0:01

This is Sex Lies and Spray Tans

0:03

with Me Cheryl Burke and iHeartRadio

0:05

Podcast. Hey guys, welcome

0:08

back to Sex Size and Spray Tans, the rewatch

0:10

series. We're going to jump right in. We're almost

0:12

at the end of season two. You guys. We just came

0:14

off an amazing week with the first

0:17

ever group number that wasn't being judged.

0:20

Salso group number that is with Gloria Stefan.

0:22

That's when Drew, Alisha and I danced

0:25

that famous thriller Pasa doble. And

0:27

now we are heading in to week six

0:30

and actually every couple

0:32

that is left, which is only five

0:35

couples. Okay, so there's only five couples left.

0:37

It's week six. There's still

0:39

an elimination, but we're all doing different

0:42

dances, so let's just get right to it.

0:44

Starting with Jerry Rice and Anya

0:47

Trebunskaya dancing a Pasa

0:49

doble. We've got Tom

0:51

basically introducing Jerry and Anya,

0:53

saying who was furious with the judges last week?

0:56

Well, the ultimate athlete

0:58

was and he hasn't

1:00

settled for his score. It's anfl

1:03

great Jerry Rice, who rivetted

1:05

the crowd with a stylish samba

1:08

which I think he did. He definitely went out

1:10

there. From what I remember, he went out and

1:12

he exaggerated everything and I loved every moment

1:14

of it. And Jerry, Rice and Anya

1:16

are in confessionals saying he's not concerned with the

1:18

judge's scores. You

1:21

know. It's almost like a slap in the face in

1:23

a way. He goes, but I'm just not concerned with it. I'm

1:25

just going to keep on dancing, Okay.

1:28

So now it cuts to Detroit,

1:30

Michigan, where Jerry, Rice and Anya are there.

1:32

He's doing an appearance. They're

1:35

busy and this is the worst time to be busy.

1:38

May I add this is week seven into the competition,

1:40

But basically they headed to the super Bowl, and

1:43

he says, I have obligations, but nothing's

1:45

going to get in the way of preparing myself for

1:47

the Apostle. And then you see him

1:50

basically acknowledged all of his

1:53

fans, saying that they're voting for him.

1:55

It's super cute. I just really

1:57

do love these out of studio packages, actually as of

1:59

viewers so dancing. He

2:01

should do this again. Jerry

2:03

says, I think it's only right to give

2:05

something back, and to give back

2:08

to my community of people who have followed

2:10

my career throughout the years, and

2:13

they're in some random dance studio and

2:17

finally it cuts to them rehearsing

2:19

and yeah, you see

2:21

that. Basically, Anya

2:25

gives him a penny or a coin,

2:27

says, you've got to make sure this coin doesn't

2:29

fall out of your rear end, basically,

2:32

and it's really important. The reason why she does this is

2:35

because the Pasa doblay is all about

2:37

making sure your hips

2:40

and your pelvis is forward, especially for the

2:43

men, right, and in order for that to happen,

2:45

you've got to squeeze the buddheh. So

2:48

in a way, though it's funny and it's a visual

2:50

like, yes that, actually it

2:52

does help because when you squeeze your butt, if

2:54

you do this as I'm talking to you right now, which

2:57

is kind of weird, but if you try it

2:59

naturally, you're this moves forward, so you

3:01

want the majority of your weight

3:03

to be at the balls of your feet, no

3:05

pun intended, Anya says, you know,

3:08

he's got to work on his posture. You

3:10

know, you got to hold this coin in between your butt.

3:12

Jerry is naturally a gentleman, so

3:15

to be a matador in a posita do blaze in his

3:17

vibe. He needs to act more aggressive

3:19

and more proud. It's about time that Jerry

3:21

Rice gets angry and then

3:23

you see them in rehearsal and seeing basically

3:26

her trying to like rile him up

3:28

a little bit and get that anger out of him. He has to

3:30

do all the steps. Anya says, he has to

3:33

be able to execute the rhythms and

3:35

all of that, but he also has to tell

3:37

the story. That's all I have to

3:40

do is think about the judges, Jerry said.

3:42

If they're going to inspire me to go out there

3:44

and be angry and be that matador, very

3:46

good, the matador you're gonna say,

3:48

wow, now he

3:51

was in it. Anya goes, I knew he was a warrior

3:53

on the football field, but now you know he's a warrior

3:56

on the dance floor. Dun, dun, dun. Okay,

3:58

let's watch their dance. Jerry

4:01

and Anya opened up the show with a traditional

4:03

song for the pasa dooble called Aspanya

4:05

Kani. Now, this song is like the typical

4:08

pasadobla you would hear in an actual ballroom

4:10

dance competition, and it has highlights. What

4:12

I love, though, is that they only hit the

4:14

first two highlights and it didn't go on and on

4:17

forever until

4:19

the third highlight. That is something that I

4:21

believe another couple I mentioned prior to

4:23

this episode they went

4:26

on for three highlights and it was just too long. And I

4:28

think the reason why it's not as long maybe this week

4:30

is because we have another group Viennese

4:33

Waltz number that we're doing as a group

4:35

as the last final few couples

4:37

left. But basically,

4:40

I think Jerry it's

4:43

really hard to believe his anger

4:45

or his seriousness

4:47

because he's not as serious. I mean, he is a serious

4:49

guy, obviously, but he's also he's not

4:51

an angry guy whatsoever. So see,

4:54

for me, the intensity definitely comes

4:56

from the eyes, as you've heard me say before.

4:59

But with Pasado, the shaping

5:01

was kind of missing. He did try,

5:03

like I saw him attempt to shape

5:06

between the elbow and the waist right for

5:08

me, his lines were cut off. So

5:10

like in the beginning, there

5:12

is this basic movement where you grow

5:15

because the music starts to grow, and then you

5:17

uphel into like marches.

5:20

Right, I'm trying to translate this.

5:22

It's not what it says in the technique book, but

5:25

they had great syllabus in their

5:27

actual routine like this is a straight up silver

5:30

or gold closed

5:32

gold pro am. I would say routine

5:35

that you would see that in actual in

5:37

real ballroom competitions when teachers dance

5:39

with their students called pro am. But

5:42

with Jerry, he should have used

5:44

his length to his advantage,

5:46

meaning he cut off his arm movement.

5:48

So when your arms are growing, let's say your

5:50

arms are growing and it's going all the way and

5:52

then he just cut it off too short. I would

5:55

have loved for him to really extend and finish

5:57

his lines. Another thing too,

6:00

was that his actual like

6:02

groud, he was grounded, which is great

6:05

to see his I

6:08

think intention should have been more

6:10

towards really keeping that coin in

6:12

between his butt talks,

6:15

that is, and his weight

6:17

needed to come a little bit more forward, almost

6:19

like he was going to fall over, like you're not standing

6:22

You're still standing up tall. But the more

6:24

awareness between his chin and chest

6:27

and keeping his nipples to the sky and

6:29

his weight forward onto the balls of his feet

6:32

would have really helped. There

6:34

was moments in his facial expressions, and I don't

6:36

like to talk about facial expressions because it's really more

6:38

about emotions from within. When

6:40

he's questioning something or maybe he didn't feel

6:43

confident in a certain piece, it shows

6:45

on his face. Okay, So for

6:48

me when I danced the Positive Blate, it comes from

6:50

a real situation

6:52

that I've gone through, or the emotion is a real

6:54

thing. The music makes me feel

6:57

and for some people they don't feel

6:59

it, and that's ok too, but it's

7:01

really hard to teach it. And I think that's when Carrie

7:03

Inn says something like I didn't I feel like it was

7:06

manufactured, or your facial

7:08

expressions didn't show it wasn't consistent.

7:10

It's because they don't feel the music. They just don't

7:12

feel it, and you can't teach

7:14

that. You either feel it or you don't.

7:17

And it's really black and white like that. But anyway,

7:19

I thought it was an overall great job. I

7:22

loved the way that Anya mapped out the choreography.

7:25

You saw Couda peaks, you saw a flamenco section,

7:27

you saw a pels, you saw marches,

7:30

you saw chasse capes. I think they

7:32

attempted a twist turn or two, and

7:35

I feel like his footwork was spot on.

7:37

You know, he was still this is the only Latin

7:39

dance out of the five dances that you can do. Heal

7:42

leads in right, So that

7:44

definitely was something that he executed

7:47

well, I must say, And I

7:50

loved the story. They started weird

7:53

placement on the floor, but that's

7:55

just a style preference, I think. But they started

7:57

facing the stage

8:00

as opposed to facing the

8:03

audience or the front of the

8:05

room, which was odd. But he

8:08

dragged her. It was dramatic. However,

8:11

it wasn't believable one hundred percent

8:13

coming from Jerry. I give

8:16

Anya and Jerry a

8:19

seven. Now let's hear what the judges

8:21

have to say, shall we. Tom Bergern

8:23

asks Len what he looks

8:25

for in Apasta Doblay and he

8:28

says, well, the Pasa Doblay. You

8:30

know, the guy is trying to create the atmosphere

8:32

with the bullfights, strong

8:34

and arrogant, and I must say, you've got right

8:37

into the character. Next week's the semi

8:39

final. I'm expecting everyone to up their

8:41

game. He said. I'd like the amount

8:43

of basic stuff you put in there. That

8:46

was great, but for me there was nothing to make me

8:48

jump up and down. Lenn said. Carrie

8:50

Inn says, I mean that was very powerful.

8:53

The attitude, you know, it's

8:55

lighter, and finally I

8:58

can say it was fantastic, says

9:00

I thought that was definitely your

9:03

energy. It was nice to see your foot work.

9:05

You got a little stumble here and there, but fantastic

9:08

job. And then Bruno says,

9:10

well, it was like Moses

9:12

parked in the Red Sea and you carry down

9:14

that way. It was simple but effective. You

9:16

stumbled a little bit, it was a shame, but

9:19

your attitude was better. It was much much

9:21

better as far as your posture goes, and he

9:23

says good. Now they go

9:25

backstage with Samantha Harris to get

9:27

their scores. Tom

9:30

basically introduces the Viennese Waltz

9:32

and says you might want to wait and see until all

9:35

of the dances before you put

9:37

in your vote. So here they are.

9:40

We're all in the Red Room cheering on Jerry

9:42

and Anya. Anya looks dropped aat gorgeous

9:44

as always, and Samantha

9:46

asks Jerry basically, you know you're

9:48

at the super Bowl being honored, and when

9:50

they were there for their package and you still found

9:52

time to rehearse. And then Jerry says the Pasa

9:55

doblay. You know, just this whole

9:57

show is completely taking over my life.

9:59

He says, I'm dedicated and I knew I had to work

10:01

at the super Bowl, you know, but my partner

10:04

as well. It's like, you know, she's kicking

10:06

butt, so all we can do is just

10:08

put one foot in front of the other. And

10:10

it was also great meeting all the MVPs too.

10:13

So the judges scores carryon. Gave Jerry

10:15

Ann Anya an eight, Len goodmanute

10:17

seven, and Bruno gave an

10:20

eight. I agree with Lenn, so

10:22

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

10:25

It was the same score as last week. Samantha

10:28

pointed out, are you happy with it? He goes, well,

10:30

you know, of course, I just want more. He goes,

10:32

I'm determined and I'm just going to keep working

10:35

and vote.

10:45

Let's move on to yours truly. Couple number

10:48

two Drew and Cheryl. Now, before I even watch

10:50

this, this tango was

10:52

the death of me. Remember it was a

10:54

ballroom dance, so it was a standard dance,

10:57

no breaking hold, regardless

10:59

smooth or standard. I was super insecure about

11:01

it. This is my first season. I

11:04

definitely got help from my coach, Wendy

11:06

Johnson's shout out to her, and I have to say

11:08

this tango became. I think what

11:12

put Drew on the map

11:14

for being a contender. I

11:17

believe it was our first perfect score. But

11:19

this tango like one of the shots

11:22

whoever shot us as far as pictures go,

11:24

whether it was getting images or wire image,

11:27

but it made the cover of like

11:29

Deadline or some magazine or Variety.

11:31

It was Variety, Variety magazine

11:34

basically introducing the show as like

11:36

a phenomenon and how

11:39

it was Emmy nominated for the first

11:41

time. And it was a picture of me and Drue

11:43

doing tango too black

11:45

eyed piece, shut up, just shut

11:47

up, shut up. Anyway, I thought

11:49

it was brilliant. It was really you

11:52

know, it was put together in

11:54

a careful way, but the dynamic

11:57

and the musicality of it. Good

11:59

job, Wendy Johnson. Just saying thank

12:01

you so much for your help. And I have to say,

12:03

you know when I give a lot of credit to Wendy

12:05

for helping me through, especially the first

12:08

few seasons. I was so lost, but I learned

12:11

so much from her as far as

12:13

how to make a pedestrian learn how to dance. And

12:15

I, like I said in my previous episodes,

12:17

you know, she was my secret weapon

12:20

for sure during my time on the show.

12:22

So she deserves an Emmy just

12:25

for that. Because boy or boy, am I not easy

12:27

sometimes to work with when I'm insecure? Anyway,

12:30

let's watch Let's watch the

12:32

magic, shall we? Okay? So

12:34

it starts out with Tom saying, this couple

12:36

got nines from our judges last week. That's right,

12:38

three nines. It's not perfect, but it's not

12:41

peanuts. Uh okay. So then it

12:43

cuts to a clip of our samba

12:45

with the sleeves that I ripped off. So

12:48

they're really pinning us

12:50

and Stacy and Tony up together, right. It

12:53

cuts to Carrie Anne saying you have to really watch

12:55

your shoulders a little bit. She

12:58

said to put your shoulders down, and

13:02

Drew. It cuts to Drew's Master interview saying,

13:04

my shoulders are down. I just don't have a long neck.

13:06

They'll probably look at this interview and say his shoulders

13:08

are up. But

13:11

why do your shoulders look like that? I said,

13:13

and he goes, because they're my shoulders. As I've

13:15

been trying to tell people like this for the

13:17

last four weeks. Lila

13:19

say, family, they're very close, and

13:22

this was the time where his

13:24

wife was pregnant with their first I

13:26

think their first born I believe

13:29

anyway, So you

13:31

know, at Super Bowl Sunday, this family, Cincinnati

13:33

Bengals is their team as something I'll never forget.

13:36

They're from Ohio and they

13:38

take their football very seriously.

13:40

And I'm assuming they must have been in

13:43

the Super Bowl. I better hope

13:45

that. I mean, I sure hope that they were, because

13:47

they just honestly probably needed content for our

13:49

package and they wanted any excuse to bring

13:52

in the big brother, Nick Lachey.

13:55

I'm sure. I'm pretty sure he's the older

13:57

brother right. Anyway, So we're

14:00

rehearsing our tango. First of all, I correct

14:02

Drew and his shoulder problem

14:05

that two of the judges pointed out the previous

14:07

week, and he was making excuses

14:09

in his interview, saying that's just my shoulders,

14:11

like and I don't have a long neck. And then Drew

14:14

goes, I wish you they're going to say something about me just

14:16

doing this interview. Then my shoulders are up, and then

14:18

it cuts to us doing a little bit

14:20

of tango and then me saying that Drew, why

14:23

are you why do your shoulders look like that? And

14:25

so he goes like what and I said, well,

14:28

try and bringing instead of putting your shoulders

14:30

down, try and bring your shoulders

14:33

back, meaning like what I was trying to say

14:35

is rest your shoulders onto your lateral

14:38

muscles on you know, where they are located

14:40

on your back, your shoulder

14:42

blade basically, And so when he did that,

14:44

I was like, oh, it was like a aha

14:46

moment and it changed everything. And

14:50

then it cuts to my interview basically

14:52

saying, you know, just because he

14:54

was able to conquer his shoulder

14:57

problem doesn't mean we're going to stop rehearsing.

15:00

Then we next day we rehearse

15:02

our routine. We're walking through it, and then it

15:04

cuts to Leah, Drew's

15:06

wife, and his brother, Nick Lachet

15:09

basically there to pick up Drew to watch

15:12

Super Bowl Sunday, and I

15:14

was like, uh, uh uh, You're not going anywhere until

15:16

you get this routine. So then they

15:19

I invite them to take a seat. I

15:21

said, you guys can watch if you want, but I'm not He's

15:23

not ready to go yet. And then it cuts

15:25

to us rehearsing and

15:28

Drew pointing out to Nick and Leah

15:31

his wife saying, that's kind of funny.

15:33

That's kind of how you guys like are on the

15:35

show. Like, this is where you guys sit. Then

15:38

it cuts to Nick Leche trying

15:40

to distract us, and he's trying to count

15:43

our actual routine. He's like and one,

15:45

and then Drew's like, shut up, I can't concentrate, and

15:48

then he goes towards Jete

15:50

and like all these non ballroom dance

15:53

moves that you would maybe hear, I

15:55

think in the ballet world or whatever. And

15:57

then Leah goes, that's

15:59

not even what they're doing, and then Drew

16:03

goes shut up as he's dancing with

16:05

me, and then finally he got hit through too.

16:08

Then finally he got his routine

16:10

down and I let him go. Nick

16:13

gets up, tackles Drew, picks him up

16:15

onto his shoulders, and then

16:17

runs out. Look. I

16:20

think this was the only week, to be quite honest,

16:22

hashtag BTS was the only week that Nick

16:24

could come and watch our rehearsals. And

16:27

it was already heading into the

16:29

semifinals, and if we didn't have Nick

16:32

come this week, it was like a big deal.

16:34

It was like, this is the only week we've got like

16:36

the semifinals that's like a whole package

16:39

of its own. I think it's like meeting his family.

16:41

I don't. I think this was the season where they

16:43

would travel, like to wherever

16:46

the celebrity is from or wherever their

16:48

families are located. I don't

16:50

know, maybe not, but then this is the finals,

16:52

right, So this was the last week, and I know

16:54

with Nick's hectic schedule back in the day,

16:56

it wasn't a real issue as far as scheduling

16:59

goes, and it just happened to be Super Bowl

17:01

Sunday. It's basically like Christmas

17:03

at the l'che house hold. That is,

17:06

let's look at our dance, so

17:09

our tango. Shut up, just shut up, shut

17:11

up. Okay. It was super intense. It had

17:13

amazing basic figures

17:16

and moments. There was actually

17:18

one little stumble, so I'm shocked that we got

17:20

a perfect score. However, I'll

17:23

take it as always, but the

17:26

intensity was definitely there. Something

17:28

that, like I pointed out about Jerry for example,

17:30

like Withdrew, he feels

17:33

this music, and I'm not so sure

17:35

if Jerry were to dance apositably

17:37

to another song, if he would have felt that more.

17:40

Now I understand maybe a little bit as

17:42

to why the producers don't

17:44

want all traditional music. It

17:47

depends on the celebrity. For example, when I danced

17:49

with William Levey. We had great traditional

17:51

Latin music, like my favorite,

17:54

right, and that's because of you

17:56

know, he feels it's he's Latin,

17:58

got Latin blood anyway,

18:01

But back to Drew, I thought this

18:03

tango was solid. I

18:05

think we could have done a little bit more when it comes

18:07

to the musicality of it, but you still

18:10

you saw moments of sharpness, you saw moments

18:12

of softness. His footwork

18:14

was great. He had sharp movement,

18:17

yet he still was able to glide across

18:19

the floor. I mean, it wasn't an easy routine

18:22

by any means, but there were certain nuances

18:24

that weren't played out as much as I would

18:26

have liked to see, especially with the level today,

18:28

right that you see on the show now, I don't

18:30

think this would be a great solid

18:33

tango. And mind you, back in season

18:35

two it was amazing, right, no one's ever really

18:37

seen anything like it. But

18:41

I think that nowadays, if we were to

18:43

re let's say, reenact this

18:45

whole tango, we would have to play with the music

18:47

a little bit more and add not necessarily

18:50

harder steps. But I

18:52

think something that I didn't really understand back

18:54

in the day was the fact that Repetition is

18:56

key when doing anything that is a

18:59

crowd pleasing moment, Like there's this moment

19:01

in our tango or in the song

19:03

where it goes stop the

19:05

walk in baby, and I said walk

19:07

it whatever. Anyways, the music goes from like shut

19:10

up, just shut very staccato, right then

19:12

it goes into the slow part and we do

19:14

these like slow walks, which actually

19:16

got the crowd really excited

19:20

obviously, but it was because we repeated

19:22

it. And now I understand like repetition

19:25

not only in the rehearsal space, but also when

19:27

doing a crowd pleasing moment

19:29

like for example, the thriller

19:31

pasaoblate when we bust it out

19:33

into the thriller, like you need to do at

19:35

least eight counts of something in order for the audience

19:38

to really see what they're seeing. Right, So

19:42

I know, for you know, any pros or

19:45

new pros that go on the show, repetition

19:47

is a good thing, especially

19:50

if it's musical and it's in the music.

19:52

If the music, if the if the chorus

19:55

or the verse repeats itself has

19:57

the same mood, you probably want to repeat actual

20:00

choreography with something that I learned as well. But

20:02

I liked this tango because my

20:05

dumb and dummer hair first of all, perfect

20:08

for this number. I loved our

20:10

outfits so that

20:12

helped. We were in like chocolate brown outfits.

20:14

It was really intense, we never lost the character,

20:17

and it was musical. I mean for the

20:19

most part. I would say though, if

20:21

I were between the Pasa doblay and the

20:23

Tango for a perfect score, I would have given

20:25

the Pasa dobla a perfect

20:28

score versus this. But I think

20:30

also with the wardrobe, with

20:32

the whole shoulder issue Withdrew,

20:35

you know, there are ways that you can manipulate

20:38

what the judges see or what the people at

20:40

home see as far as costumes go. For example,

20:43

for me, I've got a longer torso than

20:45

legs, So what do I do to elongate

20:47

my legs? First of all, I always wear heels, hence

20:49

why I hate dancing barefoot. But I also

20:52

make sure that my costumes, like the cut of it

20:55

is high onto my waist so that

20:57

it really elongates my body to make

20:59

it look more balanced. Not

21:01

being mean to myself, it's just facts.

21:03

Now, with someone like Drew, who may not have the longest

21:06

neck, I wouldn't ever put him in

21:08

a closed button up shirt

21:10

with a tie because you're cutting off half

21:12

or and with a high collar on top of it, because

21:15

then you cut off his neck altogether. But

21:17

for this tango, he definitely we

21:20

made sure that they sewed down the lapel. There's

21:22

like tricks of the trade. I make sure all

21:24

of my partners inside their jackets,

21:27

if they're wearing suits, that there's an

21:29

elastic right that goes from inside

21:31

the coat like a button where you can put

21:34

the elastic onto it, and then a

21:36

button onto the trousers so

21:38

that it pulls the jacket down. So when

21:40

you're in frame, if I say to my partners

21:43

in their fittings, because we all do fittings, me

21:45

and my partner and the couples do fittings

21:47

at the same time, different rooms obviously, But when

21:49

I say, okay, let me see your arms in frame, and I

21:51

see the coat rise up right

21:54

away wardrobe nose, I'm a stickler

21:56

for it. Yet there are ways to mask

21:59

that from half happening. There's little tricks

22:01

of the trade, just saying and also

22:03

what helps too to elongate for women

22:05

with maybe shorter legs, let's

22:08

say, never wear colored

22:10

shoes. Always wear the same color

22:12

shoe as your actual skin tone, which

22:14

in this case for me was heavily

22:16

spray tand so I was very brown, almost

22:18

as brown as my chocolate brown dress. Anyway,

22:22

let's see what the judges had to say for

22:24

our tango, because I don't score myself,

22:26

but if I had to, I would have done a nine. I would

22:28

have said a nine, not a ten. But that's okay.

22:32

Let's hear what the judges had to say. So

22:34

Bruno goes, well, the tango the most emotional,

22:36

passionate dance in the

22:39

dramatic form that is, requires

22:42

really staccato movements and actions,

22:45

a no rise and fall, and you

22:47

did everything. It was great.

22:50

Lenn says, you've commanded that dance. It suited

22:52

your personality, all of the aggression, the

22:54

fire at the staccato. It was your best performance

22:57

today. And then Carrie Anne

22:59

goes, they're right, meaning

23:01

the other two judges are right. She

23:03

says, great job, and then Tom goes,

23:06

Okay, I'm sure I

23:09

can guess what you're thinking. Is this the night

23:11

you get the ten or all

23:13

tens? And Drew

23:15

goes, I have no idea, but we're

23:17

going to find out, I guess right now, and so we

23:20

head back to the red room. We're very happy

23:22

with our performance for the most part, and

23:25

let's see do we get a perfect score.

23:28

Okay, so we are now

23:30

in the Red room with the

23:32

lovely Samantha Harris. I

23:34

have got so much makeup on. Okay, fun

23:36

fact, you guys, literally I

23:39

would beg my makeup

23:41

artist who was the head of makeup department. I

23:43

think at that time I was like, you

23:45

need to pack on the glitter, and we need to do a

23:48

smoky eye to where my eye looks all black

23:50

and just a bunch of glitter everywhere.

23:52

Anyway, we get our scores and

23:55

we see the perfect tens with ten

23:57

ten ten. I jump

23:59

up now and literally for joy. And

24:01

I'm so happy. You can tell because you see

24:04

my gummy smile. And

24:07

Drew is basically saying, you know, I guess

24:09

my shoulders did stay down. He says, what

24:12

I love is that you know

24:14

we're dissecting the routine. I

24:16

didn't do that well the

24:18

previous weeks, but now I feel like

24:21

I'm kind of on my way up. And

24:23

then Drew basically gives a shout out to his wife

24:25

and saying, you know, I wouldn't be here

24:27

if it wasn't for her, and also shouts

24:29

out to his family saying, you know, because

24:31

of their support, it has really helped

24:33

me along this process.

24:44

All right, let's move on. We've got George and

24:46

editor the rumba. Maybe

24:49

this is the dance that she wore the diamonds. Shall

24:51

we see? So

24:54

it starts out with George Hamilton and

24:57

his professional partner, Tom says,

24:59

edit test Vinka. It gives

25:01

a recap of his samba that he I thought

25:04

butchered, but he's still got a great score.

25:06

Maybe it was because they wanted master p

25:08

out, but Tom says last week George

25:11

pared down his props and tuned

25:13

up his technique, scoring big with

25:15

the scintillating samba.

25:18

Len says a recap. You know, there's a saying

25:20

dancing for joy and that's what you brought to

25:22

this. You give everyone so

25:25

much joy. George

25:28

in rehearsal says to edit to okay, I'm going

25:30

to use the technique to go to the

25:32

distance, he says, And there's the difference, you

25:34

know, in age and youth, he says, this week,

25:36

the ramba is very specific the

25:38

way you move, and it's strong and it has to

25:40

be related to the person you're with. If

25:43

it's done wrong, it looks feminine.

25:45

If it's done right, it's sexy. Good

25:47

job, George. This hand that

25:49

always is out there, he says, and

25:52

they do this little twirl. It's

25:55

just not masculine to me. I don't really

25:57

relate to that, other than I

25:59

had a one ful idea to bring in somebody

26:01

that could show me the ramba from

26:04

the mail side. Guess who walks

26:06

in Edit to his husband, Alec

26:08

Mazo. And you know what I have to

26:10

say, I wish that the show would allow mentors

26:13

a little bit. The fact that they don't

26:15

really I guess promote

26:18

us getting help. I think

26:20

this is what the voice does. Honestly, that

26:22

really makes it appealing, especially

26:24

these packages, is when they have mentors.

26:27

You know, nowadays, since the show has been going on

26:29

for so many seasons, they can have celebrity mentors

26:31

on. You know, maybe like old popular

26:34

professional dancers. Thoughts that

26:37

would be a fun little thing to add, right, But

26:39

let me know in the comments on Instagram at sex lives

26:41

and spray Tans if I'm onto something.

26:43

Okay, so you've got Editor

26:46

and Alec basically showing George what he

26:48

needs to do and He's basically

26:50

saying, just copy me with whatever I'm doing. And

26:52

then Alec is now observing

26:55

as George and Editor

26:57

are practicing, and he clearly forgotten

27:00

and blank and Editor was so sweet

27:02

in his ear was like Ford

27:05

left back or something like that or Ford

27:08

side back and whispered it.

27:10

And then George goes,

27:12

okay, thank you, and then Alec goes, what and George

27:14

goes, she asked me for my number? And

27:17

then so cute. It was super charming

27:19

that he just is a charming person

27:22

who literally came on the show

27:24

obviously you know, isn't a dancer,

27:27

but has showmanship

27:30

and has charisma that again you can't

27:32

teach. But it's because of that is where

27:34

he almost made it to the semifinals. He's

27:36

a quarter finalists, you guys, so he beat out

27:38

a lot of good couples, just saying anyway,

27:41

I want you guys to watch this. Make

27:43

sure you go to the link in our bio on

27:45

at sex Lies and spray Tands. Just click

27:47

on that link. It'll take you here. You'll

27:50

have to find I have organized

27:52

everything to where you'll

27:54

see and you'll see it all written out

27:56

as far as what you're looking for. So for this,

27:59

you would be looking for George and Editez

28:01

Rumba because this is the diamonds

28:03

that Edita was referring back to when

28:05

I had interviewed her on the show.

28:07

She said that it was like worth close to a

28:09

million dollars of diamonds, and they

28:12

had security follow them throughout

28:14

the day. She said during rehearsal,

28:17

one fell off her. But she

28:20

is covered in diamonds. She looks

28:22

amazing, like no one has ever looked as

28:24

amazing as Edita. I'm just saying,

28:27

hands down, especially in this number, she looks

28:29

like a freakin movie star, like old Hollywood

28:32

movie star. And then with of course you've

28:34

got George Hamilton in his tuxedo

28:37

made perfectly for him by mister Garro.

28:39

Shout out to mister Garrow. Anyway,

28:41

let's watch their dance. What a great way

28:43

though, to leave on a high note if they do get eliminated.

28:47

I have to point this out because I've been asking,

28:50

or been wanting George to have a bigger base.

28:52

You know, whenever he's not in movement

28:54

or he doesn't have steps, let's say, and let's

28:57

say Editez like dancing around him. I always

28:59

say I wish he had a wider base. Wow,

29:02

this man definitely had a wide

29:05

stance, especially when at

29:07

that certain moment when Alec was teaching

29:09

him this one trick where they're supposed to be stretching

29:11

in opposite directions in order

29:13

to keep balance and not drop Edita,

29:16

you know on her ass, you have to like go

29:18

in opposition, right, that's a lot of ballroom

29:20

in general. You have to you're always in opposition

29:23

in order to create that tension to create

29:25

speed in dynamics between the couple. Anyway,

29:28

that's very technical, but he did

29:30

that, and boy did he look amazing. See

29:32

that's the key, Okay,

29:35

Like if your celebrity can't

29:37

dance, just make him look good standing,

29:40

meaning like really

29:43

manipulate his body, get into

29:45

his muscle or her muscle memory, whatever

29:48

that looks like on your partner or

29:50

your celebrity. It really makes a difference,

29:53

Like if they don't understand basic

29:55

movement, or if it's awkward, or if they just

29:57

are not dancers. Get

30:00

now, I understand. Wendy would always say, just get him

30:03

to look good standing there, meaning

30:05

wide bass feet past

30:07

the shoulders, Like get your

30:10

celebrity used to just looking good

30:12

by just standing there, chest up,

30:15

chin up confidence, you

30:17

know, arms, spatial awareness

30:20

between the elbow and the rib

30:22

cage just like he

30:24

looked phenomenal, but the

30:27

rest not so much. Right, Like, he

30:29

definitely had a lot of cucarachas,

30:31

which are basically it's

30:33

your weight transferring from side from foot

30:36

to foot, but you have to transfer your

30:38

weight fully, like one hundred percent onto

30:40

your leg or else you can't get maximum

30:42

hip action. But his

30:44

arms and the decoration of what he was doing

30:47

was a little too narrow, Like he didn't

30:49

create that amazing space that

30:51

he had during that one trick where

30:53

he created that huge

30:55

base right that looked

30:58

so amazing on him, like I almost

31:00

jaw dropping amazing. You guys have to check it out. Anyway,

31:03

the whole mood, the character, of course, he

31:05

nailed. They had moments where you

31:08

know, he was just laughing at himself, but

31:10

not to the point where it took him out of

31:12

his focus of the routine. I

31:14

think the choreography could have been a little bit

31:16

better. There were moments where I had

31:18

it to accented like shakes,

31:21

for example, like and he just stood

31:23

there instead of I would have just been

31:26

more interactive with my partner and would

31:28

have given him. I think more intention when it

31:30

comes to those moments, those

31:32

memorable moments that people will you

31:35

know, definitely keep in

31:37

their thought process when voting.

31:39

So but again, she

31:42

was dripping with diamonds. She looked

31:44

fabulous. They just looked so good

31:47

together, charming. I

31:49

mean, you don't get a celebrity every

31:51

season like this, right, he has that

31:53

it factor George does, and it

31:56

was so it was like Lent said it the best, like

31:59

it's such a joy to watch these two together. Anyway,

32:01

I give George and Edita a six

32:03

only because we're heading into the semi finals.

32:06

So let's see what the judges had to say. Krrian

32:09

goes, I love your dancing and I love the entertainment.

32:11

She says, well, you know, tonight the

32:13

product is all about the female

32:16

seducing their partner. And actually there

32:18

are just some things I really

32:20

have to raise. You have to really raise

32:23

the bar for Carrin

32:25

said, well, that was a rumba, you

32:27

know, for the female is seducing her male, and

32:29

we like to see lots of hip action. And

32:31

I have to say, you know, you are just such

32:34

a fantastic entertainer that I couldn't take

32:36

my eyes off of you and I saw

32:38

all of it. A little bit more dancing though,

32:41

and you had more hip action, which was on

32:43

par tonight, and Bruno says, well, tonight the

32:45

production was Dynasty, the musical Alexis

32:48

Carrington and Blake Carrie

32:50

Darling. The first encounter, the full story,

32:53

the grammar, what's next?

32:56

What are you going to do next? And

32:59

Len goes, okay, well, a

33:01

little bit of a disappointment for me, he says.

33:04

You know, it's not really

33:06

a rumba. He goes. You know, George, I'm one of your

33:08

biggest fans. I love your dancing, and I love

33:10

the entertainment you give it to me. He

33:12

says, but I saw only one back basic,

33:15

a couple of cucarachas hand to

33:18

hand. There just wasn't enough content.

33:20

You're just standing there. So clearly

33:22

Len was a little grumpy that

33:24

night. But you know, he's right, there wasn't

33:26

a lot of content. And that's exactly what I said. I

33:28

wish there would have been just a little bit more

33:31

substance in their routine as far as choreography

33:33

goes. But let's see what they got

33:36

as far as scores go. So

33:38

here they are standing next to Samantha

33:41

Harris. You see Anya in the background

33:43

there, already in her Viennese waltz

33:46

outfit, ready to do the group number. The

33:50

judges give George and

33:52

Edita an eight, Len

33:55

gives a seven, and Bruno gives

33:57

an eight. Oh, it's pretty good still, giving them

33:59

a total of time twenty three out of thirty and

34:04

basically tying with Jerry, Rice and Anya

34:06

Trewunskaya. Samantha

34:08

goes to George, we know that you're a notorious

34:11

ladies man. You see

34:14

how did it feel to get romance tips

34:16

from last year's winner, Alec

34:19

Mazo. I can't really apply those tips

34:21

from Alec in my regular life, he says, I

34:24

can't apply them at all. He's got

34:26

the girl. Let's

34:37

move on to Lisa and Louis.

34:40

Quick step. Okay, so here

34:42

we have Louis and Lisa's

34:45

package. We have a recap of what

34:48

Carriann basically called their samba a

34:50

disco number, so clearly she didn't like it

34:52

very much. And then the judges were bickering

34:54

and fighting about the fact that Kiaran

34:57

said that, and then it cuts to Lisa's

34:59

package or her master interview

35:01

saying, well, I must be a contender

35:03

because we've got the judges fighting for me or

35:06

fighting about me, And then it cuts to their rehearsal,

35:08

Louis and Lisa's quick step rehearsal,

35:11

and then she gets quite emotional again, and

35:13

I think, you know for her. She points out

35:15

that her last ballroom dance was

35:17

their first dance was the waltz, and that they

35:20

got a really low score. So

35:22

I think there's fear now

35:24

going back to any type of ballroom

35:26

standard or smooth dances, right, and

35:29

with the quick step especially, which is different

35:31

from their walts. Actually they actually cannot

35:33

break hold. That's one of the two dances

35:35

that you have to stay in hold in, which is really

35:38

restricting for most people, and

35:40

they don't have the freedom Like any

35:42

step that goes wrong in the quick step, it's quite

35:44

obvious and everything is puzzled

35:47

or mapped out perfectly, like if the guy

35:49

stepping forward and the girl

35:52

decides to step forward, for example,

35:54

you're going to see them step on each

35:56

other, right, like any I'm sure you guys

35:58

have who have watched the show now for decades

36:01

or years even have seen that, like

36:04

any like missed hop

36:06

or whenever we do the fast footwork

36:09

stuff where it's like kick and out

36:11

and woodpecker, you know whatever, pendulum

36:14

with when we do the footwork,

36:16

and it's not necessarily us moving

36:19

around the floor. It's more stationary, you

36:21

see. When we mess up. Anyway, she

36:23

breaks down because you know, you

36:25

hear Louie or they edit Louie being

36:28

a task master and basically

36:31

saying everything negative, not negative,

36:33

but just being a teacher. I totally

36:36

don't think what he did was wrong, but

36:38

I think at that moment Lisa really needed

36:40

some positive reinforcements. So

36:42

if I were a dude, probably

36:44

not best to partner someone like Lisa with me,

36:47

because I'm also not great at positive

36:49

reinforcement unless deserved. Right. Anyway,

36:52

she probably really needed it. Again,

36:54

you're at the point in the competition where

36:56

you see the light at the end of the tunnel. But any

36:58

little thing anyone says, or bad look

37:00

anyone gives you, you're about to kill someone.

37:03

Because we are sleep deprived, we

37:05

are everything deprived. Anyway, the

37:07

quick step means also when you're doing it

37:09

later on in the competition, the music gets

37:11

a little longer, so that ain't fun.

37:14

And then she also had to practice the Viennese

37:16

group dance right the Viennese waltz

37:18

another ballroom dance, so she has this

37:21

trigger or fear behind anything

37:23

in closed hold or frame. So

37:26

Louie meaning the producers, decided to

37:28

do another out of studio package, which you guys,

37:31

I think, really, you guys should do more of. If

37:33

any producer is listening right now, I think the show

37:35

needs it because it really is a nice break to

37:37

get out of the rehearsal space. Now, mind

37:39

you, if you can find a way to do it in less than just

37:41

like a day, making it not

37:43

take up a full day, that would be great, but who

37:46

knows. Anyway, Louis

37:48

basically says, I decided to bring in someone

37:51

who can teach Lisa etiquette lessons.

37:53

So it's this older woman who

37:57

has an English accent, teaches

38:00

Lisa how to hold her posture

38:02

up by sucking in her stomach, has

38:04

Lisa balance a book on her head, but the

38:07

book falls down. Audience laughs,

38:10

and then it cuts back to their rehearsal

38:12

and it's almost as if she was a magician

38:15

because she was able to get through the routine per

38:17

Louis three times in a row. And

38:19

fun fact, Louie actually loves rehearsing

38:22

and repeating. It's all about repetition.

38:24

So he's not one to shy away from

38:27

a jive, a quick step, a raumba

38:30

like he ain't going to let you leave the rehearsal

38:32

until you get through it from top to

38:34

bottom at least twenty

38:37

times in a row, not even exaggerating.

38:39

He is a stickler for a repetition, hence why

38:41

he was a world champion. Just saying, Okay,

38:44

so Lisa and Louie's quick step, I have to say,

38:46

I mean it was great. I thought that they took up

38:48

too long, like they took up four

38:50

eights, which is I would say, fifteen to twenty

38:52

seconds of their beginning doing really

38:55

nothing. I wish they would have at

38:57

least though the music didn't call for them to like

38:59

dance full out the quick step, they could have

39:01

been a little bit more, or Louie could

39:03

have choreographed something a little bit more exciting

39:05

than just nothing. Right like

39:08

first impression, last impression is

39:10

vital. I

39:12

think that, you know, in general, I think

39:14

I have this. I'm a stickler for a frame,

39:17

right, like frame needs to be a wide, strong

39:20

frame, and you know, Louis and maybe

39:22

that's just not a style, but I don't know. I

39:24

think that his frame was too narrow, which then

39:26

obviously affected Lisa's frame.

39:29

It almost looked like they were walking through their

39:31

quick step until the last I would

39:34

say thirty seconds or less fifteen

39:36

seconds of their routine, where they finally

39:38

kicked it up and they went crazy

39:41

in a good way, like organized crazy. And

39:43

then they ended by running up the stairs

39:45

and running about halfway up the

39:48

huge stairway, the staircase basically

39:50

the two staircases that flank the

39:52

orchestra. But they ran up together

39:54

on one of those staircases

39:57

and ended their routine, And I thought it was great,

40:00

But like, I don't know, I think that I wish

40:02

it would have been a little bit more dynamic. I know, the music

40:05

just slowly like became

40:07

faster and faster, and the

40:10

energy of the music as well didn't really call

40:13

for like high energy quick step, but I

40:15

think that the gliding could have been a

40:17

lot longer, Like if

40:20

you're not doing the quick like

40:22

running or the hopscotch part

40:24

of the quick step, then you should really be using

40:27

the power of your legs and feet to really glide

40:29

across the floor a little bit more and

40:32

to use the connection between two

40:34

people and the energy to use

40:36

each other to really showcase

40:39

and execute that. But I have to

40:41

say it is a huge

40:43

improvement from her waltz. And

40:46

yeah, I give Lisa and Louis an

40:48

eight. Now let's

40:50

hear what the judges have to say. So

40:53

Len says, well, in the quick step, you want to see

40:55

speed, you want to see control, you

40:58

want to see a lovely posture and great movement.

41:00

And Lenn said, you did exactly

41:03

that. And then Carrie Anne said,

41:06

you need to throw all that fear you have

41:08

about ballroom dancing out of the window because

41:10

you can do ballroom girl. Good for you.

41:13

Bruno said, emancipation of

41:15

Lisa is now complete.

41:18

Lisa was jumping up and down for joy,

41:20

and basically

41:23

both Louie and her just looked so happy.

41:26

And they get their scores in the Red

41:28

room with Samantha. But

41:31

prior to this, I just want to point this out, how obvious

41:33

it is that they put me and

41:36

Drew and Stacy and Tony up against each other. He goes,

41:38

next, we'll get their scores, and later can

41:40

Stacy, because she's dancing next, catch up

41:43

to Cheryl and Drew's

41:45

perfect score? Or have they

41:47

turned the tables so funny?

41:50

I don't think they would do this to this day because clearly

41:52

you know that these two couples are most likely

41:54

going to make the final. But anyway,

41:57

they it's interesting how they made that so

41:59

obvious. Let's go to the judges' scores.

42:02

They give Louis and Lisa nine.

42:05

That gives them a total of twenty seven out

42:07

of thirty. So let's move on to Stacy

42:10

Keepler and Tony Devilani. They're

42:12

dancing a jive, so let's take a look at their package.

42:15

Okay, so they do a recap of Stacy

42:17

Keepler and Tony's some performance

42:20

where you know, Stacy Sombo was

42:22

so sexy. Supposedly it

42:24

was a threat. Bruno

42:27

is a huge fan of Stacy, and it cuts to him basically

42:29

saying, your weapon of mass seduction, and

42:33

then it cuts to their rehearsal for the

42:36

jive. You can tell that Tony and Stacy are getting

42:38

along, like they've hit this, They've

42:40

hit the worst part of their whole

42:42

partnership, which was like the bickering and kind

42:44

of like Tony really being super competitive,

42:47

which he still is. You can tell from

42:49

his interviews. He's like, you know,

42:51

getting three tens for Stacy that night was

42:54

just incredible. But we both know that

42:56

what matters in the end, it's who's holding

42:58

that mirror ball trophy in his eye didn't

43:00

blink, so he was in it to

43:02

win it. Tony goes, the all American

43:05

girl gets to do the All American dance in America.

43:07

They're going to love her because you know,

43:10

there was no jive without the American

43:12

soldiers, and that's the reason why people

43:14

jived all over the world. I didn't know that it

43:17

was our troops that actually brought jive to the

43:19

rest of the world in nineteen forty. So

43:22

here they are. They go to Camp Pedalton and

43:25

they are going to test out their jive

43:27

in front of the soldiers who were It

43:29

was really cool to see actually to see all of them

43:31

cheer Stacy on and like chant,

43:34

stay see, stay see. One

43:36

of the soldiers does an interview and says, when someone

43:38

like Stacy shows up here, it boosts

43:41

the morale extremely high, which is awesome

43:43

for these marines. Many

43:45

of them have just returned from Iraq, many

43:48

are just you know, are

43:50

on their way over and Stacy

43:53

goes, oh my god, the reception we got from the troops

43:55

was just unbelievable. I had chills all over my

43:58

body. It was so awesome. You

44:00

know, after getting the three tens last week, I was

44:02

thinking about the next week. Tony says, what

44:04

can we do to inspire ourselves? Visiting

44:06

the troops completely did just that, and

44:10

they are such great supporters. They were really behind

44:13

Stacy and it meant so much to

44:15

us. And Stacy goes, we are approaching

44:17

this competition with a whole new

44:19

attitude to

44:22

get down and jive. So let's

44:24

take a look at that. Okay,

44:26

So Stacy and Tony's jibe. I thought it was high

44:28

energy. She actually,

44:31

in a way shockingly, was able to move buried

44:34

light on her feet. I guess I never have seen,

44:36

you know, Stacy do a high intense

44:40

dance like this, but she was able to look as

44:43

if it was easy, yet she

44:45

was nailing every single step in the

44:47

choreography. The only thing I would say as far as her

44:49

technique goes when doing jive kicks,

44:52

her kicks were a little too outwards.

44:55

Instead of kicking down into

44:57

the floor to create more in

45:00

sharpness like, her kicks were basically

45:02

out past her body.

45:04

Instead of keeping everything nice

45:06

and compact. I would have liked

45:09

to see more rebound, Like she

45:11

got the initial rebound, but then she needed

45:14

to continue that pump bedgive

45:16

pump that you need that is created by

45:19

your ankles and feet to

45:22

be able to execute the rhythm

45:24

of the give, which is like a one and a two,

45:26

A three, A four, a five like that that is

45:28

the rhythm. And it's like she just

45:30

did a one two A three four

45:32

instead of a one, A two, A

45:34

three four. You know what I'm saying. Maybe

45:37

not. Anyway, I thought her kicks

45:39

could have been a lot sharper and more compact.

45:42

But all in all, I give

45:44

Tony and Stacy a nine. I thought it was great and

45:46

fun. Fact, you guys, this is why I had

45:49

no there was no chance in hell in my mind that

45:51

we were going to beat Stacy and Tony, because if

45:53

you were to do the average of their scores versus

45:56

our scores, they had way

45:58

more tens than we have had. Like

46:01

we had just started getting tens, right like

46:03

from our Positoba we got one ten two

46:07

or tango we got our first perfect score. But

46:09

remember Tony and Stacy had

46:11

a perfect score like week three of the competition

46:13

or something, and they've been consistently getting

46:15

really high scores, so and

46:18

they're about to get another perfect score. So that's when

46:21

I think Drew and I were like, we got to really

46:23

step it up for this freestyle,

46:25

just saying. Bruno basically

46:27

says, that was excitement. That was full

46:30

of energy, fast, precise, Your kicks

46:32

and flicks were amazing. Your pivots you both

46:34

did them all like

46:37

a bomb went off. And then Len goes,

46:39

just because you have long legs, that doesn't mean

46:42

that you can't execute jive

46:45

properly. And Daddy long legs,

46:47

you absolutely killed it or you absolutely

46:50

did that. Lenn would never say kill it.

46:53

But there's nothing really much to say other than it was

46:55

pretty much perfect, is what Len said. Wow.

46:58

Carrie Anne also said, yeah, I agree

47:00

with the two judges. That was pretty

47:02

amazing. So they

47:05

go into the red room with Samantha

47:07

Harris and Tony

47:10

says, look, it doesn't matter what we do at

47:12

all. We need your guys's vote. It's very

47:14

important America. Please do your thing.

47:16

Samantha goes, you know, you're known to be a tough task

47:19

master, but we've seen you in a bubble

47:21

bath and we've seen you around with marines. What

47:23

happened to the bad boy of ballroom. So

47:26

basically Samantha eggs it on. She goes, Cheryl

47:28

and Drew come here, because clearly they're asking for

47:30

her to do this in her ears, meaning

47:32

the producers are and she

47:35

goes, you know, you guys got a tie.

47:37

You both got perfect scores, And then Drew goes,

47:39

why can't I just have the one perfect

47:42

score of the night. Why does it always have to

47:44

be up against Tony and Stacy? Just jokingly

47:47

and wow, you see such a huge height difference between

47:49

Stacy Drew was in the middle

47:51

and then Tony on the other side. Wow,

47:54

we're short. Anyway, let's move on

47:56

to the last dance of the

47:59

Corner Finals of season two, the

48:02

Viennese Waltz done too Alicia

48:05

Keys falling. It

48:07

was a hot mess, but I do

48:10

love the fact that we were doing the same dance on the dance

48:12

floor altogether. However,

48:14

I don't think we should have included lifts. But whoever

48:16

was in the middle basically was

48:19

the couple who did

48:21

lifts or a trick, And out

48:23

of every single couple, I think everyone really

48:26

upped their game as far as lifts or tricks

48:28

go. Louis and Lisa, I thought had the most powerful

48:31

one. Louis a trickster, what

48:33

can I say? But except

48:35

for George and Edita, he was literally doing the

48:37

chicken dance, which was quite funny. But you

48:39

know, visually and as

48:42

far as I think spacing goes, you

48:44

know, when you dance with other couples, that's the last

48:46

thing that we want to think about. But I remember hashtag

48:50

bts when we were rehearsing this, because we didn't

48:52

really get to this until like what the

48:54

Saturday before the live show on

48:56

Monday and before camera blocking on

48:58

Sunday. But we didn't really care so

49:01

much about this because one they didn't even show a

49:03

package or film it, and two we

49:05

weren't being scored. However, doing

49:07

two of these group numbers in a row

49:10

in two weeks was a little bit much.

49:13

I think this should have been scored and

49:16

should have been rehearsed more, but it was only

49:18

season two, so I'm gonna throw them a bone. Drew

49:21

and I messed up that was quite obvious, like getting

49:24

into the Viennese like circle or doing

49:26

natural and reverse turns. We clearly

49:29

didn't practice this, and I don't think anyone

49:31

did. To be quite honest, we

49:34

didn't stay in the center, Like whoever

49:36

the couple was in the center was off center. The

49:39

lighting was off, everything was off. It was just

49:41

and then also we have to stay a certain

49:43

amount of feet away from all the cameras.

49:46

So it was just really challenging,

49:48

I think, especially not having the right guidance

49:50

at that time, because we didn't have a Mandy Moore back

49:52

then, so it was kind of up left

49:55

up to us. I think maybe we had somebody

49:57

look at it, but I think maybe Louie

50:00

took over. I don't even remember you guys,

50:02

but it wasn't necessarily

50:04

a great dance to

50:06

end the quarterfinals on. But you

50:09

know, they're still testing stuff out and for the

50:11

most part, you know, it was just the

50:13

point was just to see everyone come together

50:16

and see, you know, who should be moving

50:18

on to the semifinals. And yeah,

50:21

I think we all pretty much. If I were to score

50:23

it, I would give every this whole number

50:26

probably a seven. So

50:29

let's hear what the judges have to say. Len

50:32

says, thankfully, you know, we won't be scoring

50:34

this dance. It's just to

50:36

help you decide, you know, who

50:38

deserves to be in the semifinals. He goes I'm looking

50:40

for lots of rotation, you know, gentle

50:43

lyrical movement, nice hold,

50:46

nice posture. I saw that in the actual Viennese

50:48

Waltz part. I thought Tony and Stacey

50:50

were great, but I thought also Drew and Cheryl.

50:53

Bruno says, I have to go with

50:56

Stacy on this one, and he

50:59

said, look, you've been a force

51:01

to be reckoned with. He said, because you

51:04

have the most beautiful lines and

51:06

your arms are like a beautiful ballerina.

51:09

And he goes, the way you just finish

51:12

your moves, the way you hold your posture

51:14

is just beautiful. Yeah,

51:16

I think it was. Really the rotation

51:19

was lost. The rotation just wasn't happening

51:22

at all. It was kind of messy, to be quite honest. This

51:24

definitely wouldn't fly by today put it

51:26

this way anyway. So that's it. That's a

51:28

wrap for the Rewatch series

51:31

Season two, Week six.

51:33

We've only got two more weeks left you guys.

51:35

Next week is the semifinals and then it's the

51:37

finale. Okay, before heading

51:39

into season three, let us

51:42

know your thoughts, your comments, and

51:44

thank you for listening. Sending you love bye.

51:48

Make sure you guys follow us at sex Lies

51:50

and spray tands on our Instagram handle

51:52

and make sure your comment. Let me know who

51:54

you want me to interview. What do you all think? Let

51:57

me know