Browse content similar to Episode 29. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Live from London, this is Strictly
It Takes Two. | 0:00:50 | 0:01:01 | |
Hello and welcome to It Takes Two! | 0:01:01 | 0:01:03 | |
Tonight's show is packed full
of the greatest Strictly | 0:01:03 | 0:01:05 | |
news and exclusives one
could ever dream of. | 0:01:05 | 0:01:07 | |
And, to match that,
we have quite the cast. | 0:01:07 | 0:01:09 | |
Lined up on our sofa
right now, we have... | 0:01:09 | 0:01:11 | |
The New Queen of Latin
and her loyal servant - | 0:01:11 | 0:01:14 | |
Debbie and Giovanni! | 0:01:14 | 0:01:16 | |
Evening! | 0:01:22 | 0:01:23 | |
Better the devils we
know - Mollie and AJ! | 0:01:23 | 0:01:26 | |
Here to give the week's training
footage a good looking | 0:01:26 | 0:01:28 | |
over, it's Ian Waite! | 0:01:28 | 0:01:32 | |
Nice shirt! | 0:01:32 | 0:01:35 | |
And she's only just
recovered from Halloween - | 0:01:35 | 0:01:37 | |
but what are her designs
for the weekend ahead? | 0:01:37 | 0:01:39 | |
It's Vicky Gill! | 0:01:39 | 0:01:40 | |
Beautiful people. | 0:01:40 | 0:01:42 | |
But first up, their devilish
cha-cha-cha made Hell look | 0:01:42 | 0:01:44 | |
like a place we'd all love to hang
out - but it wasn't enough to keep | 0:01:44 | 0:01:47 | |
them from a nightmare
trip to the dance-off. | 0:01:47 | 0:01:49 | |
It's Mollie and AJ! | 0:01:49 | 0:01:51 | |
A devilishly good cha-cha-cha! It is
so much fun in hell that I wanted to | 0:02:01 | 0:02:04 | |
join in. There are some issues. The
core needs to be more toned. You | 0:02:04 | 0:02:11 | |
were wearing shoulders as earrings.
You are starting to look more | 0:02:11 | 0:02:15 | |
comfortable doing this stuff! Hello!
You gorgeous twosome. We have never | 0:02:15 | 0:02:23 | |
seen a pair of devils looking so
good. Sorry, Russell Brand! | 0:02:23 | 0:02:29 | |
You were amazing. How much fun was
that? We had so much fun. Literally, | 0:02:30 | 0:02:36 | |
I could not take the smile off my
face. I was trying to go for a sassy | 0:02:36 | 0:02:42 | |
thing, but I kept breaking into a
smile. I'm not surprised, the | 0:02:42 | 0:02:46 | |
outfit, the crowd, the music, Kylie.
Craig said he looked confident and | 0:02:46 | 0:02:53 | |
comfortable. You have always thought
you were not keen on Latin, but has | 0:02:53 | 0:02:56 | |
that helped? I love Latin, it is
just that I have completely fallen | 0:02:56 | 0:03:01 | |
in love with ballroom. I need to get
my confidence up, but it was good to | 0:03:01 | 0:03:11 | |
hear that from Craig. It is great my
confidence is improving. Go on, | 0:03:11 | 0:03:16 | |
Craig! Social media is going crazy. | 0:03:16 | 0:03:18 | |
HellomynameisLucy wrote,
I wonder if Mollie King has to be | 0:03:18 | 0:03:21 | |
cut out of that outfit
to have a pee? | 0:03:21 | 0:03:24 | |
Can you shed any light on this? | 0:03:24 | 0:03:28 | |
Did take an army to let me go to the
toilet. Zipped out, so much going | 0:03:28 | 0:03:35 | |
on, the microphone pack and
everything. Quite a few to let me go | 0:03:35 | 0:03:38 | |
for a quick wee. When you're nervous
you always have to go. We are going | 0:03:38 | 0:03:45 | |
live and I need a wee! You make a
great devil, great choreography. A | 0:03:45 | 0:03:52 | |
lovely touch when you were checking
yourself out in the mirror. Did we | 0:03:52 | 0:03:55 | |
catch you off or was that the
currently? Morley caught me off | 0:03:55 | 0:04:00 | |
guard all week. Any thing
reflective, an opportunity to have a | 0:04:00 | 0:04:04 | |
look. Were you happy with how it
looked? Very happy, waistcoat and | 0:04:04 | 0:04:09 | |
all of that. You were working your
tail. | 0:04:09 | 0:04:14 | |
As the smiliest couple
in the competition, how hard was it | 0:04:14 | 0:04:16 | |
to get into character
as those devils? | 0:04:16 | 0:04:20 | |
You kept saying, Mollie, you need to
be more fierce and sassy. I kept | 0:04:20 | 0:04:27 | |
coming out of my fork, hey! You've
got to do it seriously, this is | 0:04:27 | 0:04:31 | |
going to happen on the live show.
She was coming out, all smiles. A | 0:04:31 | 0:04:35 | |
bit scary, but not really. Then
something terrible happened. The | 0:04:35 | 0:04:40 | |
dance-off. There was an audible gasp
shock throughout the audience, | 0:04:40 | 0:04:43 | |
throughout the country. What
happened? We were in the danger | 0:04:43 | 0:04:53 | |
zone, the middle of the table is
always a scary. You never know who | 0:04:53 | 0:04:57 | |
is safe. When we found out we were
in the dance-off, we were both | 0:04:57 | 0:05:00 | |
gutted. We love it so much. We just
don't want it to end. That's the | 0:05:00 | 0:05:06 | |
thing. You see the red light and you
just think, my gosh, this is the end | 0:05:06 | 0:05:10 | |
of it. We are literally going. I'm
not going to learn any more dancing, | 0:05:10 | 0:05:14 | |
we are not going to be hanging out
any more. It's just over. You have | 0:05:14 | 0:05:18 | |
to really pick yourself up. AJ was
there to calm me down. I was going, | 0:05:18 | 0:05:23 | |
my gosh, we are going. Your little
faces! The judges saved you | 0:05:23 | 0:05:29 | |
unanimously. So good. | 0:05:29 | 0:05:36 | |
Craig
was singing your praises | 0:05:36 | 0:05:41 | |
Do you feel more confident? Yes,
there are so much technique to | 0:05:41 | 0:05:45 | |
learn. The most important thing is
to go out and have fun. We love | 0:05:45 | 0:05:50 | |
rehearsing together, being in the
training room, getting to learn a | 0:05:50 | 0:05:54 | |
whole new skill every week. I just
love that. I hope we can continue | 0:05:54 | 0:05:57 | |
for as long as possible. We have
been looking in your training room | 0:05:57 | 0:06:00 | |
this week. A character keeps making
an appearance. | 0:06:00 | 0:06:04 | |
I think I told my tension in my
hands. My hands look like a | 0:06:10 | 0:06:18 | |
Tyrannosaurus rex. I seem to dance
with Tyrannosaurus rex arms. My | 0:06:18 | 0:06:31 | |
hands are like claws. Those changes,
I was in business. | 0:06:31 | 0:06:43 | |
It's all the rage. We have worked at
what it is, she is so used to | 0:06:44 | 0:06:50 | |
holding a microphone in hand. It is
like shoes go to start singing. | 0:06:50 | 0:06:53 | |
That's what I told him, anyway.
Foxtrot. That was to Connie | 0:06:53 | 0:07:04 | |
Francis's Call Me Irresponsible.
Dreamy. This takes me back. What can | 0:07:04 | 0:07:11 | |
you reveal about your character?
Morley is a Hollywood superstar. She | 0:07:11 | 0:07:21 | |
is there. I'm her assistant, helping
her. I am taking off the code and | 0:07:21 | 0:07:26 | |
glasses. I save her at the
beginning. She falls in love. You | 0:07:26 | 0:07:32 | |
fall in love with her, or she falls
in love with you as to market She | 0:07:32 | 0:07:38 | |
physically falls, and then she falls
in love with me. He added that bit | 0:07:38 | 0:07:41 | |
into the story! Tyre maybe it is a
different story in her brain. | 0:07:41 | 0:07:47 | |
You did say today it could be her
best chance ever. I think it is. I | 0:07:48 | 0:07:53 | |
love the foxtrot. Do you think? This
was the beginning of the week. She | 0:07:53 | 0:07:58 | |
looks amazing there. Are you
checking yourself out, AJ? | 0:07:58 | 0:08:10 | |
Debbie's been crowned
the new Queen of Latin - | 0:08:10 | 0:08:12 | |
are you gunning for Anton's Queen
of Ballroom crown now? | 0:08:12 | 0:08:15 | |
I would love that! Good luck at the
weekend, it could be your best bands | 0:08:15 | 0:08:21 | |
ever. Mollie and AJ! | 0:08:21 | 0:08:24 | |
Right now, it's time for one man
and his wand to boldly go where no | 0:08:26 | 0:08:30 | |
man has gone before. | 0:08:30 | 0:08:31 | |
Well, at least since yesterday. | 0:08:31 | 0:08:32 | |
It's Waite's Warm Up. | 0:08:32 | 0:08:34 | |
Luck who is here! | 0:08:49 | 0:08:51 | |
How was your dad's takeaway last
night? It was a nonevent, really. We | 0:08:56 | 0:09:01 | |
had a takeaway and he said he was
going for a wash and to go to bed | 0:09:01 | 0:09:06 | |
early. It was his 70th birthday. You
do what you want. | 0:09:06 | 0:09:10 | |
Where's your wand? | 0:09:10 | 0:09:18 | |
You can tell Gio is in the house.
I'm glad you are wearing flowers. It | 0:09:18 | 0:09:24 | |
works, we are like a couple. | 0:09:24 | 0:09:27 | |
Alexandra and Gorka are taking
on the dreaded Cha-cha-cha, | 0:09:27 | 0:09:29 | |
is she going to make it look easy? | 0:09:29 | 0:09:34 | |
She is doing a pretty good job of a
difficult dance. A lot of syncopated | 0:09:34 | 0:09:40 | |
stuff I have noticed, which is more
difficult. It is half the beat of a | 0:09:40 | 0:09:45 | |
normal beat. That's what it means,
people! I'd like to see a bit more | 0:09:45 | 0:09:50 | |
articulation in the ankles. Just to
make the finesse look a little bit | 0:09:50 | 0:09:55 | |
better. Also, I noticed that there
are places where she could settle a | 0:09:55 | 0:10:00 | |
lot more into the hips. When she is
actually settling into it. You make | 0:10:00 | 0:10:11 | |
the area between your shoulder blade
and your hip shorter, squeeze it. I | 0:10:11 | 0:10:17 | |
don't like squeezing mine. It gives
you the earthy look. Sometimes she | 0:10:17 | 0:10:24 | |
misses that out. We have learned
something. | 0:10:24 | 0:10:28 | |
Aston's Paso wowed the judges
on Saturday but can he reach | 0:10:28 | 0:10:30 | |
the same dizzy heights with this
Viennese Waltz? | 0:10:30 | 0:10:34 | |
He's absolutely brilliant on his
own. But sometimes it's a bit like | 0:10:34 | 0:10:44 | |
me, when I'm on my own... Sometimes
he can look a little bit awkward. | 0:10:44 | 0:10:50 | |
He's not so comfortable. But I must
say, his frame has improved a lot. I | 0:10:50 | 0:10:55 | |
notice here that sometimes he is
struggling in the pivot to get | 0:10:55 | 0:11:01 | |
around her. I think if he was
slightly over there a little bit | 0:11:01 | 0:11:04 | |
more, if he took a slightly bigger
step... Around her? He might be able | 0:11:04 | 0:11:11 | |
to rotate easier. We got that,
that's good. I like that little | 0:11:11 | 0:11:15 | |
sketch. A bigger step. | 0:11:15 | 0:11:20 | |
Susan took a little knock back last
week but can the Mother of Dragons | 0:11:20 | 0:11:24 | |
set the dancefloor
on fire with this Jive? | 0:11:24 | 0:11:29 | |
She has been working very hard.
Think there are a lot of lovely | 0:11:29 | 0:11:32 | |
basics in the routine. I would like
to see a bit more bouncing on the | 0:11:32 | 0:11:37 | |
feet, because they are very flat.
But I like the fact she is | 0:11:37 | 0:11:41 | |
attempting to lift her knees. The
fact she is lifting her knees is | 0:11:41 | 0:11:45 | |
making it look more like a drive. --
jive. To make it much better, she | 0:11:45 | 0:11:54 | |
needs to work on the finesse of the
finishing off of things. Finishing | 0:11:54 | 0:11:57 | |
off the feet, finishing off the
arms. You know, the pointing, the | 0:11:57 | 0:12:05 | |
bouncing and rotation in the back.
It is all a bit square and not | 0:12:05 | 0:12:10 | |
pointed, and not finessed. We could
see some more points. Good girl. | 0:12:10 | 0:12:17 | |
Ruth and Anton are dancing a Paso. | 0:12:17 | 0:12:25 | |
The judges are loving the
improvement, how about you? I love | 0:12:25 | 0:12:29 | |
these two. I feel sorry for Ruth,
she had a hard time. On Twitter I | 0:12:29 | 0:12:35 | |
saw she was having a bit of a
meltdown. Just enjoy yourself! Enjoy | 0:12:35 | 0:12:41 | |
the show! There is a lot of love
here. I did notice that she has | 0:12:41 | 0:12:49 | |
cheered up. At the end of the day,
look at and on's face, that will | 0:12:49 | 0:12:53 | |
make you laugh! | 0:12:53 | 0:12:56 | |
I just think enjoy yourself, don't
take it too seriously. I know it is | 0:12:56 | 0:13:03 | |
difficult, because everybody saying
you to improve this and that. She is | 0:13:03 | 0:13:08 | |
a joy to watch. | 0:13:08 | 0:13:14 | |
Davood and Nadiya. | 0:13:14 | 0:13:16 | |
Is their American Smooth looking
smooth enough for you? | 0:13:16 | 0:13:21 | |
Gorgeous foxtrot. At times, he loses
contact with Nadiya, because he | 0:13:21 | 0:13:27 | |
stops driving. He starts to drive
and then he backs off. Literally, | 0:13:27 | 0:13:32 | |
they lose contact. You talk about
driving a lot in foxtrot, you've got | 0:13:32 | 0:13:35 | |
to move across the floor? Keep
driving! If you notice here, when he | 0:13:35 | 0:13:43 | |
is stepping outside of her, he kind
of loses contact. That is because he | 0:13:43 | 0:13:52 | |
has no CBMP. When I go outside you,
instead of being straight, like | 0:13:52 | 0:13:56 | |
that, you've got to turn your body
to your partner, when you step | 0:13:56 | 0:13:59 | |
outside. You keep contacts, you see
what I mean? Then we won't lose | 0:13:59 | 0:14:05 | |
contact. CBMP it means Contra body
movement. You are divine. Please | 0:14:05 | 0:14:15 | |
come back again soon. Ian Waite! | 0:14:15 | 0:14:21 | |
Keeping up with the latest Strictly
fashion trends can be tough. | 0:14:21 | 0:14:24 | |
Luckily, we've got a gal
who knows all about | 0:14:24 | 0:14:26 | |
the weekend's must-see looks. | 0:14:26 | 0:14:27 | |
This is not a Stitch-Up -
it's Puttin' on the Glitz! | 0:14:27 | 0:14:33 | |
JAZZY MUSIC | 0:14:39 | 0:14:43 | |
APPLAUSE | 0:14:45 | 0:14:47 | |
Give it up for Vicky Gill, everyone! | 0:14:47 | 0:14:55 | |
Great Halloween. | 0:14:55 | 0:14:56 | |
The cast looked hideous. | 0:14:56 | 0:14:57 | |
I mean that in a nice way. | 0:14:57 | 0:15:02 | |
Let's talk about Debbie's charleston
outfit because she had a quick | 0:15:02 | 0:15:06 | |
change. How much planning and how
worrying is it best to mark quick | 0:15:06 | 0:15:14 | |
change is always a worry, we did one
live and you could see it. It is | 0:15:14 | 0:15:20 | |
nerve-racking, it is live. I like it
when people go behind and then make | 0:15:20 | 0:15:24 | |
the entrance. It's quite nice that
she was revealed in blue, not that | 0:15:24 | 0:15:29 | |
anybody knew it was coming! No one
had any idea! The same system | 0:15:29 | 0:15:35 | |
applies with a quick change, it's
all about timing and I think that | 0:15:35 | 0:15:39 | |
the performer are just going to get
it off. Debbie did it very well. We | 0:15:39 | 0:15:44 | |
are going to look at some sketches,
Alexandra is doing the cha-cha-cha. | 0:15:44 | 0:15:50 | |
There is a theme that she's being a
jazz singer. Yes, a slinky longer | 0:15:50 | 0:15:57 | |
line for Alexander. She's had a
short and sassy numbers so far. She | 0:15:57 | 0:16:01 | |
looks brilliant in anything really
bad with the cha-cha-cha it is nice | 0:16:01 | 0:16:05 | |
to have a gentle swish rather than
something bouncy for the samba and | 0:16:05 | 0:16:10 | |
salsa. We may take it short on the
side because her legs are great and | 0:16:10 | 0:16:16 | |
we want to get them out. Gorgeous.
Oti's dress, she and Jonnie are | 0:16:16 | 0:16:22 | |
doing the salsa. She's gone short,
ooh! Is by natural wee action. Oti, | 0:16:22 | 0:16:28 | |
this week I feel I need to see more
of their choreography -- that is my | 0:16:28 | 0:16:37 | |
natural reaction. Oti is Bobby
looking and saying, I sent a note to | 0:16:37 | 0:16:44 | |
get trousers, and she might! She is
good like that. But her legs are | 0:16:44 | 0:16:50 | |
fantastic and we are going to
hopefully end up in some slightly | 0:16:50 | 0:16:53 | |
swinging black shorts, and the top
are going to be like mess with | 0:16:53 | 0:17:01 | |
stones -- are going to be black
mesh. That said, we may get | 0:17:01 | 0:17:07 | |
tomorrow... She may have bell
bottoms! We are going to look at | 0:17:07 | 0:17:13 | |
Ruth, her Paso dress, look at this.
They are dancing to the Shady Lady | 0:17:13 | 0:17:22 | |
From Seville. What can you tell me
about this? It is a simple dress, | 0:17:22 | 0:17:27 | |
the viewers know that we need a lot
of volume and flair for the Paso | 0:17:27 | 0:17:32 | |
Doble and if she wants to, she can
lift it all the way up. Hopefully | 0:17:32 | 0:17:37 | |
she'll have a nice short Basque
underneath. These frills may become | 0:17:37 | 0:17:43 | |
bigger. Are they going to be as big
as Anton's? Hopefully not too much. | 0:17:43 | 0:17:49 | |
Very pretty lady, Ruth. I like the
embellishments down the centre. | 0:17:49 | 0:18:00 | |
There are ss12 stones here, the
smallest ones we go to. You can | 0:18:00 | 0:18:06 | |
hardly see them and someone has to
stick them on. We'll have to see | 0:18:06 | 0:18:10 | |
with Anton, he's been quite reserved
this year. He tends to go | 0:18:10 | 0:18:15 | |
understated for the bigger numbers.
I can't wait! He'll never get better | 0:18:15 | 0:18:19 | |
than the pink trousers. And our two
soldiers, Joe and Cathy are doing | 0:18:19 | 0:18:27 | |
the charleston. The man needs his
trousers -- Joe and Katya. We need | 0:18:27 | 0:18:40 | |
to be careful with the trouser and
when we have the male and female in | 0:18:40 | 0:18:43 | |
the same style, the body shapes are
different. Joe is going to have a | 0:18:43 | 0:18:48 | |
lot of fun with this. It stretches.
He can do his wafting bits. And the | 0:18:48 | 0:18:54 | |
pant on the bottom of the men's
shirt. Oh yes, their pants! That's a | 0:18:54 | 0:19:01 | |
lovely onesie! Will his trousers be
white? Yes, looking forward to this. | 0:19:01 | 0:19:08 | |
This is our first man mannequin on
the show. | 0:19:08 | 0:19:12 | |
APPLAUSE
Exciting moment. Debbie, you are a | 0:19:12 | 0:19:15 | |
wonder. I just called you Debbie!
Vicky, you are a wonder. | 0:19:15 | 0:19:24 | |
Right, back to the training
rooms now where Davood, | 0:19:24 | 0:19:26 | |
Gemma and Susan are putting
the finishing touches | 0:19:26 | 0:19:28 | |
on the weekend's masterpieces. | 0:19:28 | 0:19:33 | |
So sorry! American Smooth is a
really nice, elegant dance and | 0:19:33 | 0:19:41 | |
movement should be like gliding on
the floor. It's quite complex | 0:19:41 | 0:19:44 | |
choreography. It's like you're
walking together but there's so much | 0:19:44 | 0:19:50 | |
going on. It's listening to music at
the same time and if you don't do | 0:19:50 | 0:19:54 | |
that, you step on her feet and I've
done that on more than one occasion. | 0:19:54 | 0:19:57 | |
Ouch! Then I've got to concentrate
on the other aspect, the hold and | 0:19:57 | 0:20:04 | |
the frame and making sure it looks
like a strong performance. You've | 0:20:04 | 0:20:07 | |
got to really know what you're
doing. We are hopefully going to see | 0:20:07 | 0:20:13 | |
Gemma doing the salsa. It's weird
because the footwork is fast but the | 0:20:13 | 0:20:19 | |
upper body is very smooth and loose.
No dance comes naturally to me at | 0:20:19 | 0:20:25 | |
all. One, two, three, don't worry!
The thing I'm struggling with is my | 0:20:25 | 0:20:30 | |
timing. It is difficult to try and
swing your hips when you don't have | 0:20:30 | 0:20:36 | |
a lot of hips. The smoother the
step, the bigger the hip. But I'm | 0:20:36 | 0:20:41 | |
going to find them by Saturday! I'm
doing it! The Jive is a fast dance | 0:20:41 | 0:20:49 | |
but I know it's very technical as
well. Try and jilt this but as you | 0:20:49 | 0:20:53 | |
do it. The challenge is picking up
the knees and giving it bouncy and | 0:20:53 | 0:20:58 | |
energetic but also tight and under
control. Dancing is really | 0:20:58 | 0:21:01 | |
difficult! Despite having... I can't
step forward on the correct foot. | 0:21:01 | 0:21:11 | |
You're going to land on the back
one. Looking forward to it. Looks | 0:21:11 | 0:21:16 | |
like a lot of fun, I think. Yeah! | 0:21:16 | 0:21:21 | |
Now, my final guest of the night
took a big risk by resurrecting her | 0:21:21 | 0:21:28 | |
long lost love Gio-stein
for a cheeky Charlie-ston. | 0:21:28 | 0:21:30 | |
Luckily, they did not disappoint. | 0:21:30 | 0:21:31 | |
It's the latest recruits to
the Ten Club, Debbie and Giovanni! | 0:21:31 | 0:21:38 | |
Precise, absolutely incredible. How
you produce those crazy lifts, you | 0:21:45 | 0:21:50 | |
are fearless. I'm going to give you
my queen of Latin crown because you | 0:21:50 | 0:21:56 | |
deserve it!
APPLAUSE | 0:21:56 | 0:21:59 | |
Debbie and Giovanni, everyone! | 0:21:59 | 0:22:05 | |
Welcome to the Ten Club. | 0:22:05 | 0:22:07 | |
You had not one but three of them. | 0:22:07 | 0:22:13 | |
The best scoring Charlie-ston of the
series. Debbie, what do you make of | 0:22:13 | 0:22:18 | |
that? We haven't come down yet, we
are still in the clouds. Having a | 0:22:18 | 0:22:23 | |
fantastic week since then. They are
both in a very naughty mood, they | 0:22:23 | 0:22:27 | |
keep giggling! Not only that, but...
She's gone! You had a coronation as | 0:22:27 | 0:22:38 | |
well. Look at her face, that's
amazing! You were crowned by | 0:22:38 | 0:22:44 | |
Shirley... Wu yes, I think she's
really happy --, yes, I think she's | 0:22:44 | 0:22:51 | |
really happy. She's very happy!
Something in the water! I've got to | 0:22:51 | 0:22:58 | |
say, your final lift, not only did
she give you the crown but the final | 0:22:58 | 0:23:02 | |
left almost broke Bruno. Look at his
face and look at Darcey. Up you go. | 0:23:02 | 0:23:10 | |
His face! He's absolutely
dumbstruck. Darcey looked like she'd | 0:23:10 | 0:23:18 | |
seen a ghost. I guess it was
Halloween. You didn't make it easy | 0:23:18 | 0:23:25 | |
for Her Majesty, did you? Absolutely
not, a guy who did the choreography, | 0:23:25 | 0:23:33 | |
brilliant, we worked together as a
team. We got good stores and I was | 0:23:33 | 0:23:38 | |
proud of her as well. Yes, a hard
week. Bos lifts, if anything had | 0:23:38 | 0:23:44 | |
gone wrong, it could have been
awful. Yes, a disaster. Was it | 0:23:44 | 0:23:49 | |
scary? It was Halloween week, it was
meant to be scary, that's the | 0:23:49 | 0:23:53 | |
reason. A lift every week, it's
difficult because we have to do is | 0:23:53 | 0:24:06 | |
push ourselves 100%. What's wrong
with you? We did it and its fine. I | 0:24:06 | 0:24:13 | |
will say, in all fairness, I'm sorry
I have the giggles, but we have | 0:24:13 | 0:24:17 | |
giggled all week. We've been with
the soldiers are selling poppies at | 0:24:17 | 0:24:22 | |
King's Cross Stadium, which was
really exciting and fun. Back to the | 0:24:22 | 0:24:27 | |
Charlie-ston, in the rehearsal room,
Giovanni didn't drop me once and we | 0:24:27 | 0:24:30 | |
did it so many times. Not once did
he drop me. So I wasn't scared | 0:24:30 | 0:24:35 | |
because I knew whatever happened...
Total confidence. You had those | 0:24:35 | 0:24:42 | |
lifts, you had acting, a quick
costume change. How easy is it to | 0:24:42 | 0:24:46 | |
rehearse this because it is so
speedy? I couldn't do it twice | 0:24:46 | 0:24:52 | |
back-to-back and in the end,
Giovanni worked out that I needed | 0:24:52 | 0:24:55 | |
four minutes in between to get my
breath back. Yes, it was difficult | 0:24:55 | 0:25:01 | |
for the stamina, it was very fast.
You did it correctly on the night. I | 0:25:01 | 0:25:06 | |
said to her before we went out, just
do the best you can and she did the | 0:25:06 | 0:25:15 | |
last lift. It was awesome. Not to be
outdone, you were in green, | 0:25:15 | 0:25:22 | |
Giovanni. It's not easy being Green!
Is this your favourite Halloween | 0:25:22 | 0:25:26 | |
outfit? I think it looks more like
the Incredible Hulk. The incredible | 0:25:26 | 0:25:37 | |
"ulk"! The Incredible Hulk! You got
39 for your charleston with Georgia | 0:25:37 | 0:25:48 | |
and if we went back, she got to the
final, so... There is no connection. | 0:25:48 | 0:25:55 | |
Nothing about this. Every week is a
different stance. What we want to | 0:25:55 | 0:26:01 | |
do, impressed the judges every week.
We did with the charleston, so it's | 0:26:01 | 0:26:05 | |
good. The ulk and the Charlie-ston.
It is the Black Eyed Peas this week. | 0:26:05 | 0:26:19 | |
All eyes are going to be an new two
after your incredible scores. | 0:26:19 | 0:26:24 | |
Giovanni, have you thrown anything
in? I have phone in everything, I | 0:26:24 | 0:26:28 | |
want to do a completely different
stance, a lot of technique, you | 0:26:28 | 0:26:32 | |
know, tango steps. We are back in
ballroom. We will look at position | 0:26:32 | 0:26:40 | |
and focus on technique. In the
training room we been paying close | 0:26:40 | 0:26:45 | |
attention, Giovanni seems to have
developed his own dance language. We | 0:26:45 | 0:26:55 | |
do the GROWL and the GROWL. | 0:26:55 | 0:26:57 | |
Yeah, so HE GROWLS. What are you
doing? Nothing. You see where this | 0:27:07 | 0:27:17 | |
is coming from? Do you know what he
means by that? Actually we changed | 0:27:17 | 0:27:23 | |
that bit. We aren't doing that SHE
GROWLS any more. Ian and I tried one | 0:27:23 | 0:27:34 | |
of your moves yesterday and it was a
disaster. How do you keep coming up | 0:27:34 | 0:27:39 | |
with these incredible ways of
displaying Debbie's talent? We know | 0:27:39 | 0:27:42 | |
she has talent soap every I want to
put in something that really shows | 0:27:42 | 0:27:48 | |
the talent and so far it's gone
really well so fingers crossed for | 0:27:48 | 0:27:51 | |
Saturday again. It's really tricky.
You try to do it yesterday and it's | 0:27:51 | 0:27:56 | |
difficult. Really difficult. The
weight is on my right arm, she must | 0:27:56 | 0:28:01 | |
kick and maintain possession. She is
great. She is good. She is. There is | 0:28:01 | 0:28:09 | |
no rise and fall in the tango, what
are we looking for? Sharp, staccato, | 0:28:09 | 0:28:14 | |
heal action and perform. And no
growling! Ooh! I'm going to give you | 0:28:14 | 0:28:25 | |
my crown of It Takes Two, Debbie.
APPLAUSE | 0:28:25 | 0:28:34 | |
Good luck with your tango. | 0:28:34 | 0:28:37 | |
That's all we've got time for,
a huge thank you to all my guests. | 0:28:37 | 0:28:40 | |
Don't forget to tune
in tomorrow night at | 0:28:40 | 0:28:42 | |
the earlier time of 6 o'clock. | 0:28:42 | 0:28:44 | |
I'll be chatting to Alexandra
and Gorka, Susan amd Kevin | 0:28:44 | 0:28:46 | |
and Gemma and Aljaz. | 0:28:46 | 0:28:48 | |
Plus joining me on the Friday
panel will be Lisa Riley, | 0:28:48 | 0:28:50 | |
Tom Allen and Martine McCutcheon. | 0:28:50 | 0:28:52 | |
See you then. | 0:28:52 | 0:28:53 | |
Goodnight! | 0:28:53 | 0:28:56 |