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Hello. We will be chatting to the charming Tim and Natalie. Also, the | :00:00. | :00:13. | |
gorgeous Pixie and Trent. Check out the shorts! You look amazing. Also | :00:14. | :00:19. | |
tonight, it will be the... Oh! Hello. Thom and Iveta. I'm going to | :00:20. | :00:26. | |
have a lie down! From London, this is Strictly: It | :00:27. | :01:13. | |
Takes Two. Please welcome your host, Zoe Ball! | :01:14. | :01:17. | |
APPLAUSE Hello. And welcome to It Takes Two. | :01:18. | :01:24. | |
As always, we will be bringing you bang up-to-date with the Strictly | :01:25. | :01:28. | |
backstage gossip, the tears, the tantrums, the twirls and the tangos. | :01:29. | :01:32. | |
Karen Hardy is here to shed some light on any choreography quibbles | :01:33. | :01:37. | |
from Saturday's show. First to join us on the sofa, it is pop princess | :01:38. | :01:42. | |
Pixie Lott and new boy, Trent Whiddon. | :01:43. | :01:50. | |
APPLAUSE # Girls just want to have fun. End | :01:51. | :01:58. | |
# Welcome to the show. Total props for | :01:59. | :02:09. | |
a seriously jumping jive. It was incredible. You certainly impressed | :02:10. | :02:18. | |
the judges. Let's remind ourselves. Another great debut. I do feel, | :02:19. | :02:22. | |
though, because you have so much ability, I could have seen a lot | :02:23. | :02:25. | |
more leg action and bounce. I can't wait to see what you will do next. | :02:26. | :02:30. | |
What I'm saying is, it wasn't perfect. It was great. A lot of | :02:31. | :02:35. | |
energy. Lots of content. I thought that was terrific. | :02:36. | :02:39. | |
7. 6. 7 7. When did you first watch it back? I | :02:40. | :02:53. | |
tried to watch it on the way home in the car. It was like a little | :02:54. | :02:59. | |
YouTube clip and they were so blurry. I got my friend to get her | :03:00. | :03:05. | |
mum to film on her phone. When it came through, it was so pixelated! | :03:06. | :03:15. | |
Get in! Sorry. I couldn't see it. It was worth the wait. And Craig said | :03:16. | :03:23. | |
he thought something happened. Was there something? It was. They are | :03:24. | :03:29. | |
going to show it now! Oh man! That was the little bit I was dreading. I | :03:30. | :03:34. | |
was fine in the rehearsals. On the day, I was like, Trent, that bit, my | :03:35. | :03:39. | |
foot kept going sticky! I was, like, I don't know, freaking out. There | :03:40. | :03:44. | |
was a high kick. And I was nervous. It is so fast, I couldn't get the | :03:45. | :03:48. | |
high kick in. It takes a while to get unthere. -- up there. You have | :03:49. | :03:55. | |
got long legs? I freaked out. So I thought it would slip by the judges, | :03:56. | :03:59. | |
but it didn't. The thing is, that was the tiniest bit. The standard is | :04:00. | :04:04. | |
so good, they will be quite picky? I didn't realise they would be on the | :04:05. | :04:08. | |
first week. I know. Everybody was so good that they were forced to do | :04:09. | :04:11. | |
that. Shall we get to know Trent a little better? We don't know much | :04:12. | :04:17. | |
about him. Have a look at this. I love your jacket. I'm a dance | :04:18. | :04:21. | |
champion from Australia and I'm super-excited to be here on | :04:22. | :04:25. | |
Strictly. Since I was a kid, I have trained in ballroom, Latin, jazz, | :04:26. | :04:28. | |
hip-hop, ballet, you name it, I have done it. I love dancing because that | :04:29. | :04:34. | |
is where I am free to be myself. Becoming a professional dancer was | :04:35. | :04:46. | |
ridiculously hard. I have come to take the Glitterball! That is | :04:47. | :04:49. | |
fighting talk. He is serious about this. How difficult was that routine | :04:50. | :04:54. | |
for him to give you first week? Jive is notoriously difficult and the | :04:55. | :04:57. | |
speed of it. Was that difficult for you to learn? Jive is a really hard | :04:58. | :05:00. | |
one. Apparently, they are all hard. I have to wait and see what is in | :05:01. | :05:02. | |
store. But I think because it is so I have to wait and see what is in | :05:03. | :05:10. | |
fast and, like, after every time I would do it, I would get so out of | :05:11. | :05:14. | |
breath. Sitting on the floor... I collapsed each time at the end. But, | :05:15. | :05:22. | |
yeah, it is really fast and also when Darcey was saying, "I want to | :05:23. | :05:26. | |
see more bounce." It is like that bounce that you have to capture. | :05:27. | :05:29. | |
There is a lot in there, you have the nerves, the energy, the speed of | :05:30. | :05:33. | |
it and the bounce. You two will be great. Next week, the waltz. How is | :05:34. | :05:38. | |
that going? Have you tried it out yet? What do you think? We had our | :05:39. | :05:44. | |
first trial today of learning the routine. Yes. And I think it's a | :05:45. | :05:48. | |
beautiful dance. I really, really want to get it right. I feel, like, | :05:49. | :05:52. | |
Darcey would like this one. She is like a ballerina. So, I want to make | :05:53. | :05:57. | |
sure that we don't let her down. It is so hard with the posture and now | :05:58. | :06:03. | |
I know how technical they are, I can't do any slip-ups. You did the | :06:04. | :06:08. | |
waltz. Ian always used to say, he would push my head up. If he has | :06:09. | :06:13. | |
terrible breath, you will be fine! That is one of the tips we are going | :06:14. | :06:18. | |
to use. I love your energy. You two are adorable. Welcome to the show, | :06:19. | :06:22. | |
Trent. Good luck with your waltz. Pixie and Trent. Thank you. | :06:23. | :06:27. | |
APPLAUSE Now, if you like us are already | :06:28. | :06:31. | |
missing the glitz, the glamour, the sparkle and the Spandex and can't | :06:32. | :06:35. | |
wait until Saturday night, we have a treat for you now. This is a look | :06:36. | :06:38. | |
behind-the-scenes of the most glamorous shoot in town. Roll the | :06:39. | :06:44. | |
titles. Action! It is my first step with my | :06:45. | :06:51. | |
scary teacher. I don't know what I'm doing. We | :06:52. | :06:56. | |
shoot it against a green-screen because I can replace the background | :06:57. | :06:58. | |
with the ballrooms and the scenes which make up the title sequence. If | :06:59. | :07:09. | |
we mess it up, we are looking rubbish for the whole series! | :07:10. | :07:19. | |
With the cheesy grin. Of course! Get away! It's fun. It is like starting | :07:20. | :07:26. | |
a brand-new job and you don't know what it is about. Trying to look as | :07:27. | :07:32. | |
effortless and stylish as possible. Whether I do that is another thing. | :07:33. | :07:43. | |
That was so sharp, I almost cut myself! I'm loving my first day as a | :07:44. | :07:51. | |
Strictly couple. It is like I have a temporary girl, maybe for a few | :07:52. | :07:58. | |
months! Action! I'm in Janette's hands. She is the boss. I'm happy. | :07:59. | :08:10. | |
I'm on his lap! Cut! So, at the moment, we are behind-the-scenes on | :08:11. | :08:18. | |
the idents, the bit where they say this is Alison and Aljaz. She really | :08:19. | :08:27. | |
enjoys dancing. It should be a good series. I'm making the lights smash! | :08:28. | :08:46. | |
He makes me laugh so much. I really struggle to do anything without | :08:47. | :08:52. | |
giggling. Definitely going to need to work on my kicks. He is showing | :08:53. | :08:54. | |
me up! APPLAUSE | :08:55. | :09:08. | |
Weren't they beautiful? He's big, he's brave and he's got great ball | :09:09. | :09:13. | |
skills - three things that will not help in the ballroom! They do make | :09:14. | :09:16. | |
him a hell of a catch! We are delighted to welcome Thom Evans and | :09:17. | :09:19. | |
Iveta Lukosiute! APPLAUSE | :09:20. | :09:33. | |
# What a man # What a man. # | :09:34. | :09:46. | |
I enjoyed your wonderful waltz at the weekend. It was stunning. How | :09:47. | :09:51. | |
did it feel out there, Thom? It was amazing. I was happy to get through | :09:52. | :09:55. | |
it. I felt like I kind of let my nerves get the better of me. It was | :09:56. | :09:59. | |
such an amazing experience, you know, the band, the audience, | :10:00. | :10:05. | |
awesome. It was. You got carried away. Then the judges said that | :10:06. | :10:08. | |
perhaps you played it a bit safe. Was that a bit of a blow when you | :10:09. | :10:11. | |
have had that lovely moment and you hear something like that? I think I | :10:12. | :10:20. | |
- I looked quite - I slightly messed up a bit which Craig picked up on. | :10:21. | :10:25. | |
I'm happy to get through it. It was such a lovely experience to dance | :10:26. | :10:28. | |
with her. She makes it very easy. Iveta. She is hot! We love her. | :10:29. | :10:34. | |
Let's remind ourselves of your performance at the weekend. It was a | :10:35. | :10:41. | |
bit careful in places, but I do understand that. You want to get it | :10:42. | :10:48. | |
neat and dainty. It was so kind, so caring. You tried so hard to get | :10:49. | :10:52. | |
everything right. I found it almost moving. I think you let Iveta down | :10:53. | :10:59. | |
slightly when you did that promenade turn with her. But I did love it. 5. | :11:00. | :11:12. | |
6. 6. . -- 6. Good job. Week one is done. | :11:13. | :11:16. | |
APPLAUSE She said good job. I have missed | :11:17. | :11:20. | |
you. I'm so excited to see you again. Craig was saying that maybe | :11:21. | :11:25. | |
Thom didn't take control. I find it hard to believe that Thom would not | :11:26. | :11:28. | |
take control of the situation. What did you think? I think Thom did take | :11:29. | :11:35. | |
control and he was there for me all the time. I think for the first | :11:36. | :11:41. | |
dance he had a very tough job to do because he had to be not in the | :11:42. | :11:48. | |
comfort zone, half his arms, leading the lady, know where to go, think of | :11:49. | :11:53. | |
the footwork. And also not look at me for comfort. I'm the only friend | :11:54. | :11:58. | |
on the dancefloor. He had to look at a different direction. He's been | :11:59. | :12:02. | |
told to. It's a very tough job. I'm very, very proud that he | :12:03. | :12:06. | |
accomplished all the things we worked on, so he was there and he | :12:07. | :12:09. | |
didn't let me down and he did amazing and I am very proud of him. | :12:10. | :12:13. | |
That was like an Oscar speech! I love it. She is right. After, when | :12:14. | :12:18. | |
you dance, you get to look at each other. With ballroom, you have to | :12:19. | :12:26. | |
look off. Whenever I have danced with a girl in the past, I like to | :12:27. | :12:30. | |
look at them. If we were dancing, I would look at you. Stop! And it | :12:31. | :12:40. | |
was... Not if, when! I'm kidding. Any way, how is training going | :12:41. | :12:44. | |
together? How is it in the training room? Is he a good boy? Does he | :12:45. | :12:53. | |
listen to you? He's a very good boy. He listens. He does everything I | :12:54. | :12:59. | |
say. Yes, he is a very hard worker. He is very attentive. Very focussed. | :13:00. | :13:05. | |
He is an athlete. So I think our training is very similar, so it is | :13:06. | :13:10. | |
very easy for me to work with Thom and I'm sure it's vice versa. The | :13:11. | :13:15. | |
sportsmen and dancers, they have a similar mentality. We have had a | :13:16. | :13:22. | |
look into your training room. It does seem that Iveta, your dance | :13:23. | :13:26. | |
analogy gets lost in translation. Have a look. Star Trek ears. Like | :13:27. | :13:34. | |
Star Trek ears. All the time. It is like holding twins, use your inner | :13:35. | :13:39. | |
thighs, like magnets. In the movie theatre, when you go excuse me, | :13:40. | :13:44. | |
excuse me. Like a fruit punch. I do like a fruit punch. It looks like a | :13:45. | :13:51. | |
Martini glass. Legs like an expensive car, what do you call | :13:52. | :13:54. | |
them, the balloon starts like... Deflating. Don't deflate! APPLAUSE | :13:55. | :14:03. | |
Iveta, you make me die laughing! Doesn't it help? It does. I like the | :14:04. | :14:09. | |
way my favourite is where she says body. It is like from a Bruce Willis | :14:10. | :14:17. | |
film, Die Hard. This week, from the waltz, to the salsa. It is a sexy | :14:18. | :14:22. | |
dance. It must be hard to make Thom be sexy(!) How is it going? Are you | :14:23. | :14:28. | |
crying? I am. I cannot wait to do the salsa. For me, just the up tempo | :14:29. | :14:35. | |
song will really bring out the sexiness in me as Bruno was talking | :14:36. | :14:39. | |
about. I felt like the waltz, it was hard to do that, especially in the | :14:40. | :14:43. | |
first dance. I can't wait. Let it rip! Come on, Thom! It will be | :14:44. | :14:50. | |
brilliant. Are you promising? He is a very fun guy. In salsa, you will | :14:51. | :14:58. | |
get to see his fun side of his personality besides the sexiness and | :14:59. | :15:02. | |
his looks. I am looking forward... I love you two! Good luck this | :15:03. | :15:07. | |
weekend. Thom and Iveta! APPLAUSE Null it is time to take a | :15:08. | :15:12. | |
closer look at those Saturday night performances and who better to talk | :15:13. | :15:16. | |
us through the good, the bad, the down right dis-aaa-strous, it is the | :15:17. | :15:21. | |
queen of choreography herself, Karen Hardy. | :15:22. | :15:33. | |
Oh and a shimmy! What more could you want? Pillows are back! If they | :15:34. | :15:39. | |
offend you, you can turn them around. That's an interesting shot. | :15:40. | :15:45. | |
Is that me thinking about Craig? Clearly! Let's talk about Saturday. | :15:46. | :15:51. | |
We will talk about the opening to the show, the gorgeous Mark Wright. | :15:52. | :15:59. | |
The judges said it had too much energy. Is that possible? You | :16:00. | :16:00. | |
The judges said it had too much never have too much energy. Week | :16:01. | :16:03. | |
one, all that energy will be building up. You have to let it go. | :16:04. | :16:05. | |
one, all that energy will be For me, this was a chance for Karen | :16:06. | :16:11. | |
to really show off and pressurise some of the competitors. This is | :16:12. | :16:15. | |
what my man can do! Potentially, it wasn't too much energy. There could | :16:16. | :16:19. | |
have been a lot more content. OK. What did you think of his | :16:20. | :16:24. | |
caterpillar? I loved it. For those of us that remember Darren Gough | :16:25. | :16:31. | |
doing that, that was brilliant. Technically, like Mark, not as | :16:32. | :16:34. | |
strong, but he captivated the audience. That is what we will see | :16:35. | :16:42. | |
with another Mark and Karen. OK. Aljaz and Alison. The judges loved | :16:43. | :16:47. | |
Alison's energy. She was wonderful out there. A few comments on flat | :16:48. | :16:54. | |
footwork. They are picky. This is a woman that is a real woman and I | :16:55. | :16:59. | |
have chosen the step here, the Cuban break into the back, her energy, her | :17:00. | :17:04. | |
rhythm. Rhythm, if we remember, means a regular occurrence of | :17:05. | :17:09. | |
accented beats. Her body just oozes rhythm. It just keeps ticking away, | :17:10. | :17:13. | |
so talking about ticking away, I will get up and tick for two seconds | :17:14. | :17:19. | |
on our little dancefloor! Come on. We will look at those Cuban breaks. | :17:20. | :17:23. | |
What we normally get week one is this. And we have seen some of them | :17:24. | :17:29. | |
do it. Oh no, not Alison. She had the lovely feet going. She had the | :17:30. | :17:34. | |
ticking of her body, the body was oozing and she was just loving it. I | :17:35. | :17:40. | |
could watch you do that all night. We have to move on. The feet will | :17:41. | :17:44. | |
improve. They weren't complaining, they were saying it needs improving. | :17:45. | :17:49. | |
Good stuff. Let's talk about our wild man and his serious tango, | :17:50. | :17:54. | |
Steve and Ola. His muscles were a massive talking point amongst the | :17:55. | :17:57. | |
judges. Can there be such a thing as too big? Never! Look at these | :17:58. | :18:06. | |
muscles. Now, we are talking about a tango here which does mean the hold | :18:07. | :18:11. | |
comes a bit further around the lady, so rightly so, he's got this hold | :18:12. | :18:15. | |
right, he's crowning a little bit. Look at the pivots. To control Ola | :18:16. | :18:27. | |
takes a strongman. -- strong man. I think that will grow. Later on in | :18:28. | :18:32. | |
the ballroom, when the tail suit is on, he needs to round back a bit. | :18:33. | :18:41. | |
Bring on the muscles. Thom and Iveta. The judges said he played it | :18:42. | :18:45. | |
a bit too safe? I will never say anything bad about this man. The | :18:46. | :18:52. | |
looks alone. Look at him. What we have to remember, waltz week one for | :18:53. | :18:58. | |
a man is never a winner. Look at this. This beautiful standing spin. | :18:59. | :19:02. | |
The team work between them already. The connection between the two of | :19:03. | :19:06. | |
them. Maybe it was a bit quiet, but watch out what is going to come. | :19:07. | :19:11. | |
It's a sportsman. You teach a sportsman technique, they store it | :19:12. | :19:14. | |
and they will use it time and time again. They will get stronger and | :19:15. | :19:17. | |
stronger and that is what we will see with Thom. OK. Sunetra and | :19:18. | :19:24. | |
Brendan. Bruno says she has a wonderful bendy back. Her hold was a | :19:25. | :19:28. | |
bit wobbly. It is really hard to demonstrate. I have been working | :19:29. | :19:32. | |
closely with Scotty in the editing room. He has done a lovely piece of | :19:33. | :19:36. | |
work. She was really strong. This is a feisty lady. We will freeze here, | :19:37. | :19:41. | |
can you see where the wobble started to kick in? We have the frame that's | :19:42. | :19:45. | |
wobbling and Brendan's hand has had to come right the way around her | :19:46. | :19:49. | |
back. What will happen, as they go into the next step now, she will try | :19:50. | :19:54. | |
to recover, but there is a lovely slow motion that I have picked up, | :19:55. | :19:59. | |
see her hand wobbling around? She pulls it back. She recovers. She | :20:00. | :20:03. | |
corrected herself. Great. She pulls that top line in. We must not | :20:04. | :20:08. | |
overlook this lady. She a tough character on her TV show. We will | :20:09. | :20:11. | |
see great things from her. Go, Sunetra! Let's talk about Gregg. And | :20:12. | :20:18. | |
his cha cha cha with Aliona. Stop it! There were good bits in it. I | :20:19. | :20:27. | |
love you, Gregg. Tell me what you made of his performance. I think | :20:28. | :20:33. | |
this is a case of the cat's got the cream. Look at the bit I have got | :20:34. | :20:37. | |
here. He just cannot take his eyes off of Aliona. He is all gooey. When | :20:38. | :20:43. | |
we know him in another show, he is just bullying and, you know, he's | :20:44. | :20:48. | |
got to get on and - he can't take his eyes off her. He's got to start | :20:49. | :20:52. | |
practising what he preaches. He has to get tough. He has to pull in. | :20:53. | :20:56. | |
He's got to give Aliona a run for her money. She will get much more | :20:57. | :21:00. | |
excited then and then we will have a feisty two. OK. Frankie and Kevin. | :21:01. | :21:07. | |
This was a beautiful moment. Bruno was so moved he was almost crying. | :21:08. | :21:12. | |
Would you agree. Stunning? This is week one. She's been on tour, poor | :21:13. | :21:16. | |
Kevin must have been running around all over the place. I have picked up | :21:17. | :21:20. | |
this piece here. We are talking about the top line. She does a | :21:21. | :21:23. | |
beautiful top line. She does the head roll and manages to maintain | :21:24. | :21:29. | |
that gorgeous line and, oh, I just - what was accompanied with this, was | :21:30. | :21:32. | |
not only the technical strength but the emotion and the pure innocence | :21:33. | :21:37. | |
of it. It was just beautiful. We don't normally see it as gorgeous as | :21:38. | :21:41. | |
that on week one. I know. Stunning. Well done, Frankie. Simon and | :21:42. | :21:45. | |
Kristina. Huge amount of choreography in their jive. Simon | :21:46. | :21:49. | |
did so well. The judges did pick up a little it bit on Simon's lack of | :21:50. | :21:52. | |
point and retreat in his feet. What more can you tell us about that? I | :21:53. | :21:56. | |
am here to defend our celebrities today. He was fantastic. If any of | :21:57. | :22:00. | |
those judges start picking on him, they will have to contend with me! | :22:01. | :22:06. | |
This kicking, I normally show you side by side. He is kicking in hold | :22:07. | :22:11. | |
and then he's building up to a trick where normally the girls will go | :22:12. | :22:15. | |
through the legs, but, no, he goes through, he does a flick as well. | :22:16. | :22:20. | |
Fantastic. When - so everyone is clear, we don't overextend when we | :22:21. | :22:24. | |
kick. He did it perfectly. You keep the feet lovely and soft. Otherwise, | :22:25. | :22:28. | |
if they are too rigid, the timing of the kick will go wrong. So he kept | :22:29. | :22:33. | |
it lovely and free. If he had a bit more time, we could have had that | :22:34. | :22:37. | |
retreat that they talked about. A little bit higher. They are | :22:38. | :22:41. | |
nit-picking because it was so good. Standards are so high. Yes. Jennifer | :22:42. | :22:48. | |
and Tristan. Jennifer was marked quite low, where did she go wrong? I | :22:49. | :22:53. | |
think it came under the nice category. In marketing, you want to | :22:54. | :23:01. | |
be fantastic or a di-sa-ster. She's so nice. And it means you will fall | :23:02. | :23:07. | |
in the middle and she gets tense. This is really hard. But it is a | :23:08. | :23:12. | |
wake-up call probably to her. I am hoping next week she will come back | :23:13. | :23:16. | |
and go I realise how hard this show is and I'm in the running for it. | :23:17. | :23:21. | |
That is her one week chance to get up and fight back. Thank you so | :23:22. | :23:27. | |
much. Look after yourself and your precious cargo. See you next week. | :23:28. | :23:31. | |
APPLAUSE They love you a lot. Having | :23:32. | :23:34. | |
accumulated the most hours of training last week, our next pair | :23:35. | :23:39. | |
had mixed reviews on Friday but they did make Bruno cry with joy. Please | :23:40. | :23:41. | |
welcome Tim and Natalie. APPLAUSE | :23:42. | :23:57. | |
# It's about the money # The money. # | :23:58. | :24:06. | |
Hello, my darling. Welcome, legs! So lovely to have you back. Hello, | :24:07. | :24:10. | |
chaps. Claudia said I would love you. Look at you. You are gorgeous. | :24:11. | :24:16. | |
You are so far away. Whose legs are you talking about? Well, your legs! | :24:17. | :24:20. | |
And look at your socks! They are marvellous. Shall we remind | :24:21. | :24:25. | |
ourselves of your incredible performance at the weekend? Wasn't | :24:26. | :24:31. | |
that fantastic? It was. It was cheeky. Fun. Surprisingly | :24:32. | :24:37. | |
entertaining. If you can sell this, you can sell anything! Your gait, my | :24:38. | :24:45. | |
entertaining. If you can sell this, darling, is extremely wide. Looked | :24:46. | :24:47. | |
like you were wearing a soiled nappy. | :24:48. | :24:53. | |
You come out full on with personality and you gave it | :24:54. | :25:05. | |
everything! 3. 5. 5. 5. We got three 5s. We did! | :25:06. | :25:12. | |
APPLAUSE Tim, the nation absolutely loved you | :25:13. | :25:15. | |
out on that dancefloor. Even yourself, when you came off, you | :25:16. | :25:18. | |
were like, that was fantastic! It was. It was so good. To do the whole | :25:19. | :25:30. | |
thing without falling over, it was an achievement! Were you hoping the | :25:31. | :25:33. | |
judges would agree with you? Naturally. He who punches first, | :25:34. | :25:40. | |
survives. Most of them agreed. They did. Most of them agreed. Well, one. | :25:41. | :25:47. | |
You entertained everyone. Everybody - the judges did enjoy it. Craig | :25:48. | :25:50. | |
came in with a comment and by your own admission, it was a little bit | :25:51. | :25:55. | |
below the belt? I felt anything connected with the underwear should | :25:56. | :25:58. | |
not be mentioned on this quality of show. Never mind about that. That is | :25:59. | :26:04. | |
history. And in fact if you unpick the embroidery of what he was | :26:05. | :26:09. | |
saying, he was criticising some steps and kind of legs being in the | :26:10. | :26:13. | |
wrong place which is perfectly fair, I think. Fair criticism. Yes. Taken | :26:14. | :26:20. | |
on board. We will improve. We will. Sorry, I will improve! She can try. | :26:21. | :26:26. | |
Lovely to have you back on the show. Thank you. We missed you last year. | :26:27. | :26:32. | |
It is wonderful to have you back. They were talking about Tim's gait. | :26:33. | :26:35. | |
What is wrong with Tim's gait, if anything? Can it be fixed? Anything | :26:36. | :26:39. | |
can be improved and worked on. I was so proud that we got through the | :26:40. | :26:43. | |
routine and we had an amazing time doing it. We have got a great dance | :26:44. | :26:47. | |
this week, which will help improve that. And we have been working loads | :26:48. | :26:51. | |
on technique and we will take anything that the judges, especially | :26:52. | :26:56. | |
Craig, as constructive criticism and take it on board. And do as much as | :26:57. | :27:00. | |
we can, really. That is what is so lovely about this girl. You can only | :27:01. | :27:05. | |
go forward, onwards and upwards. The exciting thing for you, Natalie, is | :27:06. | :27:11. | |
when you are in the training room, Tim comes in with some of his own | :27:12. | :27:14. | |
moves for you to try out. His unique moves! Have a look. Tim has got this | :27:15. | :27:23. | |
cool kind of quirky freestyle, it is so awesome! It is something I have | :27:24. | :27:32. | |
never seen before. I love it. Like Mick Jagger but better! Funky! I'm | :27:33. | :27:36. | |
known for being incredibly sexy and confident(!) You do come alive when | :27:37. | :27:43. | |
you've got... Rhythm! APPLAUSE | :27:44. | :27:49. | |
You are fast becoming a favourite. This week, you are doing the waltz. | :27:50. | :27:54. | |
How is it going? We havele only just started. And I'm trying to get to | :27:55. | :27:58. | |
grips with my hold. That is my beg problem at the moment. Yeah. What do | :27:59. | :28:04. | |
you mean, yeah? To come from a cha cha, where you have not had to think | :28:05. | :28:07. | |
about frame or anything, it is difficult. Like I say, it is early | :28:08. | :28:14. | |
days! I'm trying the hold. Then the business with the feet. She said the | :28:15. | :28:17. | |
most important thing is the hold. So we got to grips with the hold. Then | :28:18. | :28:21. | |
she said what about the feet? I said you never told me anything about the | :28:22. | :28:25. | |
feet! I cannot wait, ladies and gentlemen. It is going to be | :28:26. | :28:28. | |
wonderful. Tim, Natalie, good luck with your waltz. You are terrific! | :28:29. | :28:35. | |
Tim and Natalie! A massive thanks to all of tonight's guests. Tune in | :28:36. | :28:43. | |
tomorrow, I will be joined by Scott Mills, the cha-cha-mazing Caroline | :28:44. | :28:46. | |
Flack and hoping to keep his emotions in check, the gorgeous Mark | :28:47. | :28:49. | |
Wright, plus their professional partners and my old mate will be | :28:50. | :28:53. | |
here with his Wednesday Warm-Up, Ian wait. Will you join us tomorrow? | :28:54. | :28:56. | |
Yes? ALL: Yes! | :28:57. | :29:00. | |
That went Alfie Wickers | :29:01. | :29:03. | |
is the baddest teacher. There is no way you would actually | :29:04. | :29:05. | |
put our lives at risk. | :29:06. | :29:22. |