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Robbie and Ola are on their way to Wembley. | :00:18. | :00:22. | |
I will be finding out what the the costume department have up their | :00:22. | :00:28. | |
sleeves for the weekend. We get the latest news on Artem's injury. This | :00:28. | :00:38. | |
:00:38. | :01:06. | ||
is Strictly Come Dancing: It Takes This is Strictly Come Dancing: It | :01:06. | :01:12. | |
Takes Two. Please welcome your host, it's Zoe Ball. | :01:12. | :01:15. | |
Welcome to Strictly Come Dancing: It Takes Two. There is just 48 | :01:15. | :01:21. | |
hours to go until Strictly's biggest ever show. The lights are | :01:21. | :01:27. | |
going up. The dance floor is being laid and the stage is being set for | :01:27. | :01:35. | |
Wembley. No pressure for our couples of course, they are putting | :01:35. | :01:39. | |
the finishing touches to their routines. I will be catching up | :01:39. | :01:43. | |
with Artem, but first this is how the girls are getting on. | :01:43. | :01:51. | |
This week, I'm dancing the samba. I can't wait for Pasha to let me go | :01:51. | :01:55. | |
loose and let me do my thing. It is not an easy dance, but you | :01:55. | :01:59. | |
can do it. Chelsee is struggling the most with | :01:59. | :02:03. | |
her mindset because she tried it and it didn't work the first time | :02:03. | :02:09. | |
and she said, "I cannot do it. I am giving up.". I don't like it. The | :02:09. | :02:13. | |
technique, I can't get. The steps are really hard. This is a hard | :02:13. | :02:18. | |
dance, you know. It is hard to make samba look like samba just like | :02:18. | :02:20. | |
that, you have to put practise into that, you have to put practise into | :02:20. | :02:28. | |
I just want to get it right. I want to nail the dance. I want to keep | :02:28. | :02:32. | |
it sambaish. It is getting better and better. It | :02:32. | :02:35. | |
just needs some work. This is probably one of the | :02:35. | :02:45. | |
:02:45. | :02:53. | ||
This week we're dancing the tango. Naturally, I find the happier | :02:53. | :02:57. | |
dances easier so I think the main problem this week is going to be to | :02:57. | :03:04. | |
get the right, into the right zone. Why are you pouting your lips like | :03:04. | :03:07. | |
that? Be like me and get more assertive. | :03:07. | :03:10. | |
I'm not naturally a very assertive person. | :03:10. | :03:17. | |
No, how are we going to do all this before Saturday? I just became | :03:17. | :03:27. | |
:03:27. | :03:41. | ||
I've choreographed it, I'll lead it. Look at you following me! | :03:41. | :03:49. | |
This week, we are dancing the samba. The samba is probably one of the | :03:49. | :03:52. | |
hardest dances to teach the male and the female celebrities because | :03:52. | :03:55. | |
it is bounce action and it is all these cross rhythms and there is | :03:55. | :04:02. | |
lots of steps. This is a busy routine. But it is | :04:02. | :04:09. | |
such a happy, vibrant dance that Anita always seem to fit into | :04:09. | :04:19. | |
:04:19. | :04:20. | ||
really well. That's awesome. Five and six and seven. Ah, I like | :04:20. | :04:26. | |
Seven and eight. We've made it to Wembley. I should | :04:26. | :04:31. | |
pat myself on the back actually and say, "You've done well to get this | :04:31. | :04:36. | |
far." I'm very proud and very blessed, I think, that I'm going to | :04:36. | :04:40. | |
be part of it all. I'm really be part of it all. I'm really | :04:40. | :04:42. | |
be part of it all. I'm really looking forward to it. | :04:42. | :04:44. | |
This week, I'm dancing the quickstep. | :04:44. | :04:48. | |
The quickstep is going to be her dance. I think she will feel more | :04:48. | :04:52. | |
comfortable. I think I'm better at dancing quick | :04:52. | :04:57. | |
dances. Holly Valance, that was nice. | :04:57. | :05:03. | |
I hope my dress is long! I've got two trainers telling me | :05:03. | :05:08. | |
things from every angle so it is just extra hard for me. | :05:09. | :05:13. | |
I'm sure Holly is enjoying herself, hanging out with the boys. | :05:13. | :05:17. | |
I thought we were over this. Artem, stop getting your pole out. | :05:18. | :05:24. | |
Artem and I are very different in our way of teaching and dancing. | :05:24. | :05:29. | |
Oh that worked nicely. That was beautiful, guys. | :05:29. | :05:33. | |
Towards the end of the week we will make a decision as to which lucky | :05:33. | :05:43. | |
:05:43. | :05:43. | ||
bloke gets to dance with me. I'm So that's how the girls are getting | :05:44. | :05:47. | |
on. We will find out how the boys are doing later on. First of all, | :05:47. | :05:50. | |
one man who really wants to be out there on that dance floor on | :05:50. | :05:56. | |
Saturday is is Artem. We have him on the glitter phone now. Hello, | :05:56. | :06:02. | |
Artem, how are you? I'm very good. How are you? He sounds positive. | :06:02. | :06:07. | |
You have finished in training, where are you right now? Right now, | :06:07. | :06:15. | |
I'm at Wembley and looking at the venue for Saturday. | :06:15. | :06:20. | |
How did it go yesterday? What did the doctors say? The doctor said | :06:20. | :06:23. | |
that he thinks I'm going to be able to do it. | :06:23. | :06:29. | |
Yes! He says yes! But there sounded like there was a | :06:29. | :06:34. | |
but in your voice? He said, "It is up to you. It depends on the pain | :06:34. | :06:40. | |
levels." I think it is looking good because after the first rehearsal | :06:40. | :06:44. | |
with Holly, I danced with her. So far I'm OK. I will wait to see how | :06:45. | :06:48. | |
I'm feeling in the morning, but I think it is good. | :06:48. | :06:52. | |
It does sound good. Yes. The people are very, very excited. | :06:52. | :06:58. | |
I must ask is Brendan still waiting in the wings just in case? | :06:58. | :07:05. | |
Yes, he is being a trooper. I appreciate all his help and he has | :07:05. | :07:09. | |
been amazing and a terrific teacher. . When are you going to make the | :07:09. | :07:13. | |
final decision? I think it is going to be Saturday, to be honest with | :07:13. | :07:17. | |
you. OK. Well, make sure Kara puts you | :07:17. | :07:20. | |
to bed early tonne and makes you soup and looks after you. OK, rest | :07:21. | :07:25. | |
up and we'll keep everything crossed. He is hopefully going to | :07:25. | :07:27. | |
dance, everybody. Night. | :07:27. | :07:31. | |
Bye. He is Russian. He is so going to | :07:31. | :07:35. | |
dance. We like to keep the pro dancers on their toes and what | :07:35. | :07:40. | |
better way to do if with the help of your questions and our master | :07:40. | :07:49. | |
Answer the question. Charlotte wants to know, if you | :07:49. | :07:52. | |
worked in a supermarket, what section would you like to work in? | :07:52. | :07:56. | |
It is about the shelf stacking and getting the labels facing the right | :07:56. | :07:59. | |
way. Nice attention to detail, Brendan. | :07:59. | :08:04. | |
I used to work in a supermarket. I used to be an in store baker. | :08:04. | :08:07. | |
Very interesting, bye. Probably working in the meat | :08:07. | :08:12. | |
cutting area. Oh. Just chopping because after | :08:12. | :08:18. | |
every single rehearsal, you need to release the stress of it. So just | :08:18. | :08:22. | |
take a steak and chop it, chop it. Maybe I should call the police. | :08:22. | :08:26. | |
Holly Valance, are you listening? Run for your life. | :08:26. | :08:30. | |
I'll pick the till because hopefully lots of people don't take | :08:30. | :08:35. | |
take their change and I can pocket Unparliamentary. | :08:35. | :08:38. | |
Ann, you can come to my till any time. | :08:38. | :08:47. | |
No, thank you, I'd rather shop What is he like? I'm worried about | :08:47. | :08:54. | |
Artem, "chop it, chop it." We are half-way through the series. What a | :08:54. | :08:57. | |
better better time to look at the good times, the laughs and the | :08:57. | :09:02. | |
great dancing and the sad goodbyes and who better to take us on that | :09:02. | :09:12. | |
:09:12. | :09:15. | ||
journey than superfan, Miranda Hart. In a ballroom-style palace, far, | :09:15. | :09:20. | |
far away, there were 14 couples all laughing and dancing and loving | :09:20. | :09:25. | |
each other. Smashing. But there was a problem, isn't | :09:25. | :09:29. | |
there always? .king Bruce of the ballroom issued | :09:29. | :09:35. | |
a decree, only one couple can stay here and inherit my ballroom crown. | :09:35. | :09:40. | |
Now between you and me, this was a problem because King of the | :09:40. | :09:49. | |
Ballroom had hooked up with a younger woman. | :09:49. | :09:53. | |
I know, saucy. So it was causing a kingdom problem. | :09:53. | :09:59. | |
It is all happening here. So said the king, "I can't choose | :09:59. | :10:08. | |
on my own." I have appointed four examples of to help me. Sir Len of | :10:08. | :10:13. | |
Goodmen, Count booUn roe, one and only. | :10:13. | :10:23. | |
:10:23. | :10:24. | ||
Sir Alesha Dixon. And Dame Craig Revel Horwood. | :10:24. | :10:31. | |
She is quite mean, isn't she? She was mean, but she knows all about | :10:31. | :10:35. | |
armography. I don't know what that is. Challenge one, they dance their | :10:35. | :10:42. | |
little socks off, but I'm afraid Edwina was the first one to go. No | :10:42. | :10:46. | |
one likes a politician. It want that surprising, but I miss the | :10:46. | :10:51. | |
Italian, he is lovely. Challenges two and three, now here | :10:51. | :10:56. | |
is where it it gets interesting, viewer. There is a pattern forming. | :10:56. | :11:03. | |
Everyone loves a comedy duo and this couple, just sort of kept on | :11:03. | :11:11. | |
dancing. But it was sort of dancing. Sort of dancing in inverted commas. | :11:11. | :11:21. | |
:11:21. | :11:25. | ||
I loved it. So So, "Down." The Daybreak Crier. Rory, the funny man | :11:25. | :11:29. | |
was out. Between you and me and not his wife, I loved his hip action. I | :11:29. | :11:33. | |
did. Challenge four, on the spookyest | :11:33. | :11:40. | |
day of the year, the luck ran out for our court jester and his | :11:40. | :11:45. | |
Italian mistress, one bad rumba was the final nail in their coffin. | :11:45. | :11:51. | |
Then there were ten, surely the little Scottish songbird was safe. | :11:51. | :11:55. | |
There are no fairytale ins this story. That's what makes it so | :11:55. | :12:05. | |
:12:05. | :12:05. | ||
exciting. Challenge five and she was bye-bye. | :12:05. | :12:10. | |
In the next challenge, the big fella got knocked out. Well, come | :12:10. | :12:15. | |
on, he he really put his foot in it this time. You know what they say | :12:15. | :12:22. | |
about men with big feet - can't can't dance. So now the road to | :12:22. | :12:27. | |
Wembley is paved with good intentions and our couples keep | :12:27. | :12:31. | |
whirling and twirling like extras from the red shoes. Who will be | :12:31. | :12:37. | |
crowned king and queen of our ballroom kingdom? Can you guess? It | :12:37. | :12:42. | |
is too exciting for words, but I'm going to have to pause our little | :12:42. | :12:48. | |
story here. I know, it is sad. Don't cry. Please, don't cry. Good | :12:48. | :12:58. | |
:12:58. | :13:11. | ||
Thank you Miranda. And Miranda will be here next week. | :13:11. | :13:16. | |
Earlier today, I managed to grab a few minutes with Strictly's head | :13:16. | :13:22. | |
designer to find out what is coming Time for us to have a good nosey at | :13:22. | :13:26. | |
what our favourite celebrities will be wearing this weekend. Vicky, how | :13:26. | :13:30. | |
are you? I'm all right. A big show this weekend. A big | :13:30. | :13:34. | |
floor at Wembley. Is that an extra big job for the costume department? | :13:34. | :13:39. | |
A bigger job. Everything has has bigger, brighter bolder to create | :13:39. | :13:41. | |
an impact on the Wembley Wembley floor pt. | :13:41. | :13:48. | |
. Tell me about the logistics of moving your kit over to Wembley? | :13:48. | :13:53. | |
move house. All the lovely ladies are packing around as we speak. It | :13:53. | :13:59. | |
is like packing up to go on tour for The One Show. | :13:59. | :14:03. | |
I believe Chelsee is leading the way. Tell us what she is going to | :14:03. | :14:09. | |
be wearing. Chelsee will be wearing the Union Flag. | :14:09. | :14:13. | |
Jerry Spice? Yes. We are not using traditional red, white and blue, | :14:13. | :14:20. | |
because we have that in another number. We are using pale, hot pale, | :14:21. | :14:25. | |
pink and pale blue. What's going on up top there? | :14:25. | :14:30. | |
the crystal details on a section on the top of Chelsee's dress and it | :14:30. | :14:35. | |
scatters down into the Union Flag. The dress is small and fitted to | :14:35. | :14:37. | |
accommodate all of the detail on the back. | :14:37. | :14:44. | |
She is doing a samba so you need maximum plumage, don't you? Go, | :14:44. | :14:49. | |
Chelsee. What about Holly, what is she wearing this week? Holly is | :14:49. | :14:54. | |
doing a quickstep to an Amy Winehouse number. We have tried to | :14:54. | :15:00. | |
incorporate that. We are mixing emerald and tor quois blues. There | :15:00. | :15:04. | |
is five layers of petticoat. The top is to create a cardigan feel | :15:04. | :15:10. | |
really, but it is a nude base covered in Chrisals. It is | :15:10. | :15:18. | |
Strictlied up. And we have a little nod to Amy | :15:18. | :15:22. | |
with a leopard print bow. Is a quickstep number she is doing | :15:22. | :15:26. | |
and the dress only goes to the knee. Are you breaking rules again, | :15:26. | :15:31. | |
Vicky? Yes, the second time this series there has been a shorter | :15:31. | :15:36. | |
stage, but it is Wembley. You can do what you like. | :15:36. | :15:43. | |
What about Anita? Anita has had some quite outrageous costumes. For | :15:43. | :15:50. | |
samba this week, it is an eloquent piece. We have a black base and it | :15:50. | :15:56. | |
has has cerise pink. Is that hot pink? Well, we can say | :15:56. | :16:03. | |
hot pink, but it is probably florescent pink! | :16:03. | :16:10. | |
And I'm seeing feathers, more feathers. We had lots of feathers | :16:10. | :16:14. | |
on Holly's number. Are these the ones that fell off? I would say | :16:14. | :16:20. | |
five times the amount of Holly's. Look at the shoes? Pink shoes. It | :16:20. | :16:28. | |
is a no, no, really. The proes don't like it. But it is Wembley! | :16:28. | :16:35. | |
OK, let's talk about the boys. What's our Jason wearing this week? | :16:35. | :16:43. | |
He has a pale blue suit, T-shirt underneath. I haven't decided on | :16:43. | :16:48. | |
the the slogan yet. Kind of what he used to wear in the | :16:48. | :16:52. | |
80s! What about Russell, dare we even | :16:52. | :17:00. | |
ask. Ask about Russell. Very bright. That is seriously bright. | :17:00. | :17:03. | |
Egg yolk yellow. He has lots of stars over his shirt. | :17:03. | :17:09. | |
I heard he is going to be wearing something glittery on his head? | :17:09. | :17:12. | |
has a sparkly head detail, but I can't tell you. | :17:12. | :17:17. | |
I know. It is amazing. What is under the gold cloth. Who will be | :17:17. | :17:19. | |
wearing this at Wembley this weekend? | :17:19. | :17:24. | |
Ah, look at the size of those sequins. Are they still called | :17:24. | :17:29. | |
sequins when they are that big? will call them sequins because we | :17:29. | :17:33. | |
don't know. There is a 60s feel to that dress? | :17:33. | :17:41. | |
Yes, the pro pro celebs are doing a 60s number. | :17:41. | :17:46. | |
I would say Kristina. I can't tell you. | :17:46. | :17:49. | |
Good luck. Thank you, the gorgeous Vicky. | :17:49. | :17:54. | |
Last Saturday, Robbie's American smooth earned him the praise he | :17:54. | :17:58. | |
craved for from Craig. Robin and Ola will be here live in a moment. | :17:58. | :18:05. | |
Here is how the boys are getting on This week, we are dancing the salsa. | :18:05. | :18:11. | |
It is very free. It is very floaty. Tas very, very -- it is a very, | :18:11. | :18:18. | |
very fun dance. The last Latin dance we did, the | :18:18. | :18:23. | |
judges felt I could give it more. This week I have to focus on my | :18:23. | :18:31. | |
performance and just letting go. P We're going to work really hard, | :18:31. | :18:41. | |
:18:41. | :18:42. | ||
but I think he is going to be able to let go with this one. I'm sorry. | :18:42. | :18:47. | |
We are going to perform our salsa in Wembley which means ten times | :18:47. | :18:51. | |
more audience. I find it it hard to start thinking | :18:51. | :18:54. | |
about the audience and everything else because then you forget your | :18:54. | :18:58. | |
steps. I don't want to fall flat. I want to go out there and give it my | :18:58. | :19:04. | |
all. This week, we're doing the jive. | :19:04. | :19:11. | |
There is a full energy dance. going to be a sweaty day, guys. I | :19:11. | :19:14. | |
think the jive works with my character. I have been doing my | :19:14. | :19:17. | |
homework. This one is quick, quick. If you thought the quickstep was | :19:17. | :19:27. | |
fast, this is on a different scale! It is so fast, wow. You Russians | :19:27. | :19:32. | |
are just like hard core, man. I have to work with Jason because I | :19:32. | :19:36. | |
want this dance to be amazing and for everyone to be on their feet | :19:36. | :19:42. | |
and clap and have a good time. It really puts a smile on your face. | :19:42. | :19:52. | |
:19:52. | :19:54. | ||
I'm starting to feel it now. Fortune favours the brave. | :19:54. | :20:04. | |
:20:04. | :20:10. | ||
I love the jive. I love it so much because it is full of energy. It is | :20:10. | :20:20. | |
:20:20. | :20:23. | ||
dynamic. It is fast. It is just so wouzer! You give him the fast dance | :20:23. | :20:27. | |
which most people can't keep up with and he doubles it. | :20:27. | :20:32. | |
What happens is there is part of the jive where we do four quick | :20:32. | :20:37. | |
kicks and we're doing little flicks, little deadly flicks. | :20:37. | :20:47. | |
So far, I've managed to stab Flavia to death four times. | :20:47. | :20:57. | |
:20:57. | :21:01. | ||
She has not got me once. Flavia This week we are dancing the is | :21:01. | :21:07. | |
salsa. It is a fun party dance. A lot of | :21:07. | :21:14. | |
hip actions. A lot of moves. I'm enjoying this one. | :21:14. | :21:18. | |
I bet you did. Even if I go wrong, I'm going to | :21:18. | :21:24. | |
dance T I'm going to shake it and give it somg. -- some. | :21:24. | :21:28. | |
I wasn't that nervous because we practise and practise and when you | :21:28. | :21:32. | |
get it, you can get it. It is not like something could go wrong | :21:32. | :21:39. | |
because she is quite light. There is three very difficult lifts. | :21:39. | :21:42. | |
There is two on my neck and having broken my neck in the past so | :21:42. | :21:46. | |
that's going to be a tester to be fair. I just hope my neck is strong | :21:46. | :21:51. | |
enough. What happened? | :21:51. | :21:55. | |
I am so pumped for this week. I think people will be blown away by | :21:55. | :22:05. | |
:22:05. | :22:10. | ||
Delighted to see you both. How much did it mean to you Robbie to get | :22:10. | :22:13. | |
those comments from Craig on Saturday night? It meant everything | :22:13. | :22:20. | |
because it helped Ola to get to Wembley. You were happy as well? | :22:20. | :22:23. | |
was delighted. He was. | :22:23. | :22:33. | |
:22:33. | :22:39. | ||
31 was your highest score to date. Well done. | :22:39. | :22:41. | |
APPLAUSE 31 is like I'm in the relegation | :22:41. | :22:43. | |
zone really now because me and Alex are like relegation and Harry and | :22:43. | :22:45. | |
Jason, they are Manchester City. Never underestimate the under dog | :22:46. | :22:50. | |
because Darren Gough, quietly doing your thing. Later on, it can still | :22:50. | :22:54. | |
happen. Me and Alex have improved. If I go | :22:54. | :22:56. | |
out Saturday, I have had a great experience and I proved to myself, | :22:56. | :23:00. | |
I can dance. Don't start talking about leaving | :23:00. | :23:06. | |
yet. Craig loved Robbie's arm placement, you must have worked | :23:06. | :23:10. | |
hard on his arms? We have worked on his arms a lot. I was happy for | :23:10. | :23:13. | |
Craig to mention that and notice that we worked on the arms. They | :23:13. | :23:18. | |
were very good, weren't they? have just got to work on my feet | :23:18. | :23:25. | |
now. When you did the waltz, your mum and your wife cried. My mother | :23:25. | :23:28. | |
is staying with my father because he is not well. She has not had the | :23:28. | :23:35. | |
opportunity to come that often. I am a ballroom boy. The salsa on | :23:35. | :23:42. | |
Saturday is is wouzers. Your boys, Charlie and Freddie, | :23:42. | :23:48. | |
what do they make of their daddy? They love their daddy. I haven't | :23:48. | :23:54. | |
seen them since last Wednesday. You go to To Strictly and you know what | :23:54. | :23:58. | |
is going to happen. Hello, I love you. | :23:58. | :24:03. | |
On Tuesday, talking about your dancing being fabulous, Karen Hardy | :24:03. | :24:06. | |
said she was impressed with your lifts and transitions back into the | :24:06. | :24:10. | |
dance moves. How is your dance termology coming on. Are you | :24:10. | :24:16. | |
picking up the lingo? Well, to be fair I'm like a dog because all Ola | :24:16. | :24:26. | |
:24:26. | :24:27. | ||
says is, "Sit. Stay. Good boy. Roll over. Roll Roll over. ". Do you get | :24:27. | :24:34. | |
doggy treats if you are good. Maybe that's what you need to do. | :24:34. | :24:38. | |
Now it is Wembley, the big W this weekend. | :24:39. | :24:43. | |
We are concerned that you are notks sited about it because -- excited | :24:43. | :24:47. | |
because you have hardly mentioned Wembley. What's driving me is | :24:47. | :24:51. | |
Wembley. I want to get to Wembley. Wembley. I played at Wembley twice | :24:52. | :24:57. | |
and I won the Carling Cup. I have seen bands at Wembley, you know. | :24:57. | :25:02. | |
I played at Wembley twice. The final hurdle getting to Wembley. Is | :25:02. | :25:07. | |
that when it goes to Wembley? Wembley. Wembley is Wembley. | :25:07. | :25:13. | |
Wembley. Wembley. To Wembley. Wembley. Did you ever play in | :25:13. | :25:19. | |
Wembley? Yeah. How many times? Twice. Only twice? I wasn't that | :25:19. | :25:28. | |
good. You did win there with Leicester? | :25:28. | :25:33. | |
Yeah, Ola was right, I wasn't that good. I didn't play at Wembley that | :25:33. | :25:37. | |
much! The thing is when you danced at | :25:37. | :25:42. | |
Reading, a few weeks ago, the TV went to Reading, you said you | :25:42. | :25:45. | |
weren't that nervous going out there and dancing. Do you think you | :25:45. | :25:49. | |
will be suited to dancing at Wembley Arena. | :25:49. | :25:56. | |
Yes, the song is Let Me Entertain You by Robbie Williams. | :25:56. | :26:00. | |
It must really help to dance to a record that is this good that you | :26:00. | :26:04. | |
love, surely that helps the spirit of the dance. Yes, it does. That's | :26:04. | :26:07. | |
what we will be relying on on Saturday, the spirit of the dance. | :26:07. | :26:11. | |
It is a salsa, but there is more entertainment. This is for the | :26:11. | :26:14. | |
public, you know, we're going to give it everything. My hips, I am | :26:14. | :26:18. | |
not a salsa boy, I'm not, but we're going to give it our best shot and | :26:18. | :26:21. | |
I think people will love it, I honestly do. | :26:21. | :26:26. | |
Before we start talk being your hip action, Robbie, I must ask about | :26:26. | :26:31. | |
Robbie Williams. He is your mate. Has he given you any advance? | :26:31. | :26:35. | |
can't come, he put it back a couple of weeks because he is busy making | :26:35. | :26:42. | |
a new album. He e-mailed me. He said attack it with gust yes o go | :26:42. | :26:46. | |
out there -- gusto and think that you are the best person on earth. | :26:46. | :26:50. | |
Good advice from Williams. You should have that tattooed on your | :26:50. | :26:54. | |
arm before you go. When you started your training, you struggled a bit, | :26:54. | :26:58. | |
but we think we may have uncovered the secret ingredient to your | :26:58. | :27:03. | |
recent success, Mr Savage. He is a dancer now so he has to get | :27:03. | :27:06. | |
tough. Oh that's hard, that. | :27:06. | :27:10. | |
Yes. That's hard. The way my brain works, | :27:10. | :27:20. | |
:27:20. | :27:22. | ||
I can't do it. I need to toughen up. Toughen up | :27:22. | :27:32. | |
:27:32. | :27:44. | ||
I've got muscles in my head! It feels weird, doesn't it? Yes. | :27:44. | :27:54. | |
:27:54. | :28:04. | ||
I'm sorry. APPLAUSE | :28:04. | :28:07. | |
Give that boy a cake. You are doing the salsa, how is the hip action? | :28:07. | :28:11. | |
How is it looking Ola? He is looking good, yes. Something to | :28:11. | :28:18. | |
look forward to. We've got three big lifts. We have seen a sneaky | :28:19. | :28:22. | |
peak of some of them. I have bruises everywhere and they are | :28:22. | :28:25. | |
painful. That's a difficult lift when you | :28:25. | :28:28. | |
have had a broken neck in the past. Please go easy. | :28:28. | :28:36. | |
What a way to go out! Come on, Savage. | :28:36. | :28:39. | |
It is every man's dream. Who are you like? How much do you | :28:40. | :28:44. | |
want to stay in the competition? More than anything. It has been the | :28:44. | :28:49. | |
best experience of my life and I love it. Ola, she is magnificent. | :28:49. | :28:55. | |
And she has bruises from that lift. She wanted to show you, but it was | :28:55. | :28:59. | |
just too rude. Go get them. Thank you to all my | :28:59. | :29:06. |