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VOICEOVER: From London, this is
Strictly, It Takes Two. Please | 0:00:49 | 0:00:56 | |
welcome your host, Zoe Ball.
CHEERING AND APPLAUSE | 0:00:56 | 0:01:00 | |
Hello and welcome to It Takes Two! | 0:01:00 | 0:01:02 | |
And can you believe it,
it's not Halloween any more! | 0:01:02 | 0:01:05 | |
But fear not, we've got
plenty more up our sleeve. | 0:01:05 | 0:01:08 | |
Let's see who's in the
green room, shall we? | 0:01:08 | 0:01:12 | |
They reached Strictly Nirvana
on Saturday, it's Aston and Janette! | 0:01:12 | 0:01:19 | |
Their rumba was simply heavenly,
it's Davood and Nadiya! | 0:01:19 | 0:01:26 | |
And somewhat disappointingly,
he's not dressed as Elphaba | 0:01:26 | 0:01:29 | |
from Wicked, it's Ian Waite! | 0:01:29 | 0:01:35 | |
But now, speaking of dressing up,
my first guest made a fabulous Joker | 0:01:35 | 0:01:39 | |
on Saturday, but it's no
laughing matter, darling. | 0:01:39 | 0:01:41 | |
It's Craig Revel Horwood! | 0:01:41 | 0:01:45 | |
A complete dance disaster, darling. | 0:01:56 | 0:02:01 | |
Craig Revel-Horwood, everyone! | 0:02:01 | 0:02:03 | |
MUSIC: Toxic by Britney Spears. | 0:02:03 | 0:02:10 | |
The spin in is our favourite. | 0:02:10 | 0:02:12 | |
How we've missed you. | 0:02:12 | 0:02:13 | |
We're six weeks in now. | 0:02:13 | 0:02:15 | |
Have our celebs reached
the standard you'd expect? | 0:02:15 | 0:02:20 | |
There is a lot of surprises, a lot
of high markers out there. But also | 0:02:20 | 0:02:25 | |
a lot of improvement, which is
great. And early non-improvement as | 0:02:25 | 0:02:29 | |
well. We noticed from the third week
that people were really developing | 0:02:29 | 0:02:34 | |
proper skills, which is an absolute
joy and delight to watch. | 0:02:34 | 0:02:39 | |
Simon and Karen fell victim
to Halloween weekend, | 0:02:39 | 0:02:42 | |
but they were joined by Mollie
and AJ in the dance off. | 0:02:42 | 0:02:45 | |
Were you surprised to see
them in the bottom two? | 0:02:45 | 0:02:48 | |
Yeah, I really was. Because she's
been doing really well. I was | 0:02:48 | 0:02:52 | |
surprised because it was quite a
good routine. She looks amazing, | 0:02:52 | 0:02:57 | |
great costume, and she did rather
well in the whole thing. It's really | 0:02:57 | 0:03:02 | |
difficult. Certainly from the judge
in perspective, when you have | 0:03:02 | 0:03:06 | |
somebody who is fantastic, who you
think is really motoring on in the | 0:03:06 | 0:03:09 | |
competition, and they end up in the
bottom two. Like Dartford, that was | 0:03:09 | 0:03:14 | |
a shocker. But you have to have the
audience votes. -- like Davood. | 0:03:14 | 0:03:25 | |
People have to vote for their
favourites. | 0:03:25 | 0:03:28 | |
Mollie danced the cha-cha-cha,
as did Jonnie, ho matched his lowest | 0:03:28 | 0:03:30 | |
score of the series. | 0:03:30 | 0:03:31 | |
More than any other dance,
it's proved the most | 0:03:31 | 0:03:33 | |
unpopular with our celebs. | 0:03:33 | 0:03:35 | |
Why do you think that is? | 0:03:35 | 0:03:39 | |
It's because it's difficult, there
is a straight leg and the hip action | 0:03:39 | 0:03:44 | |
is really difficult, especially for
the men, because they are not used | 0:03:44 | 0:03:47 | |
to moving their hips that way. They
are used to side to side and side | 0:03:47 | 0:03:51 | |
and forward and back, but never in a
circle. With proper hip action. It | 0:03:51 | 0:04:02 | |
is difficult. And if you do too much
hip action, it will look too girly. | 0:04:02 | 0:04:06 | |
You have to be aware of that, you
have to make it look butch but | 0:04:06 | 0:04:11 | |
correct. It's a tough one. And it's
fast as well. If you think of the | 0:04:11 | 0:04:17 | |
rumba and then double the tempo,
that's what you are expected to do. | 0:04:17 | 0:04:21 | |
It's so complicated. | 0:04:21 | 0:04:23 | |
Susan also felt the burn this
week in terms of scores. | 0:04:23 | 0:04:26 | |
You fanned the flames with a three. | 0:04:26 | 0:04:30 | |
You are mean. Tell me more about
this. | 0:04:30 | 0:04:35 | |
Kevin said they weren't really
going for a graceful | 0:04:35 | 0:04:37 | |
Foxtrot because of the Game
of Thrones theme. | 0:04:37 | 0:04:39 | |
Can you appreciate how
he was trying to marry the two? | 0:04:39 | 0:04:43 | |
I can, if he does that at the
beginning of the dance and the end, | 0:04:43 | 0:04:46 | |
and maybe ten seconds, in between,
you can go mad and tell the story | 0:04:46 | 0:04:53 | |
and do something out of character.
But it's our job to recognise that | 0:04:53 | 0:04:57 | |
particular dance for what it is and
uphold the characteristics of that | 0:04:57 | 0:05:02 | |
dance. I appreciate it, and I love
him for trying to take it over the | 0:05:02 | 0:05:07 | |
edge a little bit, but unfortunately
for me it did not work. I loved the | 0:05:07 | 0:05:10 | |
routine and what he was trying to
do, but I have to market on the | 0:05:10 | 0:05:15 | |
specific bands they are trying to
do. That's why it was difficult for | 0:05:15 | 0:05:22 | |
me. -- I have to mark it on the
specific dance. Sometimes it works | 0:05:22 | 0:05:26 | |
well, like in Aston's case. But
continue to be brave. | 0:05:26 | 0:05:31 | |
At the other end of the leaderboard,
you loved Aston's Paso, | 0:05:31 | 0:05:34 | |
even though it contained some moves
more commonly found in street dance. | 0:05:34 | 0:05:37 | |
Is that why you couldn't
give it a ten? | 0:05:37 | 0:05:39 | |
I thought there was a bit too much
of the popping and locking. He is | 0:05:39 | 0:05:43 | |
amazing. You would love to give him
ten, I would love to. And if he | 0:05:43 | 0:05:51 | |
makes the final, maybe takes two of
those sections out and replaces it | 0:05:51 | 0:05:54 | |
with something else then maybe...
You little tease! | 0:05:54 | 0:06:00 | |
Let's talk about Davood's rumba now. | 0:06:00 | 0:06:03 | |
Despite the lack of rumba content
you said you could sit and watch | 0:06:03 | 0:06:06 | |
it at home every day. | 0:06:06 | 0:06:07 | |
You did however give it a five. | 0:06:07 | 0:06:10 | |
I thought it was a really lovely
strong routine. It didn't fall into | 0:06:10 | 0:06:16 | |
the rumba category for me. There
weren't enough basic rumba steps | 0:06:16 | 0:06:20 | |
which we need to see. If he had left
today few more of the basics, like | 0:06:20 | 0:06:25 | |
Shirley said, having your legs go
out to the side and show you are | 0:06:25 | 0:06:31 | |
manoeuvring your hips in the correct
way. We never really saw that. We | 0:06:31 | 0:06:36 | |
saw a wonderful performance, but as
a judge I can't just base it on | 0:06:36 | 0:06:40 | |
entertainment. That's for the folk
at home who can say, I really loved | 0:06:40 | 0:06:43 | |
it. Or me! I did love it, I could
watch it again and again but it | 0:06:43 | 0:06:51 | |
wasn't a solid rumba. | 0:06:51 | 0:06:54 | |
Here's a fact for you. | 0:06:54 | 0:06:55 | |
The rumba is the only main
Strictly dance that hasn't | 0:06:55 | 0:06:57 | |
received full marks. | 0:06:57 | 0:06:58 | |
Rachel Stevens, Kara Tointon,
Chelsee Healey and Jay McGuiness | 0:06:58 | 0:07:01 | |
only ever managed 39 points! | 0:07:01 | 0:07:03 | |
Can the rumba ever reach
the 40 mark milestone? | 0:07:03 | 0:07:05 | |
Could it be this series? | 0:07:05 | 0:07:10 | |
If they started learning it in week
one and get to keep going and doing | 0:07:10 | 0:07:15 | |
it for ten weeks then yes, probably.
It is the hardest. No chance, then! | 0:07:15 | 0:07:21 | |
I think Debbie McGee has the chance
to get a really high score. Didn't | 0:07:21 | 0:07:28 | |
she do a rumba yet? Yes, she has. If
she gets to do it again, then maybe | 0:07:28 | 0:07:34 | |
it will improve. She was doing some
lovely work in that and was | 0:07:34 | 0:07:40 | |
wonderful to watch. Incredible,
really. She is. Let's talk about | 0:07:40 | 0:07:45 | |
Flexi McGee. She impressed again. | 0:07:45 | 0:07:48 | |
I do believe your exact words were,
"Absolutely incredible". | 0:07:48 | 0:07:51 | |
Her Charleston contained
a cross swivel pop which | 0:07:51 | 0:07:54 | |
you said we never see. | 0:07:54 | 0:08:00 | |
I can demonstrate that. Is it...?
Demo time! The floor is all yours. | 0:08:00 | 0:08:13 | |
The difficult thing with this dance
is you have to do this with your | 0:08:13 | 0:08:16 | |
feet the whole time, the swivel. The
cross element is when the toe | 0:08:16 | 0:08:22 | |
crosses in front and behind the
foot. Debbie put a hop in it as | 0:08:22 | 0:08:27 | |
well. She ended up doing that,
hopping and swivelling and popping. | 0:08:27 | 0:08:38 | |
Cross, swivel and pop. That's how
it's done. | 0:08:38 | 0:08:42 | |
It was, of course, Debbie McGee
who caused you to channel Bruno | 0:08:42 | 0:08:45 | |
and fall off your chair a couple
of weeks back. | 0:08:45 | 0:08:50 | |
It was joyous! It was a moment of
temporary insanity, it really was! I | 0:08:50 | 0:09:00 | |
did miss the chair. I was thinking
of Bruno, I had worked with him for | 0:09:00 | 0:09:05 | |
13 years. It has annoyed me for 13
years! Stands up and sits down, | 0:09:05 | 0:09:11 | |
stands up and sits down. I know he's
very short and likes to show off his | 0:09:11 | 0:09:16 | |
height, but it was really funny. I
had no clue that was going to | 0:09:16 | 0:09:22 | |
happen. I don't know what possessed
me, but I did miss the chair. I | 0:09:22 | 0:09:27 | |
thought I would go with it because
Bruno has done it for the whole | 0:09:27 | 0:09:31 | |
thing. It was a bit of a sendoff.
Please come back to see us soon. We | 0:09:31 | 0:09:36 | |
adore you, Craig Revel Horwood. | 0:09:36 | 0:09:40 | |
CHEERING AND APPLAUSE. | 0:09:40 | 0:09:41 | |
Now, Craig has to look away for this
next bit as it would be unfair | 0:09:41 | 0:09:44 | |
for him to cast his critical eye
over a work in progress. | 0:09:44 | 0:09:47 | |
Here's how Debbie and Giovanni,
Joe and Katya, and Alexandra | 0:09:47 | 0:09:50 | |
and Gorka have been getting
on in training. | 0:09:50 | 0:09:54 | |
I think I'm really going to enjoy
the tango. Giovanni is really good | 0:09:54 | 0:09:57 | |
at it. Tango is a really interesting
dance because you have a lot of | 0:09:57 | 0:10:05 | |
passion, but at the same time you
have to do a lot of technique. There | 0:10:05 | 0:10:10 | |
is no rise and fall in the tango.
You have to be sharp, staccato all | 0:10:10 | 0:10:15 | |
the time. Already one of my
criticisms is to keep my fingers | 0:10:15 | 0:10:22 | |
closed. Why are your fingers like
this? At the moment I'm like Edward | 0:10:22 | 0:10:26 | |
Scissorhands! | 0:10:26 | 0:10:28 | |
The charleston is hard, very
energetic. Lots of steps. Craig is | 0:10:30 | 0:10:36 | |
going to be looking for the swivel
action. It helps to speak the steps | 0:10:36 | 0:10:42 | |
in time to the music. I'm going to
have to do drill this routine into | 0:10:42 | 0:10:49 | |
his brain so much. Five years on,
you will still remember it. It's a | 0:10:49 | 0:10:57 | |
high energy dance. I will need to
eat lots of carbs over the next few | 0:10:57 | 0:11:02 | |
days. | 0:11:02 | 0:11:04 | |
This week we are doing the
cha-cha-cha and to be very honest, | 0:11:06 | 0:11:11 | |
I'm very scared. The speed is very
quick and the technique is | 0:11:11 | 0:11:14 | |
difficult. But in the two together,
my brain goes... That was out of | 0:11:14 | 0:11:18 | |
time! It's one of the difficult
dances, especially for the girls | 0:11:18 | 0:11:24 | |
wearing heels. It's very fast and
they have to be very precise. You | 0:11:24 | 0:11:29 | |
have to keep your legs straight when
they are meant to be, and bend when | 0:11:29 | 0:11:33 | |
they are meant to be. If you forget,
surely will say something! | 0:11:33 | 0:11:38 | |
Time to welcome our
first couple now. | 0:11:38 | 0:11:41 | |
Their angelic rumba wasn't
to all the judges' tastes, | 0:11:41 | 0:11:43 | |
but to us it was a little
slice of heaven. | 0:11:43 | 0:11:45 | |
It's Davood and Nadiya! | 0:11:45 | 0:11:48 | |
MUSIC: Wicked Game. | 0:11:48 | 0:11:56 | |
As a dance, I loved it, but as a
rumba, I didn't. There wasn't enough | 0:11:56 | 0:12:01 | |
basic steps. There was no flow from
movement to movement. You have a | 0:12:01 | 0:12:06 | |
beautiful feeling, but that isn't
enough in this dance. The overall | 0:12:06 | 0:12:10 | |
performance was very nice. | 0:12:10 | 0:12:13 | |
Davood and Nadiya are here. Never
mind what the judges say, we got | 0:12:18 | 0:12:25 | |
lost in your performance and your
character. I really gave myself over | 0:12:25 | 0:12:30 | |
to it. I had issues in the week, but
when we performed I loved every | 0:12:30 | 0:12:34 | |
minute. It was a haunting
performance. As a performance it's | 0:12:34 | 0:12:38 | |
up there with some of the best of
the others I had done. Which I | 0:12:38 | 0:12:42 | |
didn't expect because I knew how
hard the rumba was going to be. | 0:12:42 | 0:12:45 | |
Nadiya had warned me. Why is it so
hard for the men? He has to do all | 0:12:45 | 0:12:55 | |
the leading. He has to use his body
as much as he can. On the footwork | 0:12:55 | 0:13:01 | |
and everything. So many details. You
can see every small mistake. But he | 0:13:01 | 0:13:06 | |
didn't have any. No mistakes, good
boy. That's the thing, sometimes | 0:13:06 | 0:13:12 | |
people go like that with the rumba,
but a lot of people enjoyed it. Not | 0:13:12 | 0:13:19 | |
everybody. We will get on to the
judges. | 0:13:19 | 0:13:24 | |
Well, the judges thought the routine
was lacking in basic rumba. | 0:13:24 | 0:13:26 | |
What was the thinking
behind the choreography? | 0:13:26 | 0:13:31 | |
The first four bars, it was him
doing the cooker rapture. He was | 0:13:31 | 0:13:40 | |
trying to move into the swivel and
the overturn and into the pivot and | 0:13:40 | 0:13:45 | |
the fanning... There is a list! | 0:13:45 | 0:13:52 | |
Were you hoping for better scores? | 0:13:52 | 0:13:55 | |
A couple of sevens but also a five.
Craig said some lovely things but to | 0:13:55 | 0:14:02 | |
get a five after that was
disappointing. It was fulfilling to | 0:14:02 | 0:14:05 | |
do that dance after a tough week of
trying to learn it. Everybody has | 0:14:05 | 0:14:10 | |
their own opinion, but to know he
liked it as a performance was good, | 0:14:10 | 0:14:14 | |
because we certainly enjoyed it. He
said he would like to watch you all | 0:14:14 | 0:14:19 | |
day. Slightly concerning. It was
really lovely to see your TV mum | 0:14:19 | 0:14:26 | |
Bonnie Langford in the audience. She
was really enjoying the performance. | 0:14:26 | 0:14:30 | |
She looked quite concerned and a bit
cross when the judges gave their | 0:14:30 | 0:14:33 | |
critique. Did she go over like any
good mum and have a stern word? I | 0:14:33 | 0:14:40 | |
had to restrain her. She was looking
after her boy. Beforehand she | 0:14:40 | 0:14:44 | |
brought me all the stuff she knows I
like, like protein bars and energy | 0:14:44 | 0:14:50 | |
drinks, telling me to look after
myself. She was brilliant, and it | 0:14:50 | 0:14:53 | |
was great to have her in the
audience and she loved the | 0:14:53 | 0:14:56 | |
performance. You have so many mums
come you are so lucky! Onwards and | 0:14:56 | 0:15:02 | |
upwards, quite literally. It's
American Smooth and you get to do | 0:15:02 | 0:15:05 | |
the lifting! | 0:15:05 | 0:15:06 | |
Will they be fun? We have done two
illegal list already! We just want | 0:15:09 | 0:15:18 | |
to make them as spectacular as we
can and use the opportunity to do | 0:15:18 | 0:15:22 | |
something like that and show a
different side to the performance. | 0:15:22 | 0:15:25 | |
I'm loving it. Mix it in and making
it work, were working on it but I | 0:15:25 | 0:15:31 | |
think it will look great. You've got
some great music. | 0:15:31 | 0:15:35 | |
MUSIC: This Will Be (An Everlasting
Love) by Natalie Cole. | 0:15:35 | 0:15:40 | |
I will be storming onto the floor! | 0:15:40 | 0:15:44 | |
Now, as you know we've got eyes
and ears everywhere, | 0:15:44 | 0:15:46 | |
which means we've picked up some
very interesting sounds in training. | 0:15:46 | 0:15:49 | |
DAVOOD TRAINING NOISES. | 0:15:52 | 0:15:58 | |
APPLAUSE
I love it! And Darren Burnett was | 0:16:06 | 0:16:16 | |
on, he said he loves you too and he
feels you need your rake out dance | 0:16:16 | 0:16:23 | |
so could this be the one? I think
so. He is enjoying this dance. I am | 0:16:23 | 0:16:30 | |
loving it, more than any other so
far so I hope I can do it justice | 0:16:30 | 0:16:34 | |
and the choreography is great. Make
loads of noises! Good luck. | 0:16:34 | 0:16:44 | |
Davood and Nadiya everyone! | 0:16:44 | 0:16:45 | |
Now, as the night draws
in and the temperature drops, | 0:16:45 | 0:16:48 | |
there's no better way to warm up
than with Mr Toasty Toes | 0:16:48 | 0:16:50 | |
himself, Ian Waite! | 0:16:50 | 0:16:53 | |
Ian Waite, everyone! | 0:17:04 | 0:17:07 | |
CHEERING AND APPLAUSE
You have brought your fans with you! | 0:17:07 | 0:17:16 | |
Get it out for the people. Can I
say, happy birthday to my dad, Alan. | 0:17:16 | 0:17:28 | |
Happy birthday. He is 70 today. He
is quite a move as well. Debbie and | 0:17:28 | 0:17:42 | |
Giovanni were top of the leaderboard
with their gravity defying | 0:17:42 | 0:17:48 | |
Charlie-ston. They are doing a
tango, have you got a feeling about | 0:17:48 | 0:17:52 | |
this? She's in a fantastic position
and he gets her in the right place, | 0:17:52 | 0:17:59 | |
lovely head position and could yield
leads which is what we are looking | 0:17:59 | 0:18:03 | |
for. But I noticed this position.
What is so great about this is that | 0:18:03 | 0:18:12 | |
he always manages to find these
wonderful positions for her where | 0:18:12 | 0:18:17 | |
she looks brilliant. Gorgeous. I
thought we could try that. I will do | 0:18:17 | 0:18:25 | |
Giovanni. I'm Giovanni. I'll be
Debbie. OK. APPLAUSE | 0:18:25 | 0:18:41 | |
Oh my God! He is definitely not
Debbie McGee! He's getting on! These | 0:18:41 | 0:18:48 | |
trousers are so tight. On to Mollie
and AJ, they wanted to impress this | 0:18:48 | 0:18:55 | |
week having been in the bottom two
but they are doing the foxtrot and | 0:18:55 | 0:18:58 | |
this could be glorious. As you can
see, she is releasing her toes | 0:18:58 | 0:19:04 | |
lovely which is what we want in the
foxtrot. I would like to see her | 0:19:04 | 0:19:10 | |
reaching back with the toes so they
get, this lovely Rolls-Royce action, | 0:19:10 | 0:19:17 | |
she needs to be stretching back.
Stretch back. Lyrical! And the other | 0:19:17 | 0:19:25 | |
thing I noticed, with her
physicality, she said about | 0:19:25 | 0:19:31 | |
slouching a bit, what she needs to
do is open that area, the sternum, | 0:19:31 | 0:19:37 | |
and push in from there and she will
get that lovely... Yes. They are | 0:19:37 | 0:19:44 | |
very knowledgeable! And she needs to
look over the seam of his shirt and | 0:19:44 | 0:19:50 | |
not so far to the left. Gemma and
Aljaz, following on from a couple of | 0:19:50 | 0:19:58 | |
strong weeks, they are doing a
salsa. How is it looking? There is a | 0:19:58 | 0:20:04 | |
nice bit of salsa, very basic which
is good and you have to make sure | 0:20:04 | 0:20:10 | |
you did a lot of body rhythm. There
is a bit of arms there. Because she | 0:20:10 | 0:20:18 | |
is slightly taller, probably the
same height as Aljaz, she has to | 0:20:18 | 0:20:24 | |
keep it nice and light and it
doesn't look happy because sometimes | 0:20:24 | 0:20:28 | |
salsa can look heavy and she needs
to make it light across the floor | 0:20:28 | 0:20:33 | |
and rhythmical. I can see a lot of
rhythm but she has to keep it light. | 0:20:33 | 0:20:37 | |
And onto Jonnie, he is quite pleased
that the cha-cha-cha is the hind | 0:20:37 | 0:20:43 | |
him, this week it is a salsa. It is
looking quite rhythmical, he is more | 0:20:43 | 0:20:50 | |
at home in this dance than he was
with the cha-cha-cha because the leg | 0:20:50 | 0:20:55 | |
action is not as important. It is
more about the rhythm in the body | 0:20:55 | 0:20:58 | |
and all that lovely arms. I thought
we would show it back. This is not | 0:20:58 | 0:21:07 | |
easy. I was thinking about us trying
to do this to demonstrate that are | 0:21:07 | 0:21:13 | |
the first two moves I decided not
to! You can't do it! Because I have | 0:21:13 | 0:21:19 | |
never done the other before. And now
is your first time! No! But very | 0:21:19 | 0:21:26 | |
good and clever armography and if
they do that slick it will look | 0:21:26 | 0:21:30 | |
amazing. And finally Joe and Katya,
I loved the spider routine but the | 0:21:30 | 0:21:37 | |
Charleston for them this week and it
could be groovy. I am exhausted just | 0:21:37 | 0:21:43 | |
watching them loads of effort and
energy in all of the moves and that | 0:21:43 | 0:21:46 | |
is what you want, all of those very
light on the feet and matching | 0:21:46 | 0:21:53 | |
moves. I like that one. Reverse it!
But my favourite thing about him is | 0:21:53 | 0:22:04 | |
facial expressions. If there was
ever a dance where you need a lot of | 0:22:04 | 0:22:12 | |
facial expressions, this is it. He
is an actor and he should be able | 0:22:12 | 0:22:15 | |
to. You don't want to finish on
another Debbie impression? No! Ian | 0:22:15 | 0:22:23 | |
Waite, everyone! | 0:22:23 | 0:22:25 | |
Now, like the song says,
"Here we are now, entertain us". | 0:22:25 | 0:22:27 | |
And in the spirit of Strictly
Halloween they most certainly did. | 0:22:27 | 0:22:31 | |
It's the im-paso-bly
brilliant Aston and Janette! | 0:22:31 | 0:22:35 | |
Come on, people! | 0:22:38 | 0:22:40 | |
That was a paso doble that brought
the dead back to life. That solo, | 0:22:45 | 0:22:52 | |
how you beat out the rhythm, it was
crisp and exact and you owned it. It | 0:22:52 | 0:22:59 | |
was amazing! | 0:22:59 | 0:23:03 | |
It was brilliant, all her work. That
was incredible, what a closing to | 0:23:12 | 0:23:18 | |
the show, just amazing. We were
screaming for tens. Did you love it? | 0:23:18 | 0:23:27 | |
That is an understatement, that is
the highlight of my Strictly journey | 0:23:27 | 0:23:31 | |
so far. You could tell how much you
loved it. Darcy said you owned it. | 0:23:31 | 0:23:39 | |
What was it about the dance that got
you? Janette's voice in my air! All | 0:23:39 | 0:23:47 | |
week! Shaping! Shaping! Hips! Again!
You heard Nirvana and I heard | 0:23:47 | 0:23:58 | |
Janette! Look at her gorgeous phase
them you would never think she would | 0:23:58 | 0:24:04 | |
be like that but it paid off with
your highest score of the series. | 0:24:04 | 0:24:07 | |
Two tens. Did it feel good to join
the prestigious club? It felt good, | 0:24:07 | 0:24:18 | |
I felt like a glass of champagne!
Spoil yourself! Shirley said it was | 0:24:18 | 0:24:27 | |
not traditional enough but she still
Daegu nine and I think she loved it | 0:24:27 | 0:24:31 | |
-- she still gave you. She is tough
to crack but she knows what she is | 0:24:31 | 0:24:37 | |
talking about and she is very
knowledgeable so I take everything | 0:24:37 | 0:24:40 | |
she says on board and fingers
crossed, hopefully she will like the | 0:24:40 | 0:24:45 | |
Viennese waltz more, that is more
traditional. We must imagine how | 0:24:45 | 0:24:52 | |
Bruno compared YouTube Joaquin
Cortez. Have you heard of him? -- | 0:24:52 | 0:24:57 | |
compared you to. I had seen the
video, she said, this is what you're | 0:24:57 | 0:25:04 | |
going to be like! Can we just admire
this magnificent leap. In slow | 0:25:04 | 0:25:11 | |
motion. Yes! And the arms and the
chest! And the heels! And he had | 0:25:11 | 0:25:27 | |
Cuban heels, that is so hard. Mail
pros sometimes try to avoid them | 0:25:27 | 0:25:32 | |
because you are literally wearing
heels to dance. On Monday you would | 0:25:32 | 0:25:36 | |
have been laughing! He said, I've
got a new-found respect for women! | 0:25:36 | 0:25:42 | |
YouTube alt-right it. | 0:25:42 | 0:25:43 | |
It's so good. -- you should all try
it. And we have an interesting stat, | 0:25:44 | 0:25:53 | |
we have added up the scores so far
for the top five cup doubles -- | 0:25:53 | 0:25:57 | |
couples. This is how you measure up. | 0:25:57 | 0:26:02 | |
Who is at the top? CHEERING
Go on! That's a bit more pressure! | 0:26:14 | 0:26:25 | |
It could change easily. You train
next to Alexandra and Gorka. We are | 0:26:25 | 0:26:37 | |
team 45, that is the studio we
rehearse in. And know you are all | 0:26:37 | 0:26:45 | |
great friends, someone is bringing
me, I'm sorry! It's my son! I'll | 0:26:45 | 0:26:49 | |
just turn it off. You train in the
studio... Where am I?! I know you | 0:26:49 | 0:27:00 | |
get on great but when it is that
close, do you get a bit... It might | 0:27:00 | 0:27:08 | |
be now. But honestly, Gorka comes
next door and Janette is like, can | 0:27:08 | 0:27:15 | |
you show him this step. We are
supportive of each other and we | 0:27:15 | 0:27:21 | |
literally rehearse right next to
each other so that we are constantly | 0:27:21 | 0:27:24 | |
going backwards and forwards and we
show each other's routines and it's | 0:27:24 | 0:27:28 | |
really nice. That's lovely, until
the final! The Viennese waltz this | 0:27:28 | 0:27:35 | |
week and you have an amazing record
to dance to. It is the Jacksons. You | 0:27:35 | 0:27:43 | |
love Michael Jackson, don't you?
Super fan. How does it feel to dance | 0:27:43 | 0:27:50 | |
to this? It's an honour obviously
but you worry a bit, you had to do | 0:27:50 | 0:27:56 | |
it justice because this is one of my
favourite songs. OK, let's take a | 0:27:56 | 0:28:00 | |
deep breath and go into this routine
as with any other and try to | 0:28:00 | 0:28:05 | |
concentrate and not get lost.
Looking good in the giant lemon de! | 0:28:05 | 0:28:12 | |
Here's been fighting a really bad
cold -- the lemon hoody. I think you | 0:28:12 | 0:28:21 | |
should wear it on Saturday! And
possibly sideburns? Are you growing | 0:28:21 | 0:28:27 | |
them? I'm going to try! Are you
happy with how it has gone in | 0:28:27 | 0:28:31 | |
training? Very happy, I think it
will be a nice routine. Well done, | 0:28:31 | 0:28:39 | |
Aston and Janette! APPLAUSE | 0:28:39 | 0:28:41 | |
That's all we have time for tonight. | 0:28:41 | 0:28:43 | |
Join me again tomorrow at 6.30pm
when I'll be chatting to Mollie | 0:28:43 | 0:28:46 | |
and AJ and Debbie and Giovanni. | 0:28:46 | 0:28:48 | |
Plus It Takes Two heavyweights
Vicky Gill and Ian Waite will be | 0:28:48 | 0:28:51 | |
here to lend us their expertise. | 0:28:51 | 0:28:52 | |
Goodnight! | 0:28:52 | 0:28:56 | |
Today's the day. The final day. | 0:29:04 | 0:29:06 |