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Live from London, this is Strictly
It Takes Two. Please welcome your | 0:00:48 | 0:00:54 | |
host, Zoe Ball! | 0:00:54 | 0:00:57 | |
CHEERING AND APPLAUSE | 0:00:57 | 0:00:59 | |
Hello and welcome to It Takes Two! | 0:00:59 | 0:01:01 | |
The only show recommended by medical
professionals to help | 0:01:01 | 0:01:03 | |
cure your mid-week Strictly blues. | 0:01:03 | 0:01:07 | |
It's true. | 0:01:07 | 0:01:08 | |
Case in point - take
a look at my Green Room. | 0:01:08 | 0:01:12 | |
Just what the Doctor ordered. | 0:01:12 | 0:01:14 | |
We have Ruth and Anton! | 0:01:14 | 0:01:15 | |
CHEERING | 0:01:15 | 0:01:17 | |
Aston and Janette! | 0:01:17 | 0:01:19 | |
CHEERING | 0:01:19 | 0:01:24 | |
And Alexandra and Gorka! | 0:01:24 | 0:01:25 | |
CHEERING | 0:01:25 | 0:01:33 | |
Plus, with Hallowe'en fast
approaching, Ian Waite | 0:01:33 | 0:01:34 | |
is here for a first look at this
weekend's ghoulish delights! | 0:01:34 | 0:01:37 | |
CHEERING | 0:01:37 | 0:01:38 | |
But, right now, Cabin Doors
to manual, please. | 0:01:38 | 0:01:40 | |
DING DONG! | 0:01:40 | 0:01:41 | |
This is a Passenger Announcement. | 0:01:41 | 0:01:43 | |
Can Ruth Langsford and
Anton du Beke please | 0:01:43 | 0:01:45 | |
report to Gate Ten immediately? | 0:01:45 | 0:01:47 | |
Your interview is
ready for take-off. | 0:01:47 | 0:01:57 | |
# Club is in the air... I loved it
for a comedy and the showbiz, it | 0:01:58 | 0:02:04 | |
didn't love it for the technique.
Lots of content, the wrong foot a | 0:02:04 | 0:02:10 | |
little bit but who cares? Please
hold onto this fun side, it is | 0:02:10 | 0:02:15 | |
fabulous, your energy came alive on
the dance floor! | 0:02:15 | 0:02:20 | |
Ruth and Anton, everyone! | 0:02:20 | 0:02:29 | |
I can't get enough of that act as
neither can those people out there. | 0:02:29 | 0:02:34 | |
Look at them, they are so knowing!
It was a first-class dance, how much | 0:02:34 | 0:02:39 | |
should you enjoyed your experience?
That is the first time the nerves | 0:02:39 | 0:02:45 | |
left me, I can't watch because I did
make some mistakes. But I loved it | 0:02:45 | 0:02:49 | |
so much, I was very nervous until we
did the reveal, if this doesn't | 0:02:49 | 0:02:55 | |
work, if it gets stuck or I do not
do it at the same time Anton, it | 0:02:55 | 0:03:00 | |
will be a cringe moment. Once the
code came off and the audience went | 0:03:00 | 0:03:04 | |
wild, I just threw myself into it.
But the rest of my life, I will have | 0:03:04 | 0:03:09 | |
imprinted in my mind, we were
face-to-face across the floor and | 0:03:09 | 0:03:12 | |
all I could see was Anton in those
sleeves and the sequinned trousers | 0:03:12 | 0:03:17 | |
and I thought whenever I'm sad, I'm
going to poll out that picture. Can | 0:03:17 | 0:03:22 | |
we see it in slow motion? The Bucks
Fizz moment. There she blows! Look | 0:03:22 | 0:03:30 | |
at that! Anton with such gusto! You
must have been so hot. Those | 0:03:30 | 0:03:37 | |
costumes get warm and you have
double layers. I had velvet. Yes. | 0:03:37 | 0:03:43 | |
Tell them... What? Subtitles are
available! I love this! I haven't | 0:03:43 | 0:03:54 | |
told payment or Jack and I wanted it
to be is a prize and I said, what | 0:03:54 | 0:03:58 | |
did you think when I walked out in
the Blue dress? He said, I was | 0:03:58 | 0:04:02 | |
really cross with you. I just
thought, what have they put her in, | 0:04:02 | 0:04:06 | |
that is so typical of Ruth not to
make a bus, they put her in that and | 0:04:06 | 0:04:11 | |
stupid hair until I ripped it off
and it made sense. I love that, that | 0:04:11 | 0:04:17 | |
is brilliant. Did you have an
inkling, sir, those trousers might | 0:04:17 | 0:04:21 | |
steal the show? Last week, we said
among the team, what we need right | 0:04:21 | 0:04:26 | |
now in this competition is Anton in
a catsuit. He went one better. We | 0:04:26 | 0:04:31 | |
thought about a catsuit. We were
thinking about a catsuit. I was so | 0:04:31 | 0:04:38 | |
delighted that the reveal think was
not leaked. And the reaction from | 0:04:38 | 0:04:43 | |
Ayman was what we were wanting.
Sometimes, you end up walking down | 0:04:43 | 0:04:48 | |
the stairs and giving the game away.
But it was an ill fitting suit and | 0:04:48 | 0:04:52 | |
all that. Exactly what we were
after, I loved that reaction. We had | 0:04:52 | 0:04:59 | |
to be Cavanaugh to stick together,
we were full of magnets! -- we had | 0:04:59 | 0:05:04 | |
to be careful. Things like that
coming you do not want to give it | 0:05:04 | 0:05:11 | |
has to be a shock to the audience.
Because the room just goes wild. And | 0:05:11 | 0:05:16 | |
live shoe for the number. And the
number makes sense because the | 0:05:16 | 0:05:19 | |
reveal was retro. And Shirley gave
you a six and she said she | 0:05:19 | 0:05:29 | |
recognised the choreography, did you
do it on purpose? It was stolen from | 0:05:29 | 0:05:33 | |
her repertoire from 1976. It was a
hot marsh. She definitely loved | 0:05:33 | 0:05:39 | |
that. Despite the judges lovingly
impolite entertainment, the scores, | 0:05:39 | 0:05:45 | |
we didn't get those up. I had such a
good time. And they still said nice | 0:05:45 | 0:05:54 | |
things. I think people forget a lot
of the marks are also based on | 0:05:54 | 0:05:59 | |
technical things and I did go wrong
a couple of times. I don't remember | 0:05:59 | 0:06:03 | |
you going wrong. It might have been
the glare! It was your own sleeve! | 0:06:03 | 0:06:10 | |
It is up to the judges. People are
voting and thank you whoever voted. | 0:06:10 | 0:06:16 | |
I'm thrilled. Hallowe'en week. And
it is Quickstep and you have great | 0:06:16 | 0:06:22 | |
music. Let's hear it.
Is Anton slotting into the clueless | 0:06:22 | 0:06:30 | |
husband role nicely? I have to go
like this wake up. There you go, | 0:06:30 | 0:06:41 | |
scattered chassis, reverse, you
missed out the good bit. We like | 0:06:41 | 0:06:46 | |
surprises. How is the nose twitch?
Perfect! Do it again. Anton? Can you | 0:06:46 | 0:06:57 | |
do it? No! Anton is wearing a tight
slacks we have ever seen. Very | 0:06:57 | 0:07:03 | |
tricky. I will not be doing a
demonstration today. That is a | 0:07:03 | 0:07:08 | |
terrible shame! You said on Monday
it is like a square one all over | 0:07:08 | 0:07:13 | |
again. Wednesday, which were you one
today? It used to be a week and now | 0:07:13 | 0:07:21 | |
I'm all right. I have tears on
Tuesday, Wednesday is all right, | 0:07:21 | 0:07:24 | |
today has been good. Always tears on
Thursday because I panicked and go, | 0:07:24 | 0:07:29 | |
this is my last training day because
Friday, we get to the studio and we | 0:07:29 | 0:07:33 | |
have to do the dance, you have to
know it I then, you are supposed to | 0:07:33 | 0:07:37 | |
know it. Supposed to know it! As
long as you know it by Saturday | 0:07:37 | 0:07:43 | |
night! I think I know most of it.
You are doing wonderfully. Ruth | 0:07:43 | 0:07:49 | |
follows really well. The Quickstep
Esau was the first time she had done | 0:07:49 | 0:07:56 | |
it. I took hold of her and her wig
stir around the floor. This is | 0:07:56 | 0:08:02 | |
lovely in theory, a lovely skill to
have the follow and for me to read | 0:08:02 | 0:08:08 | |
her and she follows me around the
room. The problem is when we put the | 0:08:08 | 0:08:12 | |
choreography together and she thinks
about the choreography. That is the | 0:08:12 | 0:08:15 | |
battle. The fear of forgetting. It's
a massive stumbling block. The woven | 0:08:15 | 0:08:21 | |
thing and you guess perhaps. Or I
looked down. I looked at his feet so | 0:08:21 | 0:08:27 | |
I know where he is going. You can do
it and that looks glorious. | 0:08:27 | 0:08:34 | |
Quickstep is adorable. Thank you.
Good luck. | 0:08:34 | 0:08:36 | |
Ruth and Anton, everyone! | 0:08:36 | 0:08:38 | |
CHEERING AND APPLAUSE | 0:08:38 | 0:08:40 | |
We know how Ruth and Anton's
Quickstep is shaping up, | 0:08:40 | 0:08:42 | |
but with Hallowe'en
fast-approaching, how are the rest | 0:08:42 | 0:08:44 | |
of our couples getting on? | 0:08:44 | 0:08:48 | |
It's time for Ian Waite
to investigate. | 0:08:48 | 0:08:50 | |
CHEERING AND APPLAUSE | 0:08:50 | 0:09:00 | |
Hoping to cast a spell over this
weekend's Hallowe'en | 0:09:00 | 0:09:02 | |
routines, it's Ian Waite. | 0:09:02 | 0:09:03 | |
CHEERING AND APPLAUSE | 0:09:03 | 0:09:13 | |
Where did you find that shirt? I
thought I would pay my own homage to | 0:09:13 | 0:09:24 | |
the 1970s. It is like wallpaper,
gorgeous. | 0:09:24 | 0:09:28 | |
Let's start with Joe and Katya,
who had their first '10' | 0:09:28 | 0:09:30 | |
of the series for their Paso Doble
last weekend. | 0:09:30 | 0:09:32 | |
Is their Foxtrot looking
worthy of another Ten? | 0:09:32 | 0:09:34 | |
He needs to smooth out the pivots.
He has lovely heel leads, but it's a | 0:09:34 | 0:09:40 | |
bit stompy. They've cobwebs around
them, getting ready for the action. | 0:09:40 | 0:09:43 | |
A lovely ronde and a Contra Check.
Hello, sorry, I forgot. There is, | 0:09:43 | 0:09:51 | |
thank you. Slightly over rotated to
his left. And if he doesn't rotate | 0:09:51 | 0:10:02 | |
too much, he does rotate, but not
quite that much, and he is looking | 0:10:02 | 0:10:06 | |
over there. He needs to look over
the top of her head if possible. So | 0:10:06 | 0:10:10 | |
when he does a Contra Check, he is
there over the top of her head, | 0:10:10 | 0:10:15 | |
rather than men. OK, as lovely as
that face is! In a throwaway comment | 0:10:15 | 0:10:20 | |
he did the same and he went like
that and he should be looking over | 0:10:20 | 0:10:23 | |
there. Beautifully demonstrated. | 0:10:23 | 0:10:26 | |
Gemma and Aljaz have been called
frontrunners in recent weeks. | 0:10:26 | 0:10:29 | |
Is this Jive going
to put them on top? | 0:10:29 | 0:10:31 | |
Well, looking at those lovely
kissing shoes again, everybody is | 0:10:31 | 0:10:37 | |
wearing those, they are smelly!
Going through the step is, I do | 0:10:37 | 0:10:41 | |
think that it's a little bit
flat-footed and she needs to get | 0:10:41 | 0:10:46 | |
onto the balls of her feet to make
it lighter. And her body position is | 0:10:46 | 0:10:50 | |
very bright. We talk about getting
it tucked underneath. Just so that | 0:10:50 | 0:10:57 | |
what it does, it brings your weight
onto the balls of your feet just by | 0:10:57 | 0:11:01 | |
changing. And if she picked up her
knee, she would be able to click the | 0:11:01 | 0:11:06 | |
Fat down, rather than just out. She
is doing that, rather than that. | 0:11:06 | 0:11:13 | |
Subtle adaption.
Yes, thank you. CHEERING AND | 0:11:13 | 0:11:15 | |
APPLAUSE.
Feel free, he is a wonder! | 0:11:15 | 0:11:21 | |
How's their Rumba looking? | 0:11:21 | 0:11:24 | |
Davood and 90. Not enough
straightening of the leg. Even into | 0:11:24 | 0:11:30 | |
the lines, there needs to be one
straight leg at a time. He does a | 0:11:30 | 0:11:35 | |
nice check action, checking forward.
He has worked on it. Everywhere | 0:11:35 | 0:11:41 | |
else, everywhere he is taking a
walk, he needs to straighten the | 0:11:41 | 0:11:45 | |
walk and keep it straight. I love
those legs! He goes into a line here | 0:11:45 | 0:11:51 | |
and it looks a bit strange. He needs
to take the knee out to the side to | 0:11:51 | 0:11:57 | |
create... More of a lunch? Yes, it
just looks like... These things can | 0:11:57 | 0:12:06 | |
be worked on, it is only Tuesday's
footage. Yes, it will be perfected. | 0:12:06 | 0:12:13 | |
Debbie and Giovanni
topped the leaderboard | 0:12:13 | 0:12:14 | |
with their Rumba last weekend. | 0:12:14 | 0:12:16 | |
What do you think
of their Charleston? | 0:12:16 | 0:12:19 | |
This looks great fun. She has great
beat and legs and is neat and tidy. | 0:12:19 | 0:12:26 | |
I love her outfit! I would like to
see more wild Debbie. Expressing | 0:12:26 | 0:12:33 | |
herself and going a bit mad rather
than keeping it contained. She has | 0:12:33 | 0:12:39 | |
got a lovely swivel. Swivel action.
Like I said about going for it, the | 0:12:39 | 0:12:47 | |
steps out, we will show them how to
go for it. Flapping bird. Why is it | 0:12:47 | 0:12:54 | |
always the flapping bird?! Flapping
bird. I look more like a chicken. | 0:12:54 | 0:13:08 | |
What are you talking about? Debbie,
that is not how you do it. | 0:13:08 | 0:13:14 | |
Finally, Jonnie AND Oti
are performing a Cha-Cha-Cha | 0:13:14 | 0:13:16 | |
to 'Trouble Maker', by Olly Murs. | 0:13:16 | 0:13:17 | |
Does this look like trouble to you? | 0:13:17 | 0:13:19 | |
I think this is going to have its
problems. It is all about the legs | 0:13:19 | 0:13:25 | |
and the straight leg action. I would
say it would be difficult for him. | 0:13:25 | 0:13:28 | |
But he is doing a really good job of
coping with it. So impressed so far, | 0:13:28 | 0:13:34 | |
but with his top half, here, when he
leans across to Oti, he needs to get | 0:13:34 | 0:13:41 | |
his elbows out the create the shape.
So I will take your elbow out rather | 0:13:41 | 0:13:46 | |
than dropping down here. Take it out
there to create space. I don't know | 0:13:46 | 0:13:52 | |
what I'm supposed to do! I will just
stand there and look gormless! That | 0:13:52 | 0:13:56 | |
is me! We would do the rest of the
couples tomorrow. And don't | 0:13:56 | 0:14:02 | |
forget... | 0:14:02 | 0:14:03 | |
Tomorrow's the big day. | 0:14:03 | 0:14:04 | |
We'll be revealing just
what you're dressing | 0:14:04 | 0:14:06 | |
up as for Hallowe'en,
as voted for by It | 0:14:06 | 0:14:08 | |
Takes Two viewers. | 0:14:08 | 0:14:09 | |
Are you excited? | 0:14:09 | 0:14:12 | |
Yes! I'm excited because it has been
a long time since I wore a dress. | 0:14:12 | 0:14:20 | |
You don't know what you are wearing
yet. No backing out now. | 0:14:20 | 0:14:24 | |
Give it up for Ian Waite, everyone! | 0:14:24 | 0:14:25 | |
CHEERING AND APPLAUSE | 0:14:25 | 0:14:29 | |
I love it. | 0:14:29 | 0:14:30 | |
I love it. | 0:14:30 | 0:14:31 | |
Next up is a couple whose
waltz we couldn't help | 0:14:31 | 0:14:33 | |
but fall in love with. | 0:14:33 | 0:14:34 | |
It's Aston and Janette! | 0:14:34 | 0:14:40 | |
Handling it beautifully, the control
and grace was there, your weight was | 0:14:47 | 0:14:51 | |
on your toes. I thought it was
pretty impressive tonight. I love | 0:14:51 | 0:14:55 | |
how you danced and I could watch you
all night. | 0:14:55 | 0:15:00 | |
Aston and Janette, everyone! | 0:15:02 | 0:15:03 | |
CHEERING AND APPLAUSE | 0:15:03 | 0:15:10 | |
What they waltz, it was absolutely
beautiful. So clever, Aston, both of | 0:15:10 | 0:15:16 | |
you. How did it feel? Emotional, it
was emotional. I was shaking, | 0:15:16 | 0:15:23 | |
actually. Probably the first time in
how many weeks, four, five? We don't | 0:15:23 | 0:15:28 | |
count them! Not halfway yet. I was
honestly shaking just because of the | 0:15:28 | 0:15:35 | |
atmosphere and the feel of the song,
the routine. Yeah. It really means | 0:15:35 | 0:15:41 | |
you are feeling it on the floor. How
did you calm him down? The whole | 0:15:41 | 0:15:45 | |
week we talked about it because
previously he's been playing a | 0:15:45 | 0:15:51 | |
character, the cool guy but I wanted
him to just be Aston and get lost in | 0:15:51 | 0:15:54 | |
the moment. Not in the routine! He
did. I felt it, he was dancing with | 0:15:54 | 0:16:02 | |
me and I really felt like it was
just me and him in our little bubble | 0:16:02 | 0:16:05 | |
and I think we accomplished it. But
when we were finished and we were | 0:16:05 | 0:16:09 | |
being judged he was literally
shaking. He said he had never felt | 0:16:09 | 0:16:14 | |
like that in his life, feeling so
vulnerable, and I loved it. So good. | 0:16:14 | 0:16:20 | |
Have a big cry, that is what I would
have done! I'd didn't think I was | 0:16:20 | 0:16:24 | |
able to cry, literally. It is
meaning so much! It can be a bit of | 0:16:24 | 0:16:31 | |
a risk to do the contemporary stuff,
but Craig absolutely loved it, | 0:16:31 | 0:16:35 | |
surely loved it. To deviate from a
traditional waltz, is that a risk? | 0:16:35 | 0:16:42 | |
It is always a risk, you never know
what people are going to like and I | 0:16:42 | 0:16:47 | |
kept saying to him that I'm nervous
because I know there are many | 0:16:47 | 0:16:50 | |
contemporary elements and it can go
either way, they can love it or hate | 0:16:50 | 0:16:53 | |
it. So to hear them loving it, I
thought, thank God. They went with | 0:16:53 | 0:16:59 | |
me and they felt what I felt and I
was really proud that he could | 0:16:59 | 0:17:02 | |
deliver. I know, there were some
real moments when you did your legs, | 0:17:02 | 0:17:07 | |
stunning. Craig was talking about it
being a bit sharp and an issue with | 0:17:07 | 0:17:12 | |
your hands. What did you make of
that? It's fine, Craig, we'll fix | 0:17:12 | 0:17:17 | |
it. Perfect answer. And you're
gorgeous girl Sarah came to visit | 0:17:17 | 0:17:23 | |
you. She gets to visit you in the
training room, what did she'd think | 0:17:23 | 0:17:30 | |
when she saw the finished dance? She
was very emotional, she could see it | 0:17:30 | 0:17:37 | |
better than anyone, it wasn't the
usual me, my performance, so it was | 0:17:37 | 0:17:42 | |
nice for her to see another side of
me, very open and honest. That is | 0:17:42 | 0:17:46 | |
the hard thing for the partners
because they know the signs when | 0:17:46 | 0:17:48 | |
you're a bit scared. At least she
can watch, though. It's been a tough | 0:17:48 | 0:17:55 | |
week for you, Aston, we must
discuss, you have lost your B Boy. | 0:17:55 | 0:18:04 | |
Is it all right talk about it? We
can go there. Actually, Bayern, he | 0:18:04 | 0:18:10 | |
has sent you a message in case you
were missing him -- Brian. You poe | 0:18:10 | 0:18:15 | |
we don't remember me, are used to be
on the show, I am Brian Conley. You | 0:18:15 | 0:18:28 | |
made it very special, my experience,
because, Aston, you're a nice bloke. | 0:18:28 | 0:18:32 | |
I'll see you soon and please stop
doing my dance routines! Brian. | 0:18:32 | 0:18:47 | |
Aawww! We miss him already. So, this
weekend, Halloween, Paso Doble, | 0:18:47 | 0:18:55 | |
Nirvana. This is quite crackers,
Nirvana on Strictly Mac. Ah You | 0:18:55 | 0:19:03 | |
fans, the two of you? I love the
song, I can't say that I have | 0:19:03 | 0:19:11 | |
listened to all songs but I love
Smells Like Teen Spirit. You were | 0:19:11 | 0:19:19 | |
about six when it came out! The
first time we've had Nirvana on | 0:19:19 | 0:19:24 | |
Strictly. I think is the first time
we've had a Paso Doble done by | 0:19:24 | 0:19:30 | |
ghosts, probably. How is it going?
Any other firsts going to happen? | 0:19:30 | 0:19:35 | |
Well, working really hard. I have to
say, when of a take it slow with | 0:19:35 | 0:19:41 | |
Aston, it's very fast, a lot of
footwork, lots of further action. A | 0:19:41 | 0:19:46 | |
lot of work on and everything. More
than anything, when we danced to | 0:19:46 | 0:19:51 | |
music, it feels so good. Just
something takes over, honestly, it's | 0:19:51 | 0:19:55 | |
very weird. You are no longer Aston!
I love it when you say that! This is | 0:19:55 | 0:20:04 | |
the thing, with a Paso Doble you
have two feel it with your toes and | 0:20:04 | 0:20:08 | |
hands and fingers, you are becoming
a matador, Aston. I am trying. But | 0:20:08 | 0:20:14 | |
it's tough, this one is tough. You
really need to be in this one. | 0:20:14 | 0:20:20 | |
Unique to fight it but -- you need
to fight it. The battle, Halloween, | 0:20:20 | 0:20:27 | |
the perfect time to do it. You're
amazing, good luck this weekend. | 0:20:27 | 0:20:31 | |
Aston and Janette! Powerhouses. | 0:20:31 | 0:20:38 | |
Right, time now to see how Davood,
Jonnie and Joe are getting ready | 0:20:38 | 0:20:41 | |
for this weekend's Hallowe'en
Spooktacular. | 0:20:41 | 0:20:41 | |
EVIL LAUGH | 0:20:41 | 0:20:46 | |
That was deep! | 0:20:46 | 0:20:49 | |
This new style of dancing, the Rumba
is making me confused. Definitely | 0:20:52 | 0:20:58 | |
difficult for him to get the steps
now. Now it's... Such full body | 0:20:58 | 0:21:04 | |
movements even though it slow and
there is a lot to take on board. For | 0:21:04 | 0:21:09 | |
the moment, the fear is kicking in,
which is perfect for this week. | 0:21:09 | 0:21:15 | |
We have a cha-cha, which is the
first dance I'm doing is where I | 0:21:19 | 0:21:23 | |
feel I have to use my hips. This is
going to be interesting. I Develin | 0:21:23 | 0:21:28 | |
the feel embarrassed doing these
movements. -- I definitely feel | 0:21:28 | 0:21:33 | |
embarrassed. This is the most
embarrassed I been so far. I've gone | 0:21:33 | 0:21:36 | |
red! I think he loves shaking his
hips, I always see a smile in the | 0:21:36 | 0:21:43 | |
corner of his face. Whoo! Gentle
rise and fall, the foxtrot, you've | 0:21:43 | 0:21:50 | |
got to keep the glide across the
floor. That's good, that's good. | 0:21:50 | 0:21:56 | |
Some quick and some slow and I'm not
sure of the order yet. Judges are | 0:21:56 | 0:21:59 | |
going to be looking for improvement.
They will look at his correct | 0:21:59 | 0:22:05 | |
footwork. That's it. Feels good at
the moment. | 0:22:05 | 0:22:13 | |
My next guest has
something of a problem | 0:22:15 | 0:22:19 | |
with bad boys constantly
catching her eye. | 0:22:19 | 0:22:20 | |
Lucky for her, her
partner is a total gent. | 0:22:20 | 0:22:23 | |
It's Alexandra and Gorka. | 0:22:23 | 0:22:27 | |
You bring this floor alive, you just
gel. The upper half is exquisite and | 0:22:33 | 0:22:41 | |
I think a bit more work on the lower
half. I love watching you, really | 0:22:41 | 0:22:47 | |
good. | 0:22:47 | 0:22:53 | |
Alexandra and Gorka. | 0:22:53 | 0:22:57 | |
Gorgeous. Tell you what, we are in
the love... In love with the shape | 0:22:57 | 0:23:04 | |
of your Samba, it was amazing, how
did it feel? Look at you. It felt so | 0:23:04 | 0:23:09 | |
good, I came off stage and I
thought, that felt hot! It looked | 0:23:09 | 0:23:16 | |
pretty hot, the two of you. I don't
know which one to watch. Also, you | 0:23:16 | 0:23:23 | |
follow on from a shower of 10s the
week before, and then the judges got | 0:23:23 | 0:23:28 | |
more critical. Did you expect that?
I always expect to be criticised | 0:23:28 | 0:23:33 | |
because we know why we are here, to
learn and improve and gawker has | 0:23:33 | 0:23:38 | |
been an amazing teacher and I
felt... He knows my energy gets a | 0:23:38 | 0:23:45 | |
bit too much sometimes and you can
forget your technique and I'm | 0:23:45 | 0:23:48 | |
working on not getting too excited
and going into Beast Mode and forget | 0:23:48 | 0:23:53 | |
what he is teaching me. I love when
you go into the Beast Mode. I can't | 0:23:53 | 0:23:57 | |
do that any more because I'll get
pigeon feet! You said last week that | 0:23:57 | 0:24:01 | |
you had to contain your inner
Jamaican. I managed to have a bit of | 0:24:01 | 0:24:10 | |
that influence when he allowed me to
be free and give it a little | 0:24:10 | 0:24:14 | |
something something but that's it,
nothing more, very contained. It's | 0:24:14 | 0:24:19 | |
Halloween, it's coming. Everything
you have put aside. And gawker, a | 0:24:19 | 0:24:28 | |
lot of people on social media saying
this was under marked. What you | 0:24:28 | 0:24:31 | |
think? Scores are scores and every
week is different. It was an amazing | 0:24:31 | 0:24:38 | |
dance. Even today we are thinking we
wish we could dance it again because | 0:24:38 | 0:24:44 | |
I wanted to do it again. It went so
quick, really quick. That's a good | 0:24:44 | 0:24:49 | |
sign, wanting to do it again. If you
are like, I never want to do that | 0:24:49 | 0:24:53 | |
dance. I know, it is nice that we
felt that way and still feel that | 0:24:53 | 0:24:57 | |
way. We still have the samba vibes.
The first two for -- the first time | 0:24:57 | 0:25:06 | |
for you two, you finished mid-table.
Were you thinking, results, a | 0:25:06 | 0:25:11 | |
dreaded dance off? It's getting
harder and harder every week and | 0:25:11 | 0:25:16 | |
that week I was very nervous,
waiting for the results. It felt | 0:25:16 | 0:25:22 | |
like we had it in our heads and said
if we are the bottom two, let's just | 0:25:22 | 0:25:26 | |
dance and go for it, give it
everything. You can never be | 0:25:26 | 0:25:30 | |
complacent, you can't feel you done
a good dance, you never know how | 0:25:30 | 0:25:37 | |
it's going to go, so always prepare.
Although it scares you, prepare and | 0:25:37 | 0:25:42 | |
hope for the best. We saw how you
bring the floor alive, watching you | 0:25:42 | 0:25:46 | |
dance. Are you finding that you pick
up the routine is a bit easier now? | 0:25:46 | 0:25:53 | |
I've always picked them up quite
quickly, it's just if they stay in | 0:25:53 | 0:25:57 | |
my brain! One of the things that
happens, we know each other better | 0:25:57 | 0:26:03 | |
now, so we know we have to work with
it other, which helps. When I have | 0:26:03 | 0:26:09 | |
the detail, she must learn it, we
understand better and it goes | 0:26:09 | 0:26:12 | |
quicker. Yeah, it goes quicker. You
get a kind of language. There is a | 0:26:12 | 0:26:18 | |
thing, a good thing. A look in the
eyes. I know when it's coffin time | 0:26:18 | 0:26:23 | |
as well! -- coffee time. It is not
just dancing that this man is | 0:26:23 | 0:26:31 | |
teaching you in the training room.
Have a look, everyone. R-r-r-r-r. | 0:26:31 | 0:26:44 | |
R-r-r-r-r. R-r-r-r-r. I don't know
why anyone wants to watch that. | 0:26:44 | 0:26:56 | |
Teaching me to roll my Rs, I can't
do it and I'm a singer. It's really | 0:26:56 | 0:27:03 | |
hard. It's difficult. Too good,
everybody. Tango. Maneater, Nelly | 0:27:03 | 0:27:20 | |
Furtado. How does a zombie Tango
differed to a normal one? It's going | 0:27:20 | 0:27:26 | |
to be a bit more scary, a bit more
energetic and just get ready for | 0:27:26 | 0:27:33 | |
Saturday because it's going to be
scary. Scary for the right reasons I | 0:27:33 | 0:27:37 | |
hope? Yeah. We will do our best. We
are going to look like really cool | 0:27:37 | 0:27:44 | |
zombies, I can't wait. You are
dancing to Manager, do Gorka's | 0:27:44 | 0:27:53 | |
hordes of fans need to be afraid?
No, not at all, no one need to beat | 0:27:53 | 0:27:58 | |
scared -- you are dancing to ten
ferry. We know you are a screamer, | 0:27:58 | 0:28:04 | |
Alexandra, what sounds are you
making this week? -- you are dancing | 0:28:04 | 0:28:10 | |
to Maneater. It is you, the roles
have changed. The noises this time, | 0:28:10 | 0:28:17 | |
stepping on my toes, my knees. He
says, I stepped on -- you stepped on | 0:28:17 | 0:28:28 | |
me today, I bashed him in the face,
it's like a battle, it's really bad | 0:28:28 | 0:28:32 | |
and I'm sorry! It's Halloween! Good
luck, I know it's going to be a | 0:28:32 | 0:28:38 | |
dream and scary for the right
reasons. Alexandra and Gorka! | 0:28:38 | 0:28:44 | |
That's all we have time for tonight. | 0:28:44 | 0:28:45 | |
We'll be back here tomorrow
at 6:30 getting all the | 0:28:45 | 0:28:48 | |
gossip from Mollie and AJ
and Daverd and Nadiya. | 0:28:48 | 0:28:50 | |
Vicky Gill will be | 0:28:50 | 0:28:51 | |
here to preview all
the | 0:28:51 | 0:28:52 | |
hottest looks for Halloween. | 0:28:52 | 0:28:55 | |
And Ian Waite returns in costume! | 0:28:55 | 0:28:57 | |
Goodnight! | 0:28:57 | 0:29:00 | |
The Curious gathers stories
of suspense and surprise. | 0:29:03 | 0:29:08 |