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From London, this is Strictly It
Takes Two. Please welcome your host, | 0:00:51 | 0:00:58 | |
Zoe Ball! | 0:00:58 | 0:01:02 | |
Hello and welcome to It Takes Two! | 0:01:02 | 0:01:03 | |
Tuesdays don't get better than this. | 0:01:03 | 0:01:05 | |
Coming up, Strictly's
Jason Gilkison will be | 0:01:05 | 0:01:07 | |
showing us how to do
the perfect quickstep. | 0:01:07 | 0:01:09 | |
Plus, we'll be exclusively
revealing this | 0:01:09 | 0:01:11 | |
weekend's music in Tunes on Tuesday. | 0:01:11 | 0:01:12 | |
But first, let's meet
tonight's guests. | 0:01:12 | 0:01:16 | |
I "spy" with my little
eye - it's Davood | 0:01:16 | 0:01:18 | |
and Nadiya! | 0:01:18 | 0:01:26 | |
"Slam your body down,
and wind it all around!" | 0:01:26 | 0:01:28 | |
It's Debbie and Giovanni! | 0:01:28 | 0:01:29 | |
But first, he's a former
world champion, with 12 | 0:01:29 | 0:01:31 | |
titles under his belt,
and was a professional dancer | 0:01:31 | 0:01:34 | |
on Strictly for seven years. | 0:01:34 | 0:01:35 | |
Taking over this week's
choreography corner - | 0:01:35 | 0:01:36 | |
it's one the and only Vincent
Simone! | 0:01:36 | 0:01:43 | |
Give it up for Vincent! What a
treated! It is so lovely to see you! | 0:01:58 | 0:02:05 | |
I know! We have missed you! I know!
What have you been doing with your | 0:02:05 | 0:02:14 | |
time? Well, unfortunately not too
good so far because I hurt my back | 0:02:14 | 0:02:19 | |
on tour. Not long now until I get
back. Since Strictly I have been | 0:02:19 | 0:02:23 | |
touring a lot, with all my womens!
So many womens! How much have the | 0:02:23 | 0:02:34 | |
contestants been impressing you this
year? What a beautiful show. | 0:02:34 | 0:02:42 | |
Obviously, I have performed in
Blackpool so many times, but | 0:02:42 | 0:02:45 | |
watching on TV it is so grand and
beautiful, so well done. Yes, well | 0:02:45 | 0:02:52 | |
done, everybody involved. Let's
start off by talking about our | 0:02:52 | 0:02:56 | |
dancers, and the highest scoring
dance of the night, Alexandra and | 0:02:56 | 0:02:59 | |
Gorka's quickstep. Was it worth its
wake in gold, Vincent? Definitely. | 0:02:59 | 0:03:06 | |
The thing I love about Alexandra,
she's got that charisma which is | 0:03:06 | 0:03:09 | |
very hard to find anywhere. The
dance was beautiful, there was loads | 0:03:09 | 0:03:15 | |
of content. The only thing for
criticism if I have to say something | 0:03:15 | 0:03:20 | |
is when they do a prominent
position, which is the hardest. We | 0:03:20 | 0:03:24 | |
have a clip. When we have it like
that, is quite hard to keep in | 0:03:24 | 0:03:31 | |
contact with your partner and showed
three hips. As soon as you overturn | 0:03:31 | 0:03:35 | |
you're going to end up showing four
hips and your shoulder can come out | 0:03:35 | 0:03:39 | |
a bit as well. Apart from that,
beautiful. OK, three hips on show. | 0:03:39 | 0:03:51 | |
And I call them 'eeeps! Next, Gemma
and Aljaz, what stood out for you? | 0:03:51 | 0:04:02 | |
She is the beautiful girl to watch
but I think she is the most improved | 0:04:02 | 0:04:06 | |
so far. That dance was really
beautiful. The lifts going in and | 0:04:06 | 0:04:10 | |
out - perfect. My only criticism,
the foxtrot is so hard when you're | 0:04:10 | 0:04:16 | |
moving backwards for the ladies, you
should have a natural release of the | 0:04:16 | 0:04:21 | |
toadfish if we watch a clip, she was
lifting the toes and the feet off | 0:04:21 | 0:04:25 | |
the floor. OK. But then here, she
doesn't. Obviously, Aljaz has been | 0:04:25 | 0:04:31 | |
telling her, it's just obviously,
you know, performance mode, people | 0:04:31 | 0:04:36 | |
watching, too many people watching!
Now, we have Susan and Kevin's paso | 0:04:36 | 0:04:46 | |
doble. Craig said it needed "more
of, sort of, everything". What did | 0:04:46 | 0:04:53 | |
you think? Well, the paso doble is
all about... If that makes sense. It | 0:04:53 | 0:04:58 | |
makes perfect sense. That's what I
want to see when I see this dance. | 0:04:58 | 0:05:04 | |
There's three different ways to
dance the paso doble. Do you mind if | 0:05:04 | 0:05:08 | |
I show you? OK, are we having done
no time? Come on! That was it! | 0:05:08 | 0:05:16 | |
Actually, the three ways, we've got
what we call challenge, which is the | 0:05:16 | 0:05:20 | |
man and the woman going against each
other. It's like the matador against | 0:05:20 | 0:05:30 | |
the bull. Then, the lady can become
what we call the Cape action. Oh, | 0:05:30 | 0:05:39 | |
it's coming off! So, it's very
important goals Kevin was doing all | 0:05:39 | 0:05:45 | |
this action, going around one way
and the other. But I would have | 0:05:45 | 0:05:50 | |
loved to see her using the skirt a
bit more. When she goes around, it's | 0:05:50 | 0:05:55 | |
very important that she swings...
Swing that skirt around! And then, | 0:05:55 | 0:06:02 | |
of course, the Flamenco section,
which was good but I would have | 0:06:02 | 0:06:05 | |
liked to have seen a bit more
rotation of the wrists, the elbows, | 0:06:05 | 0:06:12 | |
more nails, more drama. Just a bit
more drama. Are you all right | 0:06:12 | 0:06:16 | |
getting your jacket back on? I'm all
right. Now, if we look at Susan in | 0:06:16 | 0:06:22 | |
action... You can see the skirt?
She's doing little moves, it should | 0:06:22 | 0:06:27 | |
have been more. Bigger moves, OK.
Mollie and AJ and their Charleston. | 0:06:27 | 0:06:32 | |
She looks so gorgeous, the bird is
certainly let out of the cage. Craig | 0:06:32 | 0:06:39 | |
just mentioned a bit of a floppy
foot - what did you think? | 0:06:39 | 0:06:42 | |
Definitely. It is an option, the
Charleston, you're allowed to do it | 0:06:42 | 0:06:48 | |
either way. It's my perfect stance!
So what I'm saying from that point | 0:06:48 | 0:06:52 | |
of view is, so far they've been
doing so much amazing choreography. | 0:06:52 | 0:06:56 | |
In my opinion they have been a bit
old and scored so far. But I do | 0:06:56 | 0:07:01 | |
agree that in this dance, we have a
clip where you can see the foot... | 0:07:01 | 0:07:06 | |
-- underscored. And then once she
goes around, if you put all of that | 0:07:06 | 0:07:13 | |
intensity when you dance, you should
go to the extreme of your body, to | 0:07:13 | 0:07:17 | |
the hands and to the feet. All the
way. OK, Mollie will get that. | 0:07:17 | 0:07:23 | |
Amazing left they did there. Davood,
surely praised his terms in the paso | 0:07:23 | 0:07:30 | |
doble - what did you think? I did
like the twist turns, but not as | 0:07:30 | 0:07:36 | |
much, because the footwork was
there. What I would have loved like | 0:07:36 | 0:07:40 | |
I explain in the paso doble, more
like a shape and leaning action. If | 0:07:40 | 0:07:46 | |
we look at the clip it was a bit too
straight for me. You're talking | 0:07:46 | 0:07:51 | |
about his shoulder line? Yeah,
shoulder line, more into her so you | 0:07:51 | 0:07:58 | |
create a massive, bigger shape. It
was too linear for me. Next off, | 0:07:58 | 0:08:03 | |
dance-off survivors heavy and
Giovanni. Was there a Spice Girl | 0:08:03 | 0:08:07 | |
inspired Samba spicy enough for you,
Vincent? Well, the samba we know is | 0:08:07 | 0:08:13 | |
the hardest for the celebrity girls
to do. We spent all of our time to | 0:08:13 | 0:08:21 | |
tell our womens, keep your legs
straight! And then we come to the | 0:08:21 | 0:08:26 | |
samba, where actually we have to do
the opposite. We have to say, Flex | 0:08:26 | 0:08:29 | |
your legs. And you can see from the
clip, she's very linear. Tiny, tiny | 0:08:29 | 0:08:38 | |
little bounce. But here you can see
she's doing it more. It is not the | 0:08:38 | 0:08:45 | |
easiest dance to do for the ladies.
And Giovanni right, your little | 0:08:45 | 0:08:52 | |
brother. Yeah. And finally, Joe and
Katya's salsa, Craig said it lacked | 0:08:52 | 0:09:02 | |
the necessary rotation in the hips,
what do you say? I agree to a | 0:09:02 | 0:09:06 | |
certain extent. I loved what they
did. They made me smile. But then | 0:09:06 | 0:09:15 | |
again, when it comes to the basics,
like we saw in that clip, it's very | 0:09:15 | 0:09:19 | |
important... Here we go! Come on!
It's very important for the man and | 0:09:19 | 0:09:28 | |
for the lady, in dancing, most of
the time you either step forwards or | 0:09:28 | 0:09:34 | |
backwards. So, in this case you step
forward into a line. And then with | 0:09:34 | 0:09:40 | |
some nice foot pressure, being a
Cuban dance they all dancer down and | 0:09:40 | 0:09:44 | |
dirty, like that. The way he was
doing it, stepping sideways or | 0:09:44 | 0:09:51 | |
diagonally, it creates a swing. As
you're wearing those shoes, which | 0:09:51 | 0:09:57 | |
look amazing - I'm jealous...
Almost! If we start with any foot | 0:09:57 | 0:10:05 | |
you want, when you go forward you
make sure you step in line. OK. Nice | 0:10:05 | 0:10:13 | |
foot pressure. I'm not sure about
this hip action! Step to the side... | 0:10:13 | 0:10:19 | |
And step to the side. I get to dance
with Vincent Simone! It's my dream | 0:10:19 | 0:10:27 | |
come true! Will you come and see us
again, please? Any time you want. We | 0:10:27 | 0:10:32 | |
adore you! | 0:10:32 | 0:10:35 | |
Right - time now to
meet my next guests. | 0:10:35 | 0:10:39 | |
There's a new Bond in town, and he's
licensed to dance...the paso doble. | 0:10:39 | 0:10:42 | |
It's Ghadami,
Davood Ghadami, | 0:10:42 | 0:10:43 | |
and his femme fatale
sidekick, Nadiya. | 0:10:43 | 0:10:46 | |
The sparks were flying between you,
it was strong, the attack was great. | 0:10:58 | 0:11:03 | |
A powerful performance, incredible.
I have to commend you on your twist | 0:11:03 | 0:11:07 | |
and turn - it was extremely
impressive, great performance. Wow! | 0:11:07 | 0:11:15 | |
Davood and Nadiya! Everyone was
really excited about the way you | 0:11:15 | 0:11:22 | |
went into that! Where do we even
start with this?! Did you love it as | 0:11:22 | 0:11:26 | |
much as we did? Obviously, it was
exceptional. It was so much fun. Who | 0:11:26 | 0:11:32 | |
doesn't want to be James Bond and be
parachuted into a fire?! With one | 0:11:32 | 0:11:37 | |
hand! By no! I had to mix it all
together. You see, teaching him well | 0:11:37 | 0:11:47 | |
cap you wait till the next James
Bond film! And I must say, the | 0:11:47 | 0:11:52 | |
outfit was something else. Did it
take much...? Nadiya, you look | 0:11:52 | 0:12:00 | |
stunning as well, but Davood, did it
take much persuasion from Vicky Gill | 0:12:00 | 0:12:04 | |
to get you in that see-through
number? No, I just turned up to | 0:12:04 | 0:12:10 | |
Blackpool in that top and it looked
perfect! I didn't realise how | 0:12:10 | 0:12:14 | |
revealing it was, actually, until I
caught myself and I look at the | 0:12:14 | 0:12:16 | |
screen - that's me! All exposed! And
I kind of did that! Funny, does, you | 0:12:16 | 0:12:26 | |
wore it so well! And Nadiya, a huge
gear change from joy of the | 0:12:26 | 0:12:30 | |
Charleston the week before - how
happy were you with how it went? | 0:12:30 | 0:12:35 | |
Ferry, because he really wanted to
do the paso and he got the chance to | 0:12:35 | 0:12:39 | |
do it and to be James Bond, and in
Blackpool. Everything worked for us. | 0:12:39 | 0:12:44 | |
And then once we did it I was so
happy and I watched it back and he | 0:12:44 | 0:12:50 | |
looked like a real professional
dancer doing that. That's what you | 0:12:50 | 0:12:54 | |
want to! It's lovely watching the
two of you watching it for - look at | 0:12:54 | 0:12:59 | |
that bit...! And also your joint
second highest score of the series | 0:12:59 | 0:13:06 | |
so far, so well done to you. Do you
feel now the two of you like you are | 0:13:06 | 0:13:11 | |
on a roll, it feels good? It feels
good. You know what, I'm taking the | 0:13:11 | 0:13:17 | |
opportunity to really enjoy every
dance and go out and relax on the | 0:13:17 | 0:13:21 | |
Saturday when we do it - that's what
you've asked me to do, and that it | 0:13:21 | 0:13:26 | |
has really started to come together.
Just working hard in the week and | 0:13:26 | 0:13:29 | |
relaxing on the Saturday. He knows
he is going in the right direction. | 0:13:29 | 0:13:34 | |
And it gives him some extra
confidence. I've got a great | 0:13:34 | 0:13:40 | |
teacher. You have, she's very good.
And your fast becoming a front | 0:13:40 | 0:13:45 | |
runner, dare we say? I mean, this is
exciting stuff, Davood? I don't like | 0:13:45 | 0:13:51 | |
to think about that! I don't want to
jinx it in my head. Like the Sox, I | 0:13:51 | 0:13:56 | |
forgot my socks, and then it got
into my head. So if I start to | 0:13:56 | 0:13:59 | |
think... But we take it week by week
and see what happens after this | 0:13:59 | 0:14:04 | |
week. I'm interested now, will you
be wearing the Sox this week? I will | 0:14:04 | 0:14:10 | |
be doubling them up this week! And
also, the judges now are getting | 0:14:10 | 0:14:17 | |
really down to the nitty-gritty, as
we get closer and closer to the end | 0:14:17 | 0:14:20 | |
of the competition. Does that make
your job harder? I mean, from the | 0:14:20 | 0:14:25 | |
beginning, tried to look at all of
the details but now, absolutely it | 0:14:25 | 0:14:31 | |
is even more difficult, because he's
getting better and better every | 0:14:31 | 0:14:33 | |
week, so everybody is expecting more
from him. And so we go into all the | 0:14:33 | 0:14:41 | |
technique and details and especially
this week it's going to be a very | 0:14:41 | 0:14:46 | |
technical one. We must mention as
well, your mum and dad were in the | 0:14:46 | 0:14:54 | |
audience, they were absolutely
loving it. Dad knows when there is a | 0:14:54 | 0:14:59 | |
camera on him! I know, he does! Can
you see the similarity? And they had | 0:14:59 | 0:15:07 | |
a great time, they were so
supportive and they came all the way | 0:15:07 | 0:15:11 | |
from Essex. They must have loved it?
They adored it and they loved being | 0:15:11 | 0:15:15 | |
in that front row seat. At the end
of the dance I saw my dad standing | 0:15:15 | 0:15:21 | |
there and he could not contain his
excitement. Are you scared, excited? | 0:15:21 | 0:15:34 | |
A mixture of both? The fear is
definitely there. It's a lot to take | 0:15:34 | 0:15:39 | |
on board. You have to forget the
last dance and reset... Only half | 0:15:39 | 0:15:45 | |
forgetting. Not completely, you
might have to do it again. It is | 0:15:45 | 0:15:50 | |
picking up everything new. All the
technical aspects. You saw my face | 0:15:50 | 0:15:55 | |
earlier today. The waltz is slow.
You have to control. Technique | 0:15:55 | 0:15:59 | |
should be right. Footwork.
Especially with our song which is | 0:15:59 | 0:16:04 | |
quite slow in the beginning. We
decided to do it like a proper | 0:16:04 | 0:16:09 | |
waltz. I think we had it all. We had
him parachuting on to the dance | 0:16:09 | 0:16:15 | |
floor. You... Mixing it up. Down to
emotional, exposings and slow. The | 0:16:15 | 0:16:23 | |
choreography is beautiful. I want to
do it justice. It is just a waltz. | 0:16:23 | 0:16:28 | |
Just a waltz. A walk in the park.
Good luck this weekend. You're | 0:16:28 | 0:16:32 | |
glorious. Davood and Nadiya!
CHEERING. | 0:16:32 | 0:16:40 | |
Now, if you want to know what music
the kids are listening to these | 0:16:40 | 0:16:44 | |
days, then you've come
to the wrong place! | 0:16:44 | 0:16:45 | |
We only play classics here. | 0:16:45 | 0:16:46 | |
It's time for Tunes on Tuesday! | 0:16:46 | 0:16:52 | |
It's that time of the week
people - let's see | 0:16:52 | 0:16:54 | |
what's on the jukebox tonight. | 0:16:54 | 0:16:57 | |
MUSIC: "Umberella" by The Baseballs. | 0:16:59 | 0:17:01 | |
It's Umbrella ella ella eh eh
eh by The Baseballs! | 0:17:01 | 0:17:06 | |
This song was originally a huge hit
for Bajan pop goddess Rihanna back | 0:17:06 | 0:17:11 | |
in 2007, scoring her,
her first ever UK number 1. | 0:17:11 | 0:17:19 | |
Oi oi flexy Magee you can't stop the
woman! If she does herself an | 0:17:19 | 0:17:28 | |
injury, he'll kill us. | 0:17:28 | 0:17:29 | |
Although when it was released
there was record rainfall across | 0:17:29 | 0:17:32 | |
the majority of the UK, with
many dubbing it the Rihanna curse. | 0:17:32 | 0:17:35 | |
Hopefully the song will bring
better luck to this couple. | 0:17:35 | 0:17:37 | |
Here we go... | 0:17:37 | 0:17:44 | |
It's Mollie and AJ, and
they'll be dancing a quickstep! | 0:17:44 | 0:17:51 | |
Well done, thank you so, so much.
Thank you. You must. Such a | 0:17:51 | 0:17:55 | |
gentleman. | 0:17:55 | 0:17:56 | |
Right, what's next on the playlist? | 0:17:56 | 0:18:00 | |
Those legs are amazing. | 0:18:00 | 0:18:02 | |
MUSIC: The River of Dreams
by Billy Joel. | 0:18:02 | 0:18:04 | |
Yes, it's The River of Dreams
by none other than Billy Joel! | 0:18:04 | 0:18:06 | |
Known informally as the Piano Man,
Mr Joel has sold over 150 million | 0:18:06 | 0:18:09 | |
records, making him one of the
biggest selling acts in the world. | 0:18:09 | 0:18:12 | |
Not bad for someone who's last
UK hit was this, back in 1993! | 0:18:12 | 0:18:17 | |
But who'll be dancing to this? | 0:18:17 | 0:18:19 | |
Let's find out. | 0:18:19 | 0:18:27 | |
It's Gemma and Aljaz! | 0:18:27 | 0:18:29 | |
Who'll be dancing a samba. | 0:18:29 | 0:18:31 | |
Last one now. | 0:18:31 | 0:18:32 | |
What's it going to be? | 0:18:32 | 0:18:33 | |
MUSIC: "Halo" by Beyonce. | 0:18:33 | 0:18:35 | |
It's Halo by bootylicious
megastar, Beyonce! | 0:18:35 | 0:18:38 | |
This angelic power ballad
was released in 2009 | 0:18:38 | 0:18:42 | |
reaching number 4
on the UK hit parade. | 0:18:42 | 0:18:47 | |
The song includes the
word 'Halo' 69 times | 0:18:47 | 0:18:50 | |
and apparently took
three hours to write. | 0:18:50 | 0:18:54 | |
What did they do with
the rest of the time?! | 0:18:54 | 0:18:56 | |
Let's find out who's
taking on this number. | 0:18:56 | 0:19:02 | |
Hello. Here we go. | 0:19:02 | 0:19:07 | |
It's Alexandra and Gorka! | 0:19:07 | 0:19:09 | |
And they'll be dancing a rumba. | 0:19:09 | 0:19:13 | |
A rumba. | 0:19:13 | 0:19:15 | |
To find out the rest of the songs,
head to the Strictly website. | 0:19:15 | 0:19:23 | |
And, well, from that heavenly treat
to another, | 0:19:23 | 0:19:28 | |
Here's Jason Gilkison with his guide
to the perfect quickstep. | 0:19:28 | 0:19:30 | |
to another, perfect quickstep. | 0:19:30 | 0:19:36 | |
The quickstep is one of the most
popular of all the ballroom dances. | 0:19:36 | 0:19:40 | |
It is fast and exciting and one of
the ones the celebrities look | 0:19:40 | 0:19:43 | |
forward to doing the most. It's
actually a sped up version of the | 0:19:43 | 0:19:47 | |
foxtrot with a birth of charleston
thrown in for good measure. Like | 0:19:47 | 0:19:51 | |
many of the famous dances of the
1920s and 1930s, the quickstep | 0:19:51 | 0:19:55 | |
hailed from New York. If originated
with a dance called The You Turkey | 0:19:55 | 0:20:02 | |
Trot. One of the most important
things to get right off the cuff is | 0:20:02 | 0:20:06 | |
the tempo of the music. The basic
feel of the quickstep is slow, slow, | 0:20:06 | 0:20:11 | |
quick, quick, slow. Slow, quick,
quick, slow. If you he can that in | 0:20:11 | 0:20:16 | |
your head from the beginning, you're
on yare way. One of the most famous | 0:20:16 | 0:20:22 | |
words in Strictly is chasse. Not
only will you see a normal Shahs | 0:20:22 | 0:20:28 | |
abut a scatter Shahs away moves very
quickly around the room. The normal | 0:20:28 | 0:20:33 | |
Shahs acomes after a forward walk.
After that on the right foot, a man | 0:20:33 | 0:20:36 | |
would put his left foot to the side.
He would go to the ball of the foot | 0:20:36 | 0:20:40 | |
and close very neatly and then he
would descend to ball flat before he | 0:20:40 | 0:20:45 | |
finance on with his backward foot.
After you've mastered the chsssis, | 0:20:45 | 0:20:53 | |
it is the scatter cricks hassis.
That's quicker, quicker, quick, you | 0:20:53 | 0:20:59 | |
have to be so synchronised with your
partner. In this dance, the judges | 0:20:59 | 0:21:04 | |
are looking for a smoothness across
the room. Smooth on top like a swan | 0:21:04 | 0:21:09 | |
across the water. Underneath, your
feet are paddling like mad. You have | 0:21:09 | 0:21:15 | |
to master that rise and fall. The
fall part is on your heels when | 0:21:15 | 0:21:19 | |
going very low. You're on the ball
of your foot, you're in the high | 0:21:19 | 0:21:23 | |
part. You have to control your
ankles. At the end of a quick | 0:21:23 | 0:21:30 | |
motion, you your angle has to
control your foot ready to do a heel | 0:21:30 | 0:21:33 | |
lead again. One of the most used
steps in this dance is a lock step. | 0:21:33 | 0:21:38 | |
Generally, the man moves forward on
his left foot on the ball of the | 0:21:38 | 0:21:41 | |
foot and his right foot crosses
behind. To do this perfectly, he has | 0:21:41 | 0:21:47 | |
to move his left side forward to
indicate to the lady that he's about | 0:21:47 | 0:21:51 | |
to do a lock step. Whilst a lock
step and cricks hassis are similar, | 0:21:51 | 0:21:58 | |
when we move to the side it is a
cricks hassis and when we move to | 0:21:58 | 0:22:03 | |
the side it is a lock step. | 0:22:03 | 0:22:06 | |
# Come on over Valerie
# The clue is in the title, the | 0:22:17 | 0:22:21 | |
quickstep is quick. | 0:22:21 | 0:22:25 | |
The dancers should travel at speed
across the floor and have the | 0:22:29 | 0:22:32 | |
feeling of the wind in their hair.
And, if you master all of those | 0:22:32 | 0:22:37 | |
moves, you'll be we will on your way
to getting a perfect score. | 0:22:37 | 0:22:44 | |
Now despite giving us all what we
really, really wanted at the weekend | 0:22:44 | 0:22:47 | |
with their samba, my final guests
found themselves in the dance-off. | 0:22:47 | 0:22:50 | |
Here to dance another day, it's
Debbie and Giovanni. | 0:22:50 | 0:22:57 | |
Thank you for bringing girl power to
the tower! The shadow reverse roll, | 0:23:04 | 0:23:12 | |
you were outstanding in that. Love
you dropped into the splits and the | 0:23:12 | 0:23:17 | |
timing was exceptional. | 0:23:17 | 0:23:19 | |
Debbie and Giovanni, everyone! | 0:23:19 | 0:23:22 | |
CHEERING | 0:23:22 | 0:23:24 | |
Congratulations on
surviving the dance-off. | 0:23:24 | 0:23:28 | |
How was the weekend for you? We had
a great weekend. There was such a | 0:23:28 | 0:23:36 | |
buzz at Blackpool. It did come
crashing down when we were in the | 0:23:36 | 0:23:40 | |
dance-off. But, from week one, where
Giovanni's been really good is he'd | 0:23:40 | 0:23:43 | |
really coached me about if we were
in the dance-off. Every week he | 0:23:43 | 0:23:46 | |
really pushes me with tech sneak. If
you're in the dance-off, you have to | 0:23:46 | 0:23:49 | |
have the technique. It worked on
Saturday. So, thank you to him. Well | 0:23:49 | 0:23:55 | |
done. Good coaching. You really were
in that danger zone. Smack bang | 0:23:55 | 0:23:59 | |
middle of the leaderboard. Were you
worried after? And about the results | 0:23:59 | 0:24:04 | |
show? Yes, we were. Eight couples
left, to be in the middle of the | 0:24:04 | 0:24:13 | |
leaderboard is really dangerous. You
hope the public really vote for you. | 0:24:13 | 0:24:18 | |
We just ended up in the bottom two.
We both felt it once we knew that's | 0:24:18 | 0:24:28 | |
where we were on the leaderboard. We
were quite serious afterwards. We | 0:24:28 | 0:24:32 | |
didn't say anything to each other
but we both knew. We felt it was | 0:24:32 | 0:24:36 | |
going to happen at some point. Of
course, you dealt with it | 0:24:36 | 0:24:41 | |
brilliantly. I have to say, who
doesn't love a Spice Girls' medley? | 0:24:41 | 0:24:49 | |
It was something else. Comments from
the judges all good. Darcey said she | 0:24:49 | 0:24:56 | |
thought it was lacking a bit of
energy at the end. I remember doing | 0:24:56 | 0:24:59 | |
a samba. Getting to the end is
exhausting, you were on podiums, up, | 0:24:59 | 0:25:04 | |
down, how was it? I really enjoyed
doing it. It was a dance we had a | 0:25:04 | 0:25:08 | |
lot of fun rehearsing it. On the
night, I enjoyed it as much as I | 0:25:08 | 0:25:11 | |
enjoyed it in the rehearsal room
which isn't always possible. It does | 0:25:11 | 0:25:14 | |
take it out of you. It was a
difficult routine. It required a lot | 0:25:14 | 0:25:20 | |
of stamina. You did it. You did
brilliantly. I just hadn't eaten my | 0:25:20 | 0:25:24 | |
spinach like Popeye. There you were
in the Union Jack dress with the | 0:25:24 | 0:25:27 | |
hair and a certain original Ginger
Spice got in touch. What did her | 0:25:27 | 0:25:30 | |
message say? She said, Geri sent me
a message on Friday saying she was | 0:25:30 | 0:25:36 | |
thinking of me and thought I was
inspirational and a shining star and | 0:25:36 | 0:25:41 | |
go for it, girl. How wonderful is
that. Still pinching myself. So | 0:25:41 | 0:25:48 | |
good. You are an inspiration. She's
not the only pop princess who | 0:25:48 | 0:25:51 | |
messaged you. I believe somebody
beginning with K has been in touch? | 0:25:51 | 0:25:54 | |
It is not Kylie who messaged me
direct but her make-up artist told | 0:25:54 | 0:25:59 | |
me working on her new video this
week in rehearsals she's been going | 0:25:59 | 0:26:06 | |
let's do some Debbie ma geeb lifts!
I've sent her a massage saying, I | 0:26:06 | 0:26:13 | |
hear you're stealing my lifts. Which
are his. Could be a Great War. This | 0:26:13 | 0:26:18 | |
week, for you two, it's the big one.
It's the fan favourite, the | 0:26:18 | 0:26:23 | |
Argentine tango. Yes, it is. So
exciting. That's just our getting | 0:26:23 | 0:26:29 | |
excited Argentine tango music. The
music they have is amazing. We're | 0:26:29 | 0:26:33 | |
keeping it a secret. How do you
approach this Giovanni? How excited | 0:26:33 | 0:26:38 | |
are you, sir? Absolutely excited
about this dance. It's always been | 0:26:38 | 0:26:42 | |
one of my favourite to watch. It
requires a lot of passion, which I | 0:26:42 | 0:26:48 | |
think Italian and English people is
the best combination. Ooh, yes! I | 0:26:48 | 0:26:54 | |
thought that myself, actually. I
paid him to say that. You didn't | 0:26:54 | 0:26:58 | |
give me the money yet. It's a lot of
technique going on in there. A lot | 0:26:58 | 0:27:04 | |
of flicks and legs. The song is
amazing. I believe and have a | 0:27:04 | 0:27:20 | |
feeling this will be epic. How is
sultry... We had a little bit of | 0:27:20 | 0:27:25 | |
time so far. At the moment I'm
trying not to kick him in the shins | 0:27:25 | 0:27:32 | |
and up the bum, actually. A bit of
that. The sultry bit I'm sure will | 0:27:32 | 0:27:39 | |
come. At the moment, I'm just trying
to learn the steps. This one really | 0:27:39 | 0:27:45 | |
excites me. | 0:27:45 | 0:27:54 | |
This is the music for the paso doble
thon to get us into the mood. I love | 0:27:54 | 0:28:08 | |
it. We know, Debbie Magee, this is
how you started the show. Seems like | 0:28:08 | 0:28:12 | |
years ago, with the paso doble. You
wowed the nation, are you looking | 0:28:12 | 0:28:16 | |
forward to revisiting that dance? I
really am. I really loved the paso | 0:28:16 | 0:28:26 | |
doble the first week. The fact it
was our first week learning | 0:28:26 | 0:28:40 | |
together, it is really nice to go
back there. From that music, I think | 0:28:40 | 0:28:57 | |
it will be quite different from the
first week. It is a completely new | 0:28:57 | 0:29:17 |