:00:11. > :00:19.tonight? They survive a dance-off for
:00:20. > :00:19.tonight? They survive a dance-off tell all, Mark and Iveta join us.
:00:20. > :00:28.tonight? They survive a dance-off They're superhuman! Kevin and Karen
:00:29. > :00:28.will They're superhuman! Kevin and Karen
:00:29. > :00:36.in Step By Step. Here to give us her opinion on the weekend's
:00:37. > :00:36.choreography opinion on the weekend's
:00:37. > :01:18.Hollyoaks, Ola is here to talk us through their weekend.
:01:19. > :01:25.From London, this is Strictly: It Takes Two. Please welcome your host,
:01:26. > :01:31.Zoe Ball. APPLAUSE AND CHEERING
:01:32. > :01:37.Hello! Welcome to It Takes Two. On Sunday night Mark and if found them
:01:38. > :01:41.-- if found themselves in the dance-off, but once again they
:01:42. > :01:44.survived. Let's remind ourselves of what happened.
:01:45. > :01:49.You bring the sun on Strictly, really. Side-to-side it was
:01:50. > :01:53.wonderfully theatrical. It was beautiful and your top line has
:01:54. > :01:58.improved so much. I would have loved to have seen more travel across the
:01:59. > :02:02.dance floor. But I loved that performance. You have been trained,
:02:03. > :02:06.but never tamed. There's always little cheeky moments that I like,
:02:07. > :02:19.little touches that makes me smile. Always fun to watch. We did it. I
:02:20. > :02:24.think Mark is becoming a dancer. I am a dancer! Judges, it's time to
:02:25. > :02:33.decide. I would like to save Ben and Kristina. Mark and Iveta. Mark and
:02:34. > :02:40.Iveta. They've done it again. Will you please welcome Mark and Iveta.
:02:41. > :02:43.You two have so much luck it's amazing. Credit to the two of you
:02:44. > :02:47.because you have survived and you do that because you give it your all.
:02:48. > :02:52.Well done. Third time in the dance-off. Did you think I am going
:02:53. > :02:55.home tonight on Saturday? Yeah, I kind of, every time we have done the
:02:56. > :03:00.dance-off I thought I was going home. When we go into the dance-off
:03:01. > :03:04.I just go for it. If it's going to be your last one you want to go out
:03:05. > :03:08.on a high. That's always been in our heads, to give it our best. Was
:03:09. > :03:12.there a bit of you thinking please don't let us be in the dance-off
:03:13. > :03:18.this week, give us a break? There was a big bit of me, yes. It's not
:03:19. > :03:24.nice. And especially, I have been up against three lovely people, it adds
:03:25. > :03:30.to the pain of it all. Yeah, it would be nice to not be in the
:03:31. > :03:32.dance-off. You get saved and then there is sadness because you are
:03:33. > :03:38.losing a friend. Craig listed a few things he thought were missing,
:03:39. > :03:42.Iveta. Did you agree with any of his comments? I thought he said, Mark,
:03:43. > :03:46.you are the best male dancer in the show. You just swinging your way
:03:47. > :03:52.straight to the final. Isn't that what he said? Maybe I heard what I
:03:53. > :03:58.wanted to hear. I love you, Iveta. You are brilliant. Did you agree
:03:59. > :04:04.with him? He voted to save Ben at the end. What did you make of it
:04:05. > :04:07.all? It's really difficult. I try not to think about going against
:04:08. > :04:12.someone else, especially not someone like Ben who's the most amazing man.
:04:13. > :04:17.All I tried to think about is going out with Iveta and dancing my best.
:04:18. > :04:23.If you dance the best you can, then you are never left thinking what if?
:04:24. > :04:28.Then it's down to the judges. They could have got rid of us three weeks
:04:29. > :04:30.on the trot but they've saved us. They keep saving you, that's good.
:04:31. > :04:35.The judges weren't taking any prisoners this weekend. They're
:04:36. > :04:42.getting tough now. Is the atmosphere changing back stage, can you feel it
:04:43. > :04:48.getting more tense? It feels lonier because there's -- lonelier because
:04:49. > :04:56.there's less people. It's sad to see people go every week. Yes, it feels
:04:57. > :05:01.like a competition is coming to its peak. We kind of do our own thing
:05:02. > :05:05.and try to enjoy ourselves. Every week we are determine to just, no
:05:06. > :05:09.matter how hard it is or the sort of mountain that you are faced with, we
:05:10. > :05:13.try to enjoy the time together and do the dance the best we can and
:05:14. > :05:18.hopefully people enjoy it. That really comes across. You are a joy
:05:19. > :05:22.to watch. You are obsessed with your fruits and fancies, especially
:05:23. > :05:28.grapes. Imagine our excitement when we found this little clip while
:05:29. > :05:36.looking through the archives. Kick. When is this? Before the grapevine.
:05:37. > :05:48.The what? The grape. What did you say there? We are going to do the
:05:49. > :06:01.grape before the grapevine! Oh, I was supposed to say...
:06:02. > :06:21.Say it again. Grape... Grapevine! Vine. Grapewine, no? Grapewine.
:06:22. > :06:27.Don't change it. Wine. No, V. Grapevine. That's it, but I like the
:06:28. > :06:31.way you say it better. Oh, you make us laugh. It's wonderful. This week
:06:32. > :06:37.for you two, musicals week, samba. How is it going at this early stage?
:06:38. > :06:40.I really enjoyed today, it was great fun. We have sort of done the steps
:06:41. > :06:44.today and got most of the routine which was great. We are going to
:06:45. > :06:52.start working on the bounce. The famous samba bounce. I will have to
:06:53. > :07:03.work on that. The hips. I can't wait to see it. It's notoriously one of
:07:04. > :07:07.the hardest dances for everybody to learn, have you worried or have you
:07:08. > :07:12.complete confidence? I have confidence in Mark from day one, so
:07:13. > :07:16.I think he can nail any dance and it didn't feel that difficult. Did you
:07:17. > :07:21.hear that? She never says things like that in the rehearsal room. I
:07:22. > :07:25.think he will be fine. He is enjoying it. You know, you got to
:07:26. > :07:29.enjoy every second because it's going to be gone soon. You want to
:07:30. > :07:36.enjoy every minute because it's such a wonderful experience. I know. I
:07:37. > :07:40.will never get to do it again! You did threaten to go shirtless and
:07:41. > :07:45.bottomless, I can't remember which way it was, is there any chance of
:07:46. > :07:50.that happening with the samba? I have a cunning plan, I will dress in
:07:51. > :07:54.like a tiger suit and I will disappear around the back and Pasha
:07:55. > :08:00.comes out. He does the dance, and I come out and then it's me. It's
:08:01. > :08:04.fantastic. Straight 10s. Listen, good luck with musicals week. You
:08:05. > :08:11.are always such a joy. Thank you so much, Mark and Iveta!
:08:12. > :08:17.Last week we taught you the cha-cha-cha basics with a little bit
:08:18. > :08:23.of help from Janette and Pasha. It's time for our second helping of Step
:08:24. > :08:32.By Step, the Viennese waltz and the waltz.
:08:33. > :08:39.Who better to teach us but the lovely Kevin and the gorgeous Karen
:08:40. > :09:11.Hauer. Take it away! APPLAUSE
:09:12. > :09:16.It's so romantic! Come and join us you lovely little puppies. That was
:09:17. > :09:20.- I have gone all gooey now. That's beautiful. Kevin, what can you tell
:09:21. > :09:26.me about the history of the dance? Well, it all started out with the
:09:27. > :09:30.folk dancers in Austria and south Germany and what happened was the
:09:31. > :09:34.richer folk, the upper classes decided they were a bit bored with
:09:35. > :09:40.the mundane dances they were doing and wanted to get in on the act.
:09:41. > :09:46.They started stealing to their servants' dances and took that dance
:09:47. > :09:51.that they were seeing into their aristocratic ballrooms and it became
:09:52. > :09:56.from a one-two hop dancing to what we know as the Viennese waltz today.
:09:57. > :10:03.Did it take society by storm this dance? Actually it didn't. Nowadays
:10:04. > :10:09.we feel the waltz as an elegant and sophisticated, but back then it was
:10:10. > :10:15.a bit scandalous. The close contact was a big no-no. The fact that the
:10:16. > :10:24.ladies had to raise their skirts and their ankles will be showing, it was
:10:25. > :10:29.naughty. Actually it was banned. Louis banned it from the courts
:10:30. > :10:36.because it was so risque. What about the waltz? What happened was the
:10:37. > :10:41.Viennese waltz being a fast dance, it was a bit fast for us Brits over
:10:42. > :10:44.here. We are a slow nation, yes! Also composers who wanted to write
:10:45. > :10:49.music for it, they found it difficult to write in lyrics to any
:10:50. > :10:53.of the songs because it was so fast. It all slowed down to what we now
:10:54. > :10:57.know and love on Strictly as a normal waltz. The main difference is
:10:58. > :11:05.the speed? Correct. The basic stays the same in both dances. In the
:11:06. > :11:08.competitive Viennese waltz the basic is used repetitively around the
:11:09. > :11:15.dance floor. In the waltz it's used as a box step and you can also use
:11:16. > :11:20.some nice little steps like a whisk or a basic weave. I love that
:11:21. > :11:23.history lesson. Shall we take to the floor? Everybody at home push the
:11:24. > :11:27.furniture back, make a space. You are going to get your own personal
:11:28. > :11:31.step by step class. First of all, where do we start? So, the first
:11:32. > :11:36.step, the basic step of the waltz is a normal box step. You want to take
:11:37. > :11:42.a step forward. On the heel. Then to the side up on the toe and then
:11:43. > :11:47.close your feet. Then step back. Then to the side and close. All the
:11:48. > :11:52.steps are based around this basic movement of step, side, close. Step,
:11:53. > :11:56.side, close. You can turn on it or do whatever you want.
:11:57. > :12:04.Love that. How do you make it romantic and turn it into a couples'
:12:05. > :12:11.dance? The man will stretch out his left hand and the lady will put her
:12:12. > :12:16.right hand in that hand. The man's right side to the lady's side. I
:12:17. > :12:23.will put my right hand on the lady's left shoulder blade. At which point
:12:24. > :12:32.the lady puts her hand on his beautiful muscular arm. She said
:12:33. > :12:37.muscular! She becomes a flower going over the vase. Looking for sunlight.
:12:38. > :12:42.What you want is the lady's head out there to the left looking over my
:12:43. > :12:46.right shoulder. My head to the left looking over the lady's right
:12:47. > :12:55.shoulder. We put it all to music, it would look like this. Off you go.
:12:56. > :12:57.Are you doing that at home? Norm, we are doing this when I get home
:12:58. > :13:08.tonight. I love the fact it's such a natural
:13:09. > :13:12.position to have your head as a lady. If you wanted to turn that
:13:13. > :13:16.into a Viennese waltz. Cue the music and speed it up. This is how it
:13:17. > :13:24.would look. Oh, look at that, I love it!
:13:25. > :13:32.It's a beautiful thing. Thank you very much.
:13:33. > :13:36.Kevin and Karen! On Saturday night Ashley and Ola's waltz landed them
:13:37. > :13:40.second on the leader board, the top-scoring man has headed back to
:13:41. > :13:43.Liverpool to deal with the day job. In a minute I will be talking to
:13:44. > :13:46.Ola. Before that let's check out the weekend. I want to join in, room for
:13:47. > :14:00.one more?! I love it. It was so slick, Ashley. You glided
:14:01. > :14:07.across that dance floor. Well done. Your head is driving me absolutely
:14:08. > :14:15.mad, darling. It keeps inclining to the right. I thought you did a
:14:16. > :14:18.terrific job. The waltz is not an easy dance. It's a big flowing
:14:19. > :14:28.movement. I thought it was a wonderful, wonderful waltz. 35! It's
:14:29. > :14:33.brilliant. It's a great score. At least we are there. We are not going
:14:34. > :14:38.down. No, if I went backwards I would be fuming. You did well. I am
:14:39. > :14:44.very proud. A tender moment. Please welcome Ola!
:14:45. > :14:49.APPLAUSE This is so weird, Ashley is not
:14:50. > :14:52.here. I know, to be without him! Can I say well done to the both of you
:14:53. > :14:57.on Saturday. Considering all that chat last week about not being able
:14:58. > :15:02.to be romantic, it was so romantic, your waltz. And he was so good.
:15:03. > :15:06.Bless him, but can I just say I am sorry Ashley is not here but he is
:15:07. > :15:12.working long hours so he can't be. He is doing Hollyoaks. He is sad he
:15:13. > :15:21.couldn't be here but he did send a message. Hello everyone at It Takes
:15:22. > :15:26.Two. Hello Zoe and hello my little angel-star. Please don't say
:15:27. > :15:30.anything nasty about me because I am not there! I can't be there because
:15:31. > :15:34.I am busy at Hollyoaks with fantastic storilines but I am
:15:35. > :15:38.wishing everyone a big hello, lots of love, and hopefully I will be
:15:39. > :15:45.there soon. Thank you to everyone who has voted for me, I really
:15:46. > :15:51.appreciate. -- I can appreciate it. I can say what I want now! Did he do
:15:52. > :15:56.anything wrong? He did a really good job. He has tilted once or twice to
:15:57. > :16:00.the right a bit too much but the thing is we work on that head so
:16:01. > :16:06.much in a week. I think he was upset with himself that he did it. He
:16:07. > :16:13.knows he did it and he worked on it really hard. The judges are really
:16:14. > :16:17.picking up little bits. A bit of the head to the right and... Everyone is
:16:18. > :16:24.so good. Len was really impressed with your choreography. Are you
:16:25. > :16:27.making it more difficult quietly? You try to make it more technical,
:16:28. > :16:32.more difficult every week but you also have to make it good for your
:16:33. > :16:37.celebrity partner, as well. I am trying to avoid things which he is
:16:38. > :16:41.not good at. Clever! It's very clever. You have to see how you get
:16:42. > :16:46.on in a week and pray for the best. I love the way you all choreograph
:16:47. > :16:51.for the talents of your partners. Ashley, highest scoring male on
:16:52. > :16:56.Saturday. Is that a boost taking you into the next week? There is a
:16:57. > :16:59.pressure because obviously we were second on the leader board. There's
:17:00. > :17:04.definitely pressure to keep that. We can't afford to go down. You don't
:17:05. > :17:08.want to go out of the competition and anyone can be in that bottom two
:17:09. > :17:12.and you don't know what's going to happen. We will have to work hard,
:17:13. > :17:15.really hard. You are working incredibly hard. We do love a lot
:17:16. > :17:19.about you, MrsJordan. There's one thing in particular which is when
:17:20. > :17:33.the phonelines open it's your little face. Have a look. It's time to
:17:34. > :17:42.decide. The vote is now open. Voting is open. Voting is open.
:17:43. > :17:51.And please get the bill payer's permission before you call. Why
:17:52. > :17:54.wait, because voting is now open. It's like you have won a prize! You
:17:55. > :18:00.are going for it. Everyone is going crazy on the show. Is it like a good
:18:01. > :18:04.luck thing at this point? You are like, we have done that, now it's up
:18:05. > :18:09.to the public at home, hopefully they save us. Which they are doing.
:18:10. > :18:13.You and Ashley have the rumba this week. Obviously the judges said they
:18:14. > :18:18.wanted a raunchier rumba than Brendan and Sophie this weekend.
:18:19. > :18:24.What is your rumba going to be like? Our rumba is going to be romantic.
:18:25. > :18:34.It's not going to be raunchy. We are doing Aladin and Princess Jasmin.
:18:35. > :18:40.Brilliant. It's going to be beautiful. Craig has still not given
:18:41. > :18:45.you guys a 9. What will it take? I really don't know what we are going
:18:46. > :18:50.to do with Craig. Let's tickle him or something. I need a plan. You had
:18:51. > :18:55.31 for three weeks and now 35 for three weeks. At least it's not going
:18:56. > :18:58.down. How are you going to break the scores even higher up? We work
:18:59. > :19:02.really hard and again rumba is going to be very hard for Ashley. It's a
:19:03. > :19:08.difficult dance. We are going to try to push it for the scores to be even
:19:09. > :19:11.higher. Ola Jordan, often when do you a rumba, whepgs with your
:19:12. > :19:15.husband -- especially with your husband, you have worn a catsuit,
:19:16. > :19:20.will you be wearing one this week? Please say yes. I don't know yet.
:19:21. > :19:24.You are such a tease! You will have to watch and see. How is the
:19:25. > :19:35.travelling between London and Liverpool and you are up and down
:19:36. > :19:39.like a bride's nighty? It's tiring. Four Saturdays. We look forward to
:19:40. > :19:46.seeing your rumba at the weekend. You are brilliant as ever. Thank you
:19:47. > :19:50.so much. It's Ola everybody! I love her. Saturday night brought us
:19:51. > :19:55.another batch of dancing delights. Here to take a closer look, it's
:19:56. > :20:07.Karen Hardy and her Choreography Corner.
:20:08. > :20:13.Welcome Karen Hardy! APPLAUSE AND CHEERING
:20:14. > :20:18.You look positively vampish tonight. I love your outfit. Judges were so
:20:19. > :20:22.tough this weekend. It's quite exciting. Are they right to be at
:20:23. > :20:28.this stage in the competition? Yes, we went from a plethora of 10 last
:20:29. > :20:34.week to now it's all about the technique. I think for a simple
:20:35. > :20:38.reason, to create effect, to get the wow factor, you can do that easy.
:20:39. > :20:42.But actually to master the technical skills that's really what this
:20:43. > :20:46.competition is about. That's what we have been talking about here every
:20:47. > :20:50.Tuesday. Now those techniques, and that's what has come up this week.
:20:51. > :20:54.What should we be expecting from our celebrities at this stage? We want
:20:55. > :20:59.to see is all those technical efforts they applied back all those
:21:00. > :21:04.weeks ago, mastering hip actions, rise and fall, swings and sways,
:21:05. > :21:08.that go across the dances, we really want to see that coming into play
:21:09. > :21:12.now. Body contact, top lines, heads up. Eye contact. All those difficult
:21:13. > :21:18.challenging things, we logical want to see who has mastered them and
:21:19. > :21:21.who's gone for the wow factor with gimmicks. The judges picked up on a
:21:22. > :21:26.lot of that stuff this weekend. Much to discuss. Ashley and Ola and their
:21:27. > :21:33.waltz which was brilliant. A great score. But Craig was so cross, he is
:21:34. > :21:38.driving him mad with his head. Here we go. Look how picky these judges
:21:39. > :21:43.are getting. We are talking milimetres out with his head. He got
:21:44. > :21:48.it right two weeks running. The third week it's going wrong again.
:21:49. > :21:51.We don't want to see that. It goes to show when you are upping your
:21:52. > :21:55.game and trying to improve other things those demons come back and
:21:56. > :21:59.haunt you. He has got to stay focussed. That top line and his head
:22:00. > :22:03.position is pivotal to what the judges are looking for, for him to
:22:04. > :22:06.maintain throughout this competition. Susanna and Kevin and
:22:07. > :22:11.the cha-cha-cha, a huge difference to their Blackpool performance and
:22:12. > :22:14.harsh comments here. Did it disappoint you? I think when we have
:22:15. > :22:20.our frontrunners there is always a dance that's going to be their
:22:21. > :22:23.nemesis and I think this was Susanna's. Not my cup of tea. This
:22:24. > :22:27.is meant to be a lock step. We didn't get the lock-in. Knees are
:22:28. > :22:31.bent throughout. There is one thing that took over it all, and I should
:22:32. > :22:35.really - I am probably the worst person to point this out, especially
:22:36. > :22:40.as you go by my opening clips on this show, the facial expressions
:22:41. > :22:47.are slightly taking over. Dare I say that? However, but what's happening
:22:48. > :22:54.over-enthusiasm, where you know you are not secure down below with
:22:55. > :22:59.technical strengths is being taken overby facial expressions now.
:23:00. > :23:03.Natalie and Artem and the tango. Craig wasn't impressed with her left
:23:04. > :23:07.hand. What was wrong with it? Really simple. When that hand goes under
:23:08. > :23:11.the man's hand there's two changes. One for the man in the top line and
:23:12. > :23:16.one for the lady. The hand of the lady goes from above in that indent
:23:17. > :23:21.that we talked about previously, it goes under the armpit area. What we
:23:22. > :23:24.don't want, which was actually immediately apparent and again I am
:23:25. > :23:30.thinking, I am sounding like Craig here, but her dancing is so good
:23:31. > :23:36.that the little errors now are being highlighted. From that, to that
:23:37. > :23:39.stuck out like a sore thumb. Looking at this what was also picked up on
:23:40. > :23:46.was her head position. These are things we don't want to see. You see
:23:47. > :23:49.how the head drops down. Again they're picking but these are things
:23:50. > :23:53.they should be doing every day. These are your basic training
:23:54. > :23:57.elements you should be mastering. You wouldn't want to see someone
:23:58. > :24:05.like Natalie turning in and landing there. When you do a strong flick,
:24:06. > :24:10.sorry, readdressing the hair. Should finish with the chin up. Abbey and
:24:11. > :24:14.Aljaz and their paso doble. A lower score for them this week. What did
:24:15. > :24:19.you make of their paso doble? I turned it off completely, the music
:24:20. > :24:24.off, and it looked more like an American smooth. The overall content
:24:25. > :24:30.- look here, it's gentle, it's soft. It's graceful. Elegant. What we have
:24:31. > :24:37.to be careful with now, you know, we have sensational professionals on
:24:38. > :24:41.this show, their excellence of artistry is incredible. They have to
:24:42. > :24:44.remember they have to appeal to everybody. You need to be putting
:24:45. > :24:49.across the obvious elements. Paso doble, strength, dynamics, you want
:24:50. > :24:54.the woman - she should have a strong opinion, to the man in the paso
:24:55. > :24:57.doble. In a waltz she's more submissive. Strong characters,
:24:58. > :25:02.strong technical elements. With this dance, as Bute. As it was -- as
:25:03. > :25:07.beautiful as it was, it missed the general overall look of a paso
:25:08. > :25:10.doble. Patrick and Anya and the Viennese waltz. Len and Bruno
:25:11. > :25:16.criticised the ending. What did you make of that? This is bizarre. We
:25:17. > :25:22.are getting our professionals taking gambles and I love that. Artem, if
:25:23. > :25:27.we look back at his Viennese waltz, they took a gamble. This was packed
:25:28. > :25:32.with natural turns, reverse turns, it was full. At the end as the music
:25:33. > :25:37.built up, rightly so, the piece of choreography she put in there was a
:25:38. > :25:50.dynamic turn and a pull and a drag. The problem was Patrick wasn't
:25:51. > :25:55.actually involved at all. It looked drama tiestiset. I think the gamble
:25:56. > :25:58.was correct but you needed much more input. You needed to see Patrick
:25:59. > :26:03.really involved with the movement rather than Anya looking like she
:26:04. > :26:08.was trying to do it herself. I think that disjoined the -- disjointed the
:26:09. > :26:11.end of it. Brendan and Sophie and the rumba. Wasn't happy on Saturday,
:26:12. > :26:16.how would you have judged his rumba, was it cold to you or did you love
:26:17. > :26:20.it? Gosh, you know what, I actually loved it. I really want to get
:26:21. > :26:25.across here how skilful our professionals are. But again if we
:26:26. > :26:30.look at something like that where Sophie has gone into the lunge, I
:26:31. > :26:33.understand where Brendan is coming from, he wanted that more
:26:34. > :26:39.sophisticated beautiful rumba, let's say. But you have got to try to
:26:40. > :26:45.appeal to the masses. Now if you listen to Bruno he loves those
:26:46. > :26:49.undulating hip actions and drama. You would have wanted a little bit
:26:50. > :26:54.of spice in for Bruno, for Len. And something like that, lunge, you
:26:55. > :26:57.needed that wow into that. She needed to go right down on to that
:26:58. > :27:03.floor, come back up and then get back into that lovely intimacy that
:27:04. > :27:06.they had. I think it was intelligence versus, let's just
:27:07. > :27:10.deliver a beautiful rumba and I think there was a mix-up of styling
:27:11. > :27:14.really. This is a good point. They need to appeal to all the judges
:27:15. > :27:20.because they'll make marks higher, everyone will be happy. Mark and
:27:21. > :27:24.Iveta and foxtrot. Craig thought it needed more flow, there was no
:27:25. > :27:27.movement knocks swing -- there was no movement, no swing. Did it work
:27:28. > :27:32.for you? When it came to the bottom two it's really - the choreography,
:27:33. > :27:37.you get it right and it might just win you ahead of the game.
:27:38. > :27:40.Technically, no. Mark is not strong out there. In the long run probably
:27:41. > :27:50.Ben will be stronger in his improvement, but the skill of the
:27:51. > :27:53.choreography, very effective here. Running around and arm extensions.
:27:54. > :27:57.Movement across the dance floor you can see the technique is not in
:27:58. > :28:00.there. Craig was right to pick up on all the technical elements but at
:28:01. > :28:05.the end of the day it was interesting how something, the
:28:06. > :28:09.little wow effect, getting choreography just right really just
:28:10. > :28:11.Pipped them at the post. The difference between the two was not a
:28:12. > :28:17.lot. What else was interesting, they both made mistakes. And what the
:28:18. > :28:20.judges have often said, well, I think the one who has potential and
:28:21. > :28:25.I think it could have gone completely a different way. They
:28:26. > :28:30.choose to judge on the day what they saw. A warning to everybody, get the
:28:31. > :28:33.mistakes easterned out, be -- ironed out, be clear, do not deliver any
:28:34. > :28:39.mistakes or you could be in a situation like that. I love that, it
:28:40. > :28:44.was intense. Karen Hardy! Thank you to all my guests tonight. Tomorrow
:28:45. > :28:48.Abbey and Aljaz will be on the sofa and Natalie Lowe will be popping by
:28:49. > :28:55.with our wedding couple. Plus, we will check out next week's dances
:28:56. > :28:58.with Ian Waite in Wednesday's Warm-up. Good night!