0:01

This is Sex Lies and Spray Tans

0:03

with Me Cheryl Burke and iHeartRadio

0:05

podcast. Hey guys, welcome

0:07

back to Sex Lives and Spray Tans, the rewatch

0:10

series where we watch all

0:13

seasons. Okay, we've been going. I

0:15

would say we've been staying

0:18

on course. You know, we started with season

0:21

one, week one. Now we're all the way halfway.

0:23

May I add through season

0:26

two. I can't believe season two was only eight

0:28

weeks. It felt like it was twelve

0:30

weeks. But I think that was because of

0:33

the fact that we had results shows, so we

0:35

technically didn't just have eight shows.

0:37

We had like fifteen or sixteen shows.

0:40

Okay, so confusing. Everyone's like, how are you?

0:42

How did you start when you were twenty one? Yet you've

0:45

done twenty six seasons. You've been on since you were

0:47

born. It's like, no, we did two seasons a year.

0:49

Remember back in It's

0:52

heyday. All right, let's just get started

0:54

here. Okay, okay, if

0:57

you guys want to have a recap of what happened,

0:59

may make sure you listen to the rewatch

1:01

episode Season two, Week

1:04

three, Part two. Oh my goodness, the

1:06

math is killing me. Just kidding. Let's

1:09

move on. We've got seven couples left.

1:11

We're going to try and do this all in one

1:13

big old part here. We're not going to try

1:15

and split it like we've been doing. But we've

1:18

got couple number one opening up the show

1:20

again. He did it for the premiere, and I believe

1:22

one time prior to what you're about

1:24

to see, which is his pasa doblay, we've got couple

1:27

number one, George Hamilton and Edititeslavinska.

1:30

So, of course Tom basically

1:33

recaps everybody in the opening

1:35

of their package and says, last week George's

1:38

tango seemed to please everyone but

1:40

Carrie Anne, and then it cuts to Carrie

1:43

Inne says, I'd like to see you do a little bit more

1:45

hold, which means she wants to see him

1:47

and frame more. And I would also like

1:49

to see when you're in hold

1:51

to keep it a little firmer. Tom

1:56

then said as a voiceover as

1:58

he plummeted to the bottom two. So George

2:00

was in the bottom two. Well, George

2:03

says, I must have landed in the bottom two

2:05

over technique. So this week, in this Pasa

2:07

doblay, it has to be right on the money.

2:09

I don't want to overdo these gimmicks for them

2:12

and then have them say, oh, you know,

2:14

you didn't dance. I know, we have a very

2:16

complicated situation here. He was saying,

2:18

to edit to what I'm trying to do this week

2:20

is some solid dancing that shows that I can keep

2:22

my frame, that I can hold it like

2:25

this, And then he basically shows headed

2:27

to his frame. Right, he's like walking around

2:29

the dance studio. His arms are a

2:31

little stiff. They're a little too low. To be quite

2:33

honest, I would have adjusted his arms to

2:35

be at least shoulder length. Any

2:38

who, it was basically at his waist. But he

2:40

goes, it's going to be really hard for me to go to the

2:42

bathroom this way. And I love that he still

2:44

cracks jokes. But you can tell, you

2:46

know, when you're already about halfway in the competition.

2:48

On Dancing with the Stars, you see the light

2:51

at the end of the tunnel. But this is also when

2:53

people break, Like this is when you start

2:55

to see tension in the rehearsal space. The

2:58

couples don't get along, or

3:00

they do, but very rarely, right do

3:03

they because like everyone just gets irritated

3:05

with whomever they spend the most time with and mind

3:07

you, let's not forget it's not just this past four

3:09

weeks, it's also the training period

3:11

as well. You're seeing this person every single day

3:14

for now close to two months. Imagine

3:17

that. And if you don't like him,

3:20

imagine that just saying, editor

3:23

says, I would like for George to make his steps

3:25

technically correct, but I don't want him to lose

3:27

his personality smart. George

3:30

basically has a cape around his neck during

3:32

rehearsal, and though he looked kind of like Dracula,

3:34

to be honest, he was definitely in character.

3:37

He was Zoro. And he

3:39

looked and stared down into

3:41

the lens and says, tune in to ABC

3:44

four, l Zoro. Zoro

3:47

the Gay Blade is a movie that he made.

3:49

You guys, has anyone seen it? Because the fact

3:52

that it's called Zoro the Gay Blade, I mean, I'm

3:54

assuming it's a spoof, and as he confirms

3:56

it is, so he goes, since I've already done a

3:58

spoof of the character Zoro in

4:00

the movie, I think, well, I can do a spoof

4:03

of myself doing a spoof. That's kind of funny.

4:05

Asa says, So you can do the cape thing, like back

4:07

into rehearsal. This is in scene. She

4:10

says, can you still do the cape thing? And she said,

4:12

can we use it in the routine? He said, yes, I can

4:14

do it. I know it, But how are they going

4:16

to judge the real deal? When I was eighteen,

4:19

I did take lessons to learn about bullfighting.

4:21

The Pasa Dobla deals

4:23

with what I've seen. Cut to George

4:25

and what in rehearsals and to camera with

4:28

his fake sword and Zoro mask around

4:30

his eyes. As he waves the sword to camera,

4:32

he says, take that master P and pretends

4:34

to stab Master P. I'm assuming

4:37

he's miming it with the sword, and then he

4:39

says, take that Drew, and it's funny.

4:41

I don't know if the audience that I'm hearing in

4:44

these you know clips is

4:46

real or if it's like the fake audience. I

4:48

don't know. Either way, it was hysterical, and

4:51

he goes on. George goes on to say, I

4:53

don't know if I'm able to make the judges happy

4:56

and be creative all at the same time,

4:58

and as well make the ode dance have

5:00

fun. If nothing else, I will go out laughing,

5:02

but I certainly won't go out trying. God

5:04

I love this guy. Then it cuts to their Pasa

5:07

doblay and I have to say, oh my

5:09

gosh, you guys, So I just basically

5:11

recorded or I did a green

5:13

screen of my dance from Week three,

5:16

because like, as you're hearing this,

5:18

I must have recorded it probably two weeks

5:20

prior to you hearing this, which means I'm

5:23

promoting Week three, part one at the moment.

5:25

So I know for a fact now as

5:27

I'm editing it, our song was

5:30

a minute and thirty five seconds. Can

5:32

you imagine it's not even that long

5:34

when you hit freestyle round in the finale

5:37

like last season, like so cheat all

5:39

them. They definitely didn't dance to one thirty five. Maybe

5:41

okay, so maybe the freestyle for them was one forty,

5:44

but you don't go past that mark. It's crazy.

5:47

And it was like, still, we just barely

5:49

got to the halfway point, right, because

5:51

I can tell in the Pasa do blay

5:53

you there's three highlights. Right. There's the

5:56

main highlight, meaning like okay, it's like you're

5:59

going in for the kill, right, but then

6:01

you've got the highlight of the

6:03

big highlight. But then you've

6:05

got another one if if that

6:08

is you're competing at a high

6:10

level. Not so much poor George.

6:12

I mean they could have cut his music down by like

6:15

fifteen seconds at least. Poor guy. Anyway,

6:18

I was hoping that he was going to take his

6:20

mask off. It was super distracting. He obviously,

6:23

you know, they come from each wing of the

6:25

opposite wings of the stage right of the walkway

6:28

where the band or orchestra Harold

6:30

Wheeler and his orchestra, that's

6:33

where they were right in that band pit or

6:35

orchestra pit. So they come

6:37

out, they meet center of

6:40

the walkway and then

6:42

right away like this is why I hate stairs, Like

6:44

if you're not choreographing like

6:47

steriography okay, meaning

6:49

like you got to use the stairs

6:51

or just don't go on the walkway, Like that's my thing.

6:54

You got to use the prop or just don't

6:56

use it and then throw it away after two seconds.

6:58

Like that's something that you know, my coach

7:01

would always tell me. Shout out to Wendy. I've

7:03

talked about her on this podcast before, Like

7:06

you just need to use it in a clever way,

7:09

you know, like with a mask for example,

7:11

Like I would have just had maybe edit said

7:13

there would have been a moment of like intimacy

7:16

and her trying to reveal who Zoro is

7:18

behind the mask. Take the mask, have it to

7:20

spin away, and then she can either wear it herself,

7:22

which would have been cool, or she

7:24

could just throw it off to carry inne who

7:26

knows, Like you got to learn to use

7:29

this. And now, obviously it's so different

7:31

than it was back then, but I'd say it's still the quality

7:33

of dancing I prefer back in the day that I do

7:35

to this day. Okay, since

7:38

you know, George wasn't grounded and for the most

7:40

part, you know, he couldn't see. He

7:44

wore, like I said, from top to bottom

7:47

this whole dance one

7:49

minute and forty seconds almost he

7:51

wore a mask with no peripheral vision. Poor

7:53

guy. You know. I saw him attempt

7:55

a basic step called chasse capes,

7:57

but again he was wobbly like

8:00

he already is. And then on top of it,

8:02

you can't you're making this guy not be able

8:04

to see, right, So you're taking one of his senses

8:07

away and that's going to just you're

8:09

setting him up to fail basically, So you

8:11

know, his weight wasn't grounded enough into the

8:13

floor. He looked light and for the possibly

8:16

the man has to look strong, you know, he has

8:18

to look heavy, almost like a bull is about

8:21

to attack him. Right, So they missed

8:23

a lot of connections, and as editor does

8:25

and as us professionals do, we

8:27

sometimes have to throw ourselves at them because

8:30

if they miss a connection, like I could tell George

8:32

was trying to spin her, but they he slipped

8:35

like because he again there was no proofer poor

8:38

guy anyway, So she does

8:40

a full split in between his legs and I highly

8:43

I can bet that edit to asked him to take

8:45

it off about halfway through the actual performance,

8:48

but I bet you any amount of money he bought

8:50

it. He was probably like, no, I'm zoro,

8:52

I have to stay into character. Big

8:54

mistake anyway, about three quarters

8:56

into the routine, you know he was supposed to actually

8:58

take I guess another other wardrobe.

9:01

I hate doing this stuff live on TV. It just

9:04

never goes well or right, like you guys

9:06

saw it with Sochi in her freestyle,

9:08

like it totally. Even if you're a great dancer

9:11

like she was, or you've performed

9:13

before, a wardrobe malfunction doesn't

9:15

have to necessarily mean your nipple

9:17

is showing like it could literally

9:19

be this your mask you forgot

9:21

to practice in it. So therefore you're not used to not

9:23

having vision when you're dancing, right, You're

9:26

not used to not seeing or not having

9:28

peripheral vision. And then let's say

9:30

a hat drops like it did for Sochi, like it

9:32

throws you off. I don't care who you

9:34

are, but it sucks, right, and

9:36

then it just gets you into the wrong mental state.

9:39

And this is why unless it's

9:41

pre taped, there's no wardrobe

9:44

freaking tricks up my sleeve. I can guarantee

9:46

you that anyway. Basically,

9:51

you know he was supposed to take off his velcrode

9:54

cape around his neck and look.

9:56

Wardrobe also gets super nervous about this stuff

9:58

too, Like some times, you know, maybe

10:00

the velcrow was new and it wasn't rusty

10:02

enough to where or maybe it's maybe

10:05

the cape fell off during rehearsal so

10:07

they had to tighten it, like we don't know what's going on here,

10:09

but he was fibbing with it and like

10:11

fit like just really being it's

10:15

really hard when you're adrenaline is rushing through

10:17

your body like this in front of a live audience,

10:20

and you know you only have about sixteen more counts

10:22

before that ending pose and you

10:24

still haven't done your cape work. It's

10:26

a damn shame, right, Like

10:28

it's such a shame, and

10:30

there's no one's fault really, other than the fact

10:32

that it's nerves like your hand, like my hand

10:35

still to my last performance, like I

10:37

couldn't in a calm manner take

10:40

off a belcrode piece

10:42

of fabric around my neck. I

10:44

did it once with Cody Rigsby. I think

10:46

I took off my skirt, but it was

10:48

like we did it together because I

10:51

without you guys seeing it, like I would

10:53

help him and then I would hand him my skirt

10:55

basically, and I'm the professional, so I should be

10:57

doing this. So like edits to if you really

10:59

want to to do this right, like if they want to do this,

11:01

maybe editors should have taken off the cape. But anyway,

11:04

this was like still season two. No one knows,

11:06

right, we're not used to doing these show dances. We're freaking

11:08

competitors. We compete and

11:11

it's pretty straightforward. Five dances,

11:13

twelve couples all on the floor together,

11:15

and we're not trying to put on a show other than

11:18

wanting to win, right like when we're in the

11:20

competition world. But for this, like

11:22

there's so many ins and outs that we all had to learn

11:25

as we were experiencing it in real

11:27

time. Anyway, I

11:29

hate like I said, I just don't

11:31

love it because it puts me sorry.

11:34

Start over. So every

11:37

second of our dance is vital, right,

11:39

you only have ninety set back then, which

11:41

was too long. You have ninety seconds and there

11:43

really is no room for error. So once you dance

11:45

live, we don't get second chances

11:48

because it's a live show. So why why

11:50

not eliminate just as much stress as possible

11:53

unless you nail whatever wardrobe change

11:55

you're doing. Let's say, from the moment you try it at

11:58

rehearsal to the moment you dance live. Anyway,

12:01

I love George and Edita, but I give them a six.

12:04

Tom basically says

12:07

to the judges, Len,

12:10

what do you look for in the Pasa doblay

12:12

And Len said, well, it's the most theatrical

12:15

of all of the dances. You want to be transported

12:17

to the bullfights have It

12:19

should have passion, aggression, blood

12:22

on the dance floor, fire. I want to see all

12:24

of those elements of aggression. You

12:26

want to see the man be macho and strong.

12:28

And Tom said, well, did you see that here, and Lenn

12:30

said, George, you said you were going to cut out

12:33

the gimmicks. I know you

12:35

had a sword, a cape. I've got to

12:37

say what it lacked was technique,

12:40

but you made up for it with great entertainment.

12:42

That's funny. Carrie and said, what I think

12:44

hurt you the most though this time was the

12:46

mask. I could not agree more. What's

12:48

so great about you, George? Half of your

12:51

performance comes from your face, and

12:53

I felt like we lost a lot of that by having

12:55

you wear that mask throughout the routine. Bruno

12:57

says, George, the character was there. You did that all

13:00

of the way through. But again, you spun the

13:02

character more than you did your steps. But

13:04

you can't be faulted for giving always

13:06

a great performance. The judges

13:09

scored them, I thought great. I mean

13:11

seven seven, seven, that's a twenty one out of thirty.

13:13

I gave them a six. Samantha asked

13:15

George in the red room, how are you feeling? And George

13:17

said, I'm great. I'm gonna go and cut my throat

13:20

now. I look,

13:22

it's funny, but I'm pretty sure back

13:24

then, look that I

13:26

think I'm gonna cut my throat right now. Probably

13:28

wouldn't fly today. But George honestly

13:30

seems super disappointed. But to be honest, twenty

13:32

one out of thirty generous honestly for what

13:35

he executed that night with Edda to Zzoro

13:37

for their post Dope life.

13:47

Okay, so let's move on to couple

13:49

number two, Tia and Max

13:52

dancing a foxtrot. Let's take

13:54

a look at their package. Okay,

13:56

so we've got a couple number two, Max

13:59

and Tia career. She

14:01

was in New York, so they obviously

14:04

didn't out of studio package. And let me tell

14:06

you what this consists of with a result

14:08

show. So let me give you an example.

14:10

I did the same thing with Emmett every

14:13

single week, but it wasn't as far as New York.

14:15

It was Dallas, his hometown. We'll get

14:17

there season three as to why we were doing this.

14:19

But okay, so last

14:22

week, Week three of the competition,

14:24

Giselle Fernandez and Jonathan Roberts went home,

14:26

so it was actually in the bottom two. It was

14:28

Giselle and Master P. Right,

14:31

Giselle went home, Master P got saved. So

14:34

Tia, I'm pretty sure was

14:36

thinking to herself, Well, depends on what she was

14:38

doing. Pressed for I'm pretty sure she was doing Pressed for another

14:41

project. She was like, oh, probably, by halfway through

14:43

the competition, I'm not going to be there anymore. Wrong.

14:46

So they get on a red eye,

14:48

so you do your shows Monday

14:50

and Tuesday. You barely have slept

14:52

because you go straight from CBS,

14:55

straight to LAX, get on

14:57

a plane. By the time you land New

15:00

York, it's already eight in the morning,

15:02

so you don't go to your hotel

15:05

freshen up, take a nap. There's none

15:07

of that. You're up, so you better get some sleep

15:09

on the airplane or you just have to suffer. And

15:12

you know, I'm pretty sure with

15:14

adrenaline running through your body, I could never sleep

15:16

on these planes. By the time I was crashing, it was when

15:18

I had to get off a plane and start rehearsing. So

15:21

it's tough, right, your your brain is foggy.

15:24

Then they show Max and Tia

15:27

basically at Live with Regis and

15:29

Kelly. I've done their show Rest in Peace

15:31

Regis. From Regis

15:33

and Kelly, Tia and Max go to

15:35

max Is Dance Studio because their

15:38

whole spiel and story was

15:40

so that Tia can get some

15:42

inspiration seeing his kids

15:44

dance, and then it cuts to Max and

15:47

just kids doing like drills. So a

15:49

lot of these kids, you guys know, it's the cutest.

15:52

You might want to rewatch this, honestly because

15:55

you will recognize a lot of people, Like Kikey's

15:57

on there. That's Coco's fiance. He

16:00

was on so you think you can dance. He's like a little

16:02

boy. He looks so cute. And

16:04

then you see a few close like family

16:06

and friends, like they definitely

16:08

made their appearance on Dancing

16:11

with the Stars, like when we did that dirty dancing

16:13

number and I danced with Tony

16:15

and then like little Val was an our

16:17

backup dancer. It was so

16:20

much fun and holy hell,

16:22

just ages me a little bit. But anyway,

16:25

so Tia has her like

16:27

jaw dropped to the floor seeing these kids

16:29

with so much discipline, and

16:32

you could tell Max is really proud of them

16:34

and he's really showcasing

16:36

what he does. And then it cuts to Max

16:39

basically saying that this is his world.

16:41

You know, he teaches around five hundred kids

16:44

that dance at his studio and he's trained

16:46

you know them into like champions,

16:49

really champions on television and

16:51

champions on the competition floor. So

16:53

they they still have these dance studios

16:56

all across like they franchised him.

16:58

I think I believe they franchised these videos

17:00

out within the United States. They're doing great,

17:03

and I love that Dancing with the Stars back then

17:05

they were cross promoting. You know, they were trying

17:07

to help us dancers as well, which

17:10

is awesome. I love that synergy.

17:13

That's something that you guys should do too. Continue

17:15

to do. Hey, why not support hashtag

17:19

people supporting people? Co workers

17:21

supporting co workers. And I'm kidding anyway,

17:24

So Tia, you can

17:26

tell her like whole outlook

17:28

on this competition, even though like

17:30

she's at that point where she wants to throw in

17:32

the towel, I'm pretty sure she was

17:34

able to really see Max in his light, and I

17:37

probably I can bet that she gained

17:40

a newfound respect for him, you know, and saw

17:42

his passion and he wasn't

17:45

just the bad boy of ballroom after all, you

17:47

know. So and

17:49

then Max also seemed

17:51

to get that extra boost of energy that he

17:53

needed to continue on in this competition.

17:56

Like I said that halfway point, you guys,

17:59

when you watch the show next season, just

18:02

start looking out for it. Like I mark

18:04

my words, it is exhausting,

18:07

like you don't see the light yet at the end of the tunnel,

18:10

but like you're almost like at a breaking

18:12

point where like anything you say

18:14

to your partner or any look you give

18:16

them, or any even feedback

18:19

like doing your job could trigger them.

18:21

So beware.

18:25

Anyway, let's take a look at their foxtrot. Okay,

18:27

so oi Tia and Max.

18:30

Their foxtrot started off great,

18:33

I mean meaning like they weren't in hold yet, right.

18:35

They had a classic foxtrot song.

18:38

She looked dropped dead, gorgeous as always. She's

18:40

just losing so much weight every

18:42

single week, like literally probably five

18:44

to ten pounds every week, it looks like it, at least

18:46

her arms. She's sleeveless, like you

18:48

could tell when the celebrities start to lose

18:51

weight, they start to show more skin, right, so therefore

18:54

maybe those that may not have shown

18:56

their arms now show their arms. Like TIA's

18:58

wearing a beautiful halter type

19:00

top with Swarovski ab stones

19:03

all around her neck like as if she had

19:05

like a diamond choker into

19:07

a sleek black foxtrot

19:09

gorgeous class classical

19:12

dress, and she

19:14

had her hair up in like a French twist. She

19:16

was like, uh, she

19:18

was like a Tia version of Marilyn

19:20

Monroe. She's just dropped at gorgeous,

19:23

like honestly, wow,

19:26

striking. Then the music starts.

19:28

You know, she has a rhythm, right, so she's never she's

19:30

not off time, like for example, I would never

19:32

put d L. Hugh Lee to start an opening

19:35

of of our dance by

19:37

himself to like even do like a step

19:39

touch on on the beat, like it ain't happening

19:41

right. Like you can tell right away from when the first

19:44

day you meet your partner, you put some music on, say

19:46

what what would you do to this music? You know, and you can

19:48

tell right away if they have rhythm or not. It's shocking

19:51

sometimes actually, but we can manipulate

19:53

that that's not the that's the least of my concerns.

19:55

But once they get in hold Tim

19:58

Max, she stumped like,

20:01

oh my god. Max also ps

20:03

has an amazing frame. I think I've said this before.

20:05

His frame is nice and wide. His elbows are at

20:08

a ninety degree angle, something

20:11

that you know to look at

20:13

like any future pros

20:15

whatever, it's important because

20:17

why the wider the better. Okay,

20:20

anyway, he's stable, he's there

20:22

for his partner. You can tell there's a lot of ease,

20:24

like as far as their energy goes, like I

20:27

think the I think week two in week

20:29

three was really rough for them

20:31

as far as personalities clashing, and

20:34

I think they both found a

20:37

new respect for one another. You know, when

20:39

Tia talked back at Max. Week two,

20:42

Max bring Tia to his

20:44

dance studio in I believe it's

20:46

Brooklyn or in Manhattan.

20:48

I'm not so sure. Don't quote me, but

20:51

I think that they have now become

20:53

because you know, when you go and visit like Max

20:56

and Val, I mean, I've experienced this. They take

20:58

you in like you go and have dinner

21:00

with everyone, and it's not just let's eat, Let's

21:02

eat and talk and have a drink

21:05

and have fun. And it's like a whole

21:07

gathering, you know, of a close

21:09

knit of family and friends. And

21:12

I've always had a great time with their family. Anyway.

21:14

The point is is that they obviously are

21:16

friends now, like they they've established

21:18

this foundation. But Tia

21:21

is exhausted, like she has a newborn

21:23

baby. There's a lot of factors,

21:25

right that come with everything the traveling. I'm

21:28

telling you right now, it takes your your

21:30

equilibrium is thrown off Okay,

21:32

I'm not even kidding. Like whenever

21:35

I get off a plane and I have to put my dance shoes

21:37

on, whether even just that same like within

21:39

the next couple of hours, I cannot spend

21:41

and then land on balance,

21:44

like I'm always off balance. And I

21:46

believe it's the altitude. It's like trying

21:48

to get your feet back onto like the

21:50

ground right like you've been flying cross

21:52

country. I'm pretty sure they must have

21:55

just landed like Sunday.

21:57

If they landed on a Sunday, they probably went straight

21:59

to camera block looking and then Monday

22:01

morning, her call time was at least six am.

22:04

For sure, it was six am. They always bring

22:06

the celebrities. Even if you dance last during

22:09

the live show, your call time is just as early

22:11

as if you were dancing first. So that's

22:14

hard. And then on top of it, you know, she

22:16

has your newborn baby and she's breastfeeding.

22:19

I believe she was anyway,

22:21

no excuses, but she stumbled.

22:24

She stumbled for most of the routine.

22:27

And this is the thing. Though

22:29

I said foxtrot is easy, foxtrot

22:31

is also challenging because it's slow, so any

22:33

mistake that happens, you're

22:35

screwed. And Max didn't

22:37

hide it either. He literally was like, I

22:40

mean, he wasn't upset, like there's

22:42

a difference, right, Like he was just like taking

22:44

it easy. He was just like, it is what it is. Brush

22:46

it off. But then she continued to mess up. Poor

22:49

girl. She finally got the ending. I almost

22:51

feel like she's better off doing side by side choreography

22:54

than hold because it is technical. It's

22:56

harder to dance slower than faster. You know,

22:58

We've said this, and so I I think she's

23:00

gonna get I don't know who knows

23:02

what the judges are looking at, but from what I saw,

23:05

didn't see any other rehearsal. Obviously,

23:07

from what I saw, this was

23:10

definitely her weakest performance of

23:13

her season and of her

23:15

time on the show so far. Do I believe

23:17

she should be the one eliminated or even in the

23:19

bottom two, Absolutely not. I think she's

23:21

got a couple more people just to let

23:24

them go. Starts with an M, ends with

23:26

a P and yeah,

23:29

she'll be okay, I hope anyway. I give

23:31

Max and Tia

23:34

a seven. So

23:36

Tom asks Lenn, what do you look for in the foxtrot?

23:38

And he says, I look

23:41

for elegance, you look for gentle

23:43

rise and fall, easy flowing

23:45

movement. Did you find it well? Lenn

23:47

responded to Tom and said, you had

23:50

a little blander early on, which I thought

23:52

you covered And she said, no, really

23:54

that I don't know what you're talking about.

23:56

And he says, yeah, well, you probably weren't

23:59

looking over there, but you've got such beautiful

24:01

grace and charm about you, and you portray

24:03

the dance. You're so beautiful,

24:05

and then Karrian goes up blunder. I didn't.

24:08

I didn't see that, And the

24:10

only thing I saw was your chinet was

24:12

off in the middle. That see, her equilibrium

24:15

is off you guys, that was my one point Carrie

24:17

and said that that's the one negative.

24:19

Other than that, I thought it was a great blend of

24:21

technique, what and performance and elegance,

24:24

and I loved your transitions, a great job. And

24:26

then Bruno says it was full of grace,

24:29

your interpretation was radiant, but you did

24:31

make some you know, footwork

24:33

mistake. I'm afraid in the foxtrot. The footwork

24:36

is what it's all about. That was dramatic,

24:39

Yeah, calm

24:41

and basically, look,

24:44

he said, just other than your footwork, you were radiant

24:46

right, and that was that.

24:49

I think that the judges overlooked

24:51

quite a lot, my gut,

24:53

you guys are saying because they want master P out

24:55

of this competition, so therefore, okay,

24:59

this is us a conspiracy. But

25:01

I think what happens is when somebody

25:03

is not wanting to be there and

25:06

pissing the judges off actually for disrespecting

25:09

the sport, which is very rare, you get someone

25:11

like master P. I think master P is in like

25:13

a world of his own or a league of

25:16

his own, right, Like I don't remember

25:18

anyone that was so like,

25:20

refused to even put Dan

25:22

Shows on. I don't remember anyone else other

25:24

than him. So what

25:26

happens I think when it comes to stuff like

25:28

this is that look, you could

25:30

still like only the executives and

25:33

standards and practices know the votes, but they

25:36

do talk to the judges, right, so if you

25:38

do the math, you could probably tell the

25:40

judges. Look, if you score everyone over a

25:42

seven and you score master

25:44

P a four, he's going home.

25:47

I just think that sometimes this happens,

25:49

just saying like you could still manipulate

25:51

it without getting in trouble with standards and practices.

25:54

Eh. Anyway, let's

25:56

get Tia and maxis scores.

25:59

Tom says for the break TN

26:01

Max dance a foxtrot, the judges described

26:03

as radiant. Oh my god, you guys, there

26:05

are scores. Let's check

26:07

out their scores. Oh my god,

26:09

nine eight, eight, say what

26:14

okay? The only reason I can give

26:17

these judges some grace is because, like, yes, we

26:19

need Master P out of here. But if

26:22

my conspiracy theory is actually the

26:24

truth. But twenty

26:27

five out of thirty, that's great, Samantha says. And

26:29

then she goes, I know that you tripped up a little

26:31

bit, and so are

26:33

you okay with what happened out there? And she goes, well,

26:36

yeah, of course, you know they you

26:38

know, even professional dancers trip

26:41

over themselves. And Samantha

26:45

goes, you've been training really hard and you

26:47

have a new baby. The competition

26:49

just gets tougher because every couple will be doing

26:52

two dances per show. Are you afraid

26:54

about burning out at all? She goes, well,

26:56

you know, Master P talks about the Hood, George

26:59

talks also so about the

27:01

Hood, and I'm from the original hood,

27:03

She said, motherhood. That was

27:06

great, What a great answer. And

27:08

then Samantha goes, nice, okay, all right,

27:11

and she goes well to help Tia and Max stay

27:13

in this competition, you know the drill

27:15

people. I sure hope you do. You got

27:18

a vote anyway, that's amazing motherhood.

27:20

I wonder if she rehearsed that. I don't know if

27:22

she didn't. Good answer

27:25

on your feet, quick witted. Okay,

27:36

a couple number three, Master P and Ashley.

27:38

Tom starts out and says, your votes

27:40

brought them back for another round. Can't

27:42

wait, he said, rap for mogul

27:45

master P and his partner Ashley

27:47

Delgrosso. So then it cuts to you

27:49

know, a flashback of their week

27:52

of their jive the previous week,

27:54

and freaking Len Goodman being pissed,

27:56

basically saying that, you

27:58

know, I must say, I think it's time you and this

28:00

show parted ways. And that

28:03

it cuts to master P saying I'm not angry with him,

28:05

like I told Ashley, you know, we're just going

28:07

to pray for him. I don't think master

28:09

P understands it takes

28:11

a lot of time to learn the movement and the

28:13

facial expressions and the and

28:16

the possibility that there's a difference

28:18

between that face and the

28:20

one that's more aggressive. Right, there's like

28:22

more aggression. This is Ashley talking. She

28:24

goes, so are you planning

28:26

on practicing tomorrow before you leave? Or

28:28

are you not practicing tomorrow? It's driving

28:31

me nuts. And then master P says,

28:33

you know, I've put in enough time into training,

28:36

so I'm getting desperate.

28:38

So I decided to take him to Utah.

28:40

Okay, So basically Ashley decided to take

28:42

master P to Utah right to

28:45

meet her family, hoping to maybe

28:47

give him a little bit of inspiration. And when

28:49

I say, you know, I've known Ashley since we were teenagers,

28:52

and Ashley's got a huge family.

28:54

They're all gorgeous, and I

28:57

just they're very welcoming. So hopefully

28:59

he was able to relax and you

29:01

know, get to know Ashley a little bit and where she came

29:04

from, and you know, going

29:06

to Utah, getting him to get on

29:09

a plane to go to Utah, this is a good sign. Right,

29:11

so we'll see. You

29:14

can tell they ran into you know, people

29:16

love him, like people were stopping them on the streets

29:18

wanting to shake his hand, get his autograph.

29:22

They adore him, they really do, he is

29:25

and then they have a snowball fight, so they're

29:27

really bonding, you know, and Ashley

29:29

has done such a great job with really trying

29:31

just to get to know him. And

29:34

even though there's polar opposites like nothing,

29:37

I mean, they couldn't be any different

29:39

than what you see right like, but

29:41

still she was able to embrace whatever

29:44

was in front of her and do the best that she could

29:46

with what was unfolding in front of her.

29:48

Right So she should have won

29:51

the mirror Ball this season. Seriously, I would

29:53

give her mind. But my rats, my

29:55

rats, the rats in my storage in my old house,

29:57

as you guys know, attacked it. Why

30:00

I threw it away. So but anyway, I

30:02

give her a virtual mirror ball because

30:04

she really handled this whole situation like

30:07

a pro that she is.

30:10

Let's check out there Posa Doublay, And

30:12

of course the first shot I see

30:15

is at least it is not with a

30:17

pee on his hat. But I do

30:19

see him wear a fedora. Maybe he can

30:21

get away with a fedora. But let's see if he's got dance

30:23

shoes. Because I can tell you this much, for the pasta

30:25

Doubla you cannot not wear dance shoes,

30:28

preferably a Cuban heel

30:30

master p and Ashley's Posa doblay

30:33

was okay, though I have to say

30:35

I'm not giving him credit whatsoever. But Pasaoble

30:37

is a marching dance, like what is positobla.

30:40

It's basically marching. You're not stomping

30:43

like the stomp. The noise that you hear is just

30:46

what it should be is our body weight going

30:49

into the ground, which then creates

30:52

a sound if you wear dance

30:54

shoes. I tried to zoom

30:56

in, but because of the quality of the video

30:58

and having it be back in two thousand

31:00

and six, I couldn't tell. And

31:02

less Master P sold Patton

31:05

Brown Leather Master or p Miller

31:08

shoes. May I think he might have been wearing

31:10

dance shoes. I don't know. I just want to

31:12

comment on a Pasa doblay

31:14

that looked not like a Pasa doblay.

31:17

His suit was amazing. Shout out to mister Garrow.

31:20

You know that he hooked it up obviously

31:22

made that from scratch in the turnaround,

31:24

which was less than three days. Awesome,

31:27

Good on mister Garrow. Shout out to

31:29

him again, sending you love anyway.

31:32

Master P. On the other hand, he

31:35

though he has that natural like mug

31:37

like he's upset you know he was able

31:40

to then get away with it. As far as facial

31:42

expressions go, I hate judging facial expressions,

31:44

as you guys know. But as quality of movement

31:47

from foot to foot, it was just him

31:49

literally walking and Ashley

31:51

actually dancing circles around

31:53

him, meaning spinning around him. He supported

31:56

her but like, honestly he could lift her up with one

31:58

finger. He you know, whenever she kicked

32:00

her leg up, he was at least there for her leg

32:03

and then at the end when she did a backbend. But

32:05

between that, right, this is a long

32:08

piece of music, especially when you're watching

32:10

this and it's just him barely

32:12

moving his arms as if his arms were paralyzed,

32:16

and I just could

32:18

feel that he felt like he looked stupid.

32:20

And again, if

32:22

you're trying to come on a show and you don't

32:25

feel cool and you think you're not cool and

32:27

you're trying to be cool, you don't sign

32:29

up for this show like you

32:32

look cool when you try, right, Like, it's

32:34

just the it's the opposite. Like even when you make

32:36

an ass of yourself and be a little self deprecating,

32:39

is when you are cool or when

32:41

people find you sexy. For

32:43

example, quickly Rob Kardashian

32:45

and Jack Osborne. You never thought

32:47

that these two were going to make the finals, but because

32:50

they just gave it all and

32:52

same thing with Bobby Bones, Like they didn't give a

32:54

shit. They were just here to do the challenge, which

32:56

was become a ballroom dancer or

32:58

try to be and they did. They weren't

33:00

worried about if Oh well, let me take that

33:03

back. Rob was worried about it in the beginning,

33:05

and then he started just making fun of all the pro dancers

33:07

and that was his inspiration. It was just taking

33:09

the piss out of everybody, you know. And

33:12

I'd be like, show me what Sasha looks like, show

33:14

me what Val looks like, or Max, what Max

33:16

looks like? And he would do it like he would

33:19

exaggerate the movement. And there's

33:21

certain people that you can do that with, and there's

33:23

certain people that you can't, you know, and Master

33:25

P's one of them. So as much

33:27

as they bonded on a personal level,

33:30

they still are at a sink as far as a dance

33:32

couple goes. I give Ashley

33:35

and master P uh three.

33:38

It was the worst ever. Let's

33:40

hear what the judges have to say. Okay,

33:42

so I'm not so sure why Tom

33:45

said this, and he goes just before we hear from

33:47

you, judges, I just want to remind you that

33:49

where a family show, it's live and

33:51

kids are watching. Bruno starts

33:53

out and says it was it

33:56

was. Oh, shut up, Clint

33:58

said. He says, it was. You

34:00

look like a child on a mole

34:03

lost looking for his mother. What I

34:05

mean, how can I I can't judge

34:07

something that has gotten nothing to judge. There

34:09

are two steps, steps

34:12

to the right, step to the left.

34:15

But it's true, he said. You know

34:17

you have to give me something out of which

34:19

I can give a constructive criticism too. But

34:22

I'm afraid there wasn't anything

34:24

to say. I'm sorry and master

34:27

p for me. You dance as though your

34:29

heart's not in it. This is from Lenn Goodman.

34:31

And I know the viewers think they're being kind

34:34

and bringing you back, but they're not. They're being

34:36

cruel to you. And

34:39

Ashley is just not happy. Look this

34:41

is oh they're not you

34:44

know, they're being cruel to you. To

34:46

Ashley, to the judges, Honestly, it's time to

34:48

go. And then Carrie and said, I actually thought

34:50

that that was your best dance. That this

34:53

is ridiculous. Carrie says, I'm going to

34:56

give you that because you deserve that. That was your best

34:58

so far. Say what I'm

35:01

going to say though, And

35:04

you know it's supposed to be a dance with a

35:06

matador, and there was just no posa double

35:08

in that, and I didn't see the matador at all.

35:14

And then Thom says, just let's hang here and

35:17

hang back for a little bit until we get the judges'

35:19

scores. They tease Stacy

35:21

Keebler and Drew Lache and

35:25

now we're getting back into

35:28

the live show to check out

35:30

Master P and Ashley He's scores.

35:36

Thom says, we've been trying to keep Bruno from physically

35:38

attacking the audience while you were watching

35:40

commercials. Before the break Ballroom,

35:43

bad Boy P and his partner Ashley

35:46

del Grosso danced topasa double the judges

35:48

described as a dance of death. Let's find

35:51

out their scores. Okay, the judges have their

35:53

scores, and it was oh my god

35:55

for too two. Okay, yeah, there

35:57

was, I mean, I was being

35:59

nice. Game of three. Ashley's just laughing.

36:02

That is the lowest score in the history of Dancing

36:04

with the Stars. It has to be. But

36:07

all I actually feel bad for Master p

36:09

and now because like, honestly, he

36:12

was trying. He got on a plane, he visited Ashley's

36:14

family. He didn't have to do that. I

36:16

know, I went from like hot and cold in two seconds.

36:19

But like he's not trying, So that's it,

36:21

Like that's the thing he's trying when

36:23

it comes to like the packages and stuff.

36:25

But oh,

36:28

he's mad. He goes,

36:31

you know, she

36:34

said, Oh, Samantha goes, you've trained twenty

36:36

hours total since the show began, but everyone

36:38

else, on average is trained around one hundred

36:40

and thirty hours. He goes, well, you know, I mean, I think the

36:42

judges is taking it's take. I'm taking

36:45

it a little personal. If they listen to the music

36:47

and where I come from. You know, I got a new album

36:49

called Living Legend. You all could go listen

36:52

to that. Meaning to the judges

36:54

what And he says, but

36:57

it's a ballroom competition, I know. But I think

36:59

they're making the shoes a little bit

37:02

more personal than what's going on. You know, the

37:04

fans out there, I love y'all. Do you think

37:06

that what you did out there is ballroom

37:08

dancing? And he says yeah, because it

37:10

was about to look like the emotion

37:13

and only come across

37:15

as this like fighter, and he says, you

37:17

all keep hating, We're going to be all right.

37:20

Oh my goodness, do you think master Piece

37:22

committed? And as she goes, well, yes, you

37:24

know that's a tough question. There's moments

37:26

you want to you want me to be hard, but I just

37:28

want to say, you know, he he is

37:31

his own commitment. I can't force someone to

37:33

do something they really don't want to do.

37:36

Okay, I hope he goes home. Oh

37:39

my god, this is I think he's by

37:41

far the most difficult celebrity.

37:45

And I

37:47

don't know. I just think he I don't think we've had anyone

37:50

like him. Can you guys think of one?

37:52

I can't. Anyway, I'd

37:55

be happy to move on to the next couple. Let's do

37:57

that, shall we? So awkward? I mean I even

37:59

feel the tent over here, and I'm watching

38:01

something that was aired close

38:04

to two decades ago. Let's

38:14

move on to couple number

38:17

four. Stacy Keebler and

38:19

her partner Tony Devlani dancing

38:21

a fox shot and if I remember which

38:23

I think I do. This was definitely

38:26

a great dance for Stacy, let's

38:28

check it out. Okay, So Tom introduces

38:30

them WWE superstar Stacy

38:33

Keebler and her professional partner Tony Devlani.

38:37

They had to do a recap of her tango, which I

38:40

had said in my previous recap

38:42

rewatch series that she was kind of a motionless

38:45

She didn't really connect as far as the passion

38:47

and the intensity goes in the tango

38:51

and then uh, and then it cuts

38:53

to Tom doing a voiceover saying, however, the grueling

38:56

schedule has been tough on Stacy

38:59

and she says that I'm basically cuts to her

39:01

interview and Stacy saying, I'm having a rough

39:03

day and I'm exhausted. See this is the halfway

39:05

point. I'm just feeling super overwhelmed

39:07

and I really am pushing myself to the limit. My

39:10

neck it feels like I have rocks on my shoulders,

39:12

and then my back is just really really sore head

39:14

to toe. Physically, I'm a freaking

39:17

mess. And then you need a day

39:19

off, is what Tony said. Sometimes it's actually

39:21

really good to take a little break. And

39:23

then they you cut to them at

39:25

the spa getting foot rubs and

39:28

then with cucumbers on their eyes,

39:31

which is really cute, you know. I'm sure obviously

39:33

Tony didn't care and probably most

39:35

likely did the secret rehearsal, but at night, who knows.

39:38

And then

39:40

you just hear them say, oh, this feels so good. I

39:42

remember they took me an Emmet towards the end

39:44

of season three to a spa as well,

39:46

so I think this was like the motivation or inspiration.

39:49

I believe they showed me this clip before

39:51

I agreed to doing that. Then it cuts

39:53

them, cuts to them back in rehearsal and

39:56

just talks about how happy they are they got massages,

40:00

and she said that, look,

40:02

you have to switch or Tony said, you have to

40:04

switch the mood for the foxtrot, which is definitely

40:07

more of Stacy's vibe, which is elegant,

40:10

soft, flirtatious, fun, you

40:12

know. And then

40:14

Tony goes, are you ready to kick some butt right now? It's

40:16

just such a great day for the both of us to

40:19

just relax. But now it's crunch time. Tony

40:21

says, I want to come out on top. Stacy says

40:23

when she's dancing foxtrot, she comes

40:25

alive. This is going to be her dance.

40:28

Tony said, now, let's

40:30

check out their dance. Stacy Keebler

40:32

and Tony just danced at foxtrot

40:34

that I saw and look, was

40:37

it impressive? No? Was

40:40

it very much

40:42

an American smooth fox shot, which

40:44

is what the rules are. However,

40:47

when you know your judges, or your

40:49

judge the main one at that time,

40:52

mister Lenn Goodman wants you

40:54

to do more hold,

40:57

like more standard style of

41:00

ballroom dances that are technically

41:03

that you're able to do American smooth too.

41:05

Why not do it like that? Is just my

41:07

one thing, like why would you go and

41:10

do an eighty percent of open American

41:13

smooth and not do any standard. Now, with

41:15

all of that being said, I

41:18

didn't really see like one feather step.

41:21

I maybe saw one. I saw one twinkle,

41:23

and I saw one hairpin, which

41:25

is all like technical steps,

41:27

but like not enough to where

41:31

Len's not going to say anything. Now, I don't know what the judges are

41:33

going to say, as you guys know, I do this

41:36

before I hear what the judges have to

41:38

say and the scores that they're going to give. But I just

41:40

want to say that like for me, whenever

41:43

I would get an American Smooth number

41:45

and I would learn this from my coach, right,

41:48

you want to start off

41:50

in hold like you want to do your intro whatever

41:53

that is. Obviously, don't milk

41:55

it too long, like if you have someone who can

41:57

dance, push it. Like with one Pablo

42:00

ended and started and in the

42:02

middle we had ballroom

42:05

hold standard style foxtrot,

42:07

even if it was an American smooth, because there's

42:09

nothing like your last impression,

42:12

right, like for example, a Viennese

42:14

waltz on Dancing with the Stars is also considered

42:17

or you can dance it with breaking

42:19

hold, which means it's American smooth. So

42:22

I would it didn't matter for me. I would

42:24

make sure that I would put in reverse or natural

42:26

turns in hold as the last thing that Len

42:28

saw, so he couldn't say that I didn't

42:30

have enough standard in it, or

42:33

that I didn't I wasn't in frame enough, you

42:35

know, because it's like again, it's just all you need

42:37

to do is add like four bars, which

42:40

which is basically four counts of eight

42:43

in hold at the end. And I

42:46

highly I don't think he ever has called me out

42:48

for that, because that's important.

42:50

You got to be strategic. And I

42:53

just feel like it was too easy for her. And

42:55

this is something that obviously we

42:57

all want our celebrities to get there,

43:00

but I think the choreography wasn't challenging

43:02

enough. I think they could have played with the music

43:04

a little bit more. Her arms

43:06

could have stretched out, you know, she kind of

43:08

had this like chicken wing arm.

43:11

Not sure what that is, but I know it's a

43:13

style that both, for example, Tony

43:15

and Max do not sure why,

43:17

but this is something that again, like

43:19

Dennise Richards would say that, Julianne

43:22

says something about right when when

43:25

you know, Juliane came up to her, I think after their

43:27

quick step or whatever dance it was. She

43:30

didn't do a lot of them, but I

43:32

said, why does Max always do this? And

43:34

it's like, at the end of the day, it's

43:37

a style preference, like why do I always

43:39

I don't know what I always do. I'm sure the dancers

43:42

know though, right, Like I would love to know actually

43:44

what I do a lot of which is probably

43:47

my my niche and then

43:49

everyone else has theirs, right, But

43:52

like Tony, with the experience that he has,

43:54

you would have expected and mind you, Tony also

43:56

has a beautiful frame, just like

43:58

Max, like that generation, like

44:01

they've got a great frame, like

44:03

as far as with goes, wingspan

44:06

goes again something

44:08

that should be

44:10

displayed and definitely

44:14

showcased more. But with

44:16

that being said, she was too light on

44:18

her feet, she didn't glide as

44:20

long, especially with the length of her

44:22

leg. She really could have used that

44:25

to her maximum and to her benefit,

44:28

but it almost looked like she was walking through

44:30

this. But again, with all

44:32

of this being said, she's still an

44:34

amazing dancer. You can't take that away from

44:36

her. But I wish I would

44:38

have seen it's halfway through the competition. I

44:40

think it would have been smart to step it up

44:43

a little bit though. I know they danced

44:45

to like a Nora Jones song that was kind of monotone,

44:47

but again, play with the music,

44:50

you know, it was like it was just two in ninety

44:53

eighty to ninety percent of it was not in hold,

44:55

So I don't know. I'm like Lenn,

44:57

I would have liked to see

45:00

a little bit more standard

45:03

because it's a that's the challenge.

45:05

Like this didn't look challenged. It's like a jazz

45:07

number done to a foxtrot song.

45:09

Really, I give Tony and

45:11

Stacy a

45:14

eight only because like, if

45:16

master P did what she did, obviously I'd give

45:18

them a ten, but because I just

45:21

feel like it just didn't challenge her at all this

45:23

dance. Unfortunately, who

45:26

knows, but either way, they

45:29

don't have anything to worry about obviously. Let's

45:31

see what the judges have to say. So

45:34

Carrie says, if that is

45:36

you and there is it? Okay?

45:38

Good. I thought it was a good job. It was elegant

45:40

and you're always you know, the way you move

45:42

is beautiful. But I felt like you retired

45:45

this week when you did your first

45:47

develop a. It was kind of like you got it here

45:50

and you just kind of it was like elegant

45:53

and good, but I did not see

45:55

its totality. I'm sorry, And

46:00

Bruno totally disagreed. He

46:02

says, if you could do a develope like that, then

46:04

you could talk. Because I'm thirty years in the business.

46:07

She's got the best legs I've ever seen. See

46:09

banter between the judges amazing. I

46:11

wonder if Carrie An took offense to that. And

46:14

then she says, I want to give you a moment for

46:16

rebuttal because you may have lost her

46:19

in the haze because there was like ground

46:21

fog, and he goes, no, I saw it. Len

46:24

goes, it wasn't as graceful as it normally

46:26

is. I know how great you know. I

46:28

think you're fantastic. I'm not arguing

46:31

that you're not fantastic. I just thought

46:33

this was a lovely step that Tony did.

46:36

She did that develop a then you went straight

46:38

into a feather step. It was absolutely

46:41

amazing. The technique

46:43

was great. Clearly Len was happy

46:46

with it, which is shocking. Maybe he's scared of Tony

46:48

from when he was pissed off the first time around. But I

46:50

didn't see a feather step, not one. Oh

46:52

maybe I did, but it wasn't in hold actually, so

46:55

it is what it is. Anyway, Let's

46:57

get their scores. Tony and

47:00

Stacy dance a fox shot, Tom says, and the

47:02

judges described the fox shot as gorgeous.

47:04

Let's get their scores. Carrie

47:07

In gives her an eight. I agree, a

47:10

nine from Len and a nine

47:12

from Bruno. Oh right, well

47:14

that's a total of twenty six out of thirty.

47:17

And then she asks Stacy if she's happy with that.

47:20

And you know, every week you've

47:22

been receiving rape reviews from the judges,

47:24

Samantha Harris says, Giselle Fernaniz

47:26

was eliminated and she was receiving also

47:28

high praise from the judges as well. Are you concerned

47:30

at all that the voters out there are not voting?

47:33

And she said, Stacy goes, you

47:35

know, I'm going to think every

47:38

single person right now, because even one

47:40

call or one vote will help

47:43

us not be eliminated. She goes,

47:45

I'm definitely concerned about that, and

47:47

I think pretty much everyone in this room right now is,

47:50

so please vote. Let's

47:52

move on to couple

47:55

number five. Yours

47:57

truly, Andrew Lache. Okay, this

47:59

is the famous thriller Pasa Doble.

48:01

Let me give you a little backstory here before I get reminded

48:04

of more when I watched our package. But this

48:06

was the Pasa Doblay where I walked

48:09

in and I wasn't prepped, mind

48:11

you, So this was also hard for me, Like this

48:13

was the halfway point. I was exhausted.

48:16

Remember I was a party goer by night and

48:18

a ballroom dancer by day. It was

48:20

it was catching up to me. Put it that way. My brain

48:22

I was dead, brain dead. My

48:25

coach wasn't in town. I remember that. I

48:27

remember she was actually teaching out

48:29

of town, which meant that she couldn't

48:32

help me because I would

48:34

get help. Obviously, I didn't even know

48:36

what the heck I was doing, let alone

48:39

choreograph of Pasa Doblay and then do

48:42

the man step and into an iconic

48:45

song like Thriller. Shoot Me anyway,

48:47

So I walk into

48:50

rehearsal and I'm not prepared. I

48:52

don't think I went out that night. I sure hope not. But

48:56

and I just basically gave them nothing, Like

48:58

I honestly couldn't even teach him first steps

49:00

because I was just not a

49:03

teacher really at that point. Like I had

49:05

one student when I was living in Harlem.

49:07

Like I said, like I think I

49:10

talked about all of this before, but it

49:12

was really difficult, and I think I

49:14

was just mentally and physically exhausted

49:17

coming from a jive that was like action

49:20

packed. You know, our bodies have

49:22

zero time to recover, because

49:25

recovery doesn't mean continuing

49:27

to dance, right. Recovery means to stop

49:30

physically moving and like you

49:33

know, self love, and none

49:35

of that is happening when you're in the

49:37

trenches. So let's see

49:40

what this package is. I'm actually really excited,

49:42

or maybe I won't be who knows,

49:44

maybe it'll hit a trauma response.

49:48

Let's see. Okay, so our

49:50

package is an interesting one, I

49:52

must admit, but let me just first take

49:54

you a step by step. Here we do a

49:56

recap, as always Tom and

49:58

his voiceover you, Tom say that

50:01

basically, Drew and I and Stacy

50:04

and Tony tied

50:06

for the top at twenty seven points

50:08

last week, right when we did the jive and they

50:10

did the tango. And then

50:13

it cuts to me basically

50:16

working on Drew in rehearsal

50:19

on how to be a matador and

50:21

just the way that he carries himself. And

50:23

I keep saying to him clearly I'm getting more comfortable.

50:26

I'm saying, you look too soft, and I don't think this was produced.

50:29

And then and

50:31

then I guess, and I totally forgot about this, you

50:33

guys, but I guess Dancing with the Stars hired

50:35

an actual matador to come to our rehearsal.

50:37

You guys have to check this out. This is hysterical.

50:40

But he like literally comes in with his full

50:42

get up. So he's got high waisted gray

50:45

pants with a real like ballero

50:47

jacket and a dirty like

50:49

from an actual like bull ring,

50:52

like a dirty freaking cape,

50:54

and actually it really does

50:56

help with Drew, Like he teaches

50:59

this, he teaches us how to walk, how to be

51:01

arrogant, and how he needs to portray

51:04

that style right of like

51:06

just looking overly confident

51:09

and arrogant, especially with a song like

51:11

We're about to Dance to which they don't even hint

51:13

at. Actually, I have to

51:15

say this was one of two dances I got

51:17

nominated for an Emmy four. Drew

51:19

said at the end that you know, basically he needs

51:21

to really work on his idiosyncrasies

51:24

so that he hits everything, and you

51:26

know that he stands out from the pack, and

51:29

he really wants to get

51:31

his character down so that there

51:34

is no room to be tied

51:36

with anyone. That he's in his own basically

51:38

league of his own. So let's check

51:41

out our dance a Emmy

51:43

nominated choreographer over here.

51:46

The reason why I think I lost, I'm not saying

51:48

that I should have won, but I was also up

51:50

against high school musical Kenny Ortega. Yep,

51:52

that guy, he's huge. I think he had won

51:54

every Emmy before Derek came

51:57

into town, because Derek and Julianne still

51:59

weren't here yet, remember, So, but

52:01

I was nominated twice in one category,

52:04

so I actually worked against myself. I had

52:06

this dance and our Save a Horse Ride a Cowboy,

52:08

two dances in the same category

52:11

the same year, both nominated. I

52:14

took my mom to the Emmys. It was fun. I

52:16

had a great time, and honestly, just to be

52:19

Emmy nominated is a blessing. So

52:21

don't need a freaking gold shiny thing

52:24

anyway, Who needs a freaking trophy

52:27

when you've got one mirror

52:30

ball left? Okay, Drew

52:32

freaking nailed this dance, Like

52:35

I mean, for a smaller guy to

52:37

look like he's taken up the whole ballroom

52:40

floor just by his presence.

52:43

His chest was open. Honestly,

52:45

best dance that we've done, even though I loved

52:48

his jive, but this was just something

52:50

that you could tell he felt confident in. There

52:53

wasn't a lot of First of all,

52:55

all of our steps were from the technique

52:57

book, Okay, so we just decorated

52:59

it. We only did one eight

53:02

count or maybe two eight counts of

53:04

the Thriller dance, and

53:06

I felt so uncomfortable doing it. I could tell, like

53:09

I can see my body language that that I was

53:11

like, let's just get back into chasse capes.

53:14

But the fun fact hashtag

53:16

bts my dress. Actually they copied

53:18

it from a dress that I wore,

53:21

not with my last partner that I lived with

53:23

in New York, but my partner before that. And

53:26

I remember a lot of my dresses I brought

53:28

with me that I had to wear for these pro numbers

53:30

because this was still the beginning of the

53:32

whole franchise of Dancing

53:35

with the Stars, and you know, they

53:37

must have not had budget

53:39

from season one to two, But wow, did

53:41

that change after season two? I think anyway,

53:44

I'm thinking to myself, like, would this still be something

53:46

that would fly today? Uh,

53:49

it would have to be jazzed up. Like there's

53:51

certain dances like our jive for example,

53:54

that would the choreography itself would

53:56

be amazing. But what I would have done different with

53:59

Drew now then

54:01

back then is add that like rebound

54:03

that tick that he needed in the jive, like

54:05

dance more on the balls of his feet. Now

54:08

for this Pasa dobla, it was

54:10

clean, like this was something that like I think Master

54:12

p could have done if he would have put more hours

54:14

into it. Like I'm not kidding. It wasn't hard

54:17

or intricate, but it was musical and

54:19

he was able to create shape. He wasn't

54:22

chasing after the music because the music itself

54:25

wasn't fast. I didn't add a lot of syncopations.

54:28

His cape work in the beginning was amazing,

54:30

and his knee walks were some of the best

54:32

knee walks that I've ever seen with

54:34

all my partners. Really, I

54:37

don't know if he were he must have worn nee pads. And then,

54:39

like you know, there's just certain moments and

54:41

their memorable moments. Like the

54:43

level of choreography isn't what's being judged,

54:45

it's the execution. And what he did was

54:47

he executed an amazing pasa

54:50

doblay for like a student if

54:52

I were doing pro Am Open Gold

54:54

for example, which is like the highest level

54:57

that you can do as a pro am student, right,

55:00

So it had all of those basic figures.

55:03

He created lots of shape and spatial

55:05

awareness between his elbow and his ribcage.

55:08

He had his chest open, he hit

55:11

it all. I think what I would have done different too,

55:13

would be change his wardrobe to where

55:15

his neck wasn't so closed,

55:17

Like he wore a button down shirt with a

55:19

vest with a red tie. But I

55:21

would have had them like make the collar

55:23

half the size so that he had more of a neck

55:25

so that he looked a little longer. But

55:28

other than that, I mean, he killed it.

55:30

I'm not going to score myself, as I

55:32

never do, so let's hear what the judges

55:34

have to say. We were so happy,

55:37

like you know, like I said, there was time to bow, audience

55:40

were going, they were going crazy. Nick Lache was

55:42

there, his wife was there. We

55:46

were both very happy. He nailed it. Like this

55:48

is the thing with Drew and I forgot to tell you guys this,

55:50

but like he's a performer, so I would

55:53

only get fifty percent of him at rehearsals even

55:55

if we were running through it. Even if I

55:57

would tell him, okay, let's pretend we're

55:59

doing it for like live, still

56:02

it wasn't the same intensity or

56:04

the same I

56:06

guess passion until

56:09

we would go live, like not even dress rehearsal,

56:11

he would he wouldn't turn it on till later. And I didn't

56:13

start to realize that until like halfway

56:15

through the competition at this point. And it

56:17

would always aggravate me because I'm like, we all dance

56:20

different when you are going full out,

56:22

but like I guess it's normal. For example,

56:24

during the pandemic with no audience,

56:27

I must have felt different like as far as

56:29

maybe not as spastic and

56:32

crazy or I wouldn't say it like in

56:34

a negative way, but it's like a performance

56:36

level. When you have an audience, your

56:39

whole energy and aura

56:42

changes, right, which then you

56:44

know, Denise talked a little bit about it as well,

56:46

that she just would feel so different, and

56:48

that's because you know, we

56:52

we feed off people's energy in

56:54

general, and then that takes everyone

56:56

up a notch, even the pros. So let's

56:58

hear what the judges have to say for Pasta Dobla.

57:01

Lenn said that you went out there, you really gave it everything

57:03

you got. Other than that, everything

57:06

was just perfect. And Carrie

57:08

Anne was saying it was such a thrill to

57:10

watch, especially when you broke out into that

57:12

side by side thriller bit. I

57:15

love your performances. Bruno

57:17

said your performance was the best Posit

57:20

Dobla ever that a celebrity

57:22

has ever done in any series

57:24

I've ever seen. We come back from

57:26

commercial break and Tom

57:28

says, tonight you watched one of the best

57:31

dances. Drew

57:33

and Cheryl danced at Posita Dobla. The judge

57:35

is described as the best Posita Dobla ever.

57:38

So let's get those scores. Carrie Anne

57:40

gave us a nine. Oh, I guess we don't get

57:42

tens. Len gave us a nine, just kidding.

57:44

Bruno gave us our first ten week

57:47

four. Halfway through the competition. I

57:50

know what Drew's thinking. Though, we still didn't

57:52

get too tense like Stacy Keebler. Anyway,

57:55

then it cuts. I'm so excited. Actually I'm

57:57

jumping up for joy. Didn't realize like a jump

57:59

that high. Samantha says, you know with

58:01

Stacey, she says, she's concerned with

58:04

your high scores. If not, you

58:06

know, as far as voting goes, like how important

58:09

is it? And Drew says, I mean that's fifty

58:11

percent of the vote. And he says everyone really

58:13

needs to call in because no one's safe.

58:24

Okay, we've got the second to last couple here. We've

58:26

got Jerry Rice and Anya. They're going to

58:28

be doing a foxtrot. Tom says

58:31

they slipped down the leaderboard and

58:35

you know, will he gained some yardage with his

58:37

foxtrot. It's NFL great. Jerry Rice

58:39

with his professional partner Anna Trebunskaya.

58:41

On Thursday, Jerry handed off a lively

58:44

jive to the judges but caught nothing but criticism.

58:47

It was more like jeriatric. It cut

58:49

to Len saying that and basically

58:52

said it was slow. I think that word jeriatrics,

58:56

you know from Len. I

59:00

don't remember my last doctor's visit, he said during

59:02

rehearsal. And

59:05

I want redemption is what Jerry says with

59:08

my Super Bowl ring, Like I have a Super

59:10

Bowl ring. We want redemption. I want it

59:12

bad. And

59:14

then it cuts to Anya saying I'm worried about Jerry's

59:17

posture and the elegance of

59:19

his lines. I want to win this. Jerry

59:21

goes, whatever you want me to do, I'll give it a try. So

59:24

then they go to a ballet class where you see

59:26

Jerry wearing not tights. He probably

59:28

refused, but he's definitely

59:30

trying, you know, to see

59:33

what else he can do. Which, by the way, if he only

59:35

gave her four hours, this takes a whole

59:37

day of shooting this outside package.

59:39

But the good thing about foxtrot and I

59:42

have to say, Anya is really great at both styles.

59:45

She is a lovely, smooth and

59:47

standard dancer. Just as much I believe

59:49

as she is a Latin dancer, which is very rare.

59:51

Actually normally it's like one

59:54

is better in a different style than

59:56

the other. Right, Like it's hard to be a

59:58

ten dancer, meaning like five

1:00:00

dances in the Latin category five dances

1:00:03

and standard. There are some ten dancers

1:00:05

out there that compete, but I always find

1:00:07

that they are like, in a way mediocre at

1:00:09

both, because how can you be an expert in

1:00:11

everything? You can't anyway, cuts

1:00:14

to their rehearsal in my ballroom. Oh

1:00:16

my god, you guys have to see this. If they were

1:00:18

in my ballroom just now at home,

1:00:21

my actual ballroom that I still have standing

1:00:23

from the house I grew up in. I

1:00:25

love that. My mom probably loved it.

1:00:28

She's like, yes, we made it.

1:00:30

I'm kidding. I love you, mom.

1:00:34

There they are in my ballroom. Oh my

1:00:36

god, looks exactly the same. Maybe we need a

1:00:38

little update, but yes, they rehearse

1:00:40

there, then they rehearse back at my first dance

1:00:42

studio at Imperial Dance Club.

1:00:46

Jerry says, look, we're gonna take it. He said,

1:00:49

We're going to take it wherever we need to go.

1:00:51

Whatever I'm willing to do except give

1:00:53

up his golf time. He

1:00:56

says, we haven't picked up yet, so hopefully that's

1:00:58

going to happen at this moment. We're going to take

1:01:00

it. We're gonna take this foxtrot all

1:01:02

the way to the finish line. I may have made

1:01:04

some of those words up, but let me take

1:01:07

it. Let's take a look at meaning

1:01:10

me at their

1:01:12

foxtrot. I'm hoping this is a better dance

1:01:14

for Jerry. Okay,

1:01:16

So, Anya and Jerry just danced a foxtrot

1:01:18

that I saw, and they had a great piece

1:01:21

of music. They danced to why

1:01:23

Don't You Do Right, which is a classic

1:01:26

foxhot You actually hear a lot at

1:01:28

dance competitions, and I have to say, this

1:01:31

is what I mean, Like, this was a perfect ratio

1:01:33

of closed hold versus open

1:01:36

smooth right. He had eighty

1:01:38

percent standard, which obviously was

1:01:40

not comfortable for Jerry because you could tell

1:01:42

he peaked at the end when they were side

1:01:44

by side doing more American smooth style.

1:01:47

But that's not like, really the challenge you have to mix

1:01:49

it though. I know it's American smooth, but still

1:01:51

if your judges want standard

1:01:53

and frame, you got to give it to them,

1:01:56

and it's harder, you know, like if

1:01:58

this was just anything type

1:02:00

show, which is starting to be actually,

1:02:03

then the challenge, what is the challenge? Like,

1:02:05

especially if the person you dance with

1:02:07

have dance experience, has dance experience,

1:02:10

Like, there's no challenge, right because

1:02:13

you can guarantee this that there'll

1:02:15

be no celebrity who's ever had ballroom dance

1:02:18

training before. That's for sure. Whether they've

1:02:20

had partnering or they've danced maybe

1:02:22

at a Fred Astaire or Arthur Murray, that's

1:02:24

another whole thing. But like

1:02:28

if they have like jazz backgrounds

1:02:31

or they have hip hop, and you have

1:02:33

a show that says it's a ballroom show, but

1:02:35

then anything goes and there's no rules, then

1:02:37

it's going to look like an like Arianna and

1:02:39

Pasha's quick step where

1:02:41

they were never in hold. It was probably one

1:02:43

of her easiest weeks, I would assume, maybe

1:02:45

not Stamino wise, but I know she had also

1:02:48

like she hurt herself her

1:02:50

ankle or her foot or something that

1:02:52

they never showed by the way in

1:02:54

their package, which is a shame. But

1:02:56

anyway, I heard that from a little birdie

1:03:00

back to Jerry and Anya. I thought

1:03:03

that Jerry was a little tight up

1:03:05

on top like he because

1:03:07

of their height difference, Like she couldn't have been a better

1:03:10

partner for Jerry because she's very long

1:03:12

and lean. Anya is like

1:03:15

we would have not ever been able to be in closed

1:03:17

hold like I would say,

1:03:19

it's similar to Rick Fox, though Rick Fox

1:03:21

had more like dense, he

1:03:23

had more density to him than Jerry.

1:03:26

Right, But when Jerry had his moments

1:03:28

of spinning, like I love that Anya put

1:03:30

that in his personality came out. Now

1:03:34

could he have glided more across

1:03:36

the floor? Could he have used the floor more? Absolutely?

1:03:39

Could he have been less stiff in his shoulders

1:03:41

and had a longer neck? Could

1:03:43

have his frame been better? Yes? But

1:03:46

this is a big improvement and it's

1:03:48

harder, like I said, to dance slow than fast,

1:03:50

So huge improvement from Jive. Look,

1:03:53

we all know Jerry ain't going anywhere, and

1:03:56

it's not like he's like master P not giving

1:03:58

it his all like you say, like you heard

1:04:00

like Samantha said to master P that you've only

1:04:02

rehearsed like less than one

1:04:06

hundred hours or less than that, like twenty

1:04:08

one hours and compared to any

1:04:10

everyone else, which you know, as

1:04:13

far as hours go. And now that Gazelle's out

1:04:15

we hit like over the one hundred and thirty hour

1:04:18

mark or one hundred and twenty. So Jerry

1:04:20

still putting in the work right, but he has

1:04:22

boundaries. Don't mess up with his Gulf time.

1:04:25

More power to him. So I have to say,

1:04:28

with the difficulty of the choreography,

1:04:31

like Anya really challenged him, I thought

1:04:33

he did a

1:04:35

good job. Was it great? No? Was it

1:04:37

like impressive. It was impressive

1:04:40

that he was attempting to do it, but it just

1:04:42

like they needed another year to like really

1:04:44

refine it, which we don't have obviously. I

1:04:47

give Jerry an Anya a

1:04:49

seven. So let's go to the judges' comments.

1:04:52

Bruno says, well, Jerry,

1:04:55

the gentleman of the competition is back on

1:04:57

track. Elegant, smooth, You

1:05:00

captivated the spirit of

1:05:03

this dance. What you have to watch, though,

1:05:05

is that you have to keep your posture, he said,

1:05:08

And then you just see Len just fighting

1:05:10

with the both of them, and

1:05:13

Tom is like trying to break it up. This is great

1:05:15

t TV. I love their banter. What

1:05:18

you have to watch is that you have to keep your posture

1:05:20

all the way up, one at a time,

1:05:24

one at a time, Tom said, because Len was

1:05:26

like trying to school Bruno

1:05:29

because obviously he didn't know what he was talking about.

1:05:35

Am I going to have to give you guys a time out? Is

1:05:37

what Tom said. I'm pretty sure the

1:05:39

producers egged this on right, like they

1:05:42

wanted this banter between the judges, which they should

1:05:44

continue doing. Lenn says, last

1:05:46

week it wasn't for me. It wasn't that great,

1:05:49

but you came back stronger and

1:05:52

you've gone from zero to hero. I

1:05:55

think tonight, I think finally you had a breakthrough

1:05:57

night. Your posture was beautiful.

1:06:00

Carrie Anne said, you did have a little bit

1:06:03

of a stumble on your grapevine, but you got

1:06:05

right back into it like the athlete that you are.

1:06:08

I feel like you're doing a drill for the most

1:06:10

part. You're a gentleman doing a

1:06:12

fox trot nice and

1:06:15

so they seem very happy, you

1:06:17

know, like I can tell the last couple of weeks

1:06:19

was kind of discouraging. But this is

1:06:21

the difference between athletes and other contestants

1:06:24

is that it doesn't get to them. It actually fuels

1:06:26

the fire. So I wouldn't be shocked

1:06:29

if you would have invested maybe an extra hour,

1:06:31

let's say, in rehearsal. Then the four that

1:06:34

Anya said in our interview. So

1:06:37

they cut to Samantha in the

1:06:39

red room and she said, your kids

1:06:41

have to be jumping up for joy. The

1:06:44

judges were pretty harsh on you guys last week.

1:06:46

How did that affect you and your family? And

1:06:50

Cherry said, all my little one, my nine year old,

1:06:52

she was really upset, and my

1:06:55

wife she was upset. But you know, when

1:06:57

you're down, you just got to fight back, and I think

1:06:59

we did that this week.

1:07:01

You know, you definitely fought back, Anya

1:07:03

said, and I know you have, Samantha

1:07:06

says, a whip that you crack as a coach

1:07:09

and as a partner. So what sort of news training

1:07:11

strategies did you employ this

1:07:13

week? Well, she said, we did the ballet class,

1:07:15

which is a real breakthrough for a gentleman like Jerry,

1:07:18

So that was definitely different.

1:07:21

I heard that football players actually do this

1:07:23

on their off days. I don't know. Anyway,

1:07:25

Let's get their scores. They got

1:07:27

three eighths, which is the highest score that they've

1:07:30

had so far in the competition, which

1:07:32

gives Jerry and Anya a twenty

1:07:34

four out of thirty. And Jerry goes,

1:07:36

look, that's a huge improvement. I'm happy

1:07:38

with that and that's

1:07:41

it. So then Samantha asks

1:07:44

for you guys to vote at home, and then now

1:07:46

we're moving on to our last couple, guys,

1:07:48

Lisa Renna and Louis van Amstell. Okay,

1:07:51

so let me just give you hashtag bts of this

1:07:53

beautiful woman right here. I'll never

1:07:56

forget. My call time was similar to hers

1:07:59

that morning of Live show, right, and

1:08:02

her makeup was freaking fabulous.

1:08:05

And I then because of that makeup

1:08:07

I saw of this performance, I

1:08:10

like hired her makeup artist, shout

1:08:12

out to Adam and like

1:08:14

she was just like she was a goddess. She

1:08:16

had that perfect smoky eye,

1:08:19

the perfect costume. Sorry, you guys, my

1:08:21

voice is slowly going. We

1:08:24

recorded three episodes today. But

1:08:27

yeah, no, she looked freaking like a Spanish

1:08:29

She looked like that emoji before the emoji

1:08:31

was even invented, right, Okay, So

1:08:34

let's get this last

1:08:36

dance in right now with Louie

1:08:39

and Lisa Rena. Okay,

1:08:41

So it cuts to Lisa and

1:08:43

Louie's jive from last week, which was her

1:08:45

breakout dance for sure. Then it

1:08:48

cuts to Lene basically saying that

1:08:50

it was her best dance of the season.

1:08:53

Best performance and

1:08:55

now I've got to just keep up the pace this week,

1:08:57

and she said. Lisa cuts to her

1:09:00

getting out of bed and says, look, I live a very

1:09:02

busy life basically. Actually,

1:09:05

she's own a store called Belgray hashtag

1:09:07

BTS right here or in

1:09:09

Los Angeles on Ventura, and I used to go there all

1:09:11

the time, actually, and she was always so sweet to me. But

1:09:14

she goes, I have to take Louis with me. It's

1:09:16

all about managing my time. My life is

1:09:18

crazy. I make the lunches for the girls,

1:09:20

I make breakfast, I get them out of the house by eight

1:09:22

thirty. We go to school. She

1:09:25

goes to Belgray. She's answering phone

1:09:27

calls and let's not forget

1:09:29

she's also doing I think this is QBC

1:09:31

or some sort of talk show. And then they go

1:09:33

and rehearse. No wonder she's

1:09:36

exhausted, and no wonder she's so fit

1:09:39

when she had time to eat anyway, So

1:09:41

they're rehearsing on the set of I think

1:09:43

this is Days of Our Lives. I have no idea what set

1:09:45

this is, but you

1:09:48

know it's so important. Louis says that we

1:09:50

nail this dance and let me just tell you, Louie

1:09:52

and Pasa doble like it's one of his

1:09:54

favorite dances, and so there

1:09:57

is no half assing it. Knowing Louie, He's

1:09:59

probably make her work hard, which

1:10:01

means she's sore. You can

1:10:03

almost guarantee that. And then

1:10:07

Harry Hamlin and their little girls, Oh my

1:10:09

gosh, you are now beautiful young adults,

1:10:12

young women went to visit them at

1:10:14

Third Street Dance at one of the studios. You

1:10:16

can tell that she has this new positive

1:10:19

energy right like ever since. And

1:10:22

this is what happens. It's like when you come off a great

1:10:24

week, you do walk into the

1:10:26

next week's competition in life show

1:10:29

with a little bit more confidence. Unfortunately,

1:10:32

you know, it's like you're only as good

1:10:34

as your last dance. I think now, if I were to

1:10:36

do the show, it would be different, right, I wouldn't

1:10:39

base my identity or my self

1:10:41

love or self worth on if

1:10:43

I got a good score from the week before.

1:10:45

But I very I did it like I did.

1:10:47

Whether people want to admit it or not, I'm sure I'm not the

1:10:49

only one out there, right. So anyway,

1:10:53

Lisa has always been a hustler, and I

1:10:55

remember that this was like the time too where

1:10:57

we got to know each other a little bit more.

1:11:00

I would witness her hustle, right, she was

1:11:02

like always doing something, always

1:11:05

appearing on some sort of talk show, doing

1:11:07

another movie or TV show

1:11:10

or soap opera. And then

1:11:12

yeah, she's always been like someone I was like,

1:11:15

Oh wow, talk about hustle.

1:11:17

She is the definition of it, and I

1:11:20

have a lot of respect for her for that. Actually,

1:11:22

so let's look at their pasa do blay.

1:11:25

First of all, Lisa looks drop dead gorgeous. She's

1:11:27

got like an eight pack. She is

1:11:30

the definition of spray

1:11:32

tans. Okay, talk about someone

1:11:35

who really took

1:11:39

in the character of what ballroom dancers look

1:11:42

like from week one, Like she must

1:11:44

have just taken Louise's advice. She

1:11:47

obviously knows what looks good on her body. She

1:11:49

literally looks like from the neck down, looks like Edita.

1:11:53

She had a little bit of a wardrobe mishap.

1:11:55

I would say, a quarter into her Pasa doblay

1:11:58

where her heel got stuck in her

1:12:00

skirt, but she continued,

1:12:02

she moved forward. Look,

1:12:05

it was an amazing Positoba. You can tell

1:12:07

like there was a moment, which was a beautiful

1:12:09

moment between Lisa and Louis where they

1:12:11

just connected and there was like she had

1:12:14

this sense of freedom and she was like in

1:12:16

character, she was like screaming.

1:12:19

She was definitely feeling the music

1:12:21

and feeling herself, which is always

1:12:23

a beautiful thing to witness, especially

1:12:26

coming from someone a couple weeks

1:12:28

ago who just didn't feel confident,

1:12:31

who felt discouraged, who almost

1:12:33

felt like she wanted to throw in the towel.

1:12:35

Really she was emotional and

1:12:38

now you know, she's just liberated,

1:12:40

and that alone is

1:12:42

a beautiful thing. And I think

1:12:44

that was this moment at

1:12:46

the halfway point where you either love

1:12:49

or hate each other, and they definitely have

1:12:51

created a strong bond. You

1:12:53

know, they're very similar characteristics

1:12:56

about these two, right, Their personalities

1:12:59

are similar. They're both hard workers,

1:13:01

they're determined, and they

1:13:04

were living in their own little bubble. I'll never forget

1:13:06

it, like they were like two peas in a pot,

1:13:08

like what she said week one, I think

1:13:10

in their package. Now going back

1:13:13

to their Pasa Dobla, there was a lot of great

1:13:15

hit musicality moments. You

1:13:17

can tell they danced to the final

1:13:19

countdown, you know, so it was like that Rocky

1:13:22

themed Pasa doblay where for

1:13:24

me, I can't get into that type of

1:13:26

music. I think it's almost a little too like

1:13:30

uh cheesy, right,

1:13:33

But for Louie, like lou I

1:13:35

know, Louie loves this music. And if you love

1:13:37

a piece of music that you're performing

1:13:39

with your celebrity and that you're choreographing, that always

1:13:42

helps. Like I love more of

1:13:44

the traditional like Latin Latin

1:13:46

music. But anyway, there

1:13:48

were moments of stiffness. Honestly, it's

1:13:51

hard because the pasa doblay it is

1:13:53

stiff, but there's also moments

1:13:55

of like the woman should be the cape,

1:13:58

right, So with that, capes are not stiff,

1:14:00

right. Capes create shape.

1:14:03

Capes are fluid, like if you

1:14:05

were to actually use a cape and

1:14:08

like whip it around your body

1:14:10

the way a matador does. There's a beautiful,

1:14:12

graceful way of doing it right.

1:14:15

It's not really harsh. But

1:14:18

what I love is that Louis continued

1:14:20

on and continued the storyline

1:14:22

to where he full on kills her at

1:14:24

the end, and I think that was so powerful

1:14:27

and he doesn't stop, like you can hear Tom

1:14:29

laughing like okay enough, but

1:14:31

instead of them bowing, she just played

1:14:33

dead and I can tell that, you know, you work

1:14:35

on this, like I remember, so

1:14:38

you think you can dance. I don't know if they still do this, but they

1:14:40

just continue on, and that to me is

1:14:42

a little much, but like for this dramatic

1:14:44

dance and for just you

1:14:46

know, this feeling of like, okay, you

1:14:48

achieved it. Like you can tell she felt

1:14:51

good. I don't know what the judges are going to say, neither

1:14:53

did she, but you can tell that no matter what they

1:14:55

would say, she was going to go away

1:14:57

from this dance feeling empowered.

1:15:01

And that's what the show why this show is so

1:15:03

beautiful in the first place. And I just love that

1:15:05

Louie had this experience with

1:15:07

somebody who literally looked

1:15:10

you know, they are

1:15:12

on the same level. They are two

1:15:14

intense people who want to do well and are

1:15:16

willing to do whatever it takes, even with everything

1:15:19

else surrounding their lives,

1:15:21

right when it comes to other work and family

1:15:24

and all of that. But I

1:15:27

don't know, I love these two actually, and I

1:15:29

think this was one of Louie's best partners as far

1:15:31

as aesthetic goes and personality and

1:15:34

everything and just the way they think. I

1:15:36

give Lisa and Louie a

1:15:39

eight. Let's hear what the judges

1:15:41

have to say. Okay, So Kirian

1:15:43

says, at first, you guys came out and I thought, you know,

1:15:46

we're going to go back to you being stiff again.

1:15:48

But I have to say, you nailed it. And

1:15:50

she's jumping up for joy. Louie's

1:15:52

so happy. It cuts

1:15:54

to Harry Hamlin, of course, cheering

1:15:57

for his wife. Bruna says, I

1:15:59

thought you were possessed out there. You

1:16:01

attacked it, you were the character,

1:16:04

you were hot. Well

1:16:06

done, and then Lenn Goodman says,

1:16:09

you did great. He says, you

1:16:11

did a great performance last week. I thought

1:16:14

it was one of your best dances, and I feel

1:16:16

the same again this week. So

1:16:19

awesome. Great, that must feel

1:16:21

so good, especially, you know, considering their

1:16:23

journey and this is what I mean, like you see their

1:16:26

journey right, like you really do. And there was

1:16:28

also a reason why they danced last. Save

1:16:30

the best for last sometimes, you know. So

1:16:33

Tom says, let's get our final scores of the night for

1:16:35

Lisa and Louis. Wow. They

1:16:38

get a nine from Carrie Inn, a

1:16:40

nine from Len and an eight from

1:16:42

Bruno, giving them a

1:16:44

total of twenty six out of thirty.

1:16:46

Wow. Good good on them. They

1:16:49

really deserve it. And

1:16:51

then of course they're asking people to

1:16:53

call. Samantha's basically saying, you're

1:16:55

the underdog. You really seem to come into

1:16:57

your own. How did you finally break

1:16:59

through and overcome all of this? She

1:17:02

says, well, you know, it went from being so terrified

1:17:04

to go out to dance to being excited to

1:17:06

go out there, and you can

1:17:08

absolutely

1:17:10

tell that, you know, she's just changed

1:17:13

her mentality. And I think sometimes you have

1:17:15

to have a breakdown before you have a breakthrough,

1:17:17

you know, Like I think that's just life in general.

1:17:19

The same thing with like what Bennie Guandanino

1:17:22

had said is that you know, until he messed

1:17:24

up, which was not until later in the competition,

1:17:27

was basically once

1:17:29

he messed up, he was able to just relax, right.

1:17:32

And then of course Samitha mentions

1:17:34

the camaraderie, and like I said before, this

1:17:36

was a very special group of people. Lisa's

1:17:39

basically saying, we're having the time of our lives here

1:17:43

and I'm actually here more

1:17:45

than I'm at home, and we're working really

1:17:47

hard, so it's all good. I love it. I'm having

1:17:49

the time of my life and I

1:17:52

really love the creative process and

1:17:54

then asked. She asked Louie, obviously they needed some

1:17:56

time to kill. She asked Louie, how much

1:17:58

do you love being partnered

1:18:00

with Lisa? And he says, you know, obviously

1:18:03

I love her so much. Vote vote,

1:18:05

vote, So, since we don't do results

1:18:07

shows, here is who went home and

1:18:09

who was in the bottom two. Boy, so

1:18:12

the bottom two was TN Max

1:18:15

for their foxtrot. Yeah, I mean

1:18:18

in a way which I hate to say,

1:18:20

they deserved it, but I'm actually a little

1:18:22

bit shocked because TN Max.

1:18:24

Let's not forget she got a nine to eight eight twenty

1:18:26

five out of thirty. George and Edite got

1:18:29

a twenty one out of thirty and they were safe. Master

1:18:31

P and Ashley got a total of eight,

1:18:34

you guys, eight out of thirty. So

1:18:38

the bottom two per week four was TN

1:18:40

Max, Master P and Ashley, with finally

1:18:44

master P getting

1:18:46

the boot.

1:18:49

Goodbye, master P and your p Miller

1:18:51

shoes. Take those with you. Don't

1:18:53

let the door hit you in the ass. Just kidding

1:18:56

anyway, Thank you guys

1:18:58

so much again for all your love

1:19:00

and support and for listening. I know you guys love these

1:19:02

recaps. I hope that I'm doing it

1:19:04

justice, and I really try and include

1:19:07

as much as I can remember, as far as behind

1:19:09

the scenes moments, go, let me know what you

1:19:11

guys want to hear more of. If you want to hear more

1:19:14

of behind the scenes stories, I'm

1:19:16

pretty sure I've told you everything that comes to mind.

1:19:19

Okay, So hopefully you guys

1:19:21

are just happy with these rewatches and recaps.

1:19:24

Let me know though, I always love

1:19:26

reading your comments, and I love a good

1:19:28

constructive criticism. You know, I

1:19:31

love it all, So as long as it's

1:19:33

constructive and done with nice

1:19:36

and kindness in your heart and love,

1:19:39

I'm all about feedback.

1:19:41

So I've heard a lot about I've already

1:19:43

read a lot of your guys' comments about

1:19:45

like talking over people, and I'm

1:19:48

so I'm here to take full

1:19:50

accountability. I appreciate the

1:19:52

note, and I try my best. I

1:19:55

hear you. This is all very new

1:19:57

to me, and I hope I'm at least improving

1:19:59

a little a bit. Love you guys until

1:20:01

next time, Bye bye. Make sure

1:20:03

you guys follow us at sex Lies and spray

1:20:06

Tands on our Instagram handle and

1:20:08

make sure your comment let me know who you want

1:20:10

me to interview. What do you all think let me know