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Live from London,
this is Strictly It Takes Two. | 0:00:45 | 0:00:50 | |
Please welcome
your host, Gethin Jones. | 0:00:50 | 0:00:54 | |
The music, the stage, it brings it
all back. | 0:01:01 | 0:01:05 | |
Hello and welcome to It Takes Two. | 0:01:05 | 0:01:08 | |
You may have noticed that I'm not
Zoe Ball. She still poorly and is | 0:01:08 | 0:01:14 | |
watching from home so we send her
our love. Fresh from an Argentine | 0:01:14 | 0:01:22 | |
Tango and a half, it's Alexandra and
Gorka. No sign of the dance off for | 0:01:22 | 0:01:28 | |
this pair, it is Molly and AJ. And
the latest recruit to the ten club, | 0:01:28 | 0:01:35 | |
congratulations to Davood and
Nadiya. And not just for any old | 0:01:35 | 0:01:39 | |
warm up, it's Ian Waite. Right now,
some mere mortals might buckle under | 0:01:39 | 0:01:49 | |
the pressure of delivering the first
Argentine tango of the series, not | 0:01:49 | 0:01:53 | |
these two, who gave as an out of
this world crowd pleaser. In the | 0:01:53 | 0:01:57 | |
words of Craig. You never cease to
amaze me, that was incredible. And | 0:01:57 | 0:02:05 | |
they are wonderful. It is Alexandra
and Gorka. It was so passionate, I | 0:02:05 | 0:02:12 | |
loved it. Dutiful lines, in your
feet. That sequence was razor sharp | 0:02:12 | 0:02:21 | |
and extraordinary. You never cease
to amaze me. That was incredible. | 0:02:21 | 0:02:29 | |
It's Alexandra and Gorka. Always
matching, looking amazing. Let's | 0:02:29 | 0:02:37 | |
talk about Saturday night. What a
routine. How did it feel? It felt | 0:02:37 | 0:02:43 | |
amazing. I know I say this all the
time. I love every single thing that | 0:02:43 | 0:02:48 | |
we are doing. It's all different and
I'm having the best time. Saturday, | 0:02:48 | 0:02:53 | |
I just loved it. Absolutely. You
taught as a few new words. You | 0:02:53 | 0:03:02 | |
pulled it off, with not much time to
rehearse it. Three on the Friday and | 0:03:02 | 0:03:08 | |
three on Saturday. I just kept
saying to myself, the show must go | 0:03:08 | 0:03:13 | |
on. If we follow... But thankfully,
we didn't. It was intense but the | 0:03:13 | 0:03:20 | |
stairs aren't easy. You pulled it
off with a whopping 38 points. The | 0:03:20 | 0:03:26 | |
first Argentine tango of the series,
so the high-scoring and the lowest! | 0:03:26 | 0:03:35 | |
It was my first Argentine Tango
ever. If I had dream to have my | 0:03:35 | 0:03:41 | |
first one like that, I would never,
it was amazing. So thank you. | 0:03:41 | 0:03:47 | |
Brilliant to watch. One part of the
team we were watching with awe. | 0:03:47 | 0:03:53 | |
Treading on the feet. Did it ever go
wrong? Did it hurt? Look at that! | 0:03:53 | 0:03:58 | |
You have to get that right! We
weren't lying when we said... | 0:03:58 | 0:04:11 | |
Sometimes she used to heal instead
of the ball of the foot and then it | 0:04:11 | 0:04:15 | |
is quite painful. Again, I am sorry.
Bruno called you a magnificent | 0:04:15 | 0:04:23 | |
creature. How hard was it to keep
the beast inside? Very hard. A lot | 0:04:23 | 0:04:29 | |
of the time I want to just screamed.
To keep contained because I am | 0:04:29 | 0:04:35 | |
always energetic, I was told a lot
just to control it and not to get | 0:04:35 | 0:04:40 | |
too excited. Just breathing through
every single move. It was hard. | 0:04:40 | 0:04:46 | |
Darcey thought you were bringing out
your emotion through your shoulders. | 0:04:46 | 0:04:49 | |
Have you always had emotional
shoulders? I don't feel it. | 0:04:49 | 0:04:58 | |
Sometimes, when rehearsing Gorka
will say my shoulders are up. It's | 0:04:58 | 0:05:03 | |
hard to know what you're doing in
the moment and correct it. I'm going | 0:05:03 | 0:05:06 | |
to try and work on that and
hopefully improved. Gorka has | 0:05:06 | 0:05:10 | |
amazing shoulders from all the
working out. It wasn't just Craig | 0:05:10 | 0:05:16 | |
that you never cease to amaze. The
people of the Internet like the | 0:05:16 | 0:05:21 | |
show. Your brother David, completely
impartial in all of this, I was | 0:05:21 | 0:05:26 | |
blown away by that Argentine Tango.
Sublime and a technical masterpiece. | 0:05:26 | 0:05:31 | |
How much does this support mean to
you? It means the world. Whether it | 0:05:31 | 0:05:37 | |
comes from my family or those who
are just supporting is in general, | 0:05:37 | 0:05:42 | |
we are thankful. We are still here
and we are going to Blackpool and | 0:05:42 | 0:05:46 | |
I'm having the best time of my life.
I only hope Gorka is too. I think we | 0:05:46 | 0:05:52 | |
are. Moving on to Blackpool. You are
dancing a quickstep to this. | 0:05:52 | 0:06:00 | |
# We're in the money! It's
completely different. I love it. | 0:06:00 | 0:06:11 | |
It's very quick and she loves it. I
get to smile the whole time. And I | 0:06:11 | 0:06:19 | |
love it. When I first saw the
choreography, I said, can I smile | 0:06:19 | 0:06:26 | |
all the time? You can smile, not
scream. No screaming. That's what I | 0:06:26 | 0:06:31 | |
do. There are also extra dunces. Is
that weird? It's interesting. It's | 0:06:31 | 0:06:44 | |
the first time I've seen Gorka
choreograph is other people. I just | 0:06:44 | 0:06:49 | |
went quiet. I thought something was
wrong. But it is amazing to see how | 0:06:49 | 0:06:55 | |
he does it. He only has an hour with
them and I saw this amazing man. He | 0:06:55 | 0:07:00 | |
just comes out. You're there, you
there, do that, do that. While! It's | 0:07:00 | 0:07:06 | |
the same, insane, amazing! So will
this practice help with the | 0:07:06 | 0:07:22 | |
quickstep? It will help drive
through the whole floor. She has | 0:07:22 | 0:07:29 | |
real power, so that will be amazing.
I believe you have your own way of | 0:07:29 | 0:07:34 | |
teaching the quickstep to Alexandra.
When she comes to dance with me, we | 0:07:34 | 0:07:47 | |
both know what we are doing. It's
super embarrassing. Doing it by | 0:07:47 | 0:07:56 | |
myself, sometimes I don't know what
I'm doing and I do all the wrong | 0:07:56 | 0:07:59 | |
steps. But it does help me get in
the swing of things. Do people say, | 0:07:59 | 0:08:06 | |
I saw her in the supermarket this
week! It does help but it is | 0:08:06 | 0:08:12 | |
embarrassing. You just have to give
it your all. A quickstep is so | 0:08:12 | 0:08:17 | |
bouncy. I just love it. Good luck in
Blackpool, Alexandra and Gorka. When | 0:08:17 | 0:08:27 | |
it comes to dance, I know how one
man towers above the rest with his | 0:08:27 | 0:08:33 | |
illuminating insights. It's time to
welcome the It Takes Two one and | 0:08:33 | 0:08:42 | |
only warm up. | 0:08:42 | 0:08:46 | |
In weight, everybody. -- Ian Waite.
It reminds me of the days when I | 0:08:49 | 0:08:59 | |
used until you. That was ten years
ago now. They said, go and see Ian, | 0:08:59 | 0:09:07 | |
he will make you dance like a man.
How excited are you about the | 0:09:07 | 0:09:14 | |
weekend? I'm very excited. It's a
chance for the celebrities to see | 0:09:14 | 0:09:21 | |
what the pros are on about. It is
the mecca of ballroom dancing and | 0:09:21 | 0:09:26 | |
those rooms are steeped in history.
You can't help but up your game and | 0:09:26 | 0:09:30 | |
produce your best answer. Zoe told
me, one thing you can't forget. It's | 0:09:30 | 0:09:37 | |
Ian's one. | 0:09:37 | 0:09:47 | |
-- wand. You are very forward!
Jonnie and Oti in the dance off on | 0:09:50 | 0:10:02 | |
Saturday, can they turn it around
with this tango? It's very good. | 0:10:02 | 0:10:07 | |
They go down in the knees, some very
good footwork. Still has his bottom | 0:10:07 | 0:10:13 | |
stuck out a little bit for me. Still
need to get that tail tucked under. | 0:10:13 | 0:10:17 | |
I've stopped it here because, as you
can see, they've got good contact | 0:10:17 | 0:10:24 | |
but he is a bit too much of the
shoulders. An emotional shoulder. | 0:10:24 | 0:10:32 | |
Erin was talking yesterday and they
mentioned his shoulder coming up. | 0:10:32 | 0:10:40 | |
That's what he needs to do. He needs
to get the feeling in his body but | 0:10:40 | 0:10:44 | |
not up in the shoulders. Debbie and
Giovanni, they have a samba. She | 0:10:44 | 0:10:51 | |
prefers ballroom. How is she getting
on with this? A Spice Girls medley. | 0:10:51 | 0:10:58 | |
She must have all the Spice Girls
behind her. Look at that. That's an | 0:10:58 | 0:11:04 | |
odd looking one to the right. She
just needs to bend into the knees | 0:11:04 | 0:11:09 | |
slightly more and that will give her
slightly more rhythm. Make it a bit | 0:11:09 | 0:11:17 | |
more undulating. Celebrities
struggle with the samba. It's a very | 0:11:17 | 0:11:25 | |
difficult technical dance. I really
like this. Going into the samba | 0:11:25 | 0:11:30 | |
role. I thought we could try it. I
will have to be the man because you | 0:11:30 | 0:11:37 | |
are a bit smaller than me. Just
follow my lead. I was off! Just | 0:11:37 | 0:11:45 | |
don't go anywhere. That's pretty
good. So, that's how you do it? | 0:11:45 | 0:11:54 | |
Moving on quickly to Gemma and Aljaz
and the American smooth. Is it | 0:11:54 | 0:12:00 | |
smooth enough for you? Very smooth
but I'm not sure about the pyjama | 0:12:00 | 0:12:07 | |
bottoms. I noticed that every time
she does it slow, she does tend to | 0:12:07 | 0:12:14 | |
go backwards. They lose contact. She
needs to make sure that she drives | 0:12:14 | 0:12:19 | |
forward and keeps her body up to
him. Here, there's a little bit of | 0:12:19 | 0:12:25 | |
gapping going on. I noticed it in
other places as well. But she has a | 0:12:25 | 0:12:31 | |
lovely head position and she is a
smooth answer. What I want to see | 0:12:31 | 0:12:36 | |
from Gemma is that outstanding dance
now. She needs to bring it and she | 0:12:36 | 0:12:41 | |
needs to produce. Come on! Pull it
out of the bag! Finally, Susan and | 0:12:41 | 0:12:53 | |
Kevin. Can they topped last week's
tango. I can't wait. This is going | 0:12:53 | 0:13:02 | |
to be amazing. I love Strictly
Ballroom and I can't wait to see | 0:13:02 | 0:13:10 | |
what he's going to do with it. She
missed her terms here. They do a | 0:13:10 | 0:13:17 | |
lovely grand circle. She is trying
so hard to get the technique. If you | 0:13:17 | 0:13:23 | |
watch, she is supposed to do a back
and close her feet together. She | 0:13:23 | 0:13:27 | |
doesn't actually do that. She's
supposed to draw the feet together | 0:13:27 | 0:13:31 | |
before she does a toe to toe. Do you
see what I mean first remark I | 0:13:31 | 0:13:37 | |
thought we could do this lovely
grand circle on the end. Not again! | 0:13:37 | 0:13:43 | |
Run around. Run around. You haven't
lost it. You might have lost it in | 0:13:43 | 0:13:53 | |
the face but... What? I'm not going
to lie, I really enjoyed that. | 0:13:53 | 0:14:03 | |
Everybody, put your hands together
for Ian Waite. We've had two drama | 0:14:03 | 0:14:10 | |
fuelled weeks in the ballroom but
the only drama at the weekend was in | 0:14:10 | 0:14:13 | |
this fierce pasa doble. It's Molly
and AJ. Some nice content and in | 0:14:13 | 0:14:27 | |
several places looked much better in
close hold. I saw the determination | 0:14:27 | 0:14:34 | |
in your eyes. But you did throw a
lot away. It had power but it didn't | 0:14:34 | 0:14:39 | |
have presence. Give it up for Molly
and AJ. Can I say congratulations? | 0:14:39 | 0:14:52 | |
Not being on the dance off. CHEERING
We came across this clip! | 0:14:52 | 0:15:13 | |
How long did that hug last for?
Quite a while. For ever. We were hug | 0:15:13 | 0:15:20 | |
can, celebrating everything. Mopped
morning, still hugging. Still going. | 0:15:20 | 0:15:23 | |
Playing it cool. You were
super-emotional. I remember seeing | 0:15:23 | 0:15:28 | |
you come off backstage after the
dance. You two were very quiet. Very | 0:15:28 | 0:15:32 | |
subdued? We were so shocked. It was
an unbelievable feeling to not be in | 0:15:32 | 0:15:38 | |
that dance-off. We had respect
expected we would be in it again. To | 0:15:38 | 0:15:44 | |
just have the public support was
amazing. Yeah, it was a funny one. | 0:15:44 | 0:15:50 | |
We finished the paso doble
feeling... We walked over to Tess | 0:15:50 | 0:15:56 | |
felling very happy. And it was like
wa, wa, wa. When they said you came | 0:15:56 | 0:16:04 | |
out with determination, put it all
there. They loved that. We'll take | 0:16:04 | 0:16:08 | |
that, forget about the rest. We'll
come to the judges in a second. | 0:16:08 | 0:16:13 | |
Let's talk about the paso. Your
favourite? How did it rate for you? | 0:16:13 | 0:16:17 | |
I loved it. I felt I could really
get into the character. I loved | 0:16:17 | 0:16:22 | |
being able to stomp around out
there. I'm more gentle as a person. | 0:16:22 | 0:16:26 | |
So this was my chance to really get
out there and give it my all. I know | 0:16:26 | 0:16:33 | |
you were worried about the slide
going under AJ's legs. Were you | 0:16:33 | 0:16:38 | |
relieved? Once I was through those
legs, I was like, thank goodness. It | 0:16:38 | 0:16:44 | |
was the finale move. Saving it right
to the end. Once I was through those | 0:16:44 | 0:16:49 | |
legs, I was like, yes, come on! Once
through though legs... As we do, we | 0:16:49 | 0:16:54 | |
were an lieding your training all
week. We realised you had a bit of a | 0:16:54 | 0:16:59 | |
secret weapon. This was it? It's
going to be so sore. You've knee | 0:16:59 | 0:17:04 | |
pads. I need bottom pads. I took
some precautionary measures. I need | 0:17:04 | 0:17:13 | |
to pad myself. This is not
happening. It is. She's padding | 0:17:13 | 0:17:22 | |
Did you have a word with Vicky Gill,
I need a word, I need padding on | 0:17:27 | 0:17:32 | |
Saturday night. No that was never
happening. I should have. We might | 0:17:32 | 0:17:37 | |
have got a better score. She smashed
the routine. Standing ovation on the | 0:17:37 | 0:17:43 | |
night. Then the judges' comments.
They only gave you 22 points. AJ, | 0:17:43 | 0:17:48 | |
your thoughts? I thought she
deserved much more. Technically it | 0:17:48 | 0:17:53 | |
was a very hard dance. I don't think
they appreciated that. If had | 0:17:53 | 0:17:58 | |
everything in there. The people at
home supported us, got behind us. | 0:17:58 | 0:18:03 | |
They enjoyed it. For us, that meant
everything. They did get mind you. | 0:18:03 | 0:18:07 | |
Lots of people on social media
weren't happy with your scores. | 0:18:07 | 0:18:13 | |
Including our other favourite
Saturday Frankie Bridge. She said: | 0:18:13 | 0:18:18 | |
As AJ mentioned, that support, how
important was that for you | 0:18:24 | 0:18:27 | |
afterwards? It just means
everything. It's such a growth | 0:18:27 | 0:18:31 | |
period from the Monday when you
start to doing it on the Saturday | 0:18:31 | 0:18:34 | |
night. You only have a few days. To
have that support from the public | 0:18:34 | 0:18:39 | |
and getting behind you, it meanings
everything. Nobody sees that hard | 0:18:39 | 0:18:42 | |
work from the start on a Monday. We
know nothing. You feel like... Blank | 0:18:42 | 0:18:46 | |
page. Totally. Through each day, we
train 12 hours nonstop. That is | 0:18:46 | 0:18:52 | |
nonstop to get the routine ready for
Saturday. All is OK. You made it to | 0:18:52 | 0:18:58 | |
Blackpool this week!
CHEERING AND APPLAUSE | 0:18:58 | 0:19:01 | |
I can't believe it. See the
excitement. You gave her a mention | 0:19:01 | 0:19:06 | |
over the weekend. Your family's
going to be there? It is so | 0:19:06 | 0:19:10 | |
exciting. It is my opportunity to go
up north. My nana is in Hull. We're | 0:19:10 | 0:19:16 | |
going to take Strictly to her. To
her living room. She's going to love | 0:19:16 | 0:19:22 | |
meet can AJ. She's 93. 93-year-olds
love AJ. I'll take that. The | 0:19:22 | 0:19:33 | |
charleston's the perfect dance for
Blackpool? You'll be dancing to a | 0:19:33 | 0:19:40 | |
Little Micks track and the
charleston to Wings? We've some vary | 0:19:40 | 0:19:45 | |
achess of flapping birds here and
there. Um' see them but the lifts, | 0:19:45 | 0:19:49 | |
they're very daring. Mollie does...
More lifts. Mollie trusts me with | 0:19:49 | 0:19:55 | |
her life and mainly her face! Let's
look. What's the face there, AJ? I | 0:19:55 | 0:20:00 | |
don't know what my face is doing
there? What is that face? It's good. | 0:20:00 | 0:20:05 | |
We've kept the lifts. We didn't show
you the lifts to keep them as a | 0:20:05 | 0:20:10 | |
surprise. And partly because we
haven't completely completed a lift | 0:20:10 | 0:20:15 | |
yet. They're a work in progress.
What's the most important thing for | 0:20:15 | 0:20:22 | |
Mollie to do in this one? Your core?
The main thing is to keep the | 0:20:22 | 0:20:27 | |
confidence, shoulders back, not just
the core. She wants it so much, her | 0:20:27 | 0:20:32 | |
shoulders are here. Relax, enjoy it.
We should do a demo moment now! Demo | 0:20:32 | 0:20:37 | |
moment!
APPLAUSE | 0:20:37 | 0:20:41 | |
With the charleston... Which camera?
Are we here? Our left foot. | 0:20:41 | 0:20:45 | |
Charleston. I'm in heels. A standard
charleston. We'll show you how | 0:20:45 | 0:20:53 | |
amazing this will be. A lot of chat
about swivel on the shoulders? Five, | 0:20:53 | 0:20:59 | |
six, seven eight. Swivel.
CHEERING | 0:20:59 | 0:21:06 | |
Keep going. Still keep going? Do you
want a lift now? That looks good | 0:21:06 | 0:21:16 | |
already. Good luck for Saturday.
Give it up for Mollie and A J Time | 0:21:16 | 0:21:24 | |
now to see how Jonnie and Oti and
Debbie and Giovanni are getting on | 0:21:24 | 0:21:31 | |
in training for the Blackpool big
one. The tango is in the knees. | 0:21:31 | 0:21:35 | |
That's what everyone says. When I
squat into poisings, the bum sticks | 0:21:35 | 0:21:40 | |
out. The bum pops out, that's how he
balances. We're really going to work | 0:21:40 | 0:21:46 | |
on it. Don't go through that deep.
We'll have to find a nice level | 0:21:46 | 0:21:51 | |
where with works and con Ken
straight on keeping that bum in. I'm | 0:21:51 | 0:21:57 | |
holding you underneath your armpit.
I didn't realise you were holding me | 0:21:57 | 0:22:00 | |
differently. I'll do that when you
mess up. I'm slowly liking what's | 0:22:00 | 0:22:06 | |
happening. Yeah, that's good. This
week's dance is the samba. There | 0:22:06 | 0:22:13 | |
seems to be so much technique. Seven
eight. One more. There's a lot of | 0:22:13 | 0:22:18 | |
work to do this week. It's really
fast. We can cut one, if you want? | 0:22:18 | 0:22:23 | |
No, it's fine. I just didn't pick it
up. This is tricky. Debbie's more a | 0:22:23 | 0:22:30 | |
ballroom dancer. Elegant and classy.
With salsa and samba, you really | 0:22:30 | 0:22:36 | |
need to use your body. Nice. You're
doing really well. I'm pleased. | 0:22:36 | 0:22:41 | |
That's it. And again. All looking
good. I don't know why, but tonight' | 0:22:41 | 0:22:48 | |
final guests bring out the Cockney
in me. While some of you were having | 0:22:48 | 0:22:54 | |
a ruby Murray on Saturday night
these were having a rubble on the | 0:22:54 | 0:22:58 | |
dance floor. Finish your mince pies
on this it's Davood anded Naz ya. | 0:22:58 | 0:23:09 | |
The choreography is outstanding. You
executeds it to the best of your | 0:23:09 | 0:23:13 | |
ability. Amazing. Flawless for me.
Your star is rising high. Brilliant. | 0:23:13 | 0:23:23 | |
Amazing, darling! Davood and in aed
yachlt welcome. Lovely to see you | 0:23:23 | 0:23:29 | |
both. You two are on a roll. On
Saturday night, your highest score | 0:23:29 | 0:23:33 | |
of the series so far. Your first
time at the top of the leaderboard | 0:23:33 | 0:23:38 | |
and your first ever 10s! Is that the
introduction you always wanted to | 0:23:38 | 0:23:43 | |
hear and can you Adam and Eve it
now? You're confusing her now. Did | 0:23:43 | 0:23:50 | |
you think you had you'd hear those
comments? No, even watching if back | 0:23:50 | 0:23:54 | |
there for the first time, it doesn't
feel like they're talking to me. Was | 0:23:54 | 0:23:59 | |
that definitely us? It was amazing.
Was it as much fun for you as us. | 0:23:59 | 0:24:06 | |
All of us watching you. I was having
a really good giggle out there. You | 0:24:06 | 0:24:10 | |
were enjoying it from day one. Look
at this. I loved the style of it. | 0:24:10 | 0:24:15 | |
Nadiya, you're loving this as well.
You're enjoying dancing with him. | 0:24:15 | 0:24:19 | |
When you first started, I feel you
were nervous. A smile you had to | 0:24:19 | 0:24:23 | |
have. That was genuine. From the
Monday when we knew what dance we | 0:24:23 | 0:24:28 | |
were doing, I was up from it from
that point. By the time we were | 0:24:28 | 0:24:33 | |
doing the show, I was enjoying it.
You like the energy ethic | 0:24:33 | 0:24:38 | |
characters? You can run with the
charleston. Are you prepared for | 0:24:38 | 0:24:44 | |
people singing the Lambeth Walk to
you for the rest of your life? I'm | 0:24:44 | 0:24:47 | |
willing to do that. Craig only had
two words for you, amazing, darling. | 0:24:47 | 0:24:54 | |
Always better to let less words from
Craig than more? Afterwards, his | 0:24:54 | 0:24:59 | |
face was very, very still. I thought
it would go one acor the other. You | 0:24:59 | 0:25:04 | |
were stood waiting for his remarks?
He was straight-faced. I thought he | 0:25:04 | 0:25:09 | |
was going to give us a 3 or 4. He's
been hard on us. A hard nut to | 0:25:09 | 0:25:13 | |
crack. But we well and truly cracked
it this week. Were there times | 0:25:13 | 0:25:17 | |
during the rehearsals where you
thought this could be that special | 0:25:17 | 0:25:20 | |
dance? I really hoped so. He loved
this dance from Monday. The first | 0:25:20 | 0:25:24 | |
day. He was like, yes, I'm going to
swivel, lift you, do everything. | 0:25:24 | 0:25:29 | |
That's what you will a the men say!
You never know on Saturday. You've | 0:25:29 | 0:25:35 | |
one go to do it right. You never
know if you'll make it or not. I | 0:25:35 | 0:25:39 | |
really had the feeling this would be
it. In a couple of months, the trust | 0:25:39 | 0:25:44 | |
with these lifts, they are
unbelievably good. Last week and it | 0:25:44 | 0:25:49 | |
was just phenomenal. I know you're
not... What is this? I feel because | 0:25:49 | 0:25:59 | |
you can't go to the gym at the
moment? This is my work-out. This | 0:25:59 | 0:26:03 | |
week, I can't do any lifts. We've
embraced the lifts. We had some | 0:26:03 | 0:26:09 | |
illegal ones before. Shush. Craig
definitely recognised them. Now we | 0:26:09 | 0:26:14 | |
can do them, you have to make the
most of them. The last two weeks | 0:26:14 | 0:26:19 | |
we've really gone for them. Why not
use your strengths. There was on | 0:26:19 | 0:26:24 | |
outpouring of love for you on social
media. Genie Kellie saidp: Davood, | 0:26:24 | 0:26:32 | |
you're progressing every week and it
is a joy watching you. Do you feel | 0:26:32 | 0:26:36 | |
like you're getting better every
week? Are you feeling it? It feels | 0:26:36 | 0:26:40 | |
like I'm getting the opportunity to
enjoy it more every week. That's the | 0:26:40 | 0:26:43 | |
key. If you're having fun by the
time you hit the show on Saturday, | 0:26:43 | 0:26:48 | |
you've done the work, go out there
and enjoy it. Everything relaxes, | 0:26:48 | 0:26:53 | |
the the energy focuses. I didn't
have that in the early days. Do you | 0:26:53 | 0:26:57 | |
agree? He's getting better every
week. You have to, today on | 0:26:57 | 0:27:03 | |
training, OK, we have this twist
turn and chasse. This is your | 0:27:03 | 0:27:08 | |
footwork. I'm talking like a dancer.
Let's move on. Let's talk about | 0:27:08 | 0:27:16 | |
Blackpool. James Bond, dancing to
this... Good tune, right? Paso doble | 0:27:16 | 0:27:25 | |
to this in Blackpool. What are you
feelings? It's like a dream come | 0:27:25 | 0:27:28 | |
true. Honestly, to be playing James
Bond in a big space as well. The | 0:27:28 | 0:27:34 | |
paso has to be big anyway in any
space. Have you to fill it. To fill | 0:27:34 | 0:27:38 | |
that arena the size of the Blackpool
ballroom will be a real task. | 0:27:38 | 0:27:42 | |
Difficult but we're working on it.
Let's look at training. Nadiya, | 0:27:42 | 0:27:48 | |
how's it going so far? Dancers as
well. Still have to work on your | 0:27:48 | 0:27:53 | |
hips more. Always hips. Should be
much stronger. But, yeah, here we | 0:27:53 | 0:27:58 | |
were just getting the routine right
and steps. All over the place. | 0:27:58 | 0:28:02 | |
Thanks for showing that! LAUGHTER
They always show the worst. Are you | 0:28:02 | 0:28:08 | |
excited to go back to the Strictly
ballroom to go back as a Strictly | 0:28:08 | 0:28:13 | |
pro. It's something else. I've been
there so many times. Which James | 0:28:13 | 0:28:19 | |
Bond are you going to channel? Roger
more? Anton du Beke? I'm giving a | 0:28:19 | 0:28:27 | |
plug to the future James Bond which
I think you can play. You can come | 0:28:27 | 0:28:31 | |
again, thank you. You're going to
have to do that acting. That's what | 0:28:31 | 0:28:35 | |
you're good at on Saturday? I think
we're at that point where we can | 0:28:35 | 0:28:41 | |
play the character, the plot and the
role. Thank you very much. That's | 0:28:41 | 0:28:46 | |
all we've time for tonight. Tomorrow
at 6.30, Jonnie and Oti will be here | 0:28:46 | 0:28:51 | |
in the studio. Plus Ian Waite's back
and Vicky Gill will be here as well. | 0:28:51 | 0:28:54 | |
See you then. Good night. | 0:28:54 | 0:29:00 |