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Bryan Adams fever has hit the It Takes Two studio, after his show | :00:00. | :00:09. | |
Jeremy and Karen are rocking out to Summer Of '69. | :00:10. | :00:16. | |
And I can hear Jay and Aliona getting involved with | :00:17. | :00:18. | |
MUSIC: Everything I Do. | :00:19. | :00:27. | |
And it sounds like Ainsley and Natalie are finding their | :00:28. | :00:29. | |
MUSIC: When You're Gone. | :00:30. | :00:42. | |
Live from London, this is Strictly - It Takes Two. Bulk your host, Zoe | :00:43. | :01:30. | |
Ball! Hello, and welcome to It Takes Two, | :01:31. | :01:32. | |
coming live to your telly box This weekend, the ballroom was | :01:33. | :01:37. | |
practically bursting But, unfortunately, | :01:38. | :01:40. | |
the ballroom bubble did actually burst for Ainsley and Natalie, as | :01:41. | :01:44. | |
they jived out of the competition. Let's hear it for Ainsley | :01:45. | :01:51. | |
and Natalie! Our group have had a boat and yours | :01:52. | :02:28. | |
was the best x it dance we have seen, what a tune. | :02:29. | :02:34. | |
Thank you. You looked surprisingly happy but where you devastated? Of | :02:35. | :02:39. | |
course I was sad I could not continue with it. | :02:40. | :02:43. | |
But happy to be part of a wonderful set up, that Strictly bubble is | :02:44. | :02:48. | |
incredible to be involved in. Natalie, everybody else, it is such | :02:49. | :02:53. | |
a well oiled machine, you feel elated, this is great. | :02:54. | :02:59. | |
We have had so much love for you online, Lawrence says, Ainslie is a | :03:00. | :03:04. | |
legend, he was terrific to watch, I am sad to see him go. | :03:05. | :03:10. | |
Vanessa Feltz on the radio is gutted. How was the jive? | :03:11. | :03:16. | |
A great stars to go out on. So much energy, did you have fun? | :03:17. | :03:22. | |
Absolutely. Last week when Natalie said we would be doing the jive and | :03:23. | :03:27. | |
we went through the routine, oh, my word, I couldn't do it. I had the | :03:28. | :03:32. | |
blues. It went on and on. I was thrilled. I | :03:33. | :03:39. | |
had to get into it. The more the week went on, and Natalie said it | :03:40. | :03:44. | |
had been the best we had been at that stage of the Cobb edition. | :03:45. | :03:48. | |
Our strongest week, our most rehearsed. -- stage of the | :03:49. | :03:56. | |
competition. I was really happy with the way it | :03:57. | :04:01. | |
went. Heartbreaking to go home. | :04:02. | :04:05. | |
Natalie, heartbreaking for these celebs how hard is it the you as the | :04:06. | :04:10. | |
probe? It is really hard. I have been | :04:11. | :04:15. | |
really upset the past couple of days, I have had a little cry. | :04:16. | :04:19. | |
We were at the hassle for Halloween, and the team kept me | :04:20. | :04:27. | |
focused. I am gutted. I have had an amazing journey. It is | :04:28. | :04:33. | |
sad to see it come to a sudden end. You know, the judges said there | :04:34. | :04:38. | |
wasn't enough technique. I apologise to you for not giving a | :04:39. | :04:42. | |
proper jive. Don't be so silly. | :04:43. | :04:49. | |
I have never enjoyed so much putting on my training trousers every | :04:50. | :04:54. | |
morning. I have really loved it. We have gone to the funfair, these | :04:55. | :04:59. | |
roller-coaster rides, this is what it is like. | :05:00. | :05:03. | |
The trepidation, fear, joy, going up and down. It takes you over. That is | :05:04. | :05:10. | |
what Strictly is like. One minute you are positive, then you are | :05:11. | :05:15. | |
tense, then you relax again. It is wonderful, the journey is lovely. | :05:16. | :05:23. | |
And then the fair leaves town. Let us look at your Strictly story. | :05:24. | :05:28. | |
You are going to Ready, Steady, Dance with Natalie! | :05:29. | :05:35. | |
It felt like Christmas. Natalie, I am on my way to you. | :05:36. | :05:40. | |
We are doing a fantastic tango for the first week. | :05:41. | :05:50. | |
It is the longest I have seen you do not smile. | :05:51. | :05:59. | |
Just one eyebrow. No one is going to mess with your | :06:00. | :06:04. | |
tomatoes, you did a brilliant job. A bit of a shimmy. The hips. | :06:05. | :06:12. | |
Are you wearing full penguin outfits? | :06:13. | :06:18. | |
We can't tell you. There was nothing frozen about that | :06:19. | :06:22. | |
performance. Another opportunity to put it right. | :06:23. | :06:26. | |
We need to be in this 24 hours a day. | :06:27. | :06:35. | |
I really enjoyed it, I really did. You expressed a real charm. | :06:36. | :06:40. | |
It is in your body, it becomes part of your life. | :06:41. | :06:46. | |
I want to do you justice, give you the best experience and keep you | :06:47. | :06:51. | |
here as long as possible. Jami and the. | :06:52. | :07:01. | |
He was such a gentleman, a dream to work with. | :07:02. | :07:11. | |
You too, Natalie. Thank you. We have got you a little present. I | :07:12. | :07:18. | |
knew this would happen. We have got you a book with all of your scores. | :07:19. | :07:25. | |
What was your favourite dance, watching that? | :07:26. | :07:29. | |
So many, I love the idea of doing the waltz with Natalie. Out of the | :07:30. | :07:36. | |
five dancers, four were full on. To do the waltz was very calming and | :07:37. | :07:45. | |
showed I had another side personality -- another side, some | :07:46. | :07:49. | |
versatility. Who would you like to see go on and | :07:50. | :07:53. | |
win the trophy? There is so much talent on board, | :07:54. | :08:03. | |
Jay and owner special, the girls, Anita, who can forget Helen. | :08:04. | :08:07. | |
Everybody is steadily improving, so to pick one and say they stand out | :08:08. | :08:12. | |
is wrong. Semifinal day, come back and I might | :08:13. | :08:18. | |
give you a tip. Oh, yes. It has been amazing to watch you dance | :08:19. | :08:19. | |
together, we will miss you. I just want to say the love on | :08:20. | :08:33. | |
social media has been fantastic and I want to thank all of the fans are | :08:34. | :08:37. | |
keeping us here for so long, thank you. | :08:38. | :08:42. | |
Ainsley and Natalie! It is too much. | :08:43. | :08:44. | |
Now, we all know how much work our couples put in to making | :08:45. | :08:47. | |
Strictly a spectacular show, but the work doesn't stop there, oh, no! | :08:48. | :08:50. | |
It's a tightly run ship and, below deck, an army of dazzling ship mates | :08:51. | :08:53. | |
work around the clock, proudly flying the Glitterball flag. | :08:54. | :09:04. | |
Ever wondered how Strictly works, it would never get on TV without our | :09:05. | :09:12. | |
backstage crew. Strictly show days and bustle days | :09:13. | :09:16. | |
go like this, Friday, rehearsal day. Sitting day. | :09:17. | :09:23. | |
And tanning day. What are you doing in here, get out! | :09:24. | :09:29. | |
Look at the schedule. You have a fitting. That will be at | :09:30. | :09:37. | |
1:50pm. The first thing I do is, I looked at | :09:38. | :09:45. | |
the schedule and I'd take a picture. I am Claire, the live studio owner, | :09:46. | :09:50. | |
I keep everyone on schedule and get them into the studio on time. | :09:51. | :09:56. | |
We do all the work on screen and get the glory, but without the people | :09:57. | :10:01. | |
here today, the show would fall apart. | :10:02. | :10:05. | |
We are the camera assistants, there are 11 cameras, we are here to make | :10:06. | :10:13. | |
the show run smoothly. I have never had physio in my life. | :10:14. | :10:17. | |
This, this, you don't want me to start. | :10:18. | :10:25. | |
It is going to be fun. As long as I get the steps right. | :10:26. | :10:32. | |
Sorry, mate, have you got your past? I am the dancer. You still need a | :10:33. | :10:41. | |
pass. The amount of work that goes into it | :10:42. | :10:45. | |
is unbelievable, imagine the most awesome cake, and there's hundreds | :10:46. | :10:51. | |
and thousands on top, know what I mean? | :10:52. | :10:55. | |
In this room are literally the best in the business. | :10:56. | :11:01. | |
Nearly Showtime. My job as floor manager is to get | :11:02. | :11:09. | |
those pros and celebs on the sword ready for the live show. | :11:10. | :11:19. | |
Two minutes before we go live. From the BBC, this is Strictly come | :11:20. | :11:26. | |
dancing. Greg, our floor manager will be | :11:27. | :11:29. | |
bringing out a calendar in time for Christmas! | :11:30. | :11:30. | |
It's not only our couples' dances that have been getting attention. | :11:31. | :11:33. | |
The Strictly dance has been catching on with performances across | :11:34. | :11:35. | |
the nation, including none other than Dangermouse and Albert Square. | :11:36. | :11:38. | |
But now, we want to see your attempts! | :11:39. | :11:40. | |
Send us your version of The Strictly, and you could win two | :11:41. | :11:43. | |
Strictly, in Blackpool, on the 21st of November. | :11:44. | :11:50. | |
for full terms and details on how to send us your entry. | :11:51. | :11:57. | |
After a little stumble last week, my next guest took to the dance | :11:58. | :12:02. | |
floor in full fighting spirit on Saturday night, and it certainly | :12:03. | :12:04. | |
worked it's magic on Len, as he likened him to Samson the warrior! | :12:05. | :12:08. | |
Flex those muscles, it's Jay and Aliona! | :12:09. | :12:28. | |
Our football dance for you, you were brilliant on Saturday. You started | :12:29. | :12:46. | |
on your own with the paso doble. Was that terrifying or did you relish | :12:47. | :12:49. | |
the challenge? It is completely different. A lot of | :12:50. | :12:54. | |
the time I feed off what she is giving me. To feed off yourself is a | :12:55. | :12:58. | |
different feeling. I am just thinking about that! | :12:59. | :13:03. | |
Aliona, you have such confidence in Jade to stand him on his own, and he | :13:04. | :13:08. | |
brings it every time. The safe thing is he is still facing | :13:09. | :13:14. | |
me and we are doing the same steps. That was the safety net. | :13:15. | :13:19. | |
Yes, I think as the weeks go by, Jay is getting more confident with his | :13:20. | :13:25. | |
steps, character, himself, on the dance floor. | :13:26. | :13:28. | |
I can trust him more. I am interested to know, to take | :13:29. | :13:34. | |
what happened last week with the stumble, how do you turn that around | :13:35. | :13:38. | |
and make him confident again? I do not think his confidence went | :13:39. | :13:43. | |
anywhere after the stumble with the quickstep. Each dance is different. | :13:44. | :13:49. | |
Each dance is really different, on its own. You take each week | :13:50. | :13:55. | |
separately. The dance finishes, next week, next dance, a fresh start. I | :13:56. | :14:02. | |
love it. Eight points higher, well done. | :14:03. | :14:07. | |
Darcey said, best arms ever. That is an accolade. | :14:08. | :14:12. | |
You have obviously been working, it is integral, that shaping. There was | :14:13. | :14:18. | |
a lot of work. I tend to slump. We focused on doing that. | :14:19. | :14:27. | |
The fact she maybe do push ups! You are giggling about that. How | :14:28. | :14:30. | |
many? Ten. The whole week? Or every ten | :14:31. | :14:35. | |
minutes. She makes me do them real. Harry had | :14:36. | :14:42. | |
great arms. You know the real way of doing it, and I used to fake it. You | :14:43. | :14:50. | |
have to live up to Harry Judd. No pressure. Last week we made you | :14:51. | :14:58. | |
do paso doble faces. Look at our Aliona. Like that. | :14:59. | :15:05. | |
What is that face? That is what she's doing when you are not | :15:06. | :15:09. | |
looking. Darcey says she wants you to bring character into your face. | :15:10. | :15:14. | |
How is the acting coming along? Naturally with me there is a | :15:15. | :15:18. | |
disconnect between how I feel and doing that with my face. I will try | :15:19. | :15:25. | |
to work with it. Everybody's harshest cricket is | :15:26. | :15:29. | |
their mother, what did Maureen think of your paso doble? | :15:30. | :15:34. | |
She thought it was great, she said we smashed it. She said she can't go | :15:35. | :15:37. | |
into town anymore because people stop her. | :15:38. | :15:41. | |
So she needs security! countdown to my favourite show of | :15:42. | :15:56. | |
the series has commenced! Halloween! We don't to like a make a fuss here, | :15:57. | :16:05. | |
nothing scary in the studio at all! He didn't even flinch! You are going | :16:06. | :16:28. | |
to have to to try harder than that! It was like a gentle caress! It is | :16:29. | :16:36. | |
the American Smooth for you to this weekend, a foxtrot American Smooth. | :16:37. | :16:41. | |
What can you tell us. Aliona, how do you make that scary? Our theme is | :16:42. | :16:48. | |
Little red Riding hood. That's me. Jay is the wolf. It is quite a | :16:49. | :16:56. | |
quirky number. It is a very cheeky foxtrot. It is a lot of fun, with | :16:57. | :17:00. | |
quite strong characters. Good luck for Saturday. | :17:01. | :17:02. | |
Now, every queen has certain duties they must honour, and choreography | :17:03. | :17:08. | |
Unfortunately, this means she's away attending to important services to | :17:09. | :17:13. | |
But, fear not, she's left her Choreography Corner | :17:14. | :17:17. | |
It's former world ballroom champion and five-times British champion, | :17:18. | :17:33. | |
And she is the birthday girl! Thank you for coming to do this. Happy | :17:34. | :17:50. | |
birthday. Four boys have left the competition first. No girls have | :17:51. | :17:54. | |
gone. This is the first time this has happened. What do you think of | :17:55. | :17:59. | |
the standard of dance? The level is so high, you cannot tell who will go | :18:00. | :18:06. | |
out next. I loved your dancing in this import. Let's look at our | :18:07. | :18:10. | |
couples, starting with Carol and Pasha's waltz. | :18:11. | :18:13. | |
Craig said that they lacked energy, and never quite met | :18:14. | :18:17. | |
What does he mean by that, and what does she need to do to improve them? | :18:18. | :18:23. | |
She did do a lovely Viennese waltz, but I do agree with the judges. Her | :18:24. | :18:31. | |
free arm is a bit empty. There isn't enough energy in there. She needs to | :18:32. | :18:35. | |
imagine she is in a massive bowl of thick custard and she is going to | :18:36. | :18:39. | |
reach through it and touch the edge of the bowl. So there is some kind | :18:40. | :18:44. | |
of resistance when she is taking her arms out. She can practice that by | :18:45. | :18:49. | |
somebody pushing her arms down while she pushes them up, so there is | :18:50. | :18:54. | |
energy in there, or if she is on her own, she can time one of those | :18:55. | :18:59. | |
elastics you get in the gym to a door handle, and then she can pull | :19:00. | :19:07. | |
out her arms. That will give resistance. Good tips. | :19:08. | :19:09. | |
They were joint top of the judges' leader board | :19:10. | :19:13. | |
Bruno said that they are on the fast track to the top. | :19:14. | :19:17. | |
What was so good about their quickstep? | :19:18. | :19:22. | |
Helen is fantastic. She has a great understanding of moving her body | :19:23. | :19:28. | |
weight around the floor. She can keep up with Aljaz. The only thing | :19:29. | :19:33. | |
stopping her getting a 10 is the gapping. You can see a big space | :19:34. | :19:40. | |
between them. What has she got to do? Is there a demonstration? She | :19:41. | :19:46. | |
has got to have clear contact points on her body and Aljaz's body. She | :19:47. | :19:53. | |
has to have her right hip just to the left of where Aljaz's belt | :19:54. | :20:01. | |
buckle would be. When they turn to prominent position, when they both | :20:02. | :20:05. | |
go forward, she has got to be like a hinge on the door, and kind of role | :20:06. | :20:11. | |
away from him, still attached to him, but roll into that position. | :20:12. | :20:15. | |
She has got to stay attached to Aljaz all the time? What a | :20:16. | :20:17. | |
nightmare! OK, | :20:18. | :20:18. | |
let's talk about Jeremy and Karen. For the second week in a row, | :20:19. | :20:19. | |
they ended up at the bottom How can they get higher up? Jeromy | :20:20. | :20:35. | |
is so focused and he wants to do well. His attitude is perfect. Karen | :20:36. | :20:40. | |
has made videos of him at home asking if he is doing it right. Look | :20:41. | :20:46. | |
at his left arm. It is perfect. He kept it up the whole dunce, he | :20:47. | :20:52. | |
didn't let it group. The waltz wasn't an energetic, entertaining | :20:53. | :20:56. | |
dance like the other ones he's done, so he needs to have a bit more | :20:57. | :21:00. | |
confidence in it, and not look at Karen all the time. Keep his head | :21:01. | :21:06. | |
forward and use them long legs he has. Lower into the knees and stride | :21:07. | :21:08. | |
across the floor. Darcey said that Anita has really | :21:09. | :21:09. | |
got the others fighting Do you think she has what it | :21:10. | :21:14. | |
takes to go all the way? She definitely has. What I love | :21:15. | :21:27. | |
about her is that she is so focused, and she's up for anything. Gleb | :21:28. | :21:31. | |
gives her some daring and difficult choreography, yet sleep pulls it out | :21:32. | :21:36. | |
of the bag every week. What she did there was a little bit of head | :21:37. | :21:41. | |
Griffey, which I love in the ballroom, being a ballroom girl. I | :21:42. | :21:47. | |
am going to show you it. I have names for these steps, when I teach | :21:48. | :21:52. | |
my kids, we have names for them. What she did was the stair and then | :21:53. | :21:58. | |
the Dracula. And she made a really simple step, which is just one, two | :21:59. | :22:04. | |
and up, looked really interesting. She went like this. No, stair, | :22:05. | :22:13. | |
Dracula. That's why she's a champion. I've got loads of head | :22:14. | :22:18. | |
moves. There's the washing machine, the sleeping beauty... I am really | :22:19. | :22:22. | |
excited to see if she uses that one! OK, | :22:23. | :22:25. | |
let's look at Jamelia and Tristan. Len said Jamelia is more comfortable | :22:26. | :22:27. | |
with the Latin rhythms, and that she Jamelia is a fantastic Latin dancer. | :22:28. | :22:43. | |
She pulled out an amazing charleston because she was so confident and she | :22:44. | :22:47. | |
knew what she was doing. In the ballroom, she is still a bit unsure, | :22:48. | :22:52. | |
so I would like to be more confident in her position. She has to know | :22:53. | :22:57. | |
about the two curves and lock that into her body. Another | :22:58. | :23:02. | |
demonstration! Curve won. She has to get her ribs and slide them over to | :23:03. | :23:07. | |
the left, without tipping. You keep your shoulders and your arms | :23:08. | :23:11. | |
parallel to the floor and you slide over to the left. Obviously, not | :23:12. | :23:15. | |
looking at Tristan. You imagine he hasn't cleaned his teeth! Curve two. | :23:16. | :23:20. | |
Some people think it is like this, but that's a bit like a duck. You | :23:21. | :23:23. | |
have to lift from your bra strap. Lastly today, | :23:24. | :23:28. | |
it's Kirsty and Brendan. They got their highest score | :23:29. | :23:30. | |
so far with their Viennese waltz. That is the best dance she did. She | :23:31. | :23:40. | |
has nailed the position. Her knees are softer, so the movement is | :23:41. | :23:47. | |
softer. She did the perfect work on the fleckerl. Thank you for coming | :23:48. | :23:51. | |
in. Lovely to have you! Finally tonight, | :23:52. | :23:55. | |
Bruno said their waltz was "by the book" on Saturday night, | :23:56. | :23:56. | |
although he also said the book went Well, we're reprinting that book | :23:57. | :23:59. | |
tonight because, thankfully, I loved that your smile shone | :24:00. | :24:29. | |
throughout that waltz when you are on the floor on Saturday night. | :24:30. | :24:35. | |
Through all of the dancers you have done, where is the waltz? It isn't | :24:36. | :24:43. | |
my favourite dance, because I found it rather constraining. The reason I | :24:44. | :24:46. | |
wasn't smiling was because my mouth was the only bit of my body I was | :24:47. | :24:51. | |
allowed to move. You are locked. Karen just said, don't look at me! | :24:52. | :24:59. | |
Hold your arms up! So, I was like, the smile is allowed. And I was | :25:00. | :25:04. | |
enjoying it. The last 24 hours we just began to get on track with it, | :25:05. | :25:09. | |
or so we thought. It was a lovely dance with my friend here. We love | :25:10. | :25:15. | |
your friendship. You are so close. And of course, Elvis Costello left | :25:16. | :25:20. | |
you a message. We know you are a massive fan. It was a genuine | :25:21. | :25:27. | |
surprise. I didn't know that they had been in touch with him. He | :25:28. | :25:30. | |
said, don't take any unnecessary risks. I took that to heart. We have | :25:31. | :25:37. | |
had a problem in the past where I have done and unauthorised wink. He | :25:38. | :25:45. | |
goes off-piste? I want to know about the wink! When Bruno said that was | :25:46. | :25:52. | |
from the book 50 years ago, I thought, I could blame Elvis for | :25:53. | :25:57. | |
that, because I played it straight. The waltz needs to be played | :25:58. | :26:01. | |
straight. I thought you were elegant and romantic. And you kept that | :26:02. | :26:06. | |
smile there! I was like, look at those teeth! The thing is, you have | :26:07. | :26:12. | |
such a great friendship. Do you get nervous for Jeromy before he goes | :26:13. | :26:19. | |
out, thinking about everything? He is constantly practising. I am quite | :26:20. | :26:23. | |
secure that he is going to get all the steps right, and his timing and | :26:24. | :26:29. | |
everything. We go out there and we enjoy ourselves. We do not think | :26:30. | :26:32. | |
about the pressure or anything. The only trouble comes just before | :26:33. | :26:38. | |
performing -- performing. A couple of weeks ago, I said is the first | :26:39. | :26:47. | |
step left or right? And I panicked. That is quite common. You think, | :26:48. | :26:53. | |
what is the first step? I said, just relax, and it will come to you. They | :26:54. | :26:59. | |
call it muscle memory, and it is something I have discovered through | :27:00. | :27:01. | |
the context. Your muscles remember even if your brain temporarily | :27:02. | :27:08. | |
forgets. Len was saying that you dance to your height. Has your | :27:09. | :27:14. | |
height ever been a hindrance? You cannot drive a mini. It is quite | :27:15. | :27:20. | |
good at conferences -- concerts, because you can see over everyone's | :27:21. | :27:25. | |
heads. I met a great Natalie Lowe once, and she said, dance to your | :27:26. | :27:32. | |
height! She had -- I had a smartphone posture, which All Blacks | :27:33. | :27:39. | |
have, looking down. Karen says it's me over and over again. Do I talk | :27:40. | :27:47. | |
like that? She says, dance to your height. And I think that goes for | :27:48. | :27:52. | |
the whole of life. We all of us spend too much time looking down. Or | :27:53. | :27:59. | |
I will flat you in the back! It is Halloween. You are dancing the | :28:00. | :28:04. | |
south. What can you tell me about this weekend's performance? We are | :28:05. | :28:10. | |
practising this. It is a salsa thing. There was that action going | :28:11. | :28:16. | |
on as well. It is going to be a bit scary! Spoons, forks, the whole lot! | :28:17. | :28:27. | |
Hip action. I say those two words. Let's see the eyes. It needs to come | :28:28. | :28:32. | |
through the hips, as the judges said. How scary my hips are, I don't | :28:33. | :28:40. | |
know! Good luck this weekend, Jeremy and Karen! | :28:41. | :28:43. | |
A big thank you to all of our guests. | :28:44. | :28:46. | |
Join me tomorrow, when I'll be chatting to one of the couples | :28:47. | :28:49. | |
who were joint top of the judges' leader board, Kellie and Kevin. | :28:50. | :28:52. | |
And this week's survivors, Jamelia and Tristan. | :28:53. | :28:54. | |
Plus, we'll be finding out what spooky songs | :28:55. | :28:55. | |
our couples will be dancing to in this weekend's Halloween Special! | :28:56. | :28:58. | |
# There's nothing you can do that can't be done | :28:59. | :29:04. | |
# Nothing you can say but you can learn how to play the game | :29:05. | :29:10. |