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It is Monday. Coming up, our up town girl has cha-cha-chaed out of | :00:12. | :00:16. | |
Strictly. Robin and Brendan are here to tell all. Craig Revel | :00:16. | :00:20. | |
Horwood will discuss Saturday's performances and things are about | :00:20. | :00:27. | |
to get competitive. Natalie Lo we is here. This is Strictly Come | :00:27. | :00:37. | |
:00:37. | :01:08. | ||
This is Strictly Come Dancing: It Takes Two. Please welcome your host, | :01:08. | :01:11. | |
it's Zoe Ball. APPLAUSE | :01:11. | :01:15. | |
Hello. Welcome to Strictly Come Dancing: It Takes Two. The weekend | :01:15. | :01:21. | |
was all about stamina, Strictly- style. We saw energetic routines | :01:21. | :01:30. | |
and huff and puff from the judges. It was ainto Anita's last dance on | :01:30. | :01:35. | |
the dance floor. I will be chat to go Anita, Brendan and Robin after | :01:35. | :01:41. | |
this round-up of the weekend's action. | :01:41. | :01:45. | |
Seductive foxtrot. You owed it, Holly, well done. | :01:45. | :01:53. | |
Ji I felt you took a major step backwards and I felt it was not | :01:53. | :01:58. | |
good. Well, executed, great shapes. I | :01:58. | :02:05. | |
loved, but I want you to be badder. It was cute. It was pleasant. There | :02:05. | :02:10. | |
was a lot of basic steps there. Overall, you have done a good job. | :02:10. | :02:16. | |
It was a shaba, it was a samba and there was good content and then you | :02:16. | :02:26. | |
:02:26. | :02:31. | ||
stick all that content in. That was good. | :02:31. | :02:41. | |
:02:41. | :02:43. | ||
That was outstanding. I can now reveal that the couple | :02:43. | :02:51. | |
leaving tonight is Anita and Brendan. | :02:51. | :02:56. | |
Please we can Anita, Robin and Brendan. | :02:56. | :02:59. | |
APPLAUSE Oh. Look, you are two boys. | :02:59. | :03:03. | |
I'm wearing them out at the rate of knots. | :03:03. | :03:07. | |
Ainto ta, you have loved your -- Anita, you have loved your time in | :03:07. | :03:11. | |
Strictly. How does it feel to be out now? It feels sad, but I was | :03:11. | :03:17. | |
kind of prepared. I thought maybe I could have had one more week and it | :03:17. | :03:22. | |
would have nice to have finished with Rob n, but -- Robin, but I was | :03:22. | :03:25. | |
red. I wasn't up to the league that people like Harry and Chelsee have | :03:25. | :03:31. | |
got to. I have taken longer to crank my way up. When they said you | :03:31. | :03:36. | |
were in the bottom two. Did think, "This is it.". Yes. | :03:36. | :03:39. | |
Doesn't she look gorgeous tonight? Thank you. | :03:39. | :03:45. | |
You are going out in style. Bobby, I know you are feeling better now, | :03:45. | :03:49. | |
but you weren't able to dance on Saturday. How horrible was it for | :03:49. | :03:56. | |
you to watch from home and then see the elimination? Watching from home | :03:56. | :03:59. | |
was gut-wrenching, I wanted to be there so badly and to have to sit | :03:59. | :04:03. | |
there and just watch it, it was heartbreaking to be honest. | :04:03. | :04:07. | |
It was like a a proper break-up. Brendan and a huge responsibility | :04:08. | :04:12. | |
on you. Did you feel the pressure on Saturday? I did. I knew what I | :04:12. | :04:15. | |
was going in for though. We knew it was going to be a tough week to get | :04:15. | :04:22. | |
through. I felt deeply gutted for Robin not not being there in the | :04:22. | :04:26. | |
first place and a huge amount of responsibility to help Anita get | :04:26. | :04:29. | |
through the week so Robin had a job to come back and unfortunately it | :04:29. | :04:35. | |
didn't work out. I am as about as gutted as I could have been. | :04:35. | :04:39. | |
You did incredibly well. I am very happy with what we did on | :04:39. | :04:43. | |
Saturday. I think Anita had a blistering week and she really | :04:43. | :04:50. | |
danced well. You should be proud of yourselves. | :04:50. | :04:58. | |
Suzie Online said, "Anita Dobson was wonderful. Such an infectious | :04:58. | :05:02. | |
smile. A real star." There have been so many messages like that. | :05:02. | :05:06. | |
Have Have you had a favourite dance, Anita out of the nine you have | :05:06. | :05:12. | |
done? I think the two of my favourites were the Argentine tango. | :05:12. | :05:17. | |
I felt like I connected with that and our first waltz. That was so | :05:17. | :05:21. | |
perfect and so... And it was the beginning of our journey which was | :05:21. | :05:23. | |
really special. What do you think you will miss | :05:23. | :05:28. | |
most about the whole Strictly thing? Apart from dancing every day | :05:28. | :05:32. | |
and learning so much, I'm going to miss the gang. I'm going to miss | :05:32. | :05:39. | |
being in the make-up room from the girls and hanging out in wardrobe. | :05:39. | :05:45. | |
Just come and hang out every day! Anita, you have been glorious. I | :05:45. | :05:53. | |
have I have loved watching you. Here is your your Strictly. The man | :05:53. | :06:02. | |
you will be dancing is is Robin you will be dancing is is Robin | :06:02. | :06:07. | |
Windsor. We will keep the L-plates on for a | :06:07. | :06:13. | |
while! I wish I was a dancer. You are a dancer. | :06:13. | :06:15. | |
Beautifully acted. I thought that hole routine was | :06:15. | :06:22. | |
gorgeous. There is lots of... It is great fun | :06:22. | :06:31. | |
and I'm loving learning it. A spice that raises the heat. | :06:31. | :06:41. | |
:06:41. | :06:41. | ||
I look like a liquorice Allsort on acid. | :06:41. | :06:46. | |
You are a man. -- you are a machine m I loved the | :06:47. | :06:49. | |
characterisation. I thought that was brilliant. | :06:49. | :06:55. | |
Fun, energetic and entertainment. I would love to see somebody else | :06:55. | :07:00. | |
at 62 dance with that much energy. I don't have any problems with the | :07:00. | :07:05. | |
lifts because Bobby is so safe and so strong. | :07:05. | :07:14. | |
I loved it, but I thought it was sophisticated, it was classy. | :07:14. | :07:18. | |
I've improved. This tango is a nightmare! | :07:18. | :07:26. | |
This tango is a nightmare! You're a nightmare. | :07:26. | :07:31. | |
I never knew you could play so evil. I loved the drama. You were quite | :07:31. | :07:37. | |
scary out there. This week we're doing the | :07:37. | :07:47. | |
:07:47. | :07:48. | ||
Charleston. It is the Marx Brothers. Now I see why you are a national | :07:48. | :07:52. | |
treasure. You are beautiful and you have great spirit. | :07:52. | :07:54. | |
I'm never going to get there. You are. | :07:54. | :07:58. | |
We have settled into a nice teacher/pupil relationship where we | :07:58. | :08:06. | |
can laugh about if. I hate this bit. | :08:06. | :08:11. | |
Oh sexy mamma, queen of drama, you can tango. | :08:11. | :08:14. | |
Dancing next Saturday, Anita and Robin. | :08:14. | :08:18. | |
I'm still here and I get to go to to Wembley so I'm thrilled. | :08:18. | :08:22. | |
Fabulous. You come out every dance and you | :08:22. | :08:30. | |
give it 100%. I've played Wembley. I've danced with this fantastic | :08:30. | :08:37. | |
dancer. It's the jewel in the crown. Robin hurt his foot. I don't know | :08:37. | :08:44. | |
what I'm going to do. Brendan Cole to the rescue. | :08:44. | :08:49. | |
Now you're talking. There was no true dynamic to it. | :08:49. | :08:54. | |
It was a little bit messy in places, but you have done a good job. | :08:54. | :08:59. | |
The couple leaving tonight is Anita and Brendan. | :08:59. | :09:05. | |
Anita, you were just a darling. Robin, I'm sorry. I really wanted | :09:05. | :09:09. | |
to do it for you. Robin, I'm really sorry, I would have loved to have | :09:09. | :09:14. | |
had another week to dance with you, but you have made it one of the | :09:15. | :09:22. | |
most beautiful journeys. Thank you from the bottom of my heart. | :09:22. | :09:23. | |
APPLAUSE How does it feel, Anita, when you | :09:23. | :09:26. | |
watch it back like that? What an amazing adventure you have had? | :09:26. | :09:30. | |
Very emotional. I have got the glitter tissues. | :09:30. | :09:35. | |
With the bling. You want it had do it because you | :09:35. | :09:39. | |
wanted to become a dancer. You leave the competition feeling like | :09:39. | :09:43. | |
a dancer? When I started, every time I tried to turn around, I | :09:43. | :09:50. | |
would fall over, Robin spent ages teaching me how to spin. | :09:50. | :09:57. | |
The good thing is your journey together, I use the J word, it is | :09:57. | :10:01. | |
not over because you are doing the tour together? Yes. Fantastic so | :10:01. | :10:05. | |
you get to go and do it again and again and again and again. | :10:05. | :10:09. | |
Every night. Any plans to step in this weekend? | :10:09. | :10:17. | |
I heard Kristina is not feeling great. Will you be partnering | :10:17. | :10:23. | |
Jason? I can see it working out! You could still win it, you could! | :10:23. | :10:33. | |
:10:33. | :10:35. | ||
Thank you, Anita, we have loved having you. We will miss you. | :10:35. | :10:36. | |
APPLAUSE Tensions were running high on | :10:36. | :10:38. | |
Saturday as our celebrities had to compete in two dances. Everything | :10:39. | :10:46. | |
went smoothly on the night, but it a different story backstage? | :10:46. | :10:50. | |
Come on the swing-a-thon. There is seven of them. The magnificent | :10:50. | :11:00. | |
:11:00. | :11:01. | ||
seven out there. This is the start of the real pressure. | :11:01. | :11:04. | |
I woke up every hour. It is more pressure because we're | :11:04. | :11:10. | |
doing two dances. I'm dreading it. Who needs me? Who needs me this | :11:11. | :11:18. | |
week? Am I dancing with Robbie. No, it is Jason Donovan! I think that's | :11:18. | :11:28. | |
:11:28. | :11:29. | ||
your song for this week. Everybody is going through their rehearsals | :11:30. | :11:37. | |
with the band. Unfortunately, with three hats they | :11:37. | :11:43. | |
don't fit. We're Waiting for someone from wardrobe to come and | :11:43. | :11:46. | |
find hats that fit. The routine is structured around | :11:46. | :11:51. | |
the hats. She is very stressed about it. | :11:51. | :11:55. | |
I'm more nervous about the swing-a- thon than the dance because all the | :11:55. | :11:59. | |
couples are on the floor so it will be more competitive and I don't | :11:59. | :12:08. | |
like that. I will have to shove them out of the way! | :12:08. | :12:14. | |
There is war on the floor. Brendan and Anita. And Brendan was | :12:14. | :12:20. | |
trying to keep his steps as small as possible. I don't want an angry | :12:20. | :12:27. | |
Brendan barking at me! I feel nervous now. | :12:27. | :12:32. | |
Surely blokes can do their own hair, right? I can understand with girls | :12:32. | :12:36. | |
they have different hair styles, but a bloke should be able to do | :12:36. | :12:46. | |
:12:46. | :12:53. | ||
his own hair. Dead cute. Now we have got dressed. | :12:53. | :12:57. | |
I'm not worried about the swing-a- thon because I have accepted from | :12:57. | :13:02. | |
an early stage that we will be out soon. With James being a dude, we | :13:02. | :13:06. | |
can't stay in half a minute, he will be on the floor | :13:06. | :13:15. | |
hyperventilating! I'm trying to rehearse, but my mind | :13:15. | :13:22. | |
has gone blank. I must say whatever people at home | :13:22. | :13:29. | |
think of Craig, he is always honest. He is actually very nice. | :13:30. | :13:38. | |
Image, darling. Show time. Hoop How long have we | :13:38. | :13:42. | |
got? About five minutes. Well, I'm ready. | :13:42. | :13:47. | |
Do this for Robin. It is time to go. | :13:47. | :13:54. | |
Everybody is in there. We're going to go live. | :13:54. | :13:57. | |
Now time to catch up with a man with high standards, but low scores. | :13:57. | :14:06. | |
It is Craig Revel Horwood. APPLAUSE | :14:06. | :14:08. | |
Darling. Quite an entrance as always, | :14:08. | :14:10. | |
darling. Elegance, grace. | :14:10. | :14:16. | |
And what's the other one? Style. That's it. Did you enjoy Saturday's | :14:16. | :14:19. | |
performances? I did. I very much enjoyed it. I had a really, really | :14:19. | :14:25. | |
good time as a matter of fact. By the end of the show I was in a | :14:25. | :14:32. | |
frenzy. My husband was asleep on the sofa. We have just said an | :14:32. | :14:35. | |
emotional goodbye to ainto ta. Do you think the -- Anita, do you | :14:35. | :14:39. | |
think the public made the right vote there? We are relying on the | :14:39. | :14:43. | |
public and I think they make it through informed choices and yes, | :14:43. | :14:48. | |
in my opinion, I think it was time for Anita to go. Let's face it, | :14:48. | :14:52. | |
someone has got to be in the bottom two, you know, and there has to be | :14:52. | :14:56. | |
someone that has to leave and I think she went on a really good | :14:56. | :15:02. | |
note and she had a fantastic season. I don't think she can complain and | :15:02. | :15:04. | |
people at home have been loving her as well. | :15:04. | :15:09. | |
She is greatly loved. Let's talk about Saturday's routines and we | :15:09. | :15:13. | |
will start with Harry. You were the only judge not to give him a ten. | :15:13. | :15:20. | |
But before you say anything, I have got a message for you, oh yeah... | :15:20. | :15:27. | |
would just like to say that I thought Harry did brilliantly well | :15:27. | :15:37. | |
:15:37. | :15:39. | ||
on Saturday and I think he should have got a ten from Craig. | :15:39. | :15:45. | |
Many boo, hiss, what is your reason? Explain why Harry didn't | :15:45. | :15:49. | |
get a ten from you? His left foot and his thumb. I prefer the thumb | :15:49. | :15:55. | |
down, you know, on the back of the lady's hand and his left foot is | :15:55. | :16:00. | |
slightly sickled and it is out of shape and wonky. | :16:00. | :16:04. | |
Is that a physical thing? Is that something he can correct? He needs | :16:04. | :16:09. | |
to think of keeping that foot in line rather than turning it in and | :16:09. | :16:13. | |
particularly in the air as well, you know, he needs to make sure his | :16:13. | :16:17. | |
footwork is lined up. If that had of happened darling, if I noticed | :16:17. | :16:26. | |
it, it may have been a ten. A it is a shake, isn't it -- it is a shame, | :16:26. | :16:29. | |
isn't it? Do you think he stand as chance of get ago ten? He is | :16:29. | :16:33. | |
fantastic and it is just these tiny little details now and of course, | :16:33. | :16:40. | |
it is going to come toe that, isn't it? -- to that? You know, we want | :16:40. | :16:45. | |
to see really good dancing in the final and I want it to be fantastic. | :16:45. | :16:52. | |
You want perfection? Do I, darling. Alex and James, you you thought | :16:52. | :16:58. | |
Alex's Charleston was a major step back for her. There were gasps of | :16:59. | :17:02. | |
horror from the audience as you said that. Explain more? | :17:02. | :17:05. | |
competition is getting tougher and I'm getting tougher and I'm judging | :17:05. | :17:09. | |
more detail. When you do a Charleston, it is meant to be gofy | :17:10. | :17:16. | |
and this was just all a little bit in between. It wean going to enough | :17:16. | :17:20. | |
extreme. For instance, any of the shoulder stuff really needs to be | :17:20. | :17:24. | |
high and you know, exaggerated. Any time you do a push, you go out for | :17:24. | :17:30. | |
it. It is meant to look sort of bizarre and extraordinary. | :17:30. | :17:37. | |
I did see you bit of Charleston on the tour. It is extreme. It nearly | :17:37. | :17:40. | |
killed me. James, not happy with the scores. | :17:40. | :17:44. | |
Alesha said perhaps under marked with a six. | :17:44. | :17:50. | |
James, please, get a life. That's dealt with that. Holly and | :17:50. | :17:56. | |
Artem, very modern and sexy foxtrot. Did you like the concept? I did and | :17:57. | :18:00. | |
when I heard the music I was ready to hate it because I thought this | :18:00. | :18:08. | |
is crazy music to pair with a fax trot and -- foxtrot and it wasn't | :18:08. | :18:12. | |
your classic scenario and it was growing on me and building and | :18:12. | :18:19. | |
building and I thought, "Actually this works in this position. I'm | :18:19. | :18:24. | |
loving this actually.". I love it when you are surprised by your | :18:24. | :18:28. | |
reaction. I love this. I know what joy is! | :18:28. | :18:36. | |
Yrp they Why Why were they in the bottom two? It is a lot to do with | :18:36. | :18:42. | |
the public. If you land anywhere in the middle of that leaderboard, you | :18:42. | :18:47. | |
have got to be either really bad and you want people to vote or you | :18:47. | :18:52. | |
have got to be amazing. And she is falling between those two stools at | :18:52. | :19:00. | |
the moment. I think maybe, some sort of scenario on a VT might help. | :19:00. | :19:03. | |
She needs to get people voting for her. | :19:03. | :19:13. | |
:19:13. | :19:19. | ||
. I want those things that you turn up side down and go moo. Robbie and | :19:19. | :19:23. | |
Ola, you are normally a fan of people flashing their flesh, but | :19:23. | :19:28. | |
shorts reveal from Robbie and you didn't like it? When one is only | :19:28. | :19:33. | |
doing it to canvas votes, that's when I get unhappy. What was the | :19:33. | :19:40. | |
story to that? I liked it. The shirt should have come off as | :19:40. | :19:48. | |
well and and there should have been a number too toed on him. All All | :19:48. | :19:54. | |
change or no change. Right, he is taking note. Chelsee | :19:54. | :19:59. | |
and Pasha, their routine was complicated, but you said she was | :19:59. | :20:03. | |
missing her A-frame. I know what that is, but to everybody else | :20:03. | :20:06. | |
that is, but to everybody else watching at home? It is different | :20:06. | :20:12. | |
to the ballroom tango. The shaping is like this. You lean towards one | :20:12. | :20:16. | |
another so you are creating a frame like that rather than a V-shaped | :20:16. | :20:23. | |
frame like that. So she was somewhere sort of split in between | :20:23. | :20:28. | |
her ballroom look and the proper Argentine tango look. That was the | :20:28. | :20:34. | |
only real shame and I mentioned as well the invisible line between two | :20:34. | :20:38. | |
people that you must maintain and that's directional in this | :20:38. | :20:48. | |
:20:48. | :20:48. | ||
particular dance. When the man decides to move his solar plexus, | :20:48. | :20:52. | |
the woman has to follow. You have to imagine that invisible line | :20:52. | :21:01. | |
between yourself and I. I am confused. Every time I lean in | :21:01. | :21:05. | |
-- every time you lean in, I lean it. It is that incredible power you | :21:05. | :21:13. | |
have over me. Jason and Kristina, you were willing willing Jason not | :21:13. | :21:18. | |
to go wrong. He made a tiny mistake. Because of Wembley. A tiny mistake. | :21:18. | :21:25. | |
You see, this is the torture. You can't afford to make tiny mistake. | :21:25. | :21:30. | |
What mistake did he make? It was the kicks. It seems to be kicks | :21:30. | :21:34. | |
getting him. The same happened at Wembley. The kick section, he tried | :21:34. | :21:38. | |
to kick the foot theafs stand on -- that he was standing on. Do you | :21:38. | :21:43. | |
think he is haunted by the kicks? told him backstage, I said, "Don't | :21:43. | :21:50. | |
do anymore kicks, darling because they seem to go wrong.". He got | :21:50. | :21:57. | |
four nines. He is fantastic. He has has to get up to Harry's standard | :21:57. | :22:02. | |
and not make any mistakes because we are going to be really picky. | :22:02. | :22:05. | |
Right, the swing-a-thon as well, how difficult is it to judge when | :22:05. | :22:10. | |
you have got seven couples. How do you know who to look at at? It is | :22:10. | :22:14. | |
easy to tell who is the worst and who is the best on one viewing and | :22:15. | :22:19. | |
if you think that every single ballroom competition is judged in | :22:19. | :22:24. | |
this way in reality, the judges stand around the dance floor and | :22:24. | :22:28. | |
they are adjudicating from the standing position when all couples | :22:28. | :22:32. | |
are dancing together so you can always tell. It is quite easy I | :22:32. | :22:36. | |
think. If you have got an eye for it, I suppose it is con confusing | :22:36. | :22:43. | |
to most people. We were having a big con fab up there about who we | :22:43. | :22:47. | |
thought and Robbie going out first was unanimous. | :22:47. | :22:52. | |
Was it? Yes. And Harry stole the show? That was | :22:52. | :22:56. | |
tough because they were equally good. It was just the acrobatic | :22:56. | :23:02. | |
nature, I think, of his cartwheels and his hand stance that gave him a | :23:02. | :23:07. | |
little edge on Chelsee. Good luck with movie week on | :23:07. | :23:12. | |
Saturday. Will we be tempting you out from behind the desk? There is | :23:12. | :23:18. | |
a lot going on darling this year, it seems. | :23:19. | :23:23. | |
Always open to offers. Abslaught lie. | :23:23. | :23:28. | |
Craig Revel Horwood -- absolutely. Craig Revel Horwood. | :23:28. | :23:32. | |
Names In the past challenges have included taking on a dance machine | :23:32. | :23:41. | |
and a giant keyboard. Today, we are launching it the It Takes Two Pro | :23:41. | :23:45. | |
Dance Challenge. The fans have been looking forward to this. You are | :23:45. | :23:48. | |
the official adjudicator of the challenge. Is it a tough one this | :23:48. | :23:53. | |
year? It is really tough. You start feeling the burn as a hint at about | :23:53. | :23:59. | |
15 seconds. And it is harder than you would ever believe. | :23:59. | :24:04. | |
OK. Shush. Say no more. Stop. Don't speak. | :24:04. | :24:13. | |
This year, it is faster and harder than ever. Check this out. | :24:13. | :24:18. | |
Everyone is so excited about this. I'm here to be part of the judging | :24:18. | :24:28. | |
:24:28. | :24:34. | ||
panel for the Guinness book of World Records of the most moves in | :24:34. | :24:39. | |
30 seconds. I am going to be joined by Richard who is leading | :24:39. | :24:45. | |
choreographer to the stars. We have the official world record | :24:45. | :24:55. | |
:24:55. | :24:58. | ||
adjudicator with us as well. The dancers are gunning for this. | :24:58. | :25:08. | |
:25:08. | :25:17. | ||
Please welcome our first contenter, Welcome back Natalie. | :25:17. | :25:27. | |
:25:27. | :25:30. | ||
You look hot. Right, now, welcome back to the show. You came third. | :25:30. | :25:35. | |
Now, you came third in last year's pro challenge? I did. | :25:35. | :25:40. | |
Do you think you can do as well this year? I was more prepared for | :25:40. | :25:45. | |
T last year it was very daunting. This year we had more of a heads up. | :25:45. | :25:53. | |
I did more practise. How many Botafogos could you do? | :25:53. | :25:59. | |
knew you could get disqualified if knew you could get disqualified if | :25:59. | :26:02. | |
it wasn't correct. It was so much fun. It was intense. | :26:02. | :26:06. | |
You walk into this roomment there was a little dance floor. Cameras, | :26:07. | :26:11. | |
it was intimidating. Craig was there, Richard was there, the lady | :26:11. | :26:15. | |
from the Word Record thing was there -- World Record thing was | :26:15. | :26:19. | |
there. Well, it is time to see how Natalie | :26:19. | :26:29. | |
did. Are you ready for this? OK, It would be amazing to have my name | :26:29. | :26:35. | |
as a World Record. Yeah, fingers crossed. | :26:35. | :26:40. | |
Will the first challenger please come to the floor. | :26:40. | :26:43. | |
Hello Nat. Hem owe. How are you feeling? | :26:43. | :26:46. | |
Nervous. You have got do your best. Please | :26:46. | :26:54. | |
take to the floor. Richard, ready? Very ready. | :26:54. | :26:59. | |
Adjudicator? Ready. For the record, three, two, one - | :26:59. | :27:09. | |
:27:09. | :27:42. | ||
Well, done. I thought you did very well. | :27:42. | :27:47. | |
I am a little out of breath. Bear with me. I think I might have been | :27:47. | :27:50. | |
too careful with it. I probably could have gone faster. I don't | :27:50. | :27:57. | |
think I did badly, but I think I could have done better. | :27:57. | :28:03. | |
I was hyperventilating watch you. I'm I'm sweating looking at that. | :28:03. | :28:11. | |
After each professional has attempted their botafogoes, their | :28:11. | :28:16. | |
performances were watched in slow slow motion to verify every one. It | :28:16. | :28:26. | |
:28:26. | :28:38. | ||
Your botafogoes have been counted Your botafogoes have been counted | :28:38. | :28:43. | |
and verified and you performed 63. Well done. | :28:43. | :28:50. |