Strictly Come Dancing: Week One – What the judges said

The Strictly Come Dancing live shows have got underway for 2026 as the 15 couples took to the dancefloor live for the first time.

As usual, the celebs’ nerves were somewhat tempered by the knowledge that none of them will go home this week, as the judges’ scores will be combined with next week’s judges’ scores and viewers’ votes to determine the bottom two.

Click here to see the Week One leaderboard in full

Scroll on to read what the four judges – Craig Revel Horwood, Motsi Mabuse, Shirley Ballas and Anton Du Beke – had to say about this week’s performances!

Will Best and Dianne Buswell

Routine: Samba to ‘Rock DJ’ by Robbie Williams

Craig: “I really could have done without all of that grinding stuff on the desk, darling. But you know what? I love your energy, but your arms are very sloppy. You need to work on those. I felt like you were taking two bigger steps for the routine, and it was stretching you out too much, and it was not grounding you. But you know what? You have a facility that I think will go a very long way in this competition.” (4/10)

Motsi: “Honestly, this is the first dance, and I think you are made for showbusiness. Because you didn’t hold back. It takes a lot of courage to come here, the first person, and give it to us like that. Certainly there was a party going on upstairs, there was a party going on downstairs. It was a huge party. I need them all in one room. Too much party. It’s like, let’s connect the upper part, the lower part, and have a conversation with each other. I want to tell you something: keep the enthusiasm from today until Christmas, until New Year, until forever.” (5/10)

Shirley: “I agree with Motsi. I mean, you have great potential, and the entertainment value, darling, is off the chart. Also, you have very good timing, and that’s always a good thing for me to see. Criss-cross swaps, nice rotation. When it comes to any of the Latin dance, for the majority of the time, I would love you to stroke the floor with your feet and not pick them up. But you know, you’ve got a lot of potential, darling.” (4/10)

Anton: “Now, that’s a great energy. I love your energy. I thought that was a marvellous dance. Well done. Your hips are quite extraordinary.” (5/10)

Tabby Stoecker and Mark Karmalita

Routine: Jive to ‘Animal’ by KATSEYE

Shirley: “Well, Mark, welcome to our show. And Tabby, you’ve got a true gentleman to dance with. Have a lovely, lovely ride. I love the posture… with the bottom slightly out and the chest far forward. So I thought you did very well on that. And for 90% of the kicks and flicks, I was very happy with that. I see something in you, and I see some sort of artistry with the arms. So in one or two places you were able to use them; other places, you hold them by your side. I’ll give you something to think about, for all of you: the space is like a canvas board, and your arms are like paintbrushes. So every single thing you do through space, you’re painting, whether it’s a small movement, whether it’s a curly movement, whether it’s a swinging movement—anything like that, ballroom or Latin. I see it in you. Please don’t forget about the upper half of your body as well as the lower half.” (5/10)

Anton: “I thought that was terrific. I mean, this was Karen Carney week one from last year. That was that good. You just sort of picked up where she left off. Week one jive—it must be a thing on the show, because that was absolutely terrific. You can tell the standard of a jive just by the flicks and kicks, and yours were exceptional. They had great energy, they had great attack. The retraction was excellent. You had a great dynamic. I loved the way you went from the floor, back onto the podium, straight off the podium, back into the dance, without a stutter. All in all, I thought that was an excellent performance.” (7/10)

Craig: “I actually do agree with that. There was a hiccup at the end there with the timing. I felt like you were too upright and not enough over your toes there. I felt like you could have a little bit more [unclear] on the standing leg through the dance as well. But I think everyone is right. Shirley, the canvas and all your broad brushstrokes, darling. I do agree with the kicks and flicks being absolutely sharp and precise. I think you did a great job.” (4/10)

Motsi: “Well, Tabby, I want you to take all of this encouragement as we continue this competition. You have something so, so special. I saw it on the dance floor, coming out from an athlete’s [discipline] to give us a show here, like a showgirl from Las Vegas. You, on the dance floor, you presented yourself, you presented your partner. That choreography was loaded. Oh my goodness, so much drive in the footwork and everything. Miss Shirley is right. Draw the pictures on the canvas, do what you need to do to get there. But you have fire. I felt it.” (6/10)

Dame Sarah Storey and Julian Caillon

Routine: Quickstep to ‘C’est Magnifique’ by Kay Starr

Anton: “I watched that and I thought, ‘Look at the smile!’ Look, it couldn’t be more your scene. This is so lovely. I love the song. I love your dress. I love the style of the dance. It was very uplifting. Two things: one, we had a bit of a mistake there, unfortunately. I know it’s only week one, but it was one of those moments, wasn’t it? Your posture was quite good. It’s a bit too straight. So moving forward, what I’d like you to do is work on that curve through the body, because I think you move so well and you’re so nicely balanced that if you can get this lovely curve as well, I think you’ll be the most formidable of ballroom dancers. So well done.” (3/10)

Craig: “Yes, you were out of step, and you know that, obviously. Your frame was bothering me all the way through because you didn’t maintain it. Your shoulders keep raising, so you need to push those babies down, darling. The top line should be very, very quiet. We shouldn’t even notice it, you know, and everything happens below. The footwork is a little bit turned in as well. You need to watch that. But you know what I loved about it was your performance, my darling.” (4/10)

Motsi: “I think it’s so important for us to see where we are, and I love that you had fun as well. You absolutely look beautiful on the dancefloor. I can feel the nerves, and I think that’s something that we need to work on, just breathing in and really being aware of where we are standing. Another thing that will help you in these fast dances is your posture. I think the posture, the body position, is too far back, and if we have to move forward, we need to engage our body much, much further forward and trust your partner. He is a good dancer. He is your mate in all of this. So you need to work together, and I’m sure, because I know that you are a champion, that we will get it right soon enough.” (4/10)

Shirley: “Personality, lovely. I mean, absolutely adorable to watch. Repetition is the mother of a skill. The more you repeat something, the less you will forget. And also, I would like you to go around the house with a little book on your head like this. Lower your shoulders. Move up. Find your centre, find your connection, then sit back down again. We can turn right. We can turn left. But in order to keep the book on your head, you’re going to have to have a solid centre. And I think you will be able to do that. So I wish you luck. Keep practising this week. You’ve got it all.” (4/10)

Lawrence Robb and Jowita Przystal

Routine: Paso Doble to ‘Aperture’ by Harry Styles

Motsi: “Yeah, well, the last memory I have of you is from the launch show, and there was a bit of a panic going on in the launch show, and I feel like there’s been a turn. I love the intensity of that. I love the passion of that. I love that your body is engaged. I love all of that, and I feel like you left everything on the dancefloor. So what I need now is for you to learn to control that, you know? Control your shoulders. Paso is a real character dance, so your fingers have to speak to me, the breath has to speak to me. But you are bringing a whole lot of potential. I cannot wait to see this journey.” (5/10)

Shirley: “The paso doble is very much a marching dance, and I felt when you were in promenade [it was] beautiful walks that you did. But the most impressive thing for me was your opening line when you took your arm forward and you continued your movement. Now, if you can understand, your feet stay still, your arms never stop. They pass through all the time. Don’t stop in anything, because that opening line is like something I would see in a major competition. The opening line was sensational. Keep the feet still, keep your body moving, work on flow.” (5/10)

Anton: “What I liked best, in all seriousness, is that if I turned the music off, I would have known that that was paso doble. And that’s really good. That’s really important. It was a modern interpretation of a very strong dance, which you performed, I thought, really well. The paintbrushy thing with the canvas—marvellous. And more brushstrokes, canvas, books on heads. It’s going to be great. Craig, over to you.” (6/10)

Craig: “Well, for me, it was all very square. There wasn’t really any Spanish line, apart from one move that Shirley has mentioned. I felt like you were actually dancing by numbers. All the steps weren’t actually connecting, and that’s what made it lumpy, really lumpy in places. And I would go as far as to say stompy rather than paso. However, yes, okay, that’s fine, but I think, you know, obviously you’re going to have intent, you’re going to have purpose. You’re an actor, and you’re a really good one. So, I mean, you’re going to tell that story really well. So that is your strength. That is your power.” (4/10)

Shaun Wright-Phillips and Alexis Warr

Routine: Cha Cha to ‘Lil Boo Thang’ by Paul Russell

Motsi: “Shaun, if there was ever a time in life to be shy, it’s not today. You are so honest. I mean, you’re so cute doing that, because I can see, as a student, you’re doing the footwork, you’re doing the arms, you’re doing everything she tells you. You’re looking to the side to see if you’re correct, and you did it all really not bad at all. But this is dancing, and the joy you’re feeling—and I’m sure there’s a joy in there—we want to feel it with you. Share it with us. It’s kept all inside. I would say, use this: fake it till we make it. If you’re not feeling it, it doesn’t matter, fake it. Just put it on the dancefloor. Don’t be scared.” (4/10)

Shirley: “I’m not worried too much about the personality. Let me tell you first of all what I was impressed with. You danced a checked forward walk, and a checked forward walk is used to change direction, and you changed direction superbly. You came from one unit to another. You used the back cucaracha, where it requires two straight legs to manoeuvre your leg. You stayed smack bang on time. When you move in rumba or cha-cha, one leg should be straight and one leg should be bent. You swing that bent one underneath the body. You kept them a little bit too straight, but there was so much here to like, with room for improvement. You had some good choreography in there, along with your tricks and flicks and everything else. You have promise, darling. You work on your personality, but keep that footwork for me.” (4/10)

Anton: “You’re great. I liked it. You’re absolutely charming. I agree with everything Shirley said. You’re absolutely charming. You have an element of, ‘I can’t believe I’m doing this. This is amazing. Have you seen who I’m dancing with? This is amazing.’ But having said that, you were bang on. There wasn’t a moment of hesitation. Your timing was immaculate. Every step was great. I thought it was absolutely charming.” (5/10)

Craig: “I think it’s going to be a few more weeks before you reach pro level. That’s all I have to say.” (2/10)

Bethany Antonia and Nancy Xu

Routine: Quickstep to ‘Stop This Flame’ by Celeste

Anton: “Oh, it’s a good night, isn’t it? That was super-duper. You took both roles there. You did the leader’s role and the follower’s role. And what you did was you had a beautiful leader’s position. Did you see that? Absolutely immaculate line as the leader. And then what you did was you swapped to the follower’s position, but you did it in a sort of mirror-image way, which is not absolutely true, because the follower has more of a curve through the body line. So although you were immaculate and clean, in order to give full justice to the follower’s role, we must have that beautiful curve, that dynamic curve through the body, and then everything works well and better underneath it. But your position as a leader—wow.” (7/10)

Craig: “Anton – picky, picky, picky. That’s the first bit of good dancing we’ve seen all night.” (6/10)

Motsi: “I absolutely loved it. That was my favourite number so far in this show. I loved all the solo work. I think that was so beautiful. And when you got into hold… You need to use your standing leg, cover more of the dancefloor. But when I speak to you guys, it’s all about details, and that tells me you’re already on a different level. So keep up the good work. Details, details, details. I don’t want to jinx it, so I’m not going to say more, but keep going.” (7/10)

Shirley: “I for one did not expect to see that kind of a frame in week one. That’s something you’d probably see in week five. Both of you, as the leader and follower, you did extremely well. If we start to move down the body, even the connection at the base was so much better than I expected in week one. The footwork was so much better than I expected in week one. I agree with Motsi. Start working on the details: when you roll on the floor, when you stand up, feet together. Small details.” (6/10)

Lacey Turner and Vito Coppola

Routine: Cha Cha to ‘How Will I Know’ by Whitney Houston

Shirley: “Oh my goodness. I mean, where focus goes, energy flows, and that’s exactly what you did. You came out, you did those beautiful walks, you managed all your choreography. You had body action. I know you were nervous. I thought, ‘Now she’s going to go inside a little bit,’ but you didn’t. You came out and you fought, and that was magnificent.” (7/10)

Anton: “I loved that. That is my favourite dance of the night so far.” (7/10)

Craig: “Yes, well, I would like to see more defined hip action, I’ve got to be honest. You lost your bearings coming out of the spin there. You couldn’t find out where you were, so you need to nail that. But I have to say, beautiful straight legs, timing was great. A very, very clean and strong performance.” (7/10)

Motsi: “Yeah, well, Lacey, I have to say, you made that look so easy. The fluidity was so, so nice. Absolutely loved that. For me, I would like your weight a little bit more forward. It was a little bit back, especially at the speed of the dance. I think we have time to work on that, but the surprise of the night. Well done.” (6/10)

Chris Appleton and Amy Dowden

Routine: Tango to ‘No Roots’ by Alice Merton

Motsi: “I mean, the first time I spoke to you, you were smiling and smiling and talking, and it was so great. And now it’s great to see that you have the change to seriousness. You go into the character of the dance. I do feel that it was a little bit tight in some places, so we need to breathe during the dance, throughout the dance, stay loose. That’s the problem. We need to breathe to release the energy, to release the impact of tango. I know tango sometimes comes off as suffocating, but it’s a dance of breath as well. So work on that. First step: let’s breathe.” (4/10)

Shirley: “Well, I’m looking, and I think, again, you have potential to be a fantastic ballroom dancer. You’ve got a lovely neck, great shoulder line. I’ve known Amy since she was a little girl. Amy, for me, is one of the most brilliant ballroom teachers that there is around. She knows her footwork. She knows where she should be. She knows where you should be. I think you looked fantastic when you were in closed hold. So you might want to consider a little bit more of that for yourself, not even for me. Transitions need a little bit of work, like everybody else. You’re not the only one. It could have flowed better for me, a little bit more. But well done.” (4/10)

Anton: “Do you know, it’s interesting actually listening to you there, Shirley, because I don’t fully agree. I sort of feel the opposite about that, really. I thought your open work was the strongest part of the routine. I thought you were very positive, very commanding, very good. And then you got into hold, and it went hesitant. Do you know what it made me feel? It made me feel you were about to go wrong at any second. And when you didn’t go wrong—which I don’t know why you thought you would—I was suddenly relieved. Now, it was actually quite good dancing. It just made me feel a bit uneasy. So I think that comes back to what Motsi was saying. Relax, breathe, make me feel like you know what you’re doing, because you obviously do. And put the same [effort] that you do in open dancing into the closed position, and I think it would be a much more positive performance. But all in all, it was a good dance.” (5/10)

Craig: “For me, it was like watching a Ken doll doing the tango, darling. It just lacked a bit of drive. The heel leads were missing. The artistry of the whole thing was missing. I mean, you hit all of those positions so securely, which made me feel good through the dance, and you sold it. So congratulations on that.” (3/10)

Melanie Walters and Aljaz Skorjanec

Routine: Cha Cha to ‘Don’t Go Breaking My Heart’ by Elton John and Kiki Dee

Shirley: “Your personality is just alight. Actually, Blackpool Illuminations—that’s where I see you. Just a bright light. It really was. When you did the zigzag at the end, you also had a fantastic rotary action in the base. That’s something you should really push with the other Latin dances, Aljaž. When you go back now and you start with the other dances, let’s get that posture, even when you walk around, even when you sit, wherever you are. Don’t walk and slouch. Get that centre up, because the legs will pass underneath the body much better. But you have all that potential, my darling. So well done.” (4/10)

Anton: “I thought that was absolutely charming. I loved it. The open work was sensational. Your timing was exquisite at the top. Your closed work was really good. I mean, it’s a beautiful, beautiful routine, put together beautifully by the wonderful Aljaž. I’d love those legs to work a bit more strongly, then you’d get a bit more action going and all that malarkey. But other than that, I thought it was a lovely routine. Well done.” (5/10)

Craig: “Stompy and flat-footed, I’m afraid. It was a little bit more scrambled eggs than omelette, I’m afraid, darling. All over the place. The storytelling, however, was lovely.” (2/10)

Motsi: “I just want to repeat it, because I really think Aljaž, you did a fantastic job. Because for us as judges, you make our lives so much easier. You were compact. It was clear what you were doing, so I could count the whole time throughout the whole dance. We call it the cheeky cha-cha-cha. You brought the cheekiness, the sassiness. As Miss Shirley said, when do I have a bent knee? When do I have a straight knee? Work on all of that. But I just thought that you brought so much fun to this, as if this is not a live show watched by millions. I absolutely really adored what you both did.” (4/10)

Cach Mercer and Maddie Ingoldsby

Routine: Quickstep to ‘I Just Might’ by Burno Mars

Craig: “Yeah, too much freestyle for me. That was not… I mean, you’re a great freestyle dancer. That is a fact. We know that. We don’t need to see that, I don’t think, here in a quickstep. The whole point of this is that you’re learning a new genre of dance. So I’m finding it really difficult to actually judge that. I’m going to judge what quickstep you actually did. And the posture wasn’t great, the frame wasn’t great, you know. So I’m sorry.” (3/10)

Motsi: “I understand what Craig is saying. For me, I just have to say something that I think is really, really important. Dance is about music, and music lives in your body. That was genius for me. The way you work with the music. And I’m going to put it this way: at the end of the dance, he’s right. You need to learn the rules. You need to learn the ballroom rules so you can break them. But we need to break the rules sometimes. So get it right. Get that ballroom stuff going. You know, sometimes you went in, you went out, whatever. Get it all. Get those fundamentals. But don’t stick to that box. You show us who you are. You bring all of that on the dancefloor. And you bring something I have never, ever, for me, seen on Strictly Come Dancing. So if we can combine the future and the present, that’s the perfect dance for me. Keep going.” (6/10)

Shirley: “Well, I have to say, you’re extremely light on your feet and a natural feeler, so I want to start with that first. You’re not going to like what I’m going to say, but I absolutely agree with Craig. So hold on, hold on one second, please. Please, one second. I like the beginning where you start solo, and I actually wouldn’t even have minded a little bit at the end, but you’ve got potential to be a great ballroom dancer, and this was more what we would see in a street dance, which is coming. You’re going to get that. That’s coming next. I love the bits of choreography that were put together to do the quickstep. I’m not saying it needs to be all quickstep. You can have a little bit at the beginning, you can have a little bit at the end, but I’m afraid I have to go with Craig on this. But are you gifted? Absolutely. Can you feel? Absolutely. Have you got a personality? Absolutely.” (5/10)

Anton: “I thought that was terrific. You’re a man for the TikTok era. This is going to go all over TikTok. It’s absolutely brilliant. The ballroom stuff—just sort your posture out, sort your hold out. I think you’re a talent. I’m looking forward to watching you dance.” (6/10)

Graeme Hall and Lauren Oakley

Routine: Cha Cha to ‘Hound Dog’ (Smokey Joe’s Café version)

Shirley: “I love that dance, and I love you. That was full of cha-cha content. That’s exactly what we’re supposed to be about. You are a master of your craft. We’ve all watched you on the TV with your dogs and everything that you do. You are absolutely genius. But I also think you’re an amazing student, because I can tell you listened to every single thing that she told you, from your check, from your leg actions. You gave us personality. You even made Craig smile. You gave us entertainment inside a fabulous little cha-cha. Welcome.” (6/10)

Anton: “I remember when Craig smiled – 1986. Wow. I mean, it’s so brilliant. This show is so brilliant. We’ve gone from the TikTok dancers before to this dance, old-school style, proper bit of cha-cha-cha. All in all, really, really super. Well done.” (6/10)

Craig: “It was actually making me laugh, and I still can’t work out why. It’s because you don’t look like you’re going to be able to do it, and then you get up and you absolutely do it. And not only do you actually do it, you are paying attention to great detail in the technical side of it as well. Yeah. I loved it. I absolutely loved it.” (6/10)

Motsi: “I love that you’ve got a smile on your face. We’ve got a smile because we love your vibe. Your vibe is like, ‘Nothing is going to stop this cha-cha-cha.’ All I have to say: who let the dogs out?” (6/10)

Jaime Winstone and Carlos Gu

Routine: Tango to ‘I Feel Love’ by Donna Summer

Anton: “I mean, well, I’m delighted that Carlos gave the costume department a bit of a break and brought his own clothes in for this show. Very generous of you, you look magnificent with the coat and all that. This was terrific. I loved this number. This was a great number. You looked awesome. You moved so well. Your open work was very good. You were working hard as well. I’d like now for you to work on that top line. It’s a bit too closed. You can sort of get away with it in the tango. But the other ballroom dances, it’s not going to work at all. It’s too sort of closed in when you go away. You can call it drama, if you like, and get away with it. But still, the shoulders are a bit up. So really, moving forward, you can work on all this area of your body. Everything else is looking a million dollars. So good job you.” (6/10)

Craig: “Yes, I do indeed. And I do love disco, darling. I do love tango, and I quite like the fusion. However, your posture and your frame are really letting you down. If you have had had the correct frame and were apart from each other with a beautiful hand, the palm facing the ground, and you did that part beautifully to disco music, I would have bought it. But you didn’t. I liked the little bit of legato in the middle. I think that was a nice touch, but it didn’t entirely win me over, I’ve got to admit.” (5/10) “

Motsi: “Yes, well, I think this is another similar situation with Cach. I think you look beautiful. You look beautiful moving. You look absolutely into the dance. Everything that came out was so natural and so true, and I absolutely love that. I think for everyone, before we break the rules, we have to learn the rules and then break the rules. So if I want to see the tango, I know what a tango is. I want to see that, and then after that, you guys can go left, right, south, whatever. But in the first week, try to stick to the fundamentals, the basics, because you are fire, you are really fire.” (/510)

Shirley: “So, a natural-born performer. We seem to have an awful lot of great performers in this. Musicality, of course, Carlos—we’ve come to expect that from you—and powerful. So they’re my positive points. There was a famous lady called Doreen Freeman. She once said, ‘You will always get away with a foot fault, but you will never get away with a frame that’s collapsed.’ So you have to – I agree with everybody here – you have to go back to the drawing board and have a look at the frame. Pivots, for example, I mean, in tango, you could have done in tango hold. You need to get your lady much more off to your right side. You need to separate the rib from the lower part. There should be no dip, no shoulders in funny situations. Now, I say this because I think you are very gifted. You are a gifted lady, and he is a natural-born choreographer. So try to get it a little bit more so we see a quality of some sort.” (5/10)

Dani Dyer and Nikita Kuzmin

Routine: Samba to ‘Lush Life’ by Zara Larsson

Motsi: “What I love is that I can see you’re active. You like to move. You shifted your weight. I love when girls know, you know, ‘This is my part. I take part in this and I take over.’ Love that. We need to work on those feet. Look, even now. Really put your feet nicely together. That was choreography with lots of content, with lots of speed, different timings, and you looked unbothered in a good way. So another great performance.” (5/10)

Shirley: “Dani, you aced the personality. You brought the party time to this dance, which was great. We’re going to call you Dani Dyer, the new pocket rocket of Strictly 2026. And in the middle, I think you’ll find that TikTok piece is either a viral moment or it will go viral. I would like to see, like Motsi said, a little bit more solid on your feet. You know how I am with feet. So just the beauty of the feet. But my goodness, did you move your tush!” (5/10)

Anton: “The tush? I mean, it’s a fundamental part of ballroom dance. There you go, move your tush. But you did fabulously. It’s a little bit flingy. The legs and the feet and the arms are all flinging about. But I sort of don’t mind that because you can control that. Yeah, because everything else – the energy, the commitment – it was clean, great timing. All in all, great performance from you.” (6/10)

Craig: “The feet, turned out, really did bother me all the way through. You could find resistance from the floor for this, darling, to help the balance to stay remaining on the floor rather than above. But great hip rolls, fantastic isolation, really great dance” (6/10)

John Nellis and Katya Jones

Routine: Foxtrot to ‘Ordinary’ by Alex Warren

Anton: “Well, I shouldn’t really say this, I’m a bit stunned. That was extraordinary. That was absolutely beautiful. I’m going to wax lyrical about this for a long time. Do you know what? I was watching you dance around there. It reminded me of someone. I’ve finally remembered who it was. It was a young man who did Strictly Come Dancing in about series three. His name was Darren Gough. He went on and won the whole thing. I’m just saying. That’s all I’m saying, is I’m just saying. That’s all. Beautiful.” (8/10)

Craig: “It lacked swing and swaying, but I have to say, it was classy, elegant and graceful.” (7/10)

Motsi: “I’m emotional. We have to take it in. Like, really, this is one of the most difficult dances, and it’s your first dance. And I remember at the launch show, we were both there, and you were like, ‘1, 2, 3, 1, 2, 3.’ And I’m like, ‘Calm down.’ And then to come out like this, guys, I have to say, this was, for me, the best dance of the night.” (8/10)

Shirley: “Very, very special, I can tell you that now. You’re elegant, you’re sophisticated, very spiffing. There’s an ease of movement about what you do. Storytelling was great. The atmosphere, the whole ambience, superb. I’m like Anton, I just didn’t expect that. So please excuse me, but that, for me, was the best dance of the night so far.” (8/10)

Delta Goodrem and Kai Widdrington

Routine: Samba to ‘Baianá’ by Barbatuques

Motsi: “For the first time this season, really – this is not a lie – I got goosebumps. My body was warm, but it could be other problems. Listen you turned around and I’m like, ‘This is a queen.’ We are only going to see the queen queening this season. Delta, oh my God. Oh my God.” (8/10)

Shirley: “Energy, personality, great samba, great content. Just a few little things I have. When you’re in hold, have a little look at the framework. Keep working. Keep working on the footwork, but my goodness, what a way to close the show, darling.” (7/10)

Anton: “Hair! The hair. The frock! Kai’s going, ‘This is great! I’m not dancing with her!’ Keep going. Ah, we’ve had a few sambas tonight, and that was the best of the night.” (7/10)

Craig: “Wow, darling, you are one to watch. End of.” (7/10)

Strictly Come Dancing continues next Saturday at 6.15pm with Movie Week on BBC One and iPlayer.