13. | :21:15. | |
does, I am sure it will be glorious. What about Ben Cohen? Is he going to | :21:16. | :21:21. | |
have top on or off this week? Kristina said unfortunately top on. | :21:22. | :21:26. | |
It's top on, but, it's side of stage, he thinks thinks, "Shirt off, | :21:27. | :21:32. | |
on?" And then makes his mind up. Quickly, Mark and Yvet have a Bond | :21:33. | :21:39. | |
theme? Their numbers have been fun, again, embraced, they're having a | :21:40. | :21:44. | |
giggle and having a good time. It is Bond, she's the villain and she's in | :21:45. | :21:49. | |
a gold metallic cat suit. She wears a cat suit so well. Maybe Mark will | :21:50. | :21:55. | |
have his top off next week, you never know. | :21:56. | :22:01. | |
From fashion back to footwear as we check in with | :22:02. | :22:19. | |
From fashion back to footwear as we to make sure that it is fast but | :22:20. | :22:26. | |
technically good. Open, now why doing extra steps? I don't know. I | :22:27. | :22:30. | |
don't know how to do it. It's really, really technically | :22:31. | :22:33. | |
difficult. There is so much bounce action throughout the dance, and it | :22:34. | :22:38. | |
has to be precise but not look too careful otherwise it's not | :22:39. | :22:42. | |
interesting to watch. It's going to be wild, and I can't | :22:43. | :22:50. | |
wait. This week, we're doing a Charleston | :22:51. | :22:54. | |
which is a very upbeat, a lot of lifts, very funny, very cheeky. S | :22:55. | :23:00. | |
such a quick dance of the that's really frightening me. How am I | :23:01. | :23:04. | |
going to remember it? You learn it slow and then the music comes on. | :23:05. | :23:07. | |
There is a lot of content in the number, and I really think it's | :23:08. | :23:10. | |
going to be very difficult for both of us, really. It's a | :23:11. | :23:29. | |
bang to and hopefully we get it right on the night and everything | :23:30. | :23:35. | |
goes well. We're dancing the paso-doble. Quite | :23:36. | :23:39. | |
a dramatic dance, which I quite like. | :23:40. | :23:44. | |
The timing of the paso-doble is really important because it is what | :23:45. | :23:47. | |
gives you the drama as well, helps to drive the dance forward, and one, | :23:48. | :23:56. | |
and five, one, two, three, four. Those and counts are really | :23:57. | :23:59. | |
important. Working with a skirt is quite difficult because the | :24:00. | :24:03. | |
movements have to be very broad, large, elegant movements. There is a | :24:04. | :24:11. | |
lot of style, a lot of shaping, a lot of acting from from Fiona, and | :24:12. | :24:17. | |
if I can get those things going in the paso, we should have a great | :24:18. | :24:21. | |
paso. I don't know about you, but I think that looks | :24:22. | :24:22. | |
paso. I don't know about you, but I think it suited you. You looked so | :24:23. | :24:42. | |
young, about 25 out on the floor there. I love you! Was it one of | :24:43. | :24:46. | |
your favourites? Definitely one of my favourites. That and the | :24:47. | :24:49. | |
quickstep. But, it's so great when you can find a little character like | :24:50. | :24:53. | |
that, and that gets rid of the nerves because it's not me Fiona out | :24:54. | :24:57. | |
there, it's somebody completely different and that really, really | :24:58. | :25:05. | |
helps. Cute! I love it! Did you feel the judges undermarked you? Oh, | :25:06. | :25:13. | |
controversial, straight in! This is good. I did, really, because I | :25:14. | :25:16. | |
thought the dance was excellent. I would say that of course naturally, | :25:17. | :25:20. | |
and I looked at it back because I listened to the comments that the | :25:21. | :25:26. | |
judges made and thought fair enough, we weren't in sync apparently | :25:27. | :25:29. | |
because we were dancing side by side and looking forward so it might have | :25:30. | :25:30. | |
been a little bit out of and looking forward so it might have | :25:31. | :25:50. | |
I had difficulty picking up my hoe, which is a very heavy hoe. Karen | :25:51. | :25:56. | |
hardy was on your side there was it wasn't like they had made it out to | :25:57. | :26:01. | |
be. She said if it had been a bit wilder it wouldn't have been an | :26:02. | :26:05. | |
issue but then it wouldn't have fitted the music. There you are. You | :26:06. | :26:08. | |
pitch it where you think it's right and you do the best you can. We | :26:09. | :26:12. | |
loved it, you loved it, who cares! We must talk also about your | :26:13. | :26:15. | |
reactions in the results show on Sunday. Let's have a look at it | :26:16. | :26:19. | |
again because the change in Anton's face is incredible. Here we go. | :26:20. | :26:24. | |
Waiting, waiting. Did they say our name! Were you | :26:25. | :26:30. | |
genuinely surprised? Yes, I was - Did you think it was curtains time? | :26:31. | :26:36. | |
Indidn't think we wou be -- I didn't think we would be called out in the | :26:37. | :26:39. | |
first half. I thought if anything they would be down the back. There | :26:40. | :26:40. | |
might be a potential chance we they would be down the back. There | :26:41. | :27:01. | |
Is that us and argh! Thank you to everybody who voted. Looking forward | :27:02. | :27:04. | |
to dancing it again because it was such fun. Don't say that! I said if | :27:05. | :27:08. | |
we have to do it again, that's great. Because it's one you love? | :27:09. | :27:12. | |
Yes. I never want to have dance another dance again so I dancing it | :27:13. | :27:17. | |
once is plenty enough for me. I thought we were great. That's | :27:18. | :27:21. | |
enough! This week, it's the paso. No politeness, are you enjoying the | :27:22. | :27:25. | |
spirit of it all, Fiona? I am loves it. It is powerful, dramatic, | :27:26. | :27:30. | |
passionate. It is a great dance. I mean, that training - yesterday. It | :27:31. | :27:35. | |
is just, I don't know, I love it, and again, if I can find the | :27:36. | :27:40. | |
character, and immerse myself in that character, hopefully it will be | :27:41. | :27:44. | |
OK. We need to listen to your music because it is unexpected for these | :27:45. | :27:46. | |
two. acting background to help you with | :27:47. | :28:08. | |
this dance, Fiona? You're saying there if you find a character, it | :28:09. | :28:12. | |
really helps? He is, yes, definitely. I think we've been | :28:13. | :28:19. | |
having lessons in being a very arrogant Spanish senorita, but it | :28:20. | :28:24. | |
does help if I can find that character, so it is been quite fun | :28:25. | :28:27. | |
and training this week. It does look great when we are looking at it. | :28:28. | :28:35. | |
Good luck on Saturday dancing to Nat King Cole. Fiona and Anton! | :28:36. | :28:44. | |
That's it for today. Thanks to all our lovely guests. Join me at 6.30 | :28:45. | :28:51. | |
tomorrow. Plus my Friday panel of John Barrowman, Emma Willis and | :28:52. | :28:56. | |
Suggs from Madness. Good | :28:57. | :28:57. |