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From London, this is Strictly: It
Takes Two. Please welcome your host, | 0:00:51 | 0:00:56 | |
Zoe Ball. | 0:00:56 | 0:00:58 | |
APPLAUSE | 0:00:58 | 0:01:00 | |
Hello and welcome to It Takes Two! | 0:01:01 | 0:01:03 | |
If you're missing the
Razmataz of Strictly's | 0:01:03 | 0:01:05 | |
musical special, don't worry -
we've got your back. | 0:01:05 | 0:01:07 | |
Just take a look at the all-singing,
all-dancing line-up | 0:01:07 | 0:01:09 | |
in our Green Room. | 0:01:09 | 0:01:14 | |
Here to tell me more,
tell me more about | 0:01:14 | 0:01:16 | |
their rumba - it's Mollie and AJ! | 0:01:16 | 0:01:20 | |
Little sandy and Danny. | 0:01:20 | 0:01:21 | |
He may not know how
to sing but he sure | 0:01:21 | 0:01:24 | |
can wave a wand about
theatrically - it's | 0:01:24 | 0:01:26 | |
Ian Waite. | 0:01:26 | 0:01:28 | |
He's not bad at singing actually. | 0:01:28 | 0:01:30 | |
And look who we've
got in the house - | 0:01:30 | 0:01:33 | |
Hayley, Jamie, Andrea and Tommy - | 0:01:33 | 0:01:35 | |
the Strictly Singers! | 0:01:35 | 0:01:37 | |
At last, they are here. | 0:01:37 | 0:01:39 | |
Plus, hoping to put last year's Pro
Challenge humiliation behind him - | 0:01:39 | 0:01:42 | |
it's Neil Jones! | 0:01:42 | 0:01:45 | |
Warming up. Backstage, come on, you
can do it. | 0:01:45 | 0:01:49 | |
But first up tonight,
with the semifinal | 0:01:49 | 0:01:50 | |
fast approaching,
never has a warm-up | 0:01:50 | 0:01:52 | |
held so much importance. | 0:01:52 | 0:01:53 | |
It's time for Ian Waite! | 0:01:53 | 0:01:59 | |
It's Ian Waite, everyone! | 0:02:06 | 0:02:10 | |
He is here, panic over. Do you know
him? Not bad, not bad. Our couples | 0:02:10 | 0:02:21 | |
have two dances this weekend and
new, young man, have tend to get | 0:02:21 | 0:02:25 | |
through so we must hasten on. So
much to discuss. Alexandra and | 0:02:25 | 0:02:32 | |
Gorka's first dance will be a salsa.
She's dancing fantastic are great at | 0:02:32 | 0:02:37 | |
the Latin dances, this is going to
be hot. I think it is looking really | 0:02:37 | 0:02:41 | |
good, it is really going to suit
her, it's going to be a fantastic | 0:02:41 | 0:02:44 | |
dance for her, it has lots of
rhythm, she has lots of speed in | 0:02:44 | 0:02:48 | |
there. As you saw, the zigzags she
did beautifully, and I have slowed | 0:02:48 | 0:02:53 | |
this down and I love the armography,
over the arms twice and again onto a | 0:02:53 | 0:03:04 | |
different arm hold, very complicated
some of the armography but she's | 0:03:04 | 0:03:08 | |
doing it brilliantly already. And is
so smooth, that's the thing, at this | 0:03:08 | 0:03:12 | |
stage on Tuesday, you would expect
it to become a no, today's footage, | 0:03:12 | 0:03:17 | |
sorry, you'd expect it to be a
little rusty before Saturday but | 0:03:17 | 0:03:19 | |
it's looking good. Good work. Jail
and Katya are dancing and American | 0:03:19 | 0:03:26 | |
smooth. How is our gorgeous boy,
looking smooth enough for you? -- | 0:03:26 | 0:03:31 | |
joke and Katya. Yes, some very nice
moves at the beginning, the way he | 0:03:31 | 0:03:35 | |
rocks and sways, very Fred and
Gingeresque and I like the win takes | 0:03:35 | 0:03:41 | |
hold of her. I talked about him a
few weeks ago of getting the chicken | 0:03:41 | 0:03:45 | |
drumsticks underneath her armpit and
got it under their nicely. The only | 0:03:45 | 0:03:49 | |
thing is, hold on a second. I
wondered where it was. The only | 0:03:49 | 0:03:54 | |
thing is he has a lovely shoulder
line, lovely long neck might like to | 0:03:54 | 0:03:59 | |
see him get this arm up a little bit
so it is on a bit more of a right | 0:03:59 | 0:04:03 | |
angle, not a proper right angle but
a bit more, get his arm a little bit | 0:04:03 | 0:04:07 | |
straight. Just a simple tiny detail.
Gemma and Aljaz are doing a tango. | 0:04:07 | 0:04:13 | |
Has her girl got enough attack? She
looks very good, her hand looks a | 0:04:13 | 0:04:18 | |
bit like a spider on the back. She
should get that underneath the | 0:04:18 | 0:04:22 | |
armpit again, I know it's a bit
smelly but don't worry about it. And | 0:04:22 | 0:04:27 | |
also she's doing heel leads, which
is good, but I'd like to see her | 0:04:27 | 0:04:31 | |
work on this area at the bottom.
Lovely bottom. What I'd like her to | 0:04:31 | 0:04:38 | |
do is when she moves off to
promenade there is a push from | 0:04:38 | 0:04:46 | |
there, push drive, which would give
her a more staccato feeling to the | 0:04:46 | 0:04:49 | |
dance. I could watch you do that for
hours. It will give that will be | 0:04:49 | 0:04:54 | |
extra oomph she needs. Mollie and
AJ, samba, how are Mollie's hips | 0:04:54 | 0:04:59 | |
looking? I saw this early on.
CHEERING | 0:04:59 | 0:05:06 | |
Lovely body action. Very loose. Like
a pro. Promenade runs, if you look, | 0:05:06 | 0:05:16 | |
it is a different timing. What I'd
like to see her do is on the | 0:05:16 | 0:05:19 | |
promenade run, if I can just circled
the back leg, if we do that for you | 0:05:19 | 0:05:24 | |
we will show you how it is done.
One, two, three. In that position, | 0:05:24 | 0:05:30 | |
make sure you lunch into the front
foot enough so that you can stretch | 0:05:30 | 0:05:34 | |
out that tow. These trousers don't
give much! Don't show these muffin | 0:05:34 | 0:05:40 | |
tops. Don't be caught between the
two legs. Just like that, I've got | 0:05:40 | 0:05:44 | |
it! Debbie and Giovanni doing a jive
to I'm so excited, by the Pointer | 0:05:44 | 0:05:53 | |
Sisters, excited? I'm excited, upon
the balls of her feet, like to do | 0:05:53 | 0:05:57 | |
her about stepping action down into
the ground rather than flicks out on | 0:05:57 | 0:06:01 | |
the beginning peace. But if you
notice here she does chicken walks | 0:06:01 | 0:06:04 | |
and I think she's doing it too much
with her legs apart. If from here... | 0:06:04 | 0:06:11 | |
Keep them together, girls. If you
see here I'd like her to get the top | 0:06:11 | 0:06:16 | |
of her legs together almost like she
has a tight skirt. How would you | 0:06:16 | 0:06:25 | |
know that!? Legs to wide apart. Onto
the second dances, halfway, are you | 0:06:25 | 0:06:38 | |
OK? Alexandra and Gorka back for a
Viennese waltz. Do you like what you | 0:06:38 | 0:06:46 | |
see? The flow is really good, nice
natural tones, her footwork is very | 0:06:46 | 0:06:51 | |
good. They are not actually in hold
-- natural Terence. Lovely running | 0:06:51 | 0:06:58 | |
around, keeping it fluid, there was
note trotting. When you run around | 0:06:58 | 0:07:03 | |
there can be a little bit of
bouncing -- natural turns. You don't | 0:07:03 | 0:07:10 | |
hear that wide enough anymore, Nath.
I love the fact she has this lovely | 0:07:10 | 0:07:14 | |
the arm and details in the feet.
Beautiful, Joe and Katya next in | 0:07:14 | 0:07:18 | |
line the Argentine tango I'm excited
about Halys Joe -- how is Joe | 0:07:18 | 0:07:27 | |
looking? When they flip the foot and
it goes right up the back, right up | 0:07:27 | 0:07:33 | |
the codpiece, it's amazing. These
interlinking steps when they | 0:07:33 | 0:07:37 | |
ricocheted off each other. It looks
really good. He just goes run a | 0:07:37 | 0:07:41 | |
little bit there. I slowed it down.
He's supposed to step through | 0:07:41 | 0:07:45 | |
backwards instead of forwards and
she's ordered held him and said, no, | 0:07:45 | 0:07:48 | |
it's forwards, not backwards, deer,
or the other way around. It is a | 0:07:48 | 0:07:53 | |
nice dance, difficult to tell from
just that short bit of footage but | 0:07:53 | 0:07:56 | |
hopefully by Saturday it will be
fantastic. Gemma and Aljaz also | 0:07:56 | 0:08:01 | |
dancing a rumba, what do you make of
it? She has a very nice hip action | 0:08:01 | 0:08:06 | |
and very good straight leg. That is
what you want from a rumba. And | 0:08:06 | 0:08:12 | |
also, if you notice when she goes
into this she has a lovely arched | 0:08:12 | 0:08:16 | |
foot and lovely shape of foot. If I
just spotlight this, OK, now, if you | 0:08:16 | 0:08:23 | |
just watch this, she is going to do
a close. As she closes her feet in | 0:08:23 | 0:08:28 | |
the fan position, she is keeping
that foot flat as she goes in. I | 0:08:28 | 0:08:33 | |
would say articulate it before so
you get a little bit of | 0:08:33 | 0:08:39 | |
articulation. These are the details.
You get the shape of the foot before | 0:08:39 | 0:08:42 | |
you go there. These could make the
extra points and make all the | 0:08:42 | 0:08:46 | |
difference. Mollie and AJ and their
waltz, but this see them pivot their | 0:08:46 | 0:08:52 | |
way into the final? This is only
Monday footage. So, I think it's | 0:08:52 | 0:08:58 | |
probably much better by today,
right, guys? Because it looks a | 0:08:58 | 0:09:02 | |
little bid dropped in the body. But
I would say, maybe because she | 0:09:02 | 0:09:07 | |
hasn't got normal shoes on, give her
a couple more inches. That's the | 0:09:07 | 0:09:11 | |
problem! It will get you a little
higher in the rib cage and get you a | 0:09:11 | 0:09:17 | |
little bit more, do you know what I
mean? That's when you should come | 0:09:17 | 0:09:22 | |
through so you are a little bit late
and also leaving your bum behind | 0:09:22 | 0:09:26 | |
here. Take your bum with you, love.
That's terrible! Debbie and Giovanni | 0:09:26 | 0:09:35 | |
dancing a foxtrot, Kvist top the
American smooth from last week, | 0:09:35 | 0:09:39 | |
which was marvellous? Yes, it was
and she is glued to her man, as you | 0:09:39 | 0:09:43 | |
can see here, not a gap insight.
Lovely position as well. She is | 0:09:43 | 0:09:48 | |
clinging onto him a little bit that
hand. You would! She needs to go on | 0:09:48 | 0:09:55 | |
the top, not cling around and a bit
too much rotation in the body to the | 0:09:55 | 0:09:58 | |
left. If she keeps her body up to
him a little more shapes at the | 0:09:58 | 0:10:02 | |
back. Other than that, beautiful
dancing, forward to it. How good was | 0:10:02 | 0:10:07 | |
he? Ten dances! | 0:10:07 | 0:10:12 | |
Right now it's time
to once again push our | 0:10:12 | 0:10:14 | |
Strictly pros to
their absolute limits | 0:10:14 | 0:10:15 | |
and then some. | 0:10:15 | 0:10:16 | |
Charleston swivels
really don't come any | 0:10:16 | 0:10:17 | |
tougher than this. | 0:10:17 | 0:10:19 | |
And he does feature. Lovely. This
year's Strictly Pro Challenge is | 0:10:19 | 0:10:26 | |
heading back in time to the Roaring
20s where our pros will attempt to | 0:10:26 | 0:10:30 | |
set a Guinness World Record title
for the most Charlton swivel steps | 0:10:30 | 0:10:35 | |
in 30 seconds. In order for the
swivel step to qualify our pros will | 0:10:35 | 0:10:40 | |
have to complete one forward and one
backwards step. If there is no | 0:10:40 | 0:10:43 | |
swivel in the feet and ankles the
step will be disqualified. This | 0:10:43 | 0:10:48 | |
year's challenge will be the hardest
our pros have ever faced, but only | 0:10:48 | 0:10:52 | |
one person can claim the title. It's
the Strictly Pro Challenge 2017. | 0:10:52 | 0:10:57 | |
It's time to welcome
our next contender. | 0:10:57 | 0:11:01 | |
He was born in Germany and speaks
fluent Dutch and splits his time | 0:11:01 | 0:11:04 | |
between the UK and Hong Kong. What a
jet setter. Go wild for our very own | 0:11:04 | 0:11:11 | |
Ginger Rogers, Neil Jones! | 0:11:11 | 0:11:14 | |
APPLAUSE | 0:11:15 | 0:11:16 | |
What an entrance! And what they owe
tie. | 0:11:17 | 0:11:21 | |
Firstly, I just wanted
to say thank you for | 0:11:21 | 0:11:23 | |
being here with us today. | 0:11:23 | 0:11:25 | |
It can't have been easy
after last year's incident. | 0:11:25 | 0:11:29 | |
Why, what happened last year? Just
in case you had forgotten, last | 0:11:29 | 0:11:32 | |
year, the lovely meal had all 104
jive flicks and kicks completely | 0:11:32 | 0:11:39 | |
disqualified -- Neil had all 104.
They were great. Recount! Recount! | 0:11:39 | 0:11:47 | |
How do you feel one year on? I've
recovered, I've been through a lot | 0:11:47 | 0:11:52 | |
of therapy and it's helping. I'm
glad! This is the Leader Board. Your | 0:11:52 | 0:11:58 | |
gorgeous wife at the number one spot
currently. Do you have the heart, or | 0:11:58 | 0:12:05 | |
indeed the ability, to knock her off
the top spot? I went in just before | 0:12:05 | 0:12:09 | |
Katya and she said do you have any
advice? I said, honey, use your | 0:12:09 | 0:12:14 | |
arms. I personally think whatever
happens to me I should get those | 0:12:14 | 0:12:17 | |
points. Nice way of looking at it.
The entire nation is waiting with | 0:12:17 | 0:12:21 | |
bated breath. Let's see how Neil got
on. I'm a bit worried about the | 0:12:21 | 0:12:27 | |
Charleston, I haven't had as long as
Anton, he's been doing it since he | 0:12:27 | 0:12:30 | |
was born, that's a lot longer than
the rest of us. But I'm going to try | 0:12:30 | 0:12:34 | |
my hardest. Hello, Neil. Hello,
everyone. Welcome to the Strictly | 0:12:34 | 0:12:43 | |
Pro Challenge this year, be looking
forward to you coming. So have I! | 0:12:43 | 0:12:48 | |
Last year, obviously it was a bit
disaster because... Yeah. You got | 0:12:48 | 0:12:55 | |
every single step disqualified. I
know. Learn from your mistakes? I've | 0:12:55 | 0:13:00 | |
been working on both steps to find
out that the Pro Challenge is | 0:13:00 | 0:13:03 | |
different this year. Well, I hope
you do a good job because we've got | 0:13:03 | 0:13:08 | |
the wonderful judge here to
scrutinise every little step you | 0:13:08 | 0:13:12 | |
take. Keep that swivel going. I'm
ready. No pressure. OK, for your | 0:13:12 | 0:13:20 | |
official attempt beginning in three,
two, one, go. | 0:13:20 | 0:13:24 | |
Good. 15 seconds. Keep it up, Neil,
come on. Go from zero to hero. Don't | 0:13:36 | 0:13:48 | |
lose it. Keep swivelling. Five,
four, three, two, one. Stop. Well | 0:13:48 | 0:13:56 | |
done. Well done. I think I might
have lost it a bit in the middle, | 0:13:56 | 0:14:00 | |
I'm not going to live. A little bit.
You are giving us our thumbs in | 0:14:00 | 0:14:04 | |
waistcoat. I liked that. The hands
were swinging. I was trying | 0:14:04 | 0:14:11 | |
everything. Lots of variation and
entertaining, good to watch. Have I | 0:14:11 | 0:14:17 | |
won? We don't know, we have to
scrutinise it and let you know | 0:14:17 | 0:14:20 | |
later. But well done, good attempt.
Better than last year. Thank you. | 0:14:20 | 0:14:26 | |
Yes! You know what, I think this
could be my year, Giovanni is going | 0:14:26 | 0:14:29 | |
down. | 0:14:29 | 0:14:31 | |
Neil, taught me through the arms. I
was trying everything. -- talk me | 0:14:34 | 0:14:41 | |
through. I'm the original chicken, I
thought thumbs in, let's try | 0:14:41 | 0:14:47 | |
something different, try everything.
It was your facial expression that | 0:14:47 | 0:14:51 | |
was my favourite. After each of the
professionals had made their | 0:14:51 | 0:14:54 | |
attempts the footage was watched
back by adjudicators in slow motion | 0:14:54 | 0:14:59 | |
to verify every civil swivel to make
sure they were all accurate. -- | 0:14:59 | 0:15:04 | |
every single swivel. And because it
was knew they were obliged to check | 0:15:04 | 0:15:08 | |
it twice. Only kidding! 19 is the
score to beat to put you in front of | 0:15:08 | 0:15:13 | |
Katya. Neil Jones, in 30 seconds,
you are so excited. You completed... | 0:15:13 | 0:15:22 | |
DRAMATIC MUSIC | 0:15:22 | 0:15:32 | |
19 Charleston swivels. Exactly the
same as Katya. 19? I'm top of the | 0:15:32 | 0:15:42 | |
Leader Board? Well, not all of those
swivels were legal. Wait for it. | 0:15:42 | 0:15:50 | |
Eight disqualified steps. Giving you
a score of 11. It's better than last | 0:15:50 | 0:15:56 | |
year, which puts you joint ninth on
the Leader Board. Look, there you | 0:15:56 | 0:16:00 | |
are. URL above Brendan Cole. I'm
lower than Pasha. It's OK. And Amy. | 0:16:00 | 0:16:13 | |
-- you are above Brendan Cole. I
need to give him a cuddle. Higher | 0:16:13 | 0:16:19 | |
than zero is OK. And higher than
Brendan. Time to go to the training | 0:16:19 | 0:16:24 | |
rooms to see how our couples are
training for the second most | 0:16:24 | 0:16:27 | |
important challenge of the week, the
Strictly semi-finals. So sorry! | 0:16:27 | 0:16:34 | |
Foxtrot, we have a priority on the
position. And look where you are. | 0:16:34 | 0:16:39 | |
Head! I struggled with getting the
feet and the head right. My feet are | 0:16:39 | 0:16:44 | |
killing me, my back is killing me.
Sometimes your body gives up on you | 0:16:44 | 0:16:48 | |
and I feel that's what has happened
to me today. Head! Three... Head! | 0:16:48 | 0:16:55 | |
This is semifinal week. We can't
make a mistake. It can't just be a | 0:16:55 | 0:17:00 | |
good dance. It's got to be a great
dance. Nice, go, go, go, beautiful! | 0:17:00 | 0:17:06 | |
The Rumba has gone through stages of
yeah I've got it, too I've not got | 0:17:06 | 0:17:12 | |
it at all. So confused. Look at me,
the Rumba is a very challenging | 0:17:12 | 0:17:17 | |
dance. I keep trying to lead the
dancers. OK, I'm coming back. But | 0:17:17 | 0:17:23 | |
he's the guy, not me. He loves being
the woman. I'm trying to make it | 0:17:23 | 0:17:28 | |
look like it is extremely easy. Two,
three, four. But it's not. I know. | 0:17:28 | 0:17:41 | |
It's time now to welcome four of
Strictly's unsung heroes - or should | 0:17:41 | 0:17:44 | |
that be sung?! | 0:17:44 | 0:17:47 | |
They've got some of the best pipes
in the biz - please go wild | 0:17:47 | 0:17:50 | |
for the wonderful Hayley,
Jamie, Andrea and Tommy! | 0:17:50 | 0:17:53 | |
CHEERING
At last, you are here. Welcome, | 0:17:53 | 0:18:02 | |
welcome. Lance could not be here
because we could not fit him on the | 0:18:02 | 0:18:06 | |
sofa but we are sending him some
love. Tommy, you have been here | 0:18:06 | 0:18:14 | |
since the show began, when
televisions were black and white! | 0:18:14 | 0:18:20 | |
How has the music changed? It was
much more traditional in those days. | 0:18:20 | 0:18:25 | |
Then when Dave Arch came in, the
whole things changed. They are doing | 0:18:25 | 0:18:31 | |
tangos to music that you would not
expect. It is Dave's fault! Let's | 0:18:31 | 0:18:38 | |
blame Dave for everything. Jamie,
welcome, new kid on the block. You | 0:18:38 | 0:18:44 | |
have stood in for Lance three times.
How is it to join a show like this? | 0:18:44 | 0:18:50 | |
And how have they treated you? Have
they treated you like the new boy or | 0:18:50 | 0:18:54 | |
have they been nice? You have been
nice. It has been a wonderful thing. | 0:18:54 | 0:18:59 | |
It is a departure from what I am
used to doing so it has been good. | 0:18:59 | 0:19:04 | |
Really, really good fun. Welcome.
Hayley, you got married! | 0:19:04 | 0:19:10 | |
CHEERING
Sent him I love. You did a surprise | 0:19:10 | 0:19:15 | |
wedding, amazing. Yes, it was ace
prize! She didn't know, incredible. | 0:19:15 | 0:19:22 | |
Thank goodness she agreed! The
audience don't realise you're | 0:19:22 | 0:19:25 | |
singing everything live. Do you
still get nervous? Yes, sometimes, | 0:19:25 | 0:19:30 | |
luckily because the days so long,
you are so tired so you're not | 0:19:30 | 0:19:34 | |
nervous. But it doesn't matter how
many years you have been doing it, | 0:19:34 | 0:19:37 | |
you suddenly get the fear for no
apparent reason. It could be on the | 0:19:37 | 0:19:42 | |
song you have sung a million times.
The panic sets in, but you get | 0:19:42 | 0:19:46 | |
through it, because you have to.
There is no choice. Andrea, you have | 0:19:46 | 0:19:52 | |
the best seats in the house. I love
it when they cut your cheeky face | 0:19:52 | 0:19:56 | |
peeking over. Do you get distracted
by the shenanigans on the floor? I | 0:19:56 | 0:20:01 | |
don't. When I am singing, I don't. I
try not to look because otherwise it | 0:20:01 | 0:20:07 | |
puts me off my singing!
You are a professional. I try. I | 0:20:07 | 0:20:19 | |
like the way you say I don't which
means the others do. Tommy, when do | 0:20:19 | 0:20:22 | |
you know what songs you will be
singing in the week?... Usually by | 0:20:22 | 0:20:25 | |
Monday evening or Tuesday at the
latest. It is not much time. We have | 0:20:25 | 0:20:29 | |
three or four days to get the lead
vocals ready and the backing vocals. | 0:20:29 | 0:20:34 | |
They are often much tougher. That is
not a long time. Jamie, your | 0:20:34 | 0:20:41 | |
repertoire is often different to the
others. What do they call you in | 0:20:41 | 0:20:46 | |
for? Be called me in for anything
that is remotely rocky or high. Like | 0:20:46 | 0:20:54 | |
The Darkness. That was so good. How
can you sing that high? I don't | 0:20:54 | 0:21:01 | |
know! Have you always been able to
sing that high? Yes, I think so! | 0:21:01 | 0:21:09 | |
Hayley, how can we forget your
stunning performance during Ruth and | 0:21:09 | 0:21:14 | |
Anton's paso doble. Let's remind us
of your brilliance. SHE SINGS VERY | 0:21:14 | 0:21:26 | |
HIGH. | 0:21:26 | 0:21:28 | |
APPLAUSE
That is our goal. So good! Was their | 0:21:32 | 0:21:38 | |
pressure performing with two iconic
people. I knew it would be | 0:21:38 | 0:21:42 | |
ridiculous. Anne Dunham said I am
about to go into the routine -- | 0:21:42 | 0:21:49 | |
Anton said. They said we need
something more dramatic, what can | 0:21:49 | 0:21:55 | |
you do? And then they said, that is
it! We could not get you here | 0:21:55 | 0:22:01 | |
without asking you to sing for us.
Make our dreams country. The | 0:22:01 | 0:22:05 | |
Strictly sinners. -- sinners. | 0:22:05 | 0:22:13 | |
# I'm dreaming of a white Christmas | 0:22:17 | 0:22:20 | |
# Just like the ones I used to know | 0:22:20 | 0:22:21 | |
# Where the tree tops glisten | 0:22:27 | 0:22:29 | |
# And children listen | 0:22:29 | 0:22:31 | |
# To hear sleigh bells in the snow | 0:22:31 | 0:22:40 | |
# I'm dreaming of a white Christmas | 0:22:40 | 0:22:49 | |
# With every Christmas card I write | 0:22:49 | 0:22:55 | |
# May your days be merry and bright | 0:22:55 | 0:23:04 | |
# And may all your
Christmases be white.#. | 0:23:04 | 0:23:14 | |
CHEERING
That's amazing! Christmas has begun, | 0:23:21 | 0:23:31 | |
people! Give it up for Hayley,
Jamie, Andrea and Tommy and the | 0:23:31 | 0:23:44 | |
band, a wonderful?! Hours Strictly
Singers! Time to welcome our final | 0:23:44 | 0:23:51 | |
guests of the evening. | 0:23:51 | 0:23:55 | |
These two are... | 0:23:55 | 0:23:57 | |
Automatic, systematic, hydromatic. | 0:23:57 | 0:23:59 | |
It's Mollie and AJ! | 0:23:59 | 0:24:01 | |
You have improved so much, I am
stunned. Identity with Bruno at all. | 0:24:08 | 0:24:13 | |
I thought you were dancing by
numbers, I have to be honest. Your | 0:24:13 | 0:24:21 | |
timing was impeccable today. I
thought you got it just right. | 0:24:21 | 0:24:25 | |
Impeccable! | 0:24:25 | 0:24:29 | |
Hello, Semi-Finalists! | 0:24:29 | 0:24:33 | |
Let's talk about that Rumba. | 0:24:33 | 0:24:36 | |
You've waited to be
Sandra Dee your whole life - | 0:24:36 | 0:24:38 | |
was Saturday night worth the wait? | 0:24:38 | 0:24:42 | |
It was so worth the wait. I think
literally that has been one of my | 0:24:42 | 0:24:46 | |
favourite nights ever. I loved
playing the part and dancing with | 0:24:46 | 0:24:50 | |
AJ. And we got two nines! I love how
excited you are with those! My | 0:24:50 | 0:25:01 | |
little girl Nellie was watching and
she said, look at the Hat! That was | 0:25:01 | 0:25:05 | |
good with action going on there. It
was -- look at that hair! I think | 0:25:05 | 0:25:15 | |
you were born to play the role. You
had to leap into his arms, Mollie. | 0:25:15 | 0:25:23 | |
When he first said, you are going to
run off a bridge and leap into my | 0:25:23 | 0:25:27 | |
arms, how did you feel about that? I
said OK, as long as you catch me. In | 0:25:27 | 0:25:35 | |
slow motion. I love the slow motion!
I said you had better catch me, you | 0:25:35 | 0:25:41 | |
had better catch me! He was so calm
about it. Would would have been | 0:25:41 | 0:25:50 | |
quite embarrassing if he couldn't.
You had your joint highest scores | 0:25:50 | 0:25:55 | |
there, 31, your first nine from
Shirley, it is never too early. | 0:25:55 | 0:26:03 | |
Latin Queen as well. But Craig was
not happy about the lift. AJ, at | 0:26:03 | 0:26:08 | |
this point in the game, you have to
impress the dealers and do you throw | 0:26:08 | 0:26:13 | |
the rule book out of the window a
little bit? Mollie house to get off | 0:26:13 | 0:26:17 | |
the prop and if she is jumping, I
have to be there to catch my | 0:26:17 | 0:26:21 | |
princess. So I thought I would spin
around in place on the floor. Said | 0:26:21 | 0:26:31 | |
effectively not a lift? I cannot
jump off and land on the floor. And | 0:26:31 | 0:26:34 | |
she cannot step because it is a big
one. We are allowed to get off the | 0:26:34 | 0:26:38 | |
prop anyway. I need to check the
rule book again. It is so huge! | 0:26:38 | 0:26:44 | |
Bruno loved the fireworks. Has it
been hard to work on that storyline? | 0:26:44 | 0:26:50 | |
Did hard to work on the storyline,
there are so much technical ability | 0:26:50 | 0:26:55 | |
and then obviously getting into
character. We have to mould it | 0:26:55 | 0:26:58 | |
together on the day. I love you two.
We love you, Zoe! Two dances, you | 0:26:58 | 0:27:06 | |
have waltz and Sam Byrne. You are
dancing to Shakira, -- the Sam | 0:27:06 | 0:27:13 | |
Byrne. | 0:27:13 | 0:27:15 | |
You're dancing to Shakira's
Whenever Wherever. | 0:27:19 | 0:27:20 | |
I'm legally required to play it. | 0:27:20 | 0:27:22 | |
MUSIC: "Whenever,Wherever"
by Shakira. | 0:27:22 | 0:27:23 | |
Shakira's hips famously don't lie -
are your hips telling the whole | 0:27:23 | 0:27:26 | |
truth and nothing but the truth? | 0:27:26 | 0:27:28 | |
I hope they are. The honest truth
is, I once said to AJ, let's avoid | 0:27:28 | 0:27:33 | |
the samba, because I never thought
we would get to this point that we | 0:27:33 | 0:27:39 | |
would be doing all the routines, and
now it has crept up on us. The samba | 0:27:39 | 0:27:45 | |
is the one that is left. It has come
back to get us in the semis. Where | 0:27:45 | 0:27:51 | |
are throwing everything into it. We
are working extra hard. Mollie has | 0:27:51 | 0:27:55 | |
got to go out there and let her in
going. She has got to have a great | 0:27:55 | 0:28:00 | |
time and have a party dance. You're
getting so good. And also the waltz, | 0:28:00 | 0:28:07 | |
Sarah McLachlan, Angel. It is
beautiful. As the ballroom girl, | 0:28:07 | 0:28:15 | |
does it float your boat? I love
this. It is such an emotional song. | 0:28:15 | 0:28:21 | |
I even love it in the rehearsals,
literally. There is so much to | 0:28:21 | 0:28:25 | |
concentrate on, but the song is
amazing. I love the waltz. I | 0:28:25 | 0:28:29 | |
literally can't wait to do this one.
It is a gorgeous night. It will be | 0:28:29 | 0:28:34 | |
something special on the night. I
cannot wait for this performance. If | 0:28:34 | 0:28:38 | |
you get through this weekend, you
will be in the final of Strictly | 0:28:38 | 0:28:46 | |
Come Dancing 2017. I'm just saying
that. Last year, you went out in the | 0:28:46 | 0:28:49 | |
semifinal, how can you make that not
happen?... You have got to give it | 0:28:49 | 0:28:54 | |
everything. We will give it
everything that we do every week. | 0:28:54 | 0:28:58 | |
Mollie works so hard. She puts
herself under so much pressure. We | 0:28:58 | 0:29:02 | |
go out there, we have the best time
of our lives and we just have fun. | 0:29:02 | 0:29:06 | |
Somebody said we have broken the
Strictly record for the amount of | 0:29:06 | 0:29:11 | |
hours trained. Well done! Good luck
this weekend. I hope it works out. | 0:29:11 | 0:29:19 | |
Mollie and AJ! | 0:29:19 | 0:29:22 | |
That's all we have time for tonight. | 0:29:22 | 0:29:24 | |
We'll be back here tomorrow at 6:30
getting all the gossip | 0:29:24 | 0:29:27 | |
from Joe and Katya. | 0:29:27 | 0:29:27 | |
Hot lips Karen Clifton takes
on the Pro Challenge, and Vicky Gill | 0:29:27 | 0:29:30 | |
will be letting me have a rummage
through her clothes rails! | 0:29:30 | 0:29:33 | |
People think that I'm
incapable of working. | 0:29:33 | 0:29:36 |