Strictly Come Dancing 2022 week 10: The judges go to war over Hamza Yassin
What a strange night in the Strictly ballroom. Perhaps it was the added pressure placed on the cast after Kym Marsh – who tested positive for Covid – won a pass straight into next week’s quarter-final. Maybe it was the fact that hardly anyone was given a dance style that really suited them. Or perhaps the judges (or at least Craig Revel Horwood) wanted to bring everyone down to earth after last week’s Blackpool reverie.
The result was a fraught show with some cruelly low scores (Revel Horwood reached for his 5 paddle twice), some massive splits among the panel, including a full-on battle of the sexes over Hamza Yassin, some dips in form from numerous celebrities, and a leaderboard that invites chaos. Will Mellor sits atop it, followed by Yassin (after all that), but dance-off regulars Fleur East and Molly Rainford are tied on 35 points smack in the middle.
Will the public rally for Ellie Taylor and Helen Skelton, currently below them? Who will miss out on next week’s quarter-final/Musicals special? Join us for the results show (and more drama!) on Sunday night at the earlier time of 6pm on BBC One.
Will Mellor rocks out
Was anyone really calling out for a “cool” Charleston – aka matching black-and-neon suits, Kula Shaker, and an opening that looked suspiciously like a Beats headphones ad? A particularly odd choice given that Will Mellor is such a charismatic performer, but he was rather swamped by concept and a super-speedy routine here, in my view. He did a great job with what he was given; I just don’t think it showcased him terribly well.
Shirley Ballas, unlike me, thought it was entirely fantastic. Anton Du Beke agreed, calling it one of his best in the series: he committed to every move. Craig Revel Horwood thought his free arm was too wild, but loved it otherwise. Motsi Mabuse said it was fast, slick and athletic. A leaderboard-topping two 10s, for 38.
Molly Rainford is a bad girl
I know Rainford’s had a rough ride this series, but did she really need a seatbelt glued to her top? That aside, this was a deliciously moody tango with a whole psychodrama bubbling away, set to Billie Eilish’s Bad Guy. I much prefer her in this mature mood than doing vapid girly numbers, and here she was tough but still feminine, powerful but stylish, plus a great blend of sensual fluidity and staccato. A bit too much faff for my taste, though.
Du Beke, in a particularly meandering critique, came out on the side of: yes, great. Revel Horwood wanted more of a V-shape in frame, but loved the aggression and storytelling. Mabuse praised the content, and said she didn’t mind the posture since she was attacking it like a Billie Eilish bad girl. Ballas noted great footwork and passion. Three 9s and an 8, for 35.
Ellie Taylor could crash out
Thelma and Louise…seems like a theme that’s just asking for trouble, right? Ellie Taylor and Johannes Radebe set off on a Strictly road trip, but stalled fairly early on technique wise: very loose and laboured in both footwork and posture, mistakes, and Taylor seems to tire partway through. Still, there’s nothing these two can’t sell – they just make everything look so fun and inviting. But will it be enough to bring voters to their aid once again?
Revel Horwood said it lacked punch and precision – in all, lacklustre. Ouch. Mabuse thought they captured the fun of jive, but it was too heavy. Ballas said that by Week 10, she wants technique as well as personality. Du Beke praised their performance. A mean 5 from Revel Horwood, up to 7s, for a pretty grim 25.
Fleur East needs to breathe
Hurrah, that’s more like it. What an impressive rumba from Fleur East – it was clear just how much attention they’d given to every technical element of this most exposing dance. Almost too much, perhaps? It almost felt like East was tensing up while taking an exam, rather than performing. I love how disciplined she’s become as a Latin dancer, but this one lacked a bit of abandon and excitement. Definitely sultry though – she and Vito Coppola have palpable chemistry.
Mabuse praised the attention to technique, just wanted more lightness and breath. Ballas found it extremely passionate, well controlled, good foot action, but agreed it needed exhalation. Du Beke said it was wonderfully in time and on balance. Du Beke agreed it felt she was holding back, but loved the connection between them. An 8 from Revel Horwood, 9s otherwise, for 35.
Hamza Yassin sparks war among the judges
Ooh yes! A trad Argentine tango to trad music (Libertango) is always a winner, and I loved the feeling of this routine: it was all about the connection between Hamza Yassin and Jowita Przystal. Surprisingly, they didn’t go crazy with the lifts, instead focussing on the emotion driving each exchange in the footwork. It lacked leg sharpness and domination from Yassin, however, and he just generally seemed too cuddly for this intense, moody dance, but his partner work continues to be impeccable.
Ballas took a moment to praise Przystal’s spectacular feet (yes, she is astonishing) – and she’s able to shine because Yassin is such a great leader. “I just wish I could dance with you.” Du Beke loved the intense, strong top half, but thought Yassin’s legs were untidy. Revel Horwood agreed: he called Yassin’s footwork messy. Mabuse was on Ballas’s side: Yassin was a magnificent partner, and she loved the passion. An 8, a 9 and two 10s for 37.
It's the confidence for us 🙌 Samba sass on point, Helen and Gorka! #Strictly@HelenSkelton @gorkamarquez1 pic.twitter.com/6Y5bSJkcq3
— BBC Strictly ✨ (@bbcstrictly) November 26, 2022
Helen Skelton wants a place in the sun
An uneven night ended with Helen Skelton having a jolly good go at a holiday-themed samba. She definitely couldn’t have sold the dance with this much fun and cheekiness in Week 1, so a huge improvement in performance power, but a mixed bag technique wise. Skelton never quite got her weight forward to nail the bounce action, and she got muddled in her solo, but she did deliver some tricky choreography and hit really nice lines.
Du Beke loved that Skelton “came out to play”. Revel Horwood thought the hotel trolley had more body action than Skelton: she was straight, wooden and lacked hip action. Mabuse noted her weight was too far back, but praised the content. Ballas loved Skelton’s newfound confidence, and disagreed with Revel Horwood: there was some bounce. A ridiculous 5 (WHAT?) up to 8s, for 29.
