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It's all happening tonight, folks, we've critique. We have fashion. We | :00:00. | :00:17. | |
have glitz. We have glamour. And now, we have you! Welcome. | :00:18. | :01:02. | |
Live from London, this is Strictly It Takes Two. Please welcome your | :01:03. | :01:08. | |
host, Zoe Ball. CHEERING AND | :01:09. | :01:15. | |
APPLAUSE Hello. Welcome to it takes two. In our glamorous green room we | :01:16. | :01:23. | |
have Katie and Anton. Lovely teeth. Ian Waite is back to cast his eye | :01:24. | :01:29. | |
over our couples in training. Plus, our very own frock star, Vicky Gill | :01:30. | :01:36. | |
is here to give us a sneaky peek inside this week's Wardrope. On | :01:37. | :01:39. | |
Saturday night, they proved they were not afraid of no ghosts they | :01:40. | :01:49. | |
tang owed their way to the top. It's Georgia and Jee. -- Joffe an. | :01:50. | :01:59. | |
Giovanni. They are here. Thank goodness. You cheeky ghost-chasers. | :02:00. | :02:05. | |
You were fantastic on Saturday night. It was one of my favourite | :02:06. | :02:10. | |
dances of the night. Top of the heap. The number one. At last. How | :02:11. | :02:14. | |
does it feel, Georgia, to final which be up there top on the judge's | :02:15. | :02:19. | |
leaderboard? I don't think it's sunk in. It's amazing. We've worked so | :02:20. | :02:25. | |
hard. It's all I've been wanting and hoping for. To do it, amazing. Did | :02:26. | :02:30. | |
you have a feeling at the end of it, that went really, really well? Yeah, | :02:31. | :02:35. | |
we looked at each other. I got this cockiness about me. Yeah. Then, I | :02:36. | :02:40. | |
don't know. I got to the judges and thought that might have been amazing | :02:41. | :02:43. | |
but they might not have liked it. But they did. You never know, | :02:44. | :02:49. | |
though. Len loved it so much he crowned you the Queen of | :02:50. | :02:53. | |
Halloweenment were you hysterical with glee. What were the best thing | :02:54. | :02:58. | |
the judges said? Do you remember? I was hysterical. I was awful. Like a | :02:59. | :03:03. | |
little kid. Did she calm down the rest of the night? I've been like | :03:04. | :03:08. | |
that all week. Still like that. Were awe a little bit like that on the | :03:09. | :03:16. | |
inside Giovanni? Yes, a little bit. That cool Italian exterior. Three | :03:17. | :03:22. | |
9s. Your highest score. Can you keep that stand card up? I hope so. I try | :03:23. | :03:28. | |
to do my best. Carry on like this. Keep focus on the competition. Work | :03:29. | :03:33. | |
hard. We will be fine. Fantastic. Do you feel like something's changed a | :03:34. | :03:37. | |
bit, doing that well? Last week was so much fun. It was probably the | :03:38. | :03:44. | |
best opportunity to have that fun with it being Halloween. I was like, | :03:45. | :03:48. | |
go out there and enjoy yourself. Something did change. I'm in good | :03:49. | :03:53. | |
spirits. Carry that on into the weekend. Are you starting to feel | :03:54. | :03:58. | |
competitive now? Has that changed at all? You are. The pros are really | :03:59. | :04:05. | |
competitive. They are natural competitors. Want to do really well. | :04:06. | :04:10. | |
Sportsmen are often competitive. Are you like, hang on, I want to get to | :04:11. | :04:15. | |
Blackpool, the final. I would love to get to Blackpool and the final. | :04:16. | :04:20. | |
I'm not going to lie. Not competitive in a bad way. ? | :04:21. | :04:24. | |
Confident. This is the most amazing opportunity I've been given. I just | :04:25. | :04:28. | |
want to get as far as I can. That's my aim. To just get as far as I can. | :04:29. | :04:35. | |
So, so good. Were your family proud of that performance? So proud. I | :04:36. | :04:39. | |
rang them all. They were all dressed up for Halloween. I was like, who's | :04:40. | :04:49. | |
that? Shrek? Mum, dressed as Shrek. The judges commended you on the | :04:50. | :04:53. | |
speed and content, Giovanni. You must have been chuffed. How excited | :04:54. | :05:00. | |
does it make you to see Georgia's ability be so good? To be honest, | :05:01. | :05:07. | |
when you work with somebody like Georgia what can Cannes, she really | :05:08. | :05:10. | |
works hard in the training room every day, every week. It's easy. | :05:11. | :05:17. | |
Really easy. Thanks. But... There's always a but. I do whinge a lot. I'm | :05:18. | :05:24. | |
always tired. I just want to say I'm really proud and really happy to | :05:25. | :05:28. | |
dance with you. After week 7, I'm really happy to dance with you. | :05:29. | :05:34. | |
Timy. He finally gives in. You must be missing your family? I enjoy the | :05:35. | :05:40. | |
show. I miss my family but loving every minute on Strictly. After the | :05:41. | :05:45. | |
final, we've time for family. We thought it would be nice to see your | :05:46. | :05:51. | |
family. Hopefully, we can say, come in Sicily. | :05:52. | :05:55. | |
CHEERING CHEERING | :05:56. | :06:00. | |
That's your family? My sister and Mahela Jayawardene. Choi! | :06:01. | :06:05. | |
ALL: Choi. There's a lot of woman in your life, | :06:06. | :06:22. | |
Giovanni. You want to speak to your sister or mother? SPEAKING ITALIAN | :06:23. | :06:51. | |
We're all going! Were they saying how proud they were of you? They are | :06:52. | :06:57. | |
proud of me. That's so lovely. You have a hanky in your pocket. You can | :06:58. | :07:02. | |
use that. Will you say thanks to them for coming on the show. I don't | :07:03. | :07:07. | |
speak Italian. They are really proud of me. Give them lots of love from | :07:08. | :07:16. | |
everybody on it takes two. It's difficult to say. SPEAKING ITALIAN | :07:17. | :07:31. | |
Choi! Wasn't that a nice thing to do. Next week, they'll all be here. | :07:32. | :07:39. | |
Tell me about your samba? What's the concept behind your samba this week? | :07:40. | :07:45. | |
She pretends to be an actress. This is awful. This was at the beginning. | :07:46. | :07:50. | |
It is the beginning of the week. Please don't show this. It gets much | :07:51. | :07:56. | |
better. There's the horse. How are you finding the samba technique? Any | :07:57. | :08:05. | |
samba rolls? Yes, special samba work. A lot of content. I don't know | :08:06. | :08:14. | |
why, I love content. It's very fast. We nearly keep hitting the pillars | :08:15. | :08:17. | |
in the training room. They are not in a very handy place. Good luck | :08:18. | :08:22. | |
this weekend. Keep up the brilliance. Really lovely seeing | :08:23. | :08:26. | |
your mum and sister and family. Georgia and Giovanni. I was going to | :08:27. | :08:32. | |
try to say something in Italian. I chickened out and said, see, see! | :08:33. | :08:38. | |
Imagine if you will, the Teletubbies doing Strictly. Imagine no more. | :08:39. | :08:43. | |
Have a look at this. , Lala, Po, Tinky Winky and Dipsy. | :08:44. | :09:39. | |
If you can do he better than the Teletubbies, send in your attempt | :09:40. | :09:44. | |
and possibly win tickets to Strictly in Blackpool. Shall we talk garments | :09:45. | :09:48. | |
around garbs? The divine Vicky Gill is here. Well | :09:49. | :10:05. | |
done last weekend. Halloween was an absolute spectacular. Did you have a | :10:06. | :10:08. | |
personal favourite? A little look at the end? I thought Helen. I liked... | :10:09. | :10:15. | |
The mummy. I liked what we achieved. With bandages. Return to normal this | :10:16. | :10:21. | |
week if that ever happens. Is if ever normal? It's bonkers, we very | :10:22. | :10:28. | |
dates where we think it'll be fine. But it's never ending November, I | :10:29. | :10:33. | |
need an add vented calendar for every day in November. Let's look at | :10:34. | :10:37. | |
Katie's dress. She's doing a quickstep. 42nd Street is the music. | :10:38. | :10:42. | |
Looks like you're going old school here. This is stunning? Absolutely. | :10:43. | :10:48. | |
Anton is our ballroom superstar. King of ballroom. He will be | :10:49. | :10:54. | |
delighted if Katie had a more treadationle ballroom dress. It is a | :10:55. | :10:59. | |
long line. Eight panels. Eight to ten metres of boa running through | :11:00. | :11:04. | |
the hem. We've broken the boa, different colours through the | :11:05. | :11:08. | |
panels. Katie's in the house tonight so even if she hates it... I'm | :11:09. | :11:13. | |
trying to gauge the look an other face. Give her more wine! It's a | :11:14. | :11:23. | |
goday. Haven't haven't seen one of those in ages. Everyone loves the | :11:24. | :11:28. | |
crystals but we will apply more once we get to studio. Once we've met | :11:29. | :11:32. | |
with Katie, talked about it, we'll decide where that will happen. She's | :11:33. | :11:38. | |
going to be our own Ginger Rogers. You'll rock that, Katie. An always, | :11:39. | :11:43. | |
longer than this usually. Gone short. Why? This isn't a traditional | :11:44. | :11:53. | |
ballroom dress. Katie's -- Kellie's had shorter lines. I'm getting | :11:54. | :11:59. | |
confused.ility I don't help. Kellie is very petite. This is the reverse | :12:00. | :12:06. | |
bluff, thanks, Vicky. Shorter length. Because she's petite, I | :12:07. | :12:11. | |
don't want long lines and feathers. They may happen at some point. It's | :12:12. | :12:16. | |
really fun, very light. I think it's pushing the boundaries a bit. | :12:17. | :12:19. | |
Hopefully it will make it to live. Sometimes we watch the show and that | :12:20. | :12:24. | |
dress is on someone else. This is Georgia's samba. They're doing an | :12:25. | :12:29. | |
Italian Riviera number with the samba feel. You've brought that out | :12:30. | :12:37. | |
in the designs. A flamenco vibe. Use polka dot to embrace that. Not | :12:38. | :12:41. | |
traditional red and black. Just a nod to it. All the gaps within the | :12:42. | :12:46. | |
polka dot will be crystalled in topaz and crystal ab. It will be | :12:47. | :12:51. | |
sparkly with the polka dot base. Nice interesting detail on the back. | :12:52. | :12:56. | |
Looks low on the sketch. There will be a basque. No bums. Family show. | :12:57. | :13:02. | |
An elastic detail running down the back. We made add more on Friday. | :13:03. | :13:07. | |
See what Giovanni says. Great movement when she does her lovely | :13:08. | :13:13. | |
hips. That's it, really. Finally, we have Helen's rumba. Dancing to | :13:14. | :13:20. | |
Adele. We all keep going into a bad rumba, singing it constantly. This | :13:21. | :13:27. | |
is unusual for rumba? It is. It's a very modern trackment Helen embraces | :13:28. | :13:33. | |
lots of different styles. Long line, a shirt dress vibe. Had George the | :13:34. | :13:42. | |
so sheer. -- George yet, with crystalled ab. Shorts and a crop top | :13:43. | :13:47. | |
with a see # Through shirt over the top? Kids, | :13:48. | :13:52. | |
I say kids, they're kids to me. Young people are wearing things like | :13:53. | :13:57. | |
that at the moment? They are. It is unusual. We may see it on Saturday? | :13:58. | :14:03. | |
If Helen's comfortable, I hope we do. We always have a skirt in the | :14:04. | :14:12. | |
background. The emergency skirt. Always giggly and gorgeous Vicky | :14:13. | :14:18. | |
Gill. The Strictly dresses are adorned with thousands and thousands | :14:19. | :14:21. | |
of sparkly gems. How do you do that by hand? Shall we find out? ? My | :14:22. | :14:34. | |
name is Vicky I work in the stoning department. Everyone likes sparkle | :14:35. | :14:37. | |
and each dress contains up to 9000 stones. All of your dresses are | :14:38. | :14:42. | |
passed through Ash, putting the finishing touches to the dresses. We | :14:43. | :14:47. | |
use beeswax. You attach it to a stick which enables us to pick up | :14:48. | :14:50. | |
the stones and place them on to the dress. It is sticky enough to pick | :14:51. | :14:57. | |
up the stone, but not too sticky so that you can't place it on the | :14:58. | :15:00. | |
dress, that is my trick of the trade. Thank you Becky and Ash from | :15:01. | :15:08. | |
the stoning department. The weight is over, he is back for more, thank | :15:09. | :15:10. | |
goodness. Ian Waite is here. Happy bonfire | :15:11. | :15:31. | |
night. Fantastic. Watch this. Oh. Amazing. You and your clever tools. | :15:32. | :15:39. | |
With all of the pyrotechnics, I thought I should have it. Can you | :15:40. | :15:43. | |
imagine if he sets everything on fire? Second knock of couples, | :15:44. | :15:48. | |
Jeremy and Karen. They are doing a tango for the first time. He was not | :15:49. | :15:52. | |
the bottom of the leaderboard for the first time in weeks. Very happy. | :15:53. | :15:56. | |
Is he on the up, this is looking good? He had a nice, compact frame. | :15:57. | :16:01. | |
Sometimes he's missing his heel leaves, a must in Tango, because you | :16:02. | :16:12. | |
are down and you need the heel leads. I am pointing out the fact | :16:13. | :16:19. | |
that there is quite a big gap. It is created because he has opened his | :16:20. | :16:25. | |
left side. That means his right shoulder is going forward. | :16:26. | :16:29. | |
How should he correct that? He needs to bring his left side forward in | :16:30. | :16:37. | |
the promenade position which will get his right shoulder back. Then he | :16:38. | :16:44. | |
will be in the right position. His body will turn around and be flat | :16:45. | :16:47. | |
against Karen's. Looking promising, I am liking the look of that. George | :16:48. | :16:55. | |
and Giovanni are doing a Samba. So lovely. -- Georgia. There has been a | :16:56. | :17:01. | |
funny discussion between Anton and Ian and Giovanni, there is no double | :17:02. | :17:04. | |
bounce, does not exist, it is a single bounce? Whatever | :17:05. | :17:10. | |
interpretation you want to mate. Craig made it up. Have a look at | :17:11. | :17:17. | |
this, how is their bounce, single? There is some really great voltas in | :17:18. | :17:23. | |
their, lovely action into the floor. Sometimes she doesn't lower her | :17:24. | :17:28. | |
foot. As you can see. Sometimes it has just got to go... Down. Her heel | :17:29. | :17:34. | |
has to go flat. The ball of her foot has to go flat. There has to be a | :17:35. | :17:40. | |
straightening at some point. If we do a shadow Botafogo. What is that? | :17:41. | :17:54. | |
One, two. One and two. Never look at me for tips. It's so confusing. You | :17:55. | :18:01. | |
were so much better in the hustle. I was so much better 58 years ago! I | :18:02. | :18:07. | |
have seized up in my old age. She needs to make sure she finishes it | :18:08. | :18:11. | |
off. Argentine Tango, first of the series. It is very exciting and it | :18:12. | :18:16. | |
goes to Jay and Aliona. Potential for a while? Not so sure? Not at the | :18:17. | :18:23. | |
moment. This is only Tuesday's footage. It is not quite beefy | :18:24. | :18:27. | |
finesse we expect from Jay. Early days. -- not exactly the. He needs | :18:28. | :18:34. | |
to create a lot more drama in this dance. Looking like he is walking | :18:35. | :18:39. | |
through the steps. There has to be that sort of emotional contact. It | :18:40. | :18:43. | |
has to be very dramatic. Quite moody. Very moody and intimate. It | :18:44. | :18:49. | |
is almost done just between the two of you, you cannot show off to the | :18:50. | :18:53. | |
audience, it is about you two. You look at the lady or look away? There | :18:54. | :18:58. | |
are times when you look at her. But it is more about feeling that she is | :18:59. | :19:02. | |
there, you look down your nose. I can feel her. Like you can smell | :19:03. | :19:08. | |
her. Hopefully she smells good and she has brushed all her teeth. | :19:09. | :19:11. | |
Kellie and Kevin dancing a waltz. Vintage take that. Love Ain't Here | :19:12. | :19:23. | |
Anymore. How is it looking? Kevin has stolen Anton's look, he can't | :19:24. | :19:29. | |
find his own identity! He does a lovely double reverse then. They do | :19:30. | :19:35. | |
three double reverse bins, absolutely perfect. Not a lot wrong | :19:36. | :19:40. | |
with this. -- reverse spins. As a standing spin, she's doing sideways | :19:41. | :19:44. | |
steps. Really, it would be nice if she did forward steps. Forward | :19:45. | :19:50. | |
steps. Like a run forward? Try and do it. That it. She ran forward and | :19:51. | :19:55. | |
then it would be more efficient and you would go faster. Do you see what | :19:56. | :20:03. | |
I mean? Yes. You can't trot. Was that aimed at me? Anita and Gleb | :20:04. | :20:14. | |
dancing the drive -- jive. I love the purple socks from Gleb, | :20:15. | :20:19. | |
particularly nice. Lots of energy, great. Basic action is quite good. | :20:20. | :20:23. | |
She has to be careful that she doesn't... But she looks a bit weak | :20:24. | :20:29. | |
in places, she needs to create a strength. I wanted to highlight this | :20:30. | :20:37. | |
area. Feet. In order to do that, she needs to pull up from here and tuck | :20:38. | :20:41. | |
her tummy in. That will get her weight over the balls of her seat | :20:42. | :20:44. | |
and she can pick up her knees more and shaped like this. And we get the | :20:45. | :20:50. | |
lovely action. She is getting her heels down, which is part of the | :20:51. | :20:54. | |
technique of the drive. Very quickly, we are losing more and more | :20:55. | :20:58. | |
couples at the end of this weekend, nine couples left, who is in danger | :20:59. | :21:02. | |
of losing their legwarmers? I can only go by who, for me, is not the | :21:03. | :21:09. | |
strongest answer, Carol and Jeromy. The public love them. Until we meet | :21:10. | :21:13. | |
again, our dear friend in pink trousers, Ian Waite. CHEERING | :21:14. | :21:19. | |
Friday's are now super-sized and this is your super-sized reminder. | :21:20. | :21:25. | |
Huge. We mark Remembrance Day by celebrating the story of one amazing | :21:26. | :21:29. | |
dancing couple. Robin Windsor continues his journey through the | :21:30. | :21:33. | |
Strictly dictionary. Boy do they know how to make an entrance. | :21:34. | :21:36. | |
Alexander Armstrong will be performing live in the It Takes Two | :21:37. | :21:47. | |
studio. Live every Friday at 6pm. Thank you, JB werewolf. The Phantom | :21:48. | :21:51. | |
of the Opera paso doble may have got mixed reviews from the judges but | :21:52. | :21:55. | |
they will always get a standing ovation from us. Katie and Anton. | :21:56. | :22:03. | |
Here they are, welcome. Hello my beauties, your performance on | :22:04. | :22:19. | |
Saturday, opening the show, full of drama and the tricks, how did you | :22:20. | :22:25. | |
feel in that mysterious lovely, long flowing wig? Coming through the | :22:26. | :22:29. | |
mist? I was there a bright and as I live and breathe. -- Sarah | :22:30. | :22:37. | |
Brightman. I loved opening the show. We had a gondola! It was tremendous | :22:38. | :22:41. | |
from start to finish, I say from start to finish comment of the | :22:42. | :22:45. | |
judges started is big. Until then we had a lovely time. Were you any more | :22:46. | :22:49. | |
nervous opening the show and it being Halloween or do you always | :22:50. | :22:54. | |
feel that way? I was quite nervous, always am. It was quite an honour to | :22:55. | :22:58. | |
be asked to open the show on Halloween, I was quite chuffed. And | :22:59. | :23:03. | |
you were. I was thrilled, excited, I don't think I have ever opened the | :23:04. | :23:06. | |
show before. I have never once started it off. How dare they? The | :23:07. | :23:13. | |
judges did give you quite a hard time. I am imagining... I thought | :23:14. | :23:17. | |
this must be upsetting and if it had been me, I would have cried, you | :23:18. | :23:21. | |
were very brave. Darcey said there were positives, she is seeing | :23:22. | :23:24. | |
improvement. And you are working in the right direction. She's yet you | :23:25. | :23:31. | |
look nice. That's what she said. Improvement. You look nice. I have | :23:32. | :23:35. | |
been in your position, when you are working that hard and it is very | :23:36. | :23:40. | |
emotional, it is very hard and you are working hard, you do need to | :23:41. | :23:43. | |
hear some positives from the judges. Bless you that you did | :23:44. | :23:49. | |
mention the one little glinting straw of positivity in the rough of | :23:50. | :23:57. | |
gloom. How was that for you? To finish that dance and hear those | :23:58. | :24:02. | |
comments. I felt a bit deflated. Is that the right word to describe my | :24:03. | :24:07. | |
mood? Yeah. We worked hard and we enjoyed it and the audience were on | :24:08. | :24:10. | |
their feet and everybody said nice things before. It was going to be | :24:11. | :24:14. | |
great. I was feeling perky going over there as I approached the | :24:15. | :24:17. | |
judges. And then I looked at their faces. You know when you just go, | :24:18. | :24:24. | |
oh. It really is Halloween. Their faces never change. Anton, did you | :24:25. | :24:30. | |
have a cry? I would have. I was behind the mask, it was quite nice. | :24:31. | :24:35. | |
It wasn't great, need to be honest but it was so damning. The comments, | :24:36. | :24:41. | |
after the cells as well, you don't mind a comment like make sure you | :24:42. | :24:44. | |
stating your leg --. After salsa like Ian says. Your shadow Botafogo | :24:45. | :24:54. | |
is great. But you don't like it when they said it is rubbish. All of it? | :24:55. | :25:00. | |
Lovely smoke! There was a boat! And a cape! It wafted off on its own. | :25:01. | :25:06. | |
That's worth something, nothing. Nothing at all. Would miss me. What | :25:07. | :25:12. | |
do you say to the judges? Can you say later in the bar say, could you | :25:13. | :25:18. | |
just... Not really, because they say it wasn't very good. You don't get a | :25:19. | :25:23. | |
chance to speak to them. The problem is that you get in a situation where | :25:24. | :25:27. | |
you disregard the comments a bit, because they are sort of so | :25:28. | :25:32. | |
unhelpful. And then you say, fair enough and then I say it was good, | :25:33. | :25:37. | |
this, that and I don't think it was too bad, that was quite good. Let's | :25:38. | :25:41. | |
put that to bed and work towards the quickstep and you move on. It is | :25:42. | :25:46. | |
nice to have each other. It's all you've got sometimes. You will | :25:47. | :25:50. | |
always be there for him and him before you. Let's move on to the | :25:51. | :25:56. | |
quickstep. I am thinking it is going to be a cracker. You are dancing to | :25:57. | :26:02. | |
42nd street, I'm so jealous. How is it going? Look at this. It looks | :26:03. | :26:06. | |
good. Flowery leggings and everything. Beautiful. Go, go, go, | :26:07. | :26:15. | |
go, go. Oh! Ian said you have crammed it full of intricate | :26:16. | :26:19. | |
choreography. Is she picking it up fast? It is coming together nicely, | :26:20. | :26:24. | |
today was good, coming together. As the week goes, as you know, you | :26:25. | :26:28. | |
start to learn it and realise you don't know it and then you have to | :26:29. | :26:31. | |
do it to music and it is Thursday already. Panic. Then you get it up | :26:32. | :26:37. | |
to speed and then you say I feel it, now. Feel it. We were there, today | :26:38. | :26:43. | |
and it is great. I have a thing with a hat and a cane. The dress will be | :26:44. | :26:47. | |
incredible. You are always delightful as there is a lot of love | :26:48. | :26:52. | |
for us, for you. Katie and Anton! Thank you. 42nd St. It is safe to | :26:53. | :26:57. | |
say the training gets tougher the longer you stay in the competition, | :26:58. | :27:01. | |
sorry Katie let's see. How some of our couples are handling that | :27:02. | :27:06. | |
stress. I am enjoying the number. We are trying to find the emotion of | :27:07. | :27:12. | |
it. -- the Rumba. This will be a rough, emotional love story. Look at | :27:13. | :27:17. | |
me. I don't want to. It is very dramatic and lots of moments when | :27:18. | :27:19. | |
you come together and pull apart, I keep hitting him very hard. That's | :27:20. | :27:24. | |
OK. There are a lot of times we have come together and one of us needs. | :27:25. | :27:31. | |
Yes and no moves. Yes, no, no, no, yes. Yes, no, maybe, who knows? That | :27:32. | :27:40. | |
feels good, doesn't it? Yeah. This week is the Charleston. Robbie the | :27:41. | :27:43. | |
most fun I have had since the beginning of this competition. Boom, | :27:44. | :27:48. | |
boom, bang, bang. It is really sitting into this style. It is | :27:49. | :27:53. | |
almost in his blood. I feel like I am working for my dollar. I have | :27:54. | :27:56. | |
been too nervous and focusing on the steps in the past to really enjoy | :27:57. | :28:01. | |
the performance. I want to do that. There are three really big lifts. It | :28:02. | :28:06. | |
is my first ever attempt of doing a lift. I am scared, but if I do it | :28:07. | :28:10. | |
right, it will be a real show stopper. Sorry, I get excited. | :28:11. | :28:18. | |
It Takes Two studio with views of London city. You only have one glove | :28:19. | :28:33. | |
on. Our couples are safely enjoying their sparklers and eating their | :28:34. | :28:38. | |
apples. Let me tell you what we have in store tomorrow. What time do we | :28:39. | :28:47. | |
start? 6pm! 6pm. Are you on fire Anton du Beke? I will serve up | :28:48. | :28:52. | |
Kellie and Kevin, Anita and Gleb, Carol and Pasha and Alexander | :28:53. | :28:54. | |
Armstrong will sing. Good night! | :28:55. | :28:59. |