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Live from London,
this is Strictly It Takes Two. | 0:00:47 | 0:00:51 | |
Please welcome your
host, Gethin Jones! | 0:00:51 | 0:00:52 | |
CHEERING | 0:00:52 | 0:00:59 | |
Yes, I'm back. Welcome. | 0:00:59 | 0:01:03 | |
Unfortunately, Zoe's still poorly,
so you've got me again tonight. | 0:01:03 | 0:01:05 | |
Get well, Zoe! | 0:01:05 | 0:01:06 | |
Now, we're nearly ready
for our annual jaunt | 0:01:06 | 0:01:08 | |
to the Vegas of the north. | 0:01:08 | 0:01:09 | |
But who needs Blackpool? | 0:01:09 | 0:01:12 | |
We've got plenty of showstoppers
in the green room tonight! | 0:01:12 | 0:01:15 | |
She's a foxy lady
and he's hot to trot. | 0:01:15 | 0:01:17 | |
It's Jonnie and Oti! | 0:01:17 | 0:01:18 | |
CHEERING. | 0:01:18 | 0:01:21 | |
And we're still in a spin
from their salsa at the weekend. | 0:01:21 | 0:01:24 | |
It's Debbie and Giovanni! | 0:01:24 | 0:01:25 | |
CHEERING. | 0:01:25 | 0:01:27 | |
Plus, she's a busy bunny this week. | 0:01:27 | 0:01:29 | |
Look at her, she's still going. | 0:01:29 | 0:01:31 | |
It's Vicky Gill! | 0:01:31 | 0:01:32 | |
CHEERING. | 0:01:32 | 0:01:34 | |
But now, stop what you're doing
and get up on your feet, | 0:01:34 | 0:01:37 | |
it's time for a warm-up! | 0:01:37 | 0:01:40 | |
SALSA MUSIC. | 0:01:43 | 0:01:51 | |
Ian Waite, everyone! | 0:01:51 | 0:01:52 | |
CHEERING. | 0:01:52 | 0:01:56 | |
Are you ready for round two? | 0:01:56 | 0:01:59 | |
I sure am.
Are there any samba roles in this? | 0:01:59 | 0:02:07 | |
Sadly not. | 0:02:07 | 0:02:10 | |
Let's start with
Alexandra and Gorka. | 0:02:10 | 0:02:11 | |
They were joint top
of the leaderboard | 0:02:11 | 0:02:13 | |
for their Argentine tango. | 0:02:13 | 0:02:14 | |
Is their quickstep looking
like another chart-topper? | 0:02:14 | 0:02:17 | |
It might be top of the Pops. It
looks very light and energetic which | 0:02:17 | 0:02:24 | |
is perfect for Alexandra.
A little bit of gapping going on. | 0:02:24 | 0:02:29 | |
But still it is looking like a good
dance. | 0:02:29 | 0:02:34 | |
Might issue still...
A very quick dance for her. | 0:02:34 | 0:02:38 | |
Hold on one second.
I forgot the wand, Zoe will never | 0:02:38 | 0:02:46 | |
forgive me.
Get with it. You can make a direct | 0:02:46 | 0:02:50 | |
comparison. Still, I would like to
see her turn those feet out a little | 0:02:50 | 0:02:55 | |
more.
A little bit more. And stretch the | 0:02:55 | 0:03:02 | |
instep when she flicks and points
it. | 0:03:02 | 0:03:06 | |
Stretch it.
Something will Darcey will go on | 0:03:06 | 0:03:07 | |
about. And with such a quick
quickstep? | 0:03:07 | 0:03:14 | |
Think about stretching your feet. | 0:03:14 | 0:03:16 | |
Mollie and AJ avoided the dance-off
with their paso doble. | 0:03:16 | 0:03:18 | |
Can their charleston
keep them safe in Blackpool? | 0:03:18 | 0:03:26 | |
Yes! Thank you for that. This is
another energetic dance for them. | 0:03:26 | 0:03:33 | |
They have great energy and attitude
as last week. | 0:03:33 | 0:03:37 | |
Let us hope that can save them. I
have my dentist appointment at the | 0:03:37 | 0:03:42 | |
top here, it is telling me... Just
ignore that. | 0:03:42 | 0:03:48 | |
What time is it?
A lovely charleston step there. They | 0:03:48 | 0:03:55 | |
are matching each other. I thought
we could do that together. As you | 0:03:55 | 0:04:03 | |
walk, you stick your hip out like
that. | 0:04:03 | 0:04:08 | |
Yes! No, with me. And you smack your
bottom at the same time. | 0:04:08 | 0:04:18 | |
I can only do it one way.
It has to be perfectly in sync. | 0:04:18 | 0:04:23 | |
Davood and Nadiya's Lambeth Walk | 0:04:23 | 0:04:26 | |
was the walk and talk
of the town last weekend. | 0:04:26 | 0:04:29 | |
Is their Bond-themed paso leaving
you shaken not stirred? | 0:04:29 | 0:04:31 | |
It is quite steamy.
Look at the extra dancers for | 0:04:31 | 0:04:37 | |
Blackpool.
He is getting into the character. | 0:04:37 | 0:04:41 | |
Nice and strong, shaped arms.
On a twist turn, he needs to make | 0:04:41 | 0:04:48 | |
sure, as you can see here, he has to
make sure where he is looking. | 0:04:48 | 0:04:52 | |
At the moment it is fine, but he is
looking at the girl. | 0:04:52 | 0:04:57 | |
In a twist and turn you need to look
like that. | 0:04:57 | 0:05:03 | |
His head is too high.
Looking in the distance. The ball is | 0:05:03 | 0:05:11 | |
coming at him. Be aware of that. --
bull. | 0:05:11 | 0:05:17 | |
Joe and Katya are dancing
a salsa to Ride On Time. | 0:05:17 | 0:05:27 | |
Dancing to a great song. I used to
dance to that in the 1990s, but not | 0:05:27 | 0:05:36 | |
the salsa.
It looks as if she's going through | 0:05:36 | 0:05:40 | |
the steps at the moment. It is
flowing nicely. He is building up. | 0:05:40 | 0:05:47 | |
Did you see that move. It is called
a body rebel. | 0:05:47 | 0:05:54 | |
Under arm, body ripple. We could try
that! | 0:05:54 | 0:05:59 | |
Yes! I am making full use of my
demos. | 0:05:59 | 0:06:03 | |
I am the lady. Over my head. And we
body ripple. | 0:06:03 | 0:06:16 | |
Let us try it again. This way. Turn.
And body ripple. | 0:06:16 | 0:06:26 | |
Not bad. It needs a bit more
finesse. | 0:06:26 | 0:06:32 | |
I think Jonnie and Oti will bring it
this week. | 0:06:32 | 0:06:36 | |
Loving your work. | 0:06:36 | 0:06:37 | |
Give it up for Ian, everyone! | 0:06:37 | 0:06:38 | |
CHEERING | 0:06:38 | 0:06:39 | |
Right, time now to
meet our first guests. | 0:06:39 | 0:06:41 | |
Despite transporting us
to a romantic night in Paris | 0:06:41 | 0:06:45 | |
with their foxtrot, they
ended up in the dance-off. | 0:06:45 | 0:06:47 | |
But, thankfully, they're
swapping the Eiffel Tower | 0:06:47 | 0:06:49 | |
for Blackpool Tower. | 0:06:49 | 0:06:50 | |
And here to dance another day,
it's Jonnie and Oti! | 0:06:50 | 0:06:57 | |
Tonight, you felt uncomfortable.
This dance is extremely hard to | 0:07:05 | 0:07:09 | |
lead, hard to control.
You were trying hard. | 0:07:09 | 0:07:13 | |
You kept your elbows up. Some of the
footwork was OK but it needs to | 0:07:13 | 0:07:17 | |
really improve. | 0:07:17 | 0:07:19 | |
CHEERING | 0:07:19 | 0:07:20 | |
Jonnie and Oti, everyone! | 0:07:20 | 0:07:22 | |
What a weekend. | 0:07:22 | 0:07:24 | |
Have you recovered now
from the dreaded dance-off? | 0:07:24 | 0:07:33 | |
We have to put it behind us. I loved
that dance so much I wanted to do it | 0:07:33 | 0:07:39 | |
twice.
But he was a picture, you looked | 0:07:39 | 0:07:43 | |
gorgeous. | 0:07:43 | 0:07:44 | |
As a professional athlete, do you
find yourself in a weird way | 0:07:44 | 0:07:47 | |
thriving on that
sort of competition? | 0:07:47 | 0:07:52 | |
It is the first opportunity you get
to use what the judges have said. | 0:07:52 | 0:07:57 | |
Before your once you have no idea
what the judges want. -- before your | 0:07:57 | 0:08:05 | |
performance.
This gives you an opportunity. | 0:08:05 | 0:08:07 | |
I felt it was a better run through. | 0:08:07 | 0:08:11 | |
The judges all voted to save you. | 0:08:11 | 0:08:12 | |
That must've been a relief? | 0:08:12 | 0:08:16 | |
That is the tricky part of it, not a
nice part of the show. It is a | 0:08:16 | 0:08:22 | |
double edged sword.
Not nice either way. | 0:08:22 | 0:08:29 | |
Two foxtrots in the dance-off. | 0:08:29 | 0:08:30 | |
How do you think Jonnie did? | 0:08:30 | 0:08:34 | |
I was really happy we had a foxtrot,
the first dance we both really | 0:08:34 | 0:08:40 | |
enjoyed. If we were going to do any
danced twice it should be this one. | 0:08:40 | 0:08:45 | |
Because you clicked together?
It felt relaxed, we were able to | 0:08:45 | 0:08:51 | |
tell the story and work off each
other's energy. | 0:08:51 | 0:08:55 | |
In the dance-off, we said to enjoy
it. I was so proud of him, these are | 0:08:55 | 0:09:03 | |
really difficult things without
complaining. That is what I really | 0:09:03 | 0:09:06 | |
loved. I was so proud of him.
Athletes always want to get better. | 0:09:06 | 0:09:12 | |
Well, as ever, there
was lots of support online | 0:09:12 | 0:09:15 | |
from the great British public. | 0:09:15 | 0:09:16 | |
Lorna wrote: | 0:09:16 | 0:09:17 | |
"Would have had to have
stopped watching in protest | 0:09:17 | 0:09:19 | |
if @JonniePeacock & @OtiMabuse
had been voted off. | 0:09:19 | 0:09:21 | |
Thankfully, we're not in such
a state of severity yet." | 0:09:21 | 0:09:23 | |
Thankfully not, Lorna! | 0:09:23 | 0:09:29 | |
Those comments must mean a lot to
you when you are working hard. | 0:09:29 | 0:09:33 | |
That was a weekend when we really
needed those. | 0:09:33 | 0:09:36 | |
It felt like a really good week,
like it was going well. Like it | 0:09:36 | 0:09:43 | |
would be a strong dance. Then you
find out it wasn't, it is the | 0:09:43 | 0:09:47 | |
moralising. | 0:09:47 | 0:09:50 | |
Sorry to remind you, but Craig
thought your foxtrot was... | 0:09:50 | 0:09:52 | |
"Dull, dull, dull". | 0:09:52 | 0:09:57 | |
Oti, you are laughing. | 0:09:57 | 0:09:58 | |
You choreographed the routine. | 0:09:58 | 0:10:00 | |
What do you have to say to that? | 0:10:00 | 0:10:03 | |
I have no reaction, listen!
He is allowed to have his opinion | 0:10:03 | 0:10:08 | |
and I always value his opinion. If
he didn't like it, it is OK. We had | 0:10:08 | 0:10:15 | |
Bruno who understood the story. One
judge said, I get your story. Thank | 0:10:15 | 0:10:23 | |
goodness someone understood it.
The most constructive piece of | 0:10:23 | 0:10:29 | |
criticism all week. | 0:10:29 | 0:10:30 | |
Well, Strictly stat time! | 0:10:30 | 0:10:34 | |
Craig last said this exact comment
to Natasha Kaplinsky | 0:10:34 | 0:10:36 | |
back in the first ever episode
of Strictly - and she won! | 0:10:36 | 0:10:44 | |
Not a problem. | 0:10:44 | 0:10:46 | |
Bruno said he felt like you've
lost your va va voom. | 0:10:46 | 0:10:49 | |
Are you ready to take
it up a gear this weekend? | 0:10:49 | 0:10:53 | |
I think we will step it up, give
him, hold that bum out, he likes | 0:10:53 | 0:11:00 | |
that. | 0:11:00 | 0:11:02 | |
Well, watch out seagulls, there's
a Peacock coming to Blackpool! | 0:11:02 | 0:11:08 | |
You're dancing the tango
to this stomper. | 0:11:08 | 0:11:09 | |
MUSIC: "Sweet Dreams". | 0:11:09 | 0:11:18 | |
Do the face!
Is that a tango face? | 0:11:18 | 0:11:27 | |
That is Giovanni's face.
The inspiration for this dance. | 0:11:27 | 0:11:29 | |
Are we looking at a sweet dream
or a beautiful nightmare this week? | 0:11:29 | 0:11:33 | |
We have been working at this number
and I really enjoy it. I like him | 0:11:33 | 0:11:39 | |
when he is a bit dark and sexy and
pulling that face, I like that. | 0:11:39 | 0:11:47 | |
I always pull that face in training.
To bring out that character. | 0:11:47 | 0:11:51 | |
How has training been going? | 0:11:51 | 0:11:55 | |
It is going good. After last week, I
don't know any more. Last week felt | 0:11:55 | 0:12:00 | |
good as well.
You have one of the best next to | 0:12:00 | 0:12:05 | |
you.
Feeling confident. | 0:12:05 | 0:12:11 | |
Are you cracking the whip more than
usual? | 0:12:11 | 0:12:13 | |
I am louder. He is deaf on one side.
I am trying. We were in the | 0:12:13 | 0:12:23 | |
dance-off, it isn't nice to be in
that position. I want us to come | 0:12:23 | 0:12:27 | |
back with a strong number and show
people he can do it and he wants to | 0:12:27 | 0:12:31 | |
do it. | 0:12:31 | 0:12:32 | |
We have a question from
one of your fans, Sue. | 0:12:32 | 0:12:34 | |
She wrote online: | 0:12:34 | 0:12:35 | |
"Hey Jonnie, will the sprung floor
in Blackpool help or hinder you? | 0:12:35 | 0:12:38 | |
Probably like an indoor track?" | 0:12:38 | 0:12:45 | |
Indoor tracks are quite hard.
Sue. | 0:12:45 | 0:12:53 | |
But a good question. I can see what
she is saying. | 0:12:53 | 0:12:57 | |
The blade can be springy.
Are you wearing a blade on Thursday? | 0:12:57 | 0:13:02 | |
The blade is there to help dancers
but for the tango it will definitely | 0:13:02 | 0:13:07 | |
hinder. You need a hard impact to
rebound off. For this, no. | 0:13:07 | 0:13:20 | |
What can you tell us
about the routine? | 0:13:20 | 0:13:26 | |
It is a futuristic, fun dance, done
under neon lights. Vicky has done a | 0:13:26 | 0:13:33 | |
wonderful job, yes, I love it.
It makes a big difference. | 0:13:33 | 0:13:37 | |
We are being teleported into the
ballroom. | 0:13:37 | 0:13:40 | |
You can't give it all away.
Save something for Saturday. | 0:13:40 | 0:13:46 | |
Tell us everything.
We will appear like this. You have | 0:13:46 | 0:13:51 | |
given it away!
I am sure it will be brilliant. | 0:13:51 | 0:13:56 | |
Good luck on Saturday. | 0:13:56 | 0:14:01 | |
CHEERING. | 0:14:01 | 0:14:05 | |
Now, it's not just our
couples working hard | 0:14:05 | 0:14:07 | |
for this week's big bonanza. | 0:14:07 | 0:14:08 | |
Strictly's wardrobe department
has been put into overdrive too! | 0:14:08 | 0:14:11 | |
Let's find out how
they've been getting on. | 0:14:11 | 0:14:12 | |
It's time for Puttin' on the Glitz! | 0:14:12 | 0:14:15 | |
Vicky Gill, everyone! | 0:14:26 | 0:14:27 | |
CHEERING. | 0:14:27 | 0:14:32 | |
You'll have to bear with me for
this. You've got to bear with me! We | 0:14:32 | 0:14:37 | |
will be great! You will have doomed
as me through this one, be gentle, | 0:14:37 | 0:14:40 | |
let's talk about the weekend before
we move on to Blackpool, is an | 0:14:40 | 0:14:44 | |
amazing outfits on the dance floor,
in particular, catty of the Rumba, | 0:14:44 | 0:14:48 | |
did it turn out how you wanted? It
did, she is quite adventurous wear | 0:14:48 | 0:14:54 | |
costumes are concerned so if we are
going to try anything different, she | 0:14:54 | 0:14:57 | |
is always a good one to try things
on. They get excited by the outfits. | 0:14:57 | 0:15:04 | |
She is tough on me sometimes,
though. But Katya looked the part. | 0:15:04 | 0:15:12 | |
Amazing, not for everyone but it
helped us to show more of her | 0:15:12 | 0:15:15 | |
body-line. Joe was in a darker
colours that we could see the shape. | 0:15:15 | 0:15:21 | |
Was that on purpose of the Rumba?
Yeah, because I feel like we need to | 0:15:21 | 0:15:26 | |
have a good, solid backdrop and the
positioning they were in and away | 0:15:26 | 0:15:29 | |
the dance was moving, it worked
really well in the end. Maybe a | 0:15:29 | 0:15:33 | |
little much to the viewers. It was
amazing for me. Blackpool is such a | 0:15:33 | 0:15:37 | |
mission to you guys to get up there.
What is different this year, more | 0:15:37 | 0:15:40 | |
work than ever? It gets bigger every
year, on Saturday they said I had | 0:15:40 | 0:15:50 | |
Blackpool-itis because they were
doing a main show and I was thinking | 0:15:50 | 0:15:54 | |
about Blackpool, so we were running
the major thinking about that at the | 0:15:54 | 0:15:56 | |
same time, pretty intense, we've got
about 140 looks for the show, moving | 0:15:56 | 0:16:02 | |
towards 160. Because of the extra
dancers? Yes, and each Group Dance | 0:16:02 | 0:16:08 | |
is much bigger and the main show
dances are bigger. We love it but it | 0:16:08 | 0:16:11 | |
is intense, quite a lot but we're
going to make it! We are! | 0:16:11 | 0:16:18 | |
You've brought some into the studio. | 0:16:18 | 0:16:22 | |
This is Nadi's paso doble dress. We
are lucky because again with Nadiya, | 0:16:22 | 0:16:26 | |
she can wear most things. She is a
bond girl this week and had lots of | 0:16:26 | 0:16:31 | |
traditional dances like this we need
a strong colourful Blackpool because | 0:16:31 | 0:16:34 | |
it is not like being in a studio,
not lots of colours did invent with | 0:16:34 | 0:16:38 | |
even screens work like we normally
do in the studio. I thought a strong | 0:16:38 | 0:16:42 | |
emerald green woodwork on the floor.
As always, it is not completed, we | 0:16:42 | 0:16:46 | |
fit it on Friday and this section
will be embellished and the straps | 0:16:46 | 0:16:49 | |
will be worked out and configured
and maybe more. Sounds like a lot of | 0:16:49 | 0:16:54 | |
work? There's been quite a few paso
doble's on the show so it makes it | 0:16:54 | 0:17:00 | |
difficult. Everybody likes a
traditional paso because it is like | 0:17:00 | 0:17:04 | |
a comfort blanket and they
understand it and they know what | 0:17:04 | 0:17:06 | |
they will be faced with on Friday.
With this, they are coming to us and | 0:17:06 | 0:17:10 | |
they are thinking, "What are they
thinking? This is not a traditional | 0:17:10 | 0:17:14 | |
Passau". But it looks beautiful.
This is the traditional is -- the | 0:17:14 | 0:17:23 | |
American Smooth and again not a
traditional dress for JAMA. We're | 0:17:23 | 0:17:26 | |
not listening to any traditions this
week! You rebel! It might come a bit | 0:17:26 | 0:17:32 | |
unstuck on Saturday but I hope not.
This particular number, we are | 0:17:32 | 0:17:37 | |
leaning on the Blackpool theme, so
in the screens and the concept as | 0:17:37 | 0:17:40 | |
well, with Aljaz and Gemma, they are
in Blackpool and we are using the | 0:17:40 | 0:17:44 | |
illuminations, using block colour
through the dress to work with what | 0:17:44 | 0:17:47 | |
is happening in the studio. In terms
of design, they have lists in the | 0:17:47 | 0:17:55 | |
American Smooth and you have to take
that into consideration. Yes, we | 0:17:55 | 0:17:57 | |
will probably end up with a split
but not any fewer layers because I | 0:17:57 | 0:18:00 | |
think you need it to form the dress
but with the American Smooth, they | 0:18:00 | 0:18:03 | |
do lists so they don't want much
interference with the frocks are we | 0:18:03 | 0:18:06 | |
have to be careful. They will look
beautiful on Saturday and I know a | 0:18:06 | 0:18:10 | |
few other ladies that will be.
Alexandra's dress, what can you tell | 0:18:10 | 0:18:15 | |
us about this? For the quickstep, it
is separates, two lots on the base | 0:18:15 | 0:18:20 | |
and the same volume as a normal
ballroom skirt -- culottes. Culottes | 0:18:20 | 0:18:26 | |
are trousers, for you guys out there
like me, not a skirt, trousers, does | 0:18:26 | 0:18:32 | |
it help in the quickstep? I think
so, the quickstep is energetic and | 0:18:32 | 0:18:36 | |
in Blackpool, it takes on a
different form because of the extra | 0:18:36 | 0:18:40 | |
dancers and working with them so
hopefully it will give her more | 0:18:40 | 0:18:43 | |
freedom and feeling like I'm being
able to really move her skirt. Lots | 0:18:43 | 0:18:46 | |
of beading on the hips, white,
predominantly black on the shoulder, | 0:18:46 | 0:18:51 | |
moving into gold and silver through
this detail and I think I will make | 0:18:51 | 0:18:55 | |
a new belt. The team don't know that
yet. You got nothing else, -- | 0:18:55 | 0:19:00 | |
nothing else on a draw. And Mollie's
Charleston dress, where is the rest | 0:19:00 | 0:19:05 | |
of it? What is that? Quite brief,
this one, we ran out of fabric and | 0:19:05 | 0:19:10 | |
did not have enough beads so we
thought we would keep it small! Job | 0:19:10 | 0:19:14 | |
King, we have got some feathers that
will be on the back of the dress for | 0:19:14 | 0:19:18 | |
Mollie and again with her backing
dancers, the nice thing is, the lady | 0:19:18 | 0:19:23 | |
who does the feathers for us is
based in Blackpool so we are working | 0:19:23 | 0:19:26 | |
with local trade and things like
that so hopefully she will have fun | 0:19:26 | 0:19:29 | |
on Saturday. We really take over
Blackpool. Good luck, I know you got | 0:19:29 | 0:19:33 | |
so much work to do so thanks for
taking the time. Vicky Gill! | 0:19:33 | 0:19:36 | |
APPLAUSE | 0:19:36 | 0:19:39 | |
So, it's a dead cert that our
couples are going to look the part. | 0:19:39 | 0:19:43 | |
But will their routines
be as snazzy? | 0:19:43 | 0:19:44 | |
Let's head back to the training room
and see how Alexandra and Gorka | 0:19:44 | 0:19:47 | |
and Davood and Nadiya
have been getting along. | 0:19:47 | 0:19:52 | |
I am so, so excited about the
quickstep. I've got so much energy | 0:19:52 | 0:19:56 | |
so I feel this might be the one
where I go, OK, let's rock and roll | 0:19:56 | 0:19:59 | |
with this one. One, two, three,
four... No, you're doing something | 0:19:59 | 0:20:05 | |
weird in the phrasing. Blackpool is
perfect for the quickstep because it | 0:20:05 | 0:20:08 | |
is a big flaw. Slide. Alexandra is
becoming very quick. Now. It's | 0:20:08 | 0:20:15 | |
making me giggle because of how fast
it is! Quickstep. This week is going | 0:20:15 | 0:20:20 | |
to be a killer. I need to make sure
I get in the gym and start running. | 0:20:20 | 0:20:26 | |
I actually have really looked
forward to the paso doble, it is a | 0:20:26 | 0:20:30 | |
strong guards and it means you can
get the energy going but it is so | 0:20:30 | 0:20:33 | |
different to any other dance we have
done and it is something that I | 0:20:33 | 0:20:35 | |
really want to get right lost all of
it is difficult at the moment. One, | 0:20:35 | 0:20:41 | |
two, three, four. It is not an easy
dance so we are concentrating on the | 0:20:41 | 0:20:44 | |
choreography so he the steps right.
And later, we will try to make it | 0:20:44 | 0:20:50 | |
work. I'm hoping that once I get the
steps down, I will be able to own | 0:20:50 | 0:20:54 | |
the style. Not quite there. Not yet! | 0:20:54 | 0:20:59 | |
Right, let's chat to
our final guests now. | 0:20:59 | 0:21:01 | |
Their salsa was hot and spicy
and definitely lifted our spirits. | 0:21:01 | 0:21:04 | |
Who am I talking about?
Let me just read... | 0:21:04 | 0:21:09 | |
D-E-B-B-I-E... | 0:21:09 | 0:21:13 | |
Debbie! | 0:21:13 | 0:21:15 | |
And her partner Giovanni! | 0:21:15 | 0:21:18 | |
Whatever your own, darling, I want
some. That is absolutely ridiculous! | 0:21:26 | 0:21:33 | |
Everybody does the cells are like
pushing side to side. That had the | 0:21:33 | 0:21:38 | |
fluidity. Oh, my goodness, how you
made it look graceful, incredibly | 0:21:38 | 0:21:42 | |
impressive. | 0:21:42 | 0:21:43 | |
Debbie and Giovanni, everyone! | 0:21:43 | 0:21:45 | |
APPLAUSE | 0:21:45 | 0:21:48 | |
Congratulations!
Another sensational week for you. | 0:21:48 | 0:21:49 | |
Were you happy with the way
your salsa turned out? | 0:21:49 | 0:21:56 | |
Not quite! But I had the most
fantastic time. To the point where | 0:21:56 | 0:22:01 | |
people are John Dean your name. They
are. What a feeling it must be! It's | 0:22:01 | 0:22:07 | |
fantastic, where ever I go, children
addictively are going, "Debbie! | 0:22:07 | 0:22:13 | |
Debbie!" Then I get to the rehearsal
room... Debbie! | 0:22:13 | 0:22:19 | |
Shirley said it was on its way
to becoming a championship salsa, | 0:22:19 | 0:22:22 | |
but there were mistakes. | 0:22:22 | 0:22:23 | |
What went wrong? | 0:22:23 | 0:22:27 | |
I lost my concentration basically!
Basically, yes. It's only a minute | 0:22:27 | 0:22:33 | |
and a half, come on! I was having
such a good time that I lost it all. | 0:22:33 | 0:22:38 | |
You won't do it again. I didn't buy
my way back. What do you do then, | 0:22:38 | 0:22:44 | |
Giovanni, do you know she can get
back? Are you worried? Interesting | 0:22:44 | 0:22:49 | |
question, I was hoping she would
carry on and do the routine, we | 0:22:49 | 0:22:52 | |
missed the hands at some points, but
for me, the good thing is because | 0:22:52 | 0:22:57 | |
she performed so it is a good thing,
when you enjoy the moment. But at | 0:22:57 | 0:23:00 | |
this point in the competition, we
really need to focus because like | 0:23:00 | 0:23:05 | |
you say, it is 90 seconds and we
have to deliver the best we can. | 0:23:05 | 0:23:10 | |
Yes, time to enjoy but in the same
movement, we have to do a good | 0:23:10 | 0:23:15 | |
performance. It easy for us to sit
and this week we Peter Blick, Debbie | 0:23:15 | 0:23:19 | |
getting back on track with the
dance. I saw you rehearsing on | 0:23:19 | 0:23:24 | |
Friday and the lifts were not quite
there, some stressful moments on | 0:23:24 | 0:23:27 | |
Friday. Were you worried? No, not at
all. Good. We know how to do them. | 0:23:27 | 0:23:36 | |
It was tricky, though. By Saturday,
we had got them perfectly but the | 0:23:36 | 0:23:41 | |
dress rehearsal was fantastic and
that is probably why I lost my | 0:23:41 | 0:23:44 | |
concentration on Saturday evening.
But they are so difficult, they are | 0:23:44 | 0:23:49 | |
professional level. We could have a
go! I tell you what, I would love to | 0:23:49 | 0:23:54 | |
have a go with crash mat, check this
one out. It is a phenomenal image | 0:23:54 | 0:23:59 | |
but you look kind of happy, Debbie,
but if we roll it slightly, is that | 0:23:59 | 0:24:09 | |
a smile? What is that? It's
interesting you are still smiling. | 0:24:09 | 0:24:13 | |
It means you trust me. I trust you
totally. There has to be trust | 0:24:13 | 0:24:18 | |
because there are very difficult
lives. We love the judges reaction | 0:24:18 | 0:24:21 | |
to that list, as you go into it.
Just look at the judges. | 0:24:21 | 0:24:31 | |
And Craig Garissa right in.
Brilliance to watch -- carries on | 0:24:32 | 0:24:38 | |
writing. Brilliant to watch and we
loved it. Other series note, start | 0:24:38 | 0:24:41 | |
off the series, did you think you
would be sat here now, halfway | 0:24:41 | 0:24:44 | |
through, going to Blackpool? Not at
all, I thought if I was lucky, I | 0:24:44 | 0:24:49 | |
might get through to week four and
possibly five with a bit of luck but | 0:24:49 | 0:24:53 | |
I did not really ever expect to get
back pool. Due out before the battle | 0:24:53 | 0:24:58 | |
before so are you looking forward to
going back? Yes, I -- it is special | 0:24:58 | 0:25:05 | |
to me and that will people know
showbiz so it has with got the bars. | 0:25:05 | 0:25:09 | |
It does not get much more show
business than this. In the words of | 0:25:09 | 0:25:13 | |
the Spice Girls. | 0:25:13 | 0:25:19 | |
# Hi Si Yah, Hold Tight.# | 0:25:19 | 0:25:20 | |
You're dancing the samba
to a Spice Girls medley! | 0:25:20 | 0:25:24 | |
If we seem a bit quieter night,
compared to normal... We are tired. | 0:25:24 | 0:25:29 | |
We've been laughing all day. She did
not stop all day smiling and | 0:25:29 | 0:25:32 | |
laughing. I don't have any energy
left. Good to know. He did laugh at | 0:25:32 | 0:25:38 | |
me for half an hour nonstop at one
point. I feel like you two are | 0:25:38 | 0:25:46 | |
getting quite delirious? We are both
tired. So you have got a Spice Girls | 0:25:46 | 0:25:53 | |
medley, can you tell us which when
you are going to be? You can't. No, | 0:25:53 | 0:25:57 | |
but I'm very spicy! You have just
made up one over the weekend. Which | 0:25:57 | 0:26:04 | |
one of the Spice Girls would
Giovanni be? All of them, | 0:26:04 | 0:26:08 | |
altogether, that is me and I'm going
to be, what surveys...? LAUGHTER | 0:26:08 | 0:26:15 | |
What is she called question mark
anyway, I will be all of them, posh | 0:26:15 | 0:26:19 | |
Italian Spice, Sicilian Spice Girl,
altogether. I practised my Sam Olver | 0:26:19 | 0:26:26 | |
suite with Ian. We saw it yesterday.
-- I was practising my Samba all | 0:26:26 | 0:26:34 | |
week with Ian. What were they
looking like? On Monday, a bit like | 0:26:34 | 0:26:39 | |
a sausage. De samba role is always
one of the most difficult things you | 0:26:39 | 0:26:44 | |
can do. Looking good and another
great outfit. Thank you. But it is | 0:26:44 | 0:26:53 | |
difficult to master because you
either ballroom dances but these | 0:26:53 | 0:26:56 | |
Latin ones are difficult. I struggle
with wiggling my hips. She's getting | 0:26:56 | 0:27:01 | |
there, and we still have 24 hours.
I'm really enjoying the samba roll, | 0:27:01 | 0:27:06 | |
now I can feel the movement of it,
when it works, it feels ready good. | 0:27:06 | 0:27:10 | |
It does not look that great yet,
but... You still have time! Anyone | 0:27:10 | 0:27:17 | |
else here who can dance? On Monday,
we said you were the frontrunner for | 0:27:17 | 0:27:23 | |
this year's Trophy. How do you make
sure she stays in the competition, | 0:27:23 | 0:27:25 | |
Giovanni? Getting rid of the other
1's! Very Sicilian! No, just keep | 0:27:25 | 0:27:34 | |
doing what we're doing, every week
is a different dance and I always | 0:27:34 | 0:27:37 | |
say, we just have to focus on what
we do every week because it is a | 0:27:37 | 0:27:40 | |
different dance and technique, just
focus on Monday until Saturday and | 0:27:40 | 0:27:43 | |
do the performance and it's fine.
Can I ask you about Blackpool | 0:27:43 | 0:27:47 | |
because we talk a lot about
performing there and you have been | 0:27:47 | 0:27:50 | |
there before but dance there, put
into words how special it is will be | 0:27:50 | 0:27:54 | |
celebrities? It is a beautiful
place, amazing, especially when we | 0:27:54 | 0:27:58 | |
do competition than things. I think
you will enjoy dancing there, and | 0:27:58 | 0:28:01 | |
hopefully will deliver a great
performance and it is a bonus if you | 0:28:01 | 0:28:05 | |
get good scores. In terms of the
Samba, the size of the dance floor | 0:28:05 | 0:28:10 | |
is much bigger in Blackpool and the
judges look out for that. Absolutely | 0:28:10 | 0:28:13 | |
because we travel a lot around the
floor. We have samba roll, we have | 0:28:13 | 0:28:19 | |
zigzagging, we have twists. We have
a lot of things so we will travel a | 0:28:19 | 0:28:25 | |
lot. Sounds like he will be
travelling a lot more by the sound | 0:28:25 | 0:28:28 | |
of things, best of luck on Saturday
and always look forward to seeing | 0:28:28 | 0:28:31 | |
you. And well done you for filling
in for Zoe. Yes, let's out she's | 0:28:31 | 0:28:36 | |
better soon. Debbie and Giovanni!
APPLAUSE | 0:28:36 | 0:28:40 | |
That's all we have time for tonight. | 0:28:40 | 0:28:41 | |
A huge thank you
to all of our guests. | 0:28:41 | 0:28:44 | |
Don't forget to tune in tomorrow
at the earlier time of 6pm | 0:28:44 | 0:28:46 | |
for an hour-long special. | 0:28:46 | 0:28:47 | |
Joining the Friday panel
are Nikki Fox, Jason Manford | 0:28:47 | 0:28:50 | |
and Kelly Brook. | 0:28:50 | 0:28:51 | |
Plus, ahead of Children
in Need's Strictly special, | 0:28:51 | 0:28:53 | |
Blue Peter stars Radzi,
Mark and Anthea will be here! | 0:28:53 | 0:28:57 | |
They are delirious! | 0:28:57 | 0:28:59 | |
Goodnight. | 0:28:59 | 0:29:01 |