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Please hook your host, Zoe Ball. | 0:00:52 | 0:00:55 | |
CHEERING AND APPLAUSE. | 0:00:55 | 0:00:57 | |
Hello and welcome to It Takes Two! | 0:00:57 | 0:00:59 | |
I can't believe I'm saying this... | 0:00:59 | 0:01:01 | |
But it's the last
Tuesday of the series! | 0:01:01 | 0:01:05 | |
But don't be sad - we've still got
a few more shows left! | 0:01:05 | 0:01:10 | |
And if that's still not enough
to brighten your mood, then take | 0:01:10 | 0:01:13 | |
a look at tonight's green room. | 0:01:13 | 0:01:16 | |
Don't say we don't treat you. | 0:01:19 | 0:01:21 | |
They survived their first dance-off
to become Strictly finalists, | 0:01:21 | 0:01:23 | |
it's Gemma and Aljaz! | 0:01:23 | 0:01:24 | |
And they've been there, done that,
and even won the Glitterball. | 0:01:24 | 0:01:31 | |
It's a trio of former champs,
Ore Oduba, Tom Chambers | 0:01:31 | 0:01:34 | |
and Chris Hollins! | 0:01:34 | 0:01:36 | |
But first, for the final time this
series let's pay one last visit | 0:01:36 | 0:01:39 | |
to my favourite corner. | 0:01:39 | 0:01:45 | |
Taking the reigns tonight,
it's 2016 champion Joanne Clifton. | 0:01:58 | 0:02:00 | |
CHEERING AND APPLAUSE. | 0:02:00 | 0:02:06 | |
Can you believe one year ago? We
will start at the top of the | 0:02:06 | 0:02:10 | |
Leaderboard. Alexandra and Gorka. | 0:02:10 | 0:02:16 | |
After having six dances score 39,
they finally achieved a perfect | 0:02:16 | 0:02:18 | |
40 with their salsa. | 0:02:18 | 0:02:19 | |
The judges loved it -
what stood out for you? | 0:02:19 | 0:02:28 | |
When everybody saw the Tina Turner
thing, it was like, wow. I let out a | 0:02:28 | 0:02:37 | |
wow to myself when she went in for
those lifts. She is a force of | 0:02:37 | 0:02:41 | |
nature. Absolutely fearless. Such a
performer. If she has Latin in the | 0:02:41 | 0:02:50 | |
final, do exactly the same thing in
your performance and concentrate on | 0:02:50 | 0:02:53 | |
the details of your Latin. | 0:02:53 | 0:03:01 | |
On to their Viennese Waltz. | 0:03:01 | 0:03:03 | |
Words used by the judges
included "graceful, soft, | 0:03:03 | 0:03:05 | |
dreamy and exquisite" -
did you agree? | 0:03:05 | 0:03:07 | |
Absolutely. Alex is able to capture
the essence and character of every | 0:03:07 | 0:03:15 | |
dance. It was beautiful. Emotional
to watch. I think if she gets | 0:03:15 | 0:03:22 | |
ballroom in the final, she has to
concentrate. She has to work on her | 0:03:22 | 0:03:32 | |
right rib being hooked to Gorka's
right rib. Imagine his morning | 0:03:32 | 0:03:35 | |
breath. You can't just turn your
head to get away from it, you have | 0:03:35 | 0:03:41 | |
to move your rib cage. Not that I
would know what Gorka's morning | 0:03:41 | 0:03:45 | |
breath is like! We all know what
goes on around here! | 0:03:45 | 0:03:53 | |
Flexi McGee's jive now. | 0:03:53 | 0:03:54 | |
Overall, the judges
comments were positive. | 0:03:54 | 0:03:55 | |
Although Craig did compare her
facial expressions to Judge Rinder. | 0:03:55 | 0:03:58 | |
Did it get you excited? | 0:03:58 | 0:04:04 | |
I got so excited I wanted to dance
with them. He was just saying that | 0:04:04 | 0:04:11 | |
because Judge Rinder was in the
audience. But Debbie was really | 0:04:11 | 0:04:16 | |
enjoying it, really going for it. If
that's what comes out when you enjoy | 0:04:16 | 0:04:20 | |
it, then so be it. For somebody of
her age to pull it off with energy | 0:04:20 | 0:04:28 | |
to the end was amazing. If she has
Latin in the final bend sheet should | 0:04:28 | 0:04:37 | |
be precise. Do her leg lines and arm
lines. Everything she does so well, | 0:04:37 | 0:04:44 | |
and get that performance on top of
it. Quite a bit to cope with. | 0:04:44 | 0:04:49 | |
Moving onto their foxtrot, Darcey
said it was incredibly technical. | 0:04:49 | 0:04:52 | |
But Craig deducted a point
for the time spent out of hold. | 0:04:52 | 0:04:57 | |
Was Gio's choreography breaking
the rules in your opinion? | 0:04:57 | 0:05:02 | |
Well, no. They did the whole routine
in hold and then broke cat the end. | 0:05:02 | 0:05:13 | |
-- then broke at the end. They could
have gone into a little entrance, | 0:05:13 | 0:05:21 | |
then hold them finish, but they put
it all at the end. It kind of | 0:05:21 | 0:05:24 | |
balances out. I think Debbie's holds
is one of the best ballroom holds | 0:05:24 | 0:05:29 | |
I've ever seen on Strictly. She
understands the two curves and the | 0:05:29 | 0:05:33 | |
head position. In ballet... And demo
time. Yes please. It's Christmas | 0:05:33 | 0:05:44 | |
demo time. In ballet you hold
everything together, your thighs and | 0:05:44 | 0:05:51 | |
everything, it's great for Latin,
but in ballroom you have to open | 0:05:51 | 0:05:55 | |
your legs. My teacher used to put a
handbag between my legs so I was | 0:05:55 | 0:05:59 | |
used to swinging them open. Also
driving across the floor. For every | 0:05:59 | 0:06:04 | |
step forwards there are five actions
you need to do. You have to lower, | 0:06:04 | 0:06:10 | |
but your body Mike Ford, control the
step. -- put your body weights | 0:06:10 | 0:06:19 | |
forward. Slide back as far as you
can. Bush and recover. -- push and | 0:06:19 | 0:06:33 | |
recover. | 0:06:33 | 0:06:35 | |
Onto our dance-off survivors Gemma
and Aljaz, they kicked | 0:06:35 | 0:06:37 | |
things off with a rumba. | 0:06:37 | 0:06:39 | |
Shirley liked the advanced
choreography in the second half, | 0:06:39 | 0:06:41 | |
but felt it "lacked musicality". | 0:06:41 | 0:06:42 | |
What's your take? | 0:06:42 | 0:06:46 | |
I think Gemma in that rumba had one
of the best leg and heat actions | 0:06:46 | 0:06:53 | |
I've ever seen. It was so beautiful
to watch. I think what surely meant | 0:06:53 | 0:06:59 | |
was she needed to continue that
music up into the upper part of her | 0:06:59 | 0:07:03 | |
body. So if she has Latin in the
final, keep that leg action, it's | 0:07:03 | 0:07:08 | |
amazing, but feel like a snake
slithering around every single organ | 0:07:08 | 0:07:12 | |
in her body. It sounds scary, but it
works. It will move you and fill out | 0:07:12 | 0:07:19 | |
the music. Think of the snakes. | 0:07:19 | 0:07:23 | |
Let's switch it up and talk
about their tango. | 0:07:23 | 0:07:25 | |
Craig said it needed more V-shaping
but liked the attack. | 0:07:25 | 0:07:27 | |
Did it have enough attack for you? | 0:07:27 | 0:07:29 | |
I agree with Craig for once. It had
more than enough attack. She had the | 0:07:29 | 0:07:38 | |
passion and character, that was
great. A little bit more out to the | 0:07:38 | 0:07:42 | |
left with the V shape. But going
backwards, she has to do that. From | 0:07:42 | 0:07:47 | |
underneath your bra down to your
waist, should be as straight as | 0:07:47 | 0:07:54 | |
possible, don't let yourself go, so
fit perfectly with your partner. | 0:07:54 | 0:07:59 | |
Imagine an invisible pole going
through your back where the bra | 0:07:59 | 0:08:05 | |
strap is, through the front and tip
it up. You get more of a V shape. I | 0:08:05 | 0:08:12 | |
will stand like that all the time in
the supermarket looking strange. | 0:08:12 | 0:08:16 | |
Finally, it's Joe and Katya. | 0:08:16 | 0:08:17 | |
They opened with their
American Smooth. | 0:08:17 | 0:08:19 | |
We all know you're a ballroom baby -
was this a winner for you? | 0:08:19 | 0:08:22 | |
I loved it. It was so suave. He's
such a performer, so musical. We | 0:08:22 | 0:08:30 | |
love that face. If he has ballroom
in the final, I would like him to | 0:08:30 | 0:08:36 | |
work on two things. The left elbow
has to stay back and really angular, | 0:08:36 | 0:08:41 | |
not forward and around it. The other
thing, demo time... | 0:08:41 | 0:08:47 | |
The thing he does well is swing
through the music. And drive across | 0:08:52 | 0:08:57 | |
the floor. Swing is free movement
from a fixed point. We don't have a | 0:08:57 | 0:09:01 | |
fixed point because we are moving
around the dance floor, but to | 0:09:01 | 0:09:06 | |
create the illusion of swing, it's
through the knees and compression of | 0:09:06 | 0:09:11 | |
them, so you can go down and create
the swing, which he does well. You | 0:09:11 | 0:09:15 | |
can also do it through swaying, and
that creates the swing. I need him | 0:09:15 | 0:09:22 | |
to improve his rotation. Cut the
body in half. Redcar and blue car. | 0:09:22 | 0:09:30 | |
Are you following, people? Keep up.
When you get to the point of | 0:09:30 | 0:09:35 | |
rotation, he puts the red car in
reverse and the other goes forward. | 0:09:35 | 0:09:39 | |
That stops the swing. I think we can
follow that. But there is more. To | 0:09:39 | 0:09:46 | |
carry on going forward, the blue car
needs to go a little bit faster. | 0:09:46 | 0:09:51 | |
It's incredible. I have the car and
the snakes. It's all going on. | 0:09:51 | 0:09:58 | |
Let's talk about their
Argentine tango now. | 0:09:58 | 0:10:02 | |
It blew everyone's minds. That thing
at the end, I don't even know what | 0:10:02 | 0:10:07 | |
to call it. I think it's a Katya
special or something. I bow down to | 0:10:07 | 0:10:15 | |
them. The core strength they must
have for that. I can't understand | 0:10:15 | 0:10:18 | |
how they've done that. And it's gone
viral, all over Twitter. My dad, | 0:10:18 | 0:10:26 | |
Jonnie Ball, he was doing it in the
kitchen at home. He has done himself | 0:10:26 | 0:10:29 | |
for mischief. Point your toes
sometimes. Always great to see you. | 0:10:29 | 0:10:36 | |
Joanne Clifton! | 0:10:36 | 0:10:40 | |
CHEERING AND APPLAUSE. | 0:10:40 | 0:10:41 | |
Right, time now to
meet my next guests. | 0:10:41 | 0:10:43 | |
On Saturday night they let us see
"beneath their beautiful" | 0:10:43 | 0:10:45 | |
with their rumba, and went
on to reveal themselves as two | 0:10:45 | 0:10:48 | |
schmokin' hot tango dancers! | 0:10:48 | 0:10:49 | |
Surviving the dance-off and heading
straight to the final - | 0:10:49 | 0:10:51 | |
it's Gemma and Aljaz. | 0:10:51 | 0:10:55 | |
You have a beautiful set of pins,
particularly for this dance. | 0:11:02 | 0:11:10 | |
Correct, sensual but not smutty.
Even grandma would approve. Very | 0:11:10 | 0:11:13 | |
good. I loved it. The determination,
the passion. Very nice work. Very | 0:11:13 | 0:11:27 | |
happy. | 0:11:27 | 0:11:31 | |
Hands in the air everyone -
it's Gemma and Aljaz! | 0:11:31 | 0:11:34 | |
CHEERING AND APPLAUSE. | 0:11:34 | 0:11:35 | |
Congratulations on surviving
the dance-off, and more | 0:11:35 | 0:11:37 | |
importantly welcome to the final! | 0:11:37 | 0:11:38 | |
How are you feeling today? | 0:11:38 | 0:11:40 | |
I feel so happy and grateful, lucky
to be given the chance to be in the | 0:11:40 | 0:11:47 | |
final. It's crazy. You did the work,
and it's so deserved. | 0:11:47 | 0:11:55 | |
Two dances. | 0:11:55 | 0:11:56 | |
A place in the final at stake. | 0:11:56 | 0:11:57 | |
What was the atmosphere
like in the studio on Saturday? | 0:11:57 | 0:12:01 | |
The atmosphere is the same every
week regardless. Everybody knows the | 0:12:01 | 0:12:05 | |
stakes are high because you are
working towards it. For us, it's a | 0:12:05 | 0:12:09 | |
case of getting through each dance
each week. On Saturday, it only sunk | 0:12:09 | 0:12:13 | |
into my head it was the semifinals
as we were about to dance. Then you | 0:12:13 | 0:12:18 | |
think, help, oh my gosh, I've got to
go for it. It's like that every | 0:12:18 | 0:12:25 | |
week, for me every week anyway, I am
nervous every week. It doesn't get | 0:12:25 | 0:12:31 | |
any easier. You think it will, but
it doesn't. | 0:12:31 | 0:12:35 | |
You'd managed to avoid the dance-off
up until this point - | 0:12:35 | 0:12:38 | |
were you surprised to be
in the bottom two? | 0:12:38 | 0:12:42 | |
You always surprised if you are in
the bottom two. As soon as we | 0:12:42 | 0:12:49 | |
were... Give him a second. There is
a big Christmas tree right there. | 0:12:49 | 0:12:57 | |
Nothing is going to jump out, I
promise! Looked at that! It's final | 0:12:57 | 0:13:06 | |
one. Amazing. And it's easy to read
as well. Simple things, everybody. | 0:13:06 | 0:13:19 | |
You always surprised when you're in
the bottom two. Especially in the | 0:13:19 | 0:13:23 | |
semifinal when the stakes are that
high. As soon as we heard our names, | 0:13:23 | 0:13:29 | |
we went backstage and we really
composed ourselves. Let's just go | 0:13:29 | 0:13:35 | |
out there. I thought the tango on
Saturday was so good. Amazing. I | 0:13:35 | 0:13:39 | |
love the way it went. You say to go
out there and do the same, but we | 0:13:39 | 0:13:44 | |
had to push because it was the
semifinal. To get to the final you | 0:13:44 | 0:13:47 | |
have to do your absolute best.
You're talking about it really | 0:13:47 | 0:13:52 | |
seriously and we are giggling to
ourselves. | 0:13:52 | 0:13:56 | |
In the words of Julie Andrews,
let's start at the very beginning, | 0:13:56 | 0:13:59 | |
it's a very good place to start. | 0:13:59 | 0:14:00 | |
Your semi-final started with a dance
dreaded by many, the rumba. | 0:14:00 | 0:14:07 | |
I thought on Saturday I did as best
as I could. It's a very hard dance | 0:14:07 | 0:14:13 | |
to do. Straight from the rehearsal
room, I was struggling to get it. | 0:14:13 | 0:14:17 | |
But I think it went OK on the night.
It went incredible! Everything he | 0:14:17 | 0:14:23 | |
told me to do, when we watched it
back, I loved it. And it was a great | 0:14:23 | 0:14:28 | |
song. It was weird is doing it with
Aljaz because he's my mate! And you | 0:14:28 | 0:14:32 | |
looked the part. We did crack it.
It's one of those, I always try with | 0:14:32 | 0:14:41 | |
the Rumba, you don't really practice
the romance in rehearsal. You want | 0:14:41 | 0:14:44 | |
to make it real. You don't want to
act it. As soon as we heard we were | 0:14:44 | 0:14:51 | |
dancing the Rumba, Jenna has that
one particular person that it always | 0:14:51 | 0:15:00 | |
switches her on when she hears the
name. All I have to say it is Tom | 0:15:00 | 0:15:05 | |
Hardy! As soon as I said that she
just... You know. He said, for this | 0:15:05 | 0:15:14 | |
dance I'm Tom Hardy. It was easy. | 0:15:14 | 0:15:16 | |
The tango was absolutely epic.
Normally you come off and relax, you | 0:15:25 | 0:15:29 | |
had to change. Did you love that?
Anything like that, for me, it is | 0:15:29 | 0:15:34 | |
the same as the paso | 0:15:34 | 0:15:38 | |
Anything like that, for me, it is
the same as the paso, a chance to be | 0:15:38 | 0:15:40 | |
yourself. The more dainty ones I
find harder to do. The tango, being | 0:15:40 | 0:15:44 | |
strong, you can use your physicality
more, I feel more comfortable. You | 0:15:44 | 0:15:49 | |
smashed it. The judges saved you
unanimously. That is incredible. | 0:15:49 | 0:15:56 | |
Onto the three dancers. The
showdowns, the judge's choice, and | 0:15:56 | 0:16:02 | |
your favourite. Was that a unanimous
decision? We actually still | 0:16:02 | 0:16:06 | |
fighting! Straightaway, yes. Did we?
Yes, we did. I am not allowed to do | 0:16:06 | 0:16:16 | |
what it is. Which one is it,
actually? They will be cross with | 0:16:16 | 0:16:21 | |
me! The judges have chosen a dance
for you to do again, which one? Ole! | 0:16:21 | 0:16:39 | |
With three we did the paso and got a
high score. We got the high school | 0:16:39 | 0:16:45 | |
for that week. It was physicality. I
love Coldplay, I love the | 0:16:45 | 0:16:50 | |
choreography. You got 35, can you
get more than that? We have to! We | 0:16:50 | 0:16:59 | |
have no choice. We are definitely
going to push that number. We are | 0:16:59 | 0:17:09 | |
going to reveal your show dance
tune. This is when you shine as a | 0:17:09 | 0:17:24 | |
choreographer. Is this going to be
the showdowns to end all show | 0:17:24 | 0:17:28 | |
dancers? It's going to be very good.
It's going to be all right. Whether | 0:17:28 | 0:17:33 | |
I do it good or not is another
matter. How he has done it, the | 0:17:33 | 0:17:38 | |
concept and everything, straightaway
I thought that was going to be | 0:17:38 | 0:17:42 | |
amazing. He showed me bits today. It
is the first one she actually likes | 0:17:42 | 0:17:48 | |
that I have choreographed. If you
are lucky enough to get to the | 0:17:48 | 0:17:57 | |
final, choreographing the showdowns
is very special. It is paying | 0:17:57 | 0:18:00 | |
tribute to Gemma, the best bits from
the series, trying to make something | 0:18:00 | 0:18:04 | |
special. Hopefully it works. I can't
wait! Gemma and Aljaz! The last one! | 0:18:04 | 0:18:16 | |
Now listen up. | 0:18:21 | 0:18:22 | |
When I say "Tunes on",
you say "Tuesday!" | 0:18:22 | 0:18:24 | |
Tunes on... | 0:18:24 | 0:18:25 | |
Tuesday! | 0:18:25 | 0:18:26 | |
Tunes on... | 0:18:26 | 0:18:27 | |
Tuesday! | 0:18:27 | 0:18:28 | |
You guessed it -
it's Tunes on Tuesday! | 0:18:28 | 0:18:30 | |
Very good! | 0:18:30 | 0:18:32 | |
It's a showdance special tonight -
let's warm this baby up! | 0:18:35 | 0:18:41 | |
Come on, some encouragement! | 0:18:41 | 0:18:43 | |
It's One Day I'll
Fly Away, by Vaults. | 0:18:43 | 0:18:46 | |
This dreamy ditty was of course made
famous by Randy Crawford. | 0:18:46 | 0:18:51 | |
Now as you might have gathered -
we really care about dissecting | 0:18:53 | 0:18:56 | |
the true meaning behind each song. | 0:18:56 | 0:18:59 | |
This one is apparently
about the emotional bondage | 0:18:59 | 0:19:01 | |
experienced in life
and the longing to be free of it. | 0:19:01 | 0:19:04 | |
Deep. | 0:19:04 | 0:19:05 | |
Let's see who will be
spreading their wings | 0:19:05 | 0:19:08 | |
to this on Saturday. | 0:19:08 | 0:19:10 | |
Here we go... | 0:19:14 | 0:19:18 | |
It's Debbie and Giovanni! | 0:19:18 | 0:19:21 | |
Right, let's see what's next
on the showdance playlist. | 0:19:29 | 0:19:32 | |
It's Show Me How You Burlesque,
by pop princess Christina Aguilera! | 0:19:34 | 0:19:44 | |
This fierce number featured,
funnily enough, in the film | 0:19:44 | 0:19:46 | |
Burlesque starring
Christina alongside | 0:19:46 | 0:19:47 | |
Tunes on Tuesday fave -
Cher! | 0:19:47 | 0:19:51 | |
She's here tonight... She's not! | 0:19:51 | 0:19:55 | |
But despite such tour de
force leading ladies - | 0:19:55 | 0:19:57 | |
the filmed was panned
universally by the critics. | 0:19:57 | 0:20:00 | |
Who will hoping for better
reviews this Saturday? | 0:20:00 | 0:20:01 | |
It's Gemma and Aljaz! | 0:20:06 | 0:20:09 | |
It's you! | 0:20:13 | 0:20:15 | |
Right, let's see what's next
on the showdance playlist. | 0:20:17 | 0:20:19 | |
Hello! | 0:20:27 | 0:20:29 | |
It's only one of the greatest
musical songs of all time - | 0:20:29 | 0:20:31 | |
There's No Business Like
Showbusiness! | 0:20:31 | 0:20:33 | |
Three of the finest champions of
Strictly Come Dancing of all time. | 0:20:38 | 0:20:41 | |
Although some are questionable! | 0:20:41 | 0:20:43 | |
This song is of course synonymous
with the undisputed First Lady | 0:20:43 | 0:20:46 | |
of the musical comedy Ethel Merman. | 0:20:46 | 0:20:47 | |
But Ethel wasn't always
in line to be a star - | 0:20:47 | 0:20:52 | |
before hitting the big time
she was a stenographer. | 0:20:52 | 0:20:54 | |
Which is a person who transcribes
speech in short hand - fascinating! | 0:20:54 | 0:20:58 | |
But who will be dancing
to this on Saturday? | 0:20:58 | 0:21:02 | |
Help me, boys. | 0:21:02 | 0:21:05 | |
It's Alexandra and Gorka! | 0:21:08 | 0:21:10 | |
Thank you, champions. Thank you.
Don't mind them. | 0:21:13 | 0:21:20 | |
Right, that just leaves Joe
and Katya's showdance song. | 0:21:20 | 0:21:30 | |
You Make My Dreams
by Hall and Oates! | 0:21:32 | 0:21:34 | |
Dreamy stuff indeed! | 0:21:34 | 0:21:36 | |
To find out more about
this weekend's songs, | 0:21:36 | 0:21:37 | |
head to the website. | 0:21:37 | 0:21:41 | |
On Saturday, another member will
join the exclusive club of strictly | 0:21:41 | 0:21:43 | |
champions. | 0:21:43 | 0:21:46 | |
Here to reveal the secret
to getting your hands on the trophy | 0:21:46 | 0:21:48 | |
are three former winners. | 0:21:48 | 0:21:51 | |
That wasn't brilliant for an
amateur, it was brilliant for a | 0:21:57 | 0:22:01 | |
professional! The winners of
Strictly Come Dancing... Quirky, | 0:22:01 | 0:22:10 | |
dynamic, animated, all of those
wonderful things. This is turning | 0:22:10 | 0:22:14 | |
into the best final ever. | 0:22:14 | 0:22:17 | |
You are one athlete, the stamina. A
star is born. | 0:22:24 | 0:22:28 | |
Give it up for our Winners Panel! | 0:22:34 | 0:22:38 | |
Look at them. Glory boys they are. | 0:22:38 | 0:22:46 | |
Where do you display
your Glitterballs? | 0:22:46 | 0:22:53 | |
It has just this minute come out of
the toilet. What was it doing there? | 0:22:53 | 0:23:00 | |
It was safe and my two-year-old
likes playing with it. So it has | 0:23:00 | 0:23:04 | |
gone into the study. Practising
speeches, I like it. | 0:23:04 | 0:23:09 | |
You won series 6
with Camilla Dallerup. | 0:23:09 | 0:23:12 | |
I still get goose bumps when I watch
that, do you have fond memories? It | 0:23:12 | 0:23:19 | |
is a dream that you would want to
repeat, but you would be too scared | 0:23:19 | 0:23:22 | |
to do it. It is the most humbling
and wonderful experience. You look | 0:23:22 | 0:23:27 | |
at it and it feels like someone
else. Did we really do that? Ore, | 0:23:27 | 0:23:33 | |
you know how our finalists are
feeling. What is going through their | 0:23:33 | 0:23:36 | |
minds? All of the clammy
nervousness, compiled to the series. | 0:23:36 | 0:23:43 | |
I told them when I was there at the
weekend, make sure this week is the | 0:23:43 | 0:23:46 | |
best fun you have had all series.
They are in an exclusive club | 0:23:46 | 0:23:51 | |
already, it is the best way to see
it off. If you can remember, when | 0:23:51 | 0:23:56 | |
you are trying to remember five,
six, seven, eight, have fun. You | 0:23:56 | 0:24:01 | |
might never get to do it again.
Let's talk about the finalists. Joe | 0:24:01 | 0:24:04 | |
and Katya. | 0:24:04 | 0:24:09 | |
Now Tom you're an actor,
you've starred in Holby City, | 0:24:09 | 0:24:11 | |
you've won Strictly. | 0:24:11 | 0:24:12 | |
See where I'm going here. | 0:24:12 | 0:24:14 | |
Do you think Joe can
follow in your footsteps? | 0:24:14 | 0:24:17 | |
He was a dark horse that came
through. The turning point, I loved | 0:24:17 | 0:24:22 | |
him in his cabaret experience. He
has found the essence, which is so | 0:24:22 | 0:24:26 | |
important for the audience, the pure
joy. It is so hard to contain the | 0:24:26 | 0:24:31 | |
nerves and think about the judges
marking that, I went wrong there or | 0:24:31 | 0:24:36 | |
there. Just remember that dancing is
a joyous expression and he has found | 0:24:36 | 0:24:43 | |
out. I want to write that down!
Essence. Ore, you described him as a | 0:24:43 | 0:24:50 | |
unicorn. What are you calling him
now? I think the unicorn is still | 0:24:50 | 0:25:00 | |
sitting. They have gone everywhere.
That cabaret number, that is where | 0:25:00 | 0:25:11 | |
it all came together. You found a
guy that was so comfortable in that | 0:25:11 | 0:25:14 | |
space. They have been such an
amazing partnership. I am going to | 0:25:14 | 0:25:20 | |
buy that unicorn for Christmas. I
think they are still in stock. | 0:25:20 | 0:25:28 | |
Now onto dance-off
survivors Gemma and Aljaz. | 0:25:28 | 0:25:30 | |
They had a tough ride
at the weekend, do you think | 0:25:30 | 0:25:32 | |
they can bounce back? | 0:25:32 | 0:25:33 | |
Of course they can. I have just been
speaking to her. She is so | 0:25:33 | 0:25:36 | |
refreshing. She is the one that
seems to enjoy it the most. Come on, | 0:25:36 | 0:25:42 | |
give it some. That is what my old
mate used to say, give it some of | 0:25:42 | 0:25:46 | |
that and then you never know what
happens. She has got through what | 0:25:46 | 0:25:49 | |
can be the worst thing, the
dance-off. Now there is nothing to | 0:25:49 | 0:25:54 | |
lose, the final week, give it
everything you've got. She looks | 0:25:54 | 0:25:57 | |
fantastic and I like her music for
the show dance. | 0:25:57 | 0:26:05 | |
Let's talk about the comeback kid
Alexandra and Gorka. | 0:26:05 | 0:26:08 | |
Consistently high scores from these
two - are you excited to see | 0:26:08 | 0:26:10 | |
what they'll deliver in the final? | 0:26:10 | 0:26:17 | |
They have been so consistently high
throughout. If you can't bring it to | 0:26:17 | 0:26:20 | |
the final, when can you? The salsa,
the scorpion kick, I don't know what | 0:26:20 | 0:26:24 | |
that was but it was spicy. I've no
experience whatsoever of that, I | 0:26:24 | 0:26:32 | |
just made it up. They have so many
tricks in their locker. Because of | 0:26:32 | 0:26:35 | |
this, that they have done over the
last few weeks, that has been low, | 0:26:35 | 0:26:41 | |
and they know that they have nothing
to lose. I think we are going to see | 0:26:41 | 0:26:45 | |
a firecracker. It's going to be like
that! | 0:26:45 | 0:26:49 | |
They are performing their showdance
to There's No Business | 0:26:49 | 0:26:51 | |
Like Show Business -
do you have high expectations? | 0:26:51 | 0:26:58 | |
Is it a good number? I think the
final will be won and nothing else | 0:26:58 | 0:27:03 | |
but the Showdance. It's got to be
good. The music has to be good, the | 0:27:03 | 0:27:07 | |
crowd, the audience at home have got
to embrace it. If you can't get | 0:27:07 | 0:27:11 | |
going to There's No Business Like
Show Business, don't switch on on | 0:27:11 | 0:27:15 | |
Saturday night. For me, that is the
number one track that will get | 0:27:15 | 0:27:19 | |
everybody going. She is amazing, I
love her. She has had terrible | 0:27:19 | 0:27:25 | |
social media responses. I think the
way she keeps coming back is just | 0:27:25 | 0:27:28 | |
brilliant. I wish her the best of
luck. | 0:27:28 | 0:27:32 | |
Next up is Debbie and Giovanni -
often found lurking around | 0:27:32 | 0:27:35 | |
the top of the leaderboard. | 0:27:35 | 0:27:39 | |
Are you a fan? Are you under her
spell? In the words of dear Brucie, | 0:27:39 | 0:27:46 | |
she is my favourite. I love the way
that she looks at every single | 0:27:46 | 0:27:52 | |
moment you can see how grateful she
is to be there. Her aura is oozing | 0:27:52 | 0:28:02 | |
out. Seeing her at the front, nobody
putts Debbie in the corner. | 0:28:02 | 0:28:09 | |
The judges have chosen
Debbie and Giovanni | 0:28:09 | 0:28:11 | |
to revisit their week 8 Salsa. | 0:28:11 | 0:28:12 | |
They scored 35 points,
do you think they can top it? | 0:28:12 | 0:28:18 | |
I think they totally can. Giovanni
has been in the final as well | 0:28:18 | 0:28:22 | |
before. The two of them have such
amazing chemistry. The salsa was | 0:28:22 | 0:28:27 | |
phenomenal already. They are just
going to bring it. I love the two | 0:28:27 | 0:28:30 | |
them together. Like I say, they have
amazing chemistry. Facial chemistry, | 0:28:30 | 0:28:34 | |
they look into each other's eyes.
There is a real connection, a real | 0:28:34 | 0:28:40 | |
essence. | 0:28:40 | 0:28:41 | |
The time has come. | 0:28:41 | 0:28:43 | |
Down the line - who do
you think is going to win? | 0:28:43 | 0:28:46 | |
We can do that. So cruel. Joe is hot
favourite, but I'm going for young | 0:28:46 | 0:28:56 | |
Deborah, Debbie McGee. I no longer
want to be the oldest champion. Tom? | 0:28:56 | 0:29:03 | |
I am going Debbie as well. But I do
love Joe. It is about come on the | 0:29:03 | 0:29:08 | |
night, anybody's game in the final.
It's about the dancers and the | 0:29:08 | 0:29:11 | |
music. The combination of those
factors, anybody's game. Can I be | 0:29:11 | 0:29:17 | |
diplomatic? You know I love them
all. Last year, going into it, it | 0:29:17 | 0:29:23 | |
was anyone's game. We had an amazing
night. Like you said, it could be | 0:29:23 | 0:29:27 | |
anyone that pulls it out of the bag.
You are not getting anything out of | 0:29:27 | 0:29:34 | |
me. Biggest night of the year! | 0:29:34 | 0:29:36 | |
Thank you so much for joining us,
give it up for our Strictly champs! | 0:29:36 | 0:29:39 | |
That's all we have time for tonight! | 0:29:39 | 0:29:41 | |
Thank you to all my guests. | 0:29:41 | 0:29:43 | |
Make sure you tune in tomorrow for
a catch up with Alexandra and Gorka. | 0:29:43 | 0:29:46 | |
Ian Waite will warm us up one last
time and TV's favourite double-act | 0:29:46 | 0:29:49 | |
Tess and Claud will be here! | 0:29:49 | 0:29:51 | |
I can't wait. | 0:29:51 | 0:29:52 | |
Until then - goodnight! | 0:29:52 | 0:29:54 |