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CHEERING
APPLAUSE | 0:00:54 | 0:00:57 | |
Willkommen! | 0:00:57 | 0:00:58 | |
And bienvenue! | 0:00:58 | 0:00:59 | |
Welcome... | 0:00:59 | 0:01:01 | |
...to It Takes Two! | 0:01:01 | 0:01:01 | |
It's Wednesday and, if you can't
tell, we're very excited about | 0:01:01 | 0:01:04 | |
this weekend's musical spectacular! | 0:01:04 | 0:01:09 | |
That's right, people - no-one's
'gonna rain on my parade tonight'! | 0:01:09 | 0:01:12 | |
So, jazz hands at the ready, | 0:01:12 | 0:01:15 | |
let's find out who's
in the green room... | 0:01:15 | 0:01:18 | |
She's 'Footloose' and ready to take
on the Pro Challenge - it's Amy! | 0:01:18 | 0:01:22 | |
Mama Mia! Here he goes again... | 0:01:22 | 0:01:24 | |
- it's Ian! | 0:01:24 | 0:01:29 | |
Plus, they go together like rama
lama lama ka dinga da dinga dong... | 0:01:29 | 0:01:32 | |
- it's Debbie and Giovanni! | 0:01:32 | 0:01:36 | |
But first, for one night
and one night only, | 0:01:36 | 0:01:41 | |
I've got a Strictly legend
ticking off my dance card. | 0:01:41 | 0:01:44 | |
Let's take a look at
the master in action. | 0:01:44 | 0:01:48 | |
CHEERING
APPLAUSE | 0:02:15 | 0:02:25 | |
Vincent I had to say we are very
lucky because you have come back, | 0:02:27 | 0:02:32 | |
you cannot talk at the moment but
you have come to see us and we are | 0:02:32 | 0:02:38 | |
honoured to have a world champion on
my dance card, you were going to | 0:02:38 | 0:02:42 | |
teach as the Argentine tango, why do
you love this dance so much? The | 0:02:42 | 0:02:47 | |
tangle loves me, put it that way! I
think my main thing is the music, I | 0:02:47 | 0:02:52 | |
can hear the Argentina music and the
tear comes down my face. Everything | 0:02:52 | 0:02:59 | |
is about the music and the
storytelling, you can tell a story | 0:02:59 | 0:03:04 | |
in two or three minutes of music.
You can interpret the tangle as you | 0:03:04 | 0:03:09 | |
wish, there are no rules which is
the most important thing for me, and | 0:03:09 | 0:03:13 | |
I want to say to my people, the
students, it's the dance of time | 0:03:13 | 0:03:19 | |
because every single person can pick
their own instrument and interpret | 0:03:19 | 0:03:22 | |
the music as they wish. What can you
tell us about the history of the | 0:03:22 | 0:03:28 | |
dams? Everybody knows it was born in
Argentina, if I had been young | 0:03:28 | 0:03:33 | |
enough I would have invented it
because it is in my blood. It was in | 0:03:33 | 0:03:39 | |
Argentina in the streets of
Argentina, the knotty streets, the | 0:03:39 | 0:03:43 | |
knotty areas. My favourites! I have
never been there. Really? Steal I | 0:03:43 | 0:03:52 | |
never want to go, I am too pure. It
was the men trying to impress the | 0:03:52 | 0:03:57 | |
ladies of the night. The to dance
together, creating dance moves so | 0:03:57 | 0:04:05 | |
when they the ladies so they would
be impressed. There are loads of | 0:04:05 | 0:04:10 | |
moves the lady dancing, because of
money, there are lots of ladies, | 0:04:10 | 0:04:15 | |
they invented the step where they
come close to the man and go up and | 0:04:15 | 0:04:20 | |
down. You can use the move to clean
your shoes or to see how much money | 0:04:20 | 0:04:28 | |
men had in their pockets to see if
it would be a good night for them or | 0:04:28 | 0:04:32 | |
not. This is amazing! You have
performed some memorable Argentina | 0:04:32 | 0:04:41 | |
Tango's, Rachel Stevens, the best
score you ever had, 39, in action | 0:04:41 | 0:04:47 | |
there, incredible. And you have been
choreographing them for some of our | 0:04:47 | 0:04:51 | |
couples this season, what makes the
perfect Argentina Tango? I do! As | 0:04:51 | 0:04:59 | |
you can see, intricate footwork,
speed, variety of speed and going | 0:04:59 | 0:05:07 | |
slow, you can have some storytelling
moments. Beautiful lines, the | 0:05:07 | 0:05:11 | |
connection between the woman and the
lady... Or the woman and a man, | 0:05:11 | 0:05:20 | |
whoever is dancing together! The
woman and a lady. You can have that | 0:05:20 | 0:05:24 | |
as well. I have women in my head all
the time! Let's get to it, can you | 0:05:24 | 0:05:31 | |
teach us some steps? If you wish.
Before we do that I need to set the | 0:05:31 | 0:05:37 | |
mood. Good evening Sir! OK the first
step I will be teaching is basic, | 0:05:37 | 0:05:49 | |
the figure of eight. We can do
forward or back, let's start | 0:05:49 | 0:05:54 | |
forward. Two feet, one left foot, we
start with a left foot, I will turn | 0:05:54 | 0:06:01 | |
you slightly to your right, step
forward with your left foot, brush | 0:06:01 | 0:06:04 | |
the feet. Turn the other way and go
forward with your right foot. And | 0:06:04 | 0:06:09 | |
forward. OK? Keep brushing the feet,
not bouncing, giving nice and flat. | 0:06:09 | 0:06:21 | |
From here I will take you into
backward eight's, which is back, | 0:06:21 | 0:06:26 | |
brush, back, brush, back, brush. And
the feet are on the floor? Is this | 0:06:26 | 0:06:34 | |
right? It feels good. The next move
is a little bicycle, it's a | 0:06:34 | 0:06:41 | |
decoration the man would do to the
lady and I am very good at that. So | 0:06:41 | 0:06:48 | |
I'm going to do it from the backward
eight, I will be using my feet and | 0:06:48 | 0:06:53 | |
left off the floor and do a little
bicycle action, don't panic, just | 0:06:53 | 0:07:00 | |
follow me. Keep breathing. These are
forward eight's then back eight's. | 0:07:00 | 0:07:08 | |
Then I will use my fruit, with tenet
of the floor -- I will use my fruit, | 0:07:08 | 0:07:16 | |
lifting it off the floor. There and
there. That is that, the bicycle. Is | 0:07:16 | 0:07:26 | |
there room for one more? Definitely,
yes. This is one of my favourites, | 0:07:26 | 0:07:32 | |
you can get really close to the
partner and you have the perfect | 0:07:32 | 0:07:38 | |
excuse, we have seen this with
Alexandra and Gorka in the past. I | 0:07:38 | 0:07:42 | |
will give you a signal, without
using my speech, my lisp, nothing, I | 0:07:42 | 0:07:50 | |
will use my hand behind your back,
lift you up, you don't move, just | 0:07:50 | 0:07:55 | |
start leaning on me and then I am
going to walk around. Are you sure? | 0:07:55 | 0:08:00 | |
I am so heavy! CHEERING
APPLAUSE | 0:08:00 | 0:08:08 | |
That feels good! So we put all this
together? But then we have learned, | 0:08:08 | 0:08:12 | |
I hope you are joining an at home.
Here we go. Follow me. I Will follow | 0:08:12 | 0:08:18 | |
you. | 0:08:18 | 0:08:21 | |
Gone backwards, I feel like I should
have gone backwards. | 0:08:27 | 0:08:31 | |
I like that part. It's like you
don't even know it's coming! Then... | 0:08:37 | 0:08:44 | |
CHEERING
APPLAUSE | 0:08:44 | 0:08:48 | |
Vincent, oh my goodness! Vincent!
CHEERING | 0:08:48 | 0:08:55 | |
APPLAUSE
The pleasure was all mine! Isn't he | 0:08:55 | 0:09:02 | |
gorgeous, I hope you enjoyed that at
home. Now from a five foot five | 0:09:02 | 0:09:07 | |
Latin legend to a 6-foot four
ballroom giant... I am five feet | 0:09:07 | 0:09:14 | |
seven by the way! And a little
espresso shot on top! | 0:09:14 | 0:09:21 | |
It is you and everyone! CHEERING
APPLAUSE | 0:09:32 | 0:09:39 | |
Little sausage! Are you a little bit
jealous? I am, I wanted to dance | 0:09:40 | 0:09:48 | |
with him. What did you make of the
dramatic events at the weekend? It | 0:09:48 | 0:09:53 | |
just goes to show that nobody is
safe at the moment, everybody is in | 0:09:53 | 0:10:01 | |
danger. At this point you have do
vote for your favourites. That is | 0:10:01 | 0:10:06 | |
what I meant but I could not great
spit it out. You are still thinking | 0:10:06 | 0:10:11 | |
about Vincent! It got me all hot
under the collar. We are so close to | 0:10:11 | 0:10:17 | |
the quarterfinals, will you be
strict with them all? With my | 0:10:17 | 0:10:22 | |
microscope I will be there watching
every little action and step and | 0:10:22 | 0:10:26 | |
he'll turn, I will be watching all
about. Let's start with Joe and | 0:10:26 | 0:10:33 | |
Katya, top of the leaderboard for
the first time this weekend, is the | 0:10:33 | 0:10:38 | |
cabaret themed sambar looking on the
money? There are some nice Samba | 0:10:38 | 0:10:50 | |
steps, they will do somebody action,
Samba is all about the rhythm, it's | 0:10:50 | 0:10:55 | |
all about this type of body action
and at the moment he is not getting | 0:10:55 | 0:10:59 | |
it, apart from the places where it
said OK here is where we do the | 0:10:59 | 0:11:04 | |
double body action. Here it is... I
was trying to do it with my finger | 0:11:04 | 0:11:11 | |
but it didn't quite work. Here, this
body action, I thought we could try | 0:11:11 | 0:11:17 | |
it. You do it, I think you'll be
quite good. Go on. Double, double, | 0:11:17 | 0:11:26 | |
double. It's like this, double,
double, double. CHEERING | 0:11:26 | 0:11:31 | |
APPLAUSE
It's much more fun doing it facing | 0:11:31 | 0:11:36 | |
you. It is, what a lovely view. We
move on Debbie and Giovanni, eight | 0:11:36 | 0:11:46 | |
Cats inspired American Smooth, could
it be close to perfection? She | 0:11:46 | 0:11:52 | |
catapulted herself out of the bottom
two last week didn't she? The | 0:11:52 | 0:11:58 | |
wonderful Argentine tango. A bit in
places, very good posture but | 0:11:58 | 0:12:03 | |
occasionally in places with the
pivot, as you can see the leg gets a | 0:12:03 | 0:12:09 | |
bit straight. I didn't mean to do an
arrow, I meant to do a straight | 0:12:09 | 0:12:14 | |
line. Anyway, green line. As you can
see, sometimes she straightens her | 0:12:14 | 0:12:19 | |
leg a bit too much. I would soft and
into the knee. Especially on the | 0:12:19 | 0:12:28 | |
pivot, if it's too straight it can
look quite jolted and a bit hard. | 0:12:28 | 0:12:33 | |
Need to soften the edges especially
in a dance like that. American | 0:12:33 | 0:12:36 | |
Smooth. I like it, extra something
special, Gemma and Aljaz doing a | 0:12:36 | 0:12:48 | |
quick step, would Barbara Streisand
be proud of this? Anything with | 0:12:48 | 0:12:59 | |
Barbara is good, I love her. They
are doing charleston steps, I have a | 0:12:59 | 0:13:03 | |
couple of clips here, every time, if
I show you here, every time she does | 0:13:03 | 0:13:09 | |
a step up, look at where the leg is
going. If I clear that under that | 0:13:09 | 0:13:15 | |
were Aljaz's leg is, it's just going
a bit too high. Any charleston moves | 0:13:15 | 0:13:24 | |
on the quickstepped it is fine but
on those where you are doing step up | 0:13:24 | 0:13:28 | |
you have to try to keep it more low
and controlled so it does not look | 0:13:28 | 0:13:32 | |
out of control. OK, Mollie and AJ
got their first nine with the | 0:13:32 | 0:13:37 | |
quickstepped which was beautiful,
this time they are doing our number | 0:13:37 | 0:13:41 | |
two hopelessly devoted to you, is it
hopelessly doing it for you? I think | 0:13:41 | 0:13:51 | |
it'd be a great theme for her
because she is like a sandy | 0:13:51 | 0:13:56 | |
character, she is sweet and blonde,
I think she will suit it down to the | 0:13:56 | 0:14:00 | |
ground. What I have seen, she has
got lovely straight legs, the issue | 0:14:00 | 0:14:05 | |
I have with is you know on the,
remember, if you are holding you | 0:14:05 | 0:14:10 | |
still have to use the hips, she has
got a straight, she has to stand on | 0:14:10 | 0:14:18 | |
a straight and leg and then released
into the hip but there is no release | 0:14:18 | 0:14:22 | |
into the heck, if we can just try
that. You can be Mollie, you will | 0:14:22 | 0:14:29 | |
make a great Mollie. As she steps
across she needs to settle into the | 0:14:29 | 0:14:39 | |
hips. Step, settle, step, settle. It
is not a natural movement... She | 0:14:39 | 0:14:45 | |
needs to make sure she has a
settling situation. CHEERING | 0:14:45 | 0:14:49 | |
APPLAUSE
. The master at work, Alexandra and | 0:14:49 | 0:14:53 | |
Gorka, first time in the dance off,
recovering well, this week, maybe | 0:14:53 | 0:14:59 | |
Poppins, charleston. This will be
great for her because she is good at | 0:14:59 | 0:15:12 | |
fast and frenetic dancing. A lot of
side by side stuff which is great | 0:15:12 | 0:15:17 | |
for the charleston but she has to be
careful with the finishing off of | 0:15:17 | 0:15:23 | |
the quality of lines and finishing
off the hands and feet. Because it's | 0:15:23 | 0:15:29 | |
so fast sometimes you can lose that,
that's the key to a good charleston, | 0:15:29 | 0:15:35 | |
matching parts you have got, the
character parts are exactly the | 0:15:35 | 0:15:38 | |
same. We are looking for pretty much
perfection now. Let's talk about | 0:15:38 | 0:15:45 | |
Davood and Nadiya, the first boy to
take on the Argentine tango, they | 0:15:45 | 0:15:50 | |
are dancing to one of your
favourites, Phantom Of The Opera. | 0:15:50 | 0:15:56 | |
The Phantom Of The Opera is there!
Ends signed my mind! Thank you! I | 0:15:56 | 0:16:06 | |
hope you're coming to my musical
next year! I'm going to be singing | 0:16:06 | 0:16:13 | |
all the time! How is it going to go?
There is some nice romantic parts to | 0:16:13 | 0:16:21 | |
it, and there is also some
interesting parts we are actually | 0:16:21 | 0:16:24 | |
he's doing a little normally the man
is running around with the lady... | 0:16:24 | 0:16:37 | |
Very good. Never fails to deliver a
star turn, give it up for my leading | 0:16:37 | 0:16:42 | |
man Ian Waits. | 0:16:42 | 0:16:47 | |
Right, time now to make
our Strictly pros squirm | 0:16:49 | 0:16:51 | |
in TV's toughest dance move-related
challenge. | 0:16:51 | 0:16:52 | |
A lot of blood, sweat and swivels
have gone into this. | 0:16:52 | 0:16:55 | |
It's the Pro Challenge. | 0:16:55 | 0:17:05 | |
Attempt to set a Guinness world
record title for the most charleston | 0:17:05 | 0:17:09 | |
swivel steps in 30 seconds. In order
to qualify the professionals will | 0:17:09 | 0:17:13 | |
have to complete one forward and one
backward step. If there is no swivel | 0:17:13 | 0:17:19 | |
in the feet and ankles the step will
be disqualified. The challenge will | 0:17:19 | 0:17:24 | |
be the hardest are pros have ever
faced but only one person can claim | 0:17:24 | 0:17:28 | |
the title. It's the Strictly pro
challenge 2017. Thank you. | 0:17:28 | 0:17:35 | |
Please welcome our next contender. | 0:17:35 | 0:17:36 | |
She has a twin sister,
is scared of all animals | 0:17:36 | 0:17:38 | |
except goldfish and spiders,
and is doing it for Wales! | 0:17:38 | 0:17:41 | |
Oggy, oggy, oggy... | 0:17:41 | 0:17:42 | |
It's Amy! | 0:17:42 | 0:17:45 | |
CHEERING
APPLAUSE | 0:17:45 | 0:17:50 | |
Welcome back! I have missed you.
Well done, Mark Carney, good work. | 0:17:54 | 0:18:00 | |
The new girl on Strictly, what does
it mean to take on your first pro | 0:18:00 | 0:18:06 | |
challenge? I am so honoured, amazing
professional dancers and lovely | 0:18:06 | 0:18:12 | |
friends of mine. Friends until it
gets competitive! You were 12 this | 0:18:12 | 0:18:17 | |
year, with Brian, we miss you. Can
you get higher on this do you think? | 0:18:17 | 0:18:25 | |
I was 12th with Brian but I went on
to win children in need and now I | 0:18:25 | 0:18:30 | |
want my next title! I like it, game
face on. Any complaints about your | 0:18:30 | 0:18:36 | |
action in the past? In practice I
was showing 40 and all she could do | 0:18:36 | 0:18:42 | |
was laughing. Can you take catcher
down from the top of the | 0:18:42 | 0:18:50 | |
leaderboard? If I do I will be
scared to see her next. Lets see how | 0:18:50 | 0:18:54 | |
you got on. | 0:18:54 | 0:18:55 | |
Everyone is very competitive, as you
can imagine, with professional | 0:19:01 | 0:19:05 | |
dancers. It is my first one and I do
not want to be at the bottom. Hello. | 0:19:05 | 0:19:12 | |
Hello, lovely, welcome to the
Strictly Pro Challenge. Has anybody | 0:19:12 | 0:19:16 | |
given you any tips, any of the other
pros been talking to you? Neil Jones | 0:19:16 | 0:19:23 | |
watch me practising, he giggled and
said good luck with that. I phoned | 0:19:23 | 0:19:28 | |
my dad for some advice and he said
the saying in Wales is quality | 0:19:28 | 0:19:32 | |
rather than quantity.
Although this is a challenge where | 0:19:32 | 0:19:44 | |
you had to do as many as possible.
My dad is not a dancer! We hope you | 0:19:44 | 0:19:47 | |
do really well. Good luck. Please
take your position on the dance | 0:19:47 | 0:19:50 | |
floor. For your official attempt in
three, two, one, go. | 0:19:50 | 0:19:54 | |
Keep it going, Amy. It's good. 15
seconds. | 0:20:00 | 0:20:09 | |
Five, four, three, two, one, stop.
Very good. Did you get one for | 0:20:20 | 0:20:29 | |
smiling? It looked good. Your flick
was really quite high. For me, that | 0:20:29 | 0:20:35 | |
is a mark for good quality. When you
hit the floor I could hear the | 0:20:35 | 0:20:40 | |
charleston rhythm, which is what it
is all about. Really good, very | 0:20:40 | 0:20:44 | |
impressed. Thank you so much.
APPLAUSE | 0:20:44 | 0:20:49 | |
I followed my dad's advice, if I
don't get the world record I had | 0:20:49 | 0:20:55 | |
somebody to blame!
CHEERING | 0:20:55 | 0:20:59 | |
Always with a smile. In retrospect,
was it good taking advice from your | 0:20:59 | 0:21:05 | |
dad, Richard, lovely man? If I have
not done well he is off the | 0:21:05 | 0:21:09 | |
Christmas list. Go by shaking in his
boots. At each of the professionals | 0:21:09 | 0:21:13 | |
make their attempt, the footage was
watched back by adjudicators in slow | 0:21:13 | 0:21:18 | |
motion to verify every swivelled to
make sure they were all accurate. | 0:21:18 | 0:21:22 | |
How do you think you did? I am quite
nervous. | 0:21:22 | 0:21:27 | |
I can reveal that you had three
steps disqualified, OK? Which means | 0:21:27 | 0:21:35 | |
you need 20 good swivels to beat
Katya. Can you do it? I don't think | 0:21:35 | 0:21:42 | |
so. Amy, I can reveal bat in 30
seconds you completed... | 0:21:42 | 0:21:52 | |
13 swivels!
Oh, your face. Which puts you... At | 0:22:02 | 0:22:10 | |
the bottom. Joint bottom with Ali
Ash. What do you had to say to your | 0:22:10 | 0:22:17 | |
dad and the whole of Wales? You are
in trouble. Richard, you'd better go | 0:22:17 | 0:22:24 | |
out. You are always a winner to us.
Thank you, gorgeous Amy! Katya still | 0:22:24 | 0:22:31 | |
at the top. | 0:22:31 | 0:22:31 | |
Now, this Friday we have a very
special treat in store. | 0:22:31 | 0:22:34 | |
Queen of the Topline, | 0:22:34 | 0:22:37 | |
Miss Darcey Bussell,
will be in this studio | 0:22:37 | 0:22:39 | |
answering your questions! | 0:22:39 | 0:22:40 | |
If you want to ask our
Prima Judge anything, | 0:22:40 | 0:22:42 | |
then email It Takes Two at bbc.co.uk | 0:22:42 | 0:22:44 | |
or tweet us using the hashtag
It Takes Two. | 0:22:44 | 0:22:46 | |
Fingers crossed, it could be you! | 0:22:46 | 0:22:49 | |
Right, time now to
welcome my final guests. | 0:22:49 | 0:22:51 | |
Bow down to the queen
of Buenos Aires... | 0:22:51 | 0:22:54 | |
The mistress of Argentina... | 0:22:54 | 0:22:55 | |
Her partner's not too bad either - | 0:22:55 | 0:22:57 | |
it's Debbie and Giovanni! | 0:22:57 | 0:23:04 | |
CHEERING
Your legs were like a paintbrush in | 0:23:04 | 0:23:11 | |
the hands of a great artist. I wish
I could dance like you, my darling. | 0:23:11 | 0:23:17 | |
I have never seen balance like that,
you were outstanding. | 0:23:17 | 0:23:22 | |
Debbie and Giovanni! | 0:23:26 | 0:23:27 | |
CHEERING AND APPLAUSE | 0:23:27 | 0:23:31 | |
My goodness! Incredible, to follow
on with that dance. Debbie, it was | 0:23:31 | 0:23:38 | |
amazing. Absurdly good. And your
legs, young lady, one word. How a?! | 0:23:38 | 0:23:47 | |
How?! They are incredible. Erin
Bogue said yesterday they are the | 0:23:47 | 0:23:52 | |
best in the business, what did you
make of that? It has been a | 0:23:52 | 0:23:57 | |
fantastic time. We really, really
worked hard at the Argentine tango, | 0:23:57 | 0:24:02 | |
fares had never done this before
either so there was pressure on both | 0:24:02 | 0:24:05 | |
others. -- Giovanni had never done
this before either. We just loved | 0:24:05 | 0:24:17 | |
dancing the dance. How could you not
love that? I have just done a little | 0:24:17 | 0:24:22 | |
bit with Vincent and I want to learn
it forever. The audience loved it, | 0:24:22 | 0:24:27 | |
everyone went crazy, the judges
loved it, Craig wants to dance like | 0:24:27 | 0:24:31 | |
you, Shirley says she has never seen
balance like yours. Those comments | 0:24:31 | 0:24:35 | |
must make you giddy? Absolutely, you
can't believe they have said it. | 0:24:35 | 0:24:41 | |
When I watched it back I could not
believe I had danced like that. It | 0:24:41 | 0:24:46 | |
wasn't quite like that in the
rehearsal room. Definitely not. Is | 0:24:46 | 0:24:50 | |
came together on Saturday night. It
was so complex, it must have been | 0:24:50 | 0:24:57 | |
tough to learn? Definitely difficult
to learn. A lot is going on. | 0:24:57 | 0:25:03 | |
Technique, passion, you had to
perform. Until the dress run, it did | 0:25:03 | 0:25:07 | |
not go that well. But something
happened on Saturday night and she | 0:25:07 | 0:25:12 | |
just became Pamela from Spain or
something. You say Pamela, I say | 0:25:12 | 0:25:25 | |
Pam-ella! At first I was like, is
that a pomegranate?! Were you | 0:25:25 | 0:25:33 | |
nervous, it was your first Argentine
tango? Yes, I had never danced it | 0:25:33 | 0:25:38 | |
before. We did a BT with Vincent and
I said it will not be like this, I | 0:25:38 | 0:25:43 | |
am the best Italian, he is the
second-best, I think it will be | 0:25:43 | 0:25:48 | |
better than this. -- we did a VT
with Vincent. But we really loved | 0:25:48 | 0:25:52 | |
it, I think it is my best ever done
some Strictly. And you have done | 0:25:52 | 0:25:57 | |
amazing dancers. Dame Joan Collins
is absolutely loving it. She said | 0:25:57 | 0:26:03 | |
this online... | 0:26:03 | 0:26:06 | |
That was the best Argentine tango
I've seen on @bbcstrictly ever! | 0:26:06 | 0:26:10 | |
If it is good enough for Joan...!
Wonderful. You will be mixing in | 0:26:10 | 0:26:16 | |
such different circle soon. And
another supporter of yours, she was | 0:26:16 | 0:26:21 | |
loved so much on the show on
Saturday, she was trending, your | 0:26:21 | 0:26:29 | |
mum, Babs. We adore her, what did
you make of this raunchy little | 0:26:29 | 0:26:33 | |
number? She didn't mention the more
generous but she would not, if | 0:26:33 | 0:26:38 | |
anybody cases on television she
makes a cup of tea! But she was | 0:26:38 | 0:26:41 | |
incredibly proud and she is very
shy. You brought her out of herself! | 0:26:41 | 0:26:50 | |
He gives her lots of hugs and
kisses. She jibes? She goes dancing | 0:26:50 | 0:26:56 | |
with her brother on a Saturday night
so she does not come to Strictly | 0:26:56 | 0:27:00 | |
every week because she misses her
dancing. She used to jive with my | 0:27:00 | 0:27:04 | |
dad all the time, weddings and
parties... Babs is on the floor | 0:27:04 | 0:27:09 | |
exhumation muck I want to meet her.
Evening, Babs, if she is watching, | 0:27:09 | 0:27:14 | |
but she might be dancing.
The cat is out of the bad, musicals, | 0:27:14 | 0:27:21 | |
American Smooth to this classic...
# Memory, all alone in the | 0:27:21 | 0:27:25 | |
moonlight.
That is beautiful, you like little | 0:27:25 | 0:27:30 | |
choir. It is an iconic musical,
could this be one of those iconic | 0:27:30 | 0:27:39 | |
Strictly dances that we refer to
four years to come? We are loving it | 0:27:39 | 0:27:45 | |
so far, we have not quite got there
yet. It is on its year... Way. The | 0:27:45 | 0:27:52 | |
music is beautiful. The routine will
be beautiful, because I have done | 0:27:52 | 0:27:58 | |
it. We did a little bit of a
Viennese waltz, which helps the | 0:27:58 | 0:28:05 | |
timing, but we are changing
something now because I want to make | 0:28:05 | 0:28:08 | |
it more smooth. We will change it.
We have a lift. You are good at | 0:28:08 | 0:28:17 | |
those! It sounds like it be a big
one. I love it. We are getting so | 0:28:17 | 0:28:23 | |
close to the quarterfinals, Debbie,
how much do you want it? I really | 0:28:23 | 0:28:27 | |
want it. We have had such a
wonderful time, we have got so far, | 0:28:27 | 0:28:32 | |
I really don't want it to stop. I
can't believe everybody has been | 0:28:32 | 0:28:36 | |
voting for hours and we have had all
these lovely messages and everywhere | 0:28:36 | 0:28:40 | |
we go people have been so lovely, so
for them and my... Du Ed Balls Babs! | 0:28:40 | 0:28:49 | |
Good luck this weekend, Debbie and
Giovanni. -- do it for Babs! | 0:28:49 | 0:28:57 | |
That's all we have time for tonight. | 0:28:57 | 0:28:59 | |
We'll be back here tomorrow
at 6.30pm | 0:28:59 | 0:29:01 | |
getting all the
gossip from Gemma and Aljaz. | 0:29:01 | 0:29:02 |