These scenes are guaranteed to make you want to get up and dance! Welcome to WatchMojo, and today we’ll be looking at the best dance scenes from movies that have a strong dance theme throughout and deserve to be celebrated.
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00:00Welcome to Ms. Mojo, and today we'll be looking at the best dance scenes from movies that have
00:12a strong dance theme throughout and deserve to be celebrated.
00:16Number 30. Prove Me Wrong. White Knights. What's better than having one dance icon leading a movie?
00:32Two of them, of course. White Knights combined the unrivaled talents of ballet giant Mikhail
00:37Baryshnikov and tap dancing legend Gregory Hines. The film follows two people from vastly different
00:54backgrounds who find common ground through their passion for dance. The sequence encapsulates just
01:00that. The pair move in perfect unison, but it's also clear that each brings a unique flair and
01:06slightly different feel to the choreography.
01:14Hines shared that the film was a collaborative effort, with both using their opposing backgrounds
01:19to bring out the best in each other. We don't need to tell you that the payoff was tremendous,
01:23just watch for yourselves.
01:36Number 29. Ain't My Type of Hype. House Party. Kid has escaped murderous jerks, the cops,
01:44and his angry father to make it to this party. So when two girls challenge him to a dance battle,
01:49he's not about to back down. By this time, the party is already jumping, but everyone makes room
01:55for this spectacle. Kid's first partner can't cut it, but his best friend, Play, is quick to fill in.
02:13The movie features a style of music and dance that many viewers initially didn't have much exposure
02:18to. Since then, it's been recognized as an important part of cinema history, and there's no doubt
02:34that this scene is a highlight. Number 28. Finale. Black Swan. Natalie Portman's character,
02:41Nina Sayers, goes out with a bang during the finale of Swan Lake.
02:52The Russian ballet has served as an inspiration for many films, and director Darren Aronofsky's
02:58interpretation required the leads to train for six months. In the final sequence, Portman's face and
03:04movements express Nina's turbulent range of emotions. At the same time, she embodies Odette,
03:10the white swan. The camera spins around the principal alongside the core dancers,
03:15giving the dance number an appropriately disorienting yet graceful feel.
03:24It builds to a climactic end for the show and the film.
03:29Number 27. The Final Tango. Take the Lead. The Naughties was the golden age of the dance movie,
03:35and Take the Lead managed to do something different with it. Used the standard urban setting and gave
03:41it a ballroom twist. Based on a true story, the movie follows a dance teacher, Pierre, who offers
03:53ballroom lessons to the troubled teens at the local high school.
03:56Thank you, Morgan.
04:02In the final competition, Sasha and the boys decide to mix things up a bit. The guys have been fighting
04:12over her throughout the movie, but this time, they all work together.
04:28Turning the tango into a trio might get them disqualified, but this chemistry-fueled routine
04:33was totally worth it. Number 26. Paso Doble. Strictly Ballroom. Dancing is Scott's passion,
04:41and he wants to dance his own way. But everyone in his life is pressuring him to conform to the
04:46Dancing Federation's strict rules. Then he meets Fran, who's more open to Scott's inventive,
04:52showy style. Their backstage dance at a competition is incredibly romantic and intimate.
04:57Over again, you only answer, perhaps, perhaps, perhaps. But it's their final performance together
05:09that's the true showstopper. Federation head Barry Fife is determined to stop them from upsetting the
05:26status quo with their original moves, even cutting off the music mid-performance. But the audience is
05:32so smitten with the pair that they clap along to help them finish the dance.
05:52Number 25. The Dance in the Rain. Step Up 2. The Streets.
05:56While the finale of the first Step Up is a school showcase, the second movie takes dancing back to
06:02the streets, per the title. Andy and her band of dance school misfits create their own crew
06:07and enter an illegal competition.
06:10Little buddy, what you want? Somebody. What up?
06:13Hey, baby, I got the potion. Take a sip of this and put your back in motion.
06:17Little buddy, what you want? Somebody.
06:19Their final number literally takes place out in the street. Andy's old crew,
06:24the 410, are their rivals, and set the bar high with a dynamic and complex routine.
06:29It looks like they're the better dancers. But the MSA crew have a crucial advantage.
06:35The rain makes everything look so much cooler.
06:37The power doesn't just come from the sequence itself, but also from the whole atmosphere of the moment.
06:55Number 24. Broom Dance. Break in.
06:59Not only is break in filled with impressive choreography, but it holds a special place in the 80s dance movie zeitgeist,
07:13much like the 1984 hip-hop flick Beat Street.
07:17Anyway, one of break in's most defining moments was Turbo's dance with a broom.
07:21Michael Boogaloo Shrimp Chambers' moves are magnetic,
07:35and his control as he isolates various body parts seems almost superhuman.
07:39Speaking of extraordinary performances,
07:42we'd be remiss not to at least mention his ceiling dance in the sequel.
07:45But the gravity and logic-defying broom dance remains in a league of its own to this very day.
07:51We have no doubt it will continue to leave audiences in awe for generations to come.
08:04Number 23. The Ballet. An American in Paris.
08:15When Gene Kelly decides to call a number, that's entertainment,
08:19you best believe he means it.
08:21An American in Paris is a 1951 classic musical choreographed entirely by Kelly,
08:27and includes one of his most ambitious pieces ever.
08:30The ballet at the end of the film crosses over numerous sets,
08:33has tons of extras,
08:35and showcases complex and unique choreography that took the world by storm.
08:39At one point, the dance changes from a jaunty, colorful tap number
08:57to a swooningly romantic ballet in the snap of a finger.
09:00Kelly takes audacious leaps with his choreography here,
09:04both figuratively and literally.
09:05The original Step Up is probably the most iconic dance movie of the 2000s,
09:30and there are a lot to choose from.
09:31It's memorable dance routines and the unbeatable chemistry between the leads
09:48make it stand out from the crowd.
09:50The movie builds to Nora's senior showcase at the dance school.
09:54Although we see snippets of the routine throughout the film,
10:06the final product still blows us away.
10:09The choreography is stunning and fits seamlessly with the music.
10:12Based on that performance,
10:24it's easy to imagine Nora would have her pick of dance companies,
10:28and Tyler would bag his scholarship.
10:30Number 21.
10:32Sing, sing, sing.
10:34Swing kids.
10:35In 1930s Germany, these young men live to swing,
10:39and Peter will risk everything to keep doing it.
10:42The sequence highlights the contrast between the bright, colorful scenes inside the swing clubs
10:47and the dangerous and oppressive world outside them.
10:50The music is fast and loud,
11:02the dancers are pouring their hearts into it,
11:04and the energy is off the charts.
11:06Since Peter and his friend Thomas will eventually have conflict
11:10over Thomas' growing loyalty to the Nazi party,
11:12Peter, you can't save everybody.
11:15There are more important things now.
11:16Anytime, we could be at war.
11:19If you side with the Nazis, then we're at war.
11:22You and me, Thomas.
11:24It's swinging moments like these that we latch onto so tightly.
11:34Number 20.
11:35El Tango de Roxanne, Moulin Rouge.
11:40Roxanne!
11:42You don't have to put on that red light.
11:47As Christian agonizes over Satine spending the night with Duke,
11:51the narcoleptic Argentinian, assisted by Nini and the other performers,
11:55warn him about the dangers of falling in love with a courtesan.
12:00Roxanne!
12:01That's my heart!
12:07Roxanne!
12:09Using elements of Argentine tango,
12:12the performers tell the story of desire,
12:14passion, suspicion, and betrayal,
12:16almost foreshadowing the events to come.
12:19Mirroring the dinner scene with Satine and the Duke,
12:21the intensity and conviction of every move heightens,
12:25especially as the music continues to build.
12:27Believe me when I say
12:30I love you, I love you, I love you, I love you, I love you.
12:38The fast cuts between the two eventful scenes adds to the drama and tension,
12:43only ending when they reach their climactic crux.
12:45And now, the six merry murderesses of the Cook County Jail,
12:58in their rendition of the Cell Block Tango.
13:02From the first note of all that jazz to the final beat of Hot Honey Rag,
13:07Chicago's choreography is nothing short of iconic.
13:09However, we do have to give a special mention to Cell Block Tango for its cinematic value,
13:15vigorous choreography, and message of female empowerment.
13:18While we're certainly not condoning murder,
13:31we love how each step is a forceful move that ties in perfectly with their storytelling.
13:36It's also a powerful sight to see the ensemble dance together
13:47in a celebration of strong and unapologetic women.
13:57After watching this, we're sure no man will ever do them wrong again.
14:01Although this song was only added for the 1972 movie adaptation,
14:08it instantly became a classic due to its intricate choreography.
14:24Drawing us into the Kit Kat club of 1930s Berlin,
14:28we watched Sally Bowles and the ensemble perform this compelling number.
14:32While this isn't the only Bob Fosse creation on our list,
14:36this routine in particular really accentuates the isolations
14:40that became synonymous with his style.
14:42Don't dab your eye, mine hair,
14:44or wonder why mine hair,
14:46I've always said that I was a rover.
14:49You mustn't knit your brow,
14:51you should have known by now,
14:53you'd every cause to doubt me, mine hair.
14:56While the movements look quite simple,
14:58the detail that goes into even the tiniest flick of a wrist
15:01is placed with precision and purpose,
15:03and the use of chairography and levels is sensational.
15:1517. Cheek to Cheek
15:16Top Hat
15:17This song begins with Jerry and Dale in a close hold
15:20as he expresses his feelings through song.
15:22Heaven,
15:25I'm in heaven,
15:28and my heart beats so that I can hardly speak.
15:33As they move away from the crowd,
15:35the audience is treated to an elegant and graceful dance break
15:38that exemplifies everything we love
15:40about Hollywood's golden era movie musical.
15:42Fred Astaire and Ginger Rogers' well-established on-screen chemistry
15:56alongside their ability to make every move look effortless
16:00makes this one of their most memorable
16:01and beloved dances to this day.
16:04As Jerry attempts to dance his way through Dale's heart,
16:07we can't help but fall for the elegance,
16:09romance, and glamour throughout their performance.
16:11Number 16. Jump and Jive
16:26Stormy Weather
16:27Starring the Nicholas Brothers,
16:29who were known for their incredible style,
16:31high energy, and acrobatic choreography,
16:34this routine is so effortlessly cool.
16:36appearing from the audience,
16:48the pair leap onto the dance floor,
16:49using pretty much every surface
16:51while performing a perfectly synchronized tap dance routine.
16:59Despite being considered a pioneering movie
17:02for African Americans in 1943,
17:04unfortunately, racism overshadowed their undeniable talent.
17:08It's thus all the more important
17:09that we celebrate them and their phenomenal skills.
17:19It's no wonder this scene comes toward the end of the movie,
17:22as what could possibly follow their epic finale?
17:24Number 15. There'll be some changes made.
17:36All that jazz.
17:44Inspired by Fossey's chaotic life and career,
17:47the semi-autobiographical musical follows Joe Gideon,
17:50whose fast and loose lifestyle finally catches up with him.
17:54After ignoring Doctor's advice to slow down,
17:57he suffers a heart attack and ends up on life support.
17:59He starts directing hallucinatory dream sequences
18:02starring his girlfriend, ex-wife, and daughter,
18:05who all scold him for his reckless behavior.
18:07Someday, when you grow lonely,
18:12your heart will break like mine and you'll want me only.
18:17Anne Reinking, who plays Katie,
18:19a thinly-veiled characterization of herself,
18:22leads the trio in this number.
18:24You better change the way you're living,
18:26and if that ain't enough...
18:28She's right, Joe, you better listen.
18:29You better change the way you strut your stuff.
18:33From the glittery outfits
18:34to the strong and well-defined movements,
18:36this dance is a tribute to Fossey's choreography,
18:39as well as the star's talents.
18:41You better change!
18:42You better stop, you better change,
18:45you better stop, you better change,
18:47you better stop and change.
18:49Oh, where's the dance?
18:51I said stop!
18:53Change!
18:54Stop, please!
18:56Number 14.
18:57Time Warp, the Rocky Horror Picture Show.
19:00Let's do the time warp again!
19:03Let's do the time warp again!
19:09If our list has you itching to get to your feet,
19:12you're in luck,
19:12as this next entry comes with instructions.
19:15It's crazy to think that a song that was written
19:17just to fill time during the stage production
19:19would eventually become one of the most famous moments
19:21of the entire movie.
19:22Whether you're a fan of this cult classic
19:35or you think frankenfurter is just a type of sausage,
19:38you absolutely know this one
19:39and probably can't resist joining in.
19:42With such simple instructions,
19:43even the most uncoordinated dancer
19:45will be tempted to get up
19:46and do the time warp again.
19:48Let's do the time warp again!
19:55Number 13.
19:56Fame, fame.
19:58While many of our entries have focused
20:00on carefully choreographed numbers,
20:02this one shows that sometimes
20:04it's just about feeling the music.
20:06Baby, look at me
20:08And tell me what you'll see
20:12I can catch the moon in my head
20:15When Bruno Martelli's dad
20:17proudly plays his song outside the school,
20:20all the students start dancing in the street
20:22to this catchy rhythm.
20:32Interestingly,
20:33the famous title song
20:34hadn't actually been written yet
20:35at the time of filming,
20:36so they were dancing to
20:37Donna Summer's Hot Stuff instead
20:39due to its similar beat.
20:40For this moment,
20:49the students can forget
20:50about the grueling intensity
20:51of performing arts school
20:52and instead focus on the pure fun
20:54that dancing can bring.
21:03Number 12.
21:04Town Called Malice,
21:05Billy Elliot.
21:06It's quite tricky to choose
21:08just one standout moment
21:09from this gritty and inspiring
21:10British flick,
21:11but we have to go with
21:12Billy's punchy,
21:13improvised dance
21:14to Town Called Malice
21:15by The Jam.
21:16Biggwit!
21:23When his dance teacher,
21:24Sandra,
21:25visits the Elliot family,
21:26Billy is left feeling torn
21:28between following his dreams
21:29or following the expectations
21:31of a northern lad.
21:32Biggwit!
21:33Biggwit!
21:34Just come off the furious
21:35and down on the ground!
21:37Dancing his way through the town,
21:42Billy dances off the walls
21:43as he vents his frustration.
21:45Deviating from the graceful ballet
21:47and incorporating tap dance,
21:49we can almost feel his torment
21:50as he expresses himself
21:51the best way he knows how.
21:53Make decision in a time for my ass
21:57Ooh, yeah!
22:03Ah!
22:05Number 11.
22:06The audition dance.
22:07A chorus line.
22:08Five, six, seven, eight!
22:14We're whisked behind the Broadway scenes
22:16where countless hopeful performers
22:17are auditioning for a spot
22:19in the chorus line.
22:20God, I hope I get it.
22:21I hope I get it.
22:23How many people does he need?
22:25How many people does he need?
22:26I hope I get it.
22:27We're no professionals,
22:28but based on what we see,
22:30we would need a bigger stage
22:31just to cast all that talent.
22:33This scene also provides exposition,
22:35introducing us to the principal characters
22:37who we'll get to know better
22:38throughout the movie.
22:39I really need this job.
22:42Please, God, I need this job.
22:45I've got to get this job.
22:49From their very 80s-style outfits
22:51to the perfect sharpness
22:53and synchronicity of their movements,
22:54this dance is so satisfying to watch.
22:57As the final auditionees perform ensemble,
23:00it's hard not to get lost in the moment
23:01and forget that this is only just the audition.
23:04What is it coming next?
23:06It isn't over.
23:07What?
23:07I can't imagine what he wants.
23:09I can't imagine what he got.
23:10I hope I get it.
23:11Number 10.
23:12Rich Man's Frugue, Sweet Charity.
23:15Who is it?
23:16Who is it?
23:17Who is it?
23:18Who is it?
23:19Who is it?
23:19Who is it?
23:20Who is it?
23:21Who is it?
23:22It's me.
23:24The Frugue took America by storm in the 1960s,
23:27so it only made sense that it would feature
23:29in the most exclusive club in New York.
23:31Fosse's signature style is very prominent in this scene
23:44through its punchy isolations,
23:46abstract movements,
23:47and unusual poses.
23:49The performance,
23:50led by dancer Suzanne Charney,
23:52is split into three variations
23:53called the aloof,
23:54the heavyweight,
23:55and the big finish,
23:56all of which bring a new aesthetic
23:57to the dance genre.
24:05The innovation behind the choreography
24:07secured its position in dance movie history,
24:10and even influenced Beyonce's
24:12Get Me Bodied music video in 2007.
24:19Number 9.
24:20Alex's Audition, Flashdance.
24:27While Flashdance has multiple memorable dance moments,
24:35nothing cemented itself in popular culture
24:37as much as Alex's audition.
24:39What a feeling
24:41Feels to be there
24:45Based on a real story,
24:49Alex is a welder-slash-stripper
24:50who dreams of becoming a ballerina.
24:52She leaves everything on the dance floor
24:54as she combines the elegance of ballet
24:56with more modern and jazzy steps,
24:58as well as impressive leaps.
25:13Although Jennifer Beals had multiple body doubles,
25:16this doesn't take away
25:17from how sensational this routine is.
25:20It might not have been the audition
25:21the panel expected,
25:22but it certainly wasn't the one
25:23they were going to forget.
25:33Number 8.
25:34You're the one that I want,
25:35Grease.
25:41The final scene of Grease celebrates friendship
25:43as two gangs close the door on high school
25:46and put all past feuds behind them.
25:48While We Go Together ends the flick
25:49on a party high,
25:50we're already on our feet
25:51as soon as Danny spots Sandy
25:53in those famous tight leather pants.
25:55Using the school carnival as their backdrop,
25:58Sandy and Danny shimmy
25:59and groove their way through the rides,
26:01coming down the stairs with iconic moves.
26:10It's cheesy, entertaining,
26:12and energetic.
26:13Who knew that sending off high school
26:14could be this much fun?
26:16Number 7.
26:17The Barn Dance.
26:18Seven Brides for Seven Brothers.
26:27If you want almost seven minutes of dance heaven,
26:30this is the movie for you.
26:31As the brothers head into town
26:33to take their newly learned etiquette skills
26:35for a test drive,
26:36they find themselves in a dance-off
26:38for the attention of the town's women.
26:45They dance their boots off,
26:47pulling out every trick and flip
26:48to steal the show
26:49and the affections of their dance partners.
27:00There's so much intricate choreography
27:01that it took the dancers three weeks
27:03to nail this routine.
27:04The movie's choreographer, Michael Kidd,
27:07was known for his challenging
27:08and acrobatic choreography,
27:10and the payoff is evident.
27:20Number 6.
27:21Step in Time.
27:22Mary Poppins.
27:23Step in time!
27:25Step in time!
27:26Step in time!
27:26Come on, mighty!
27:27Step in time!
27:28Although this call-in-response song
27:30incorporates instructions into its lyrics,
27:32we think we'll leave this one to the pros.
27:34Dick Van Dyke as Bert
27:35leads the chimney sweeps
27:37across the rooftops of London
27:38in an incredibly athletic routine,
27:41choreographed by Michael Kidd.
27:42Make your elbow, make your arm!
27:44Make your elbow, make your arm!
27:46Make your elbow, make your elbow!
27:49This ambitious dance
27:51sees the chimney sweeps
27:52leap around the rooftops
27:53and dance with props,
27:54as well as performing
27:55the highly animated choreography.
27:57This is one of the most entertaining scenes
27:59in the entire movie,
28:01and even Mary Poppins
28:02breaks her stern exterior
28:03to enjoy the show,
28:04before showing them
28:05all how it's done, of course.
28:16Number 5.
28:16The Final Dance.
28:17Footloose.
28:18In a town where dancing is banned,
28:27what better way to let off some steam
28:28than to, well, dance?
28:37While, of course,
28:38Ren's acrobatic freestyling
28:40in the warehouse
28:40is certainly a key moment,
28:42it comes in a close second
28:43to the final scene.
28:45With the ban finally lifted,
28:46the teens cut loose
28:47to Kenny Loggins' title track.
29:00Sure, none of the principal cast
29:02are fully trained dancers,
29:03but that doesn't lessen
29:04the effect of this iconic scene.
29:06Granted, Kevin Bacon
29:07has since claimed in an interview
29:09that he sometimes pays wedding DJs
29:11not to play the song,
29:12worrying that people
29:13might expect him to bust a move.
29:15Everybody cut, everybody cut.
29:17Everybody cut, everybody cut.
29:19Everybody cut for losing.
29:24Number 4.
29:24You Should Be Dancing.
29:26Saturday Night Fever.
29:27Look out, give the kids some room.
29:29He's taking over again.
29:31All right.
29:31All right, go, go!
29:33Before donning a T-Birds leather jacket,
29:35John Travolta was getting his disco on
29:37in his first major film role
29:38as Tony Manero
29:39in Saturday Night Fever.
29:41With pulsating help from the Bee Gees,
29:43and a song that basically calls you
29:45to the dance floor,
29:46Travolta put the spotlight
29:47on the disco genre
29:48as he clears the floor
29:49to strut his stuff.
29:50Let's go, Ed.
29:57Pulling out all the archetypal steps
30:00with some impressive splits and spins,
30:02it's no wonder that this scene
30:03is such a crowd pleaser.
30:05The movie had a huge influence
30:06on the late 70s popular culture
30:08and helped bring disco
30:09into the mainstream.
30:20Number 3.
30:21I've had the time of my life.
30:23Dirty dancing.
30:24We just have two words for you.
30:27The lift.
30:27Whenever people think
30:28about this dance number,
30:30they go straight to this famous moment.
30:32But that doesn't mean
30:33that the whole dance itself
30:34doesn't deserve some love, too.
30:43As we hit the climax of the movie,
30:45all the work that Johnny and Baby
30:46have put in throughout the summer
30:48finally gets its spotlight,
30:49and Baby shows off
30:50her recently found confidence.
30:52It's such an engaging routine,
30:54and clearly everyone wants
30:55a piece of the action.
30:56So it's not long
30:57until they're all on their feet, too.
30:59Oh, and did we mention the lift?
31:02Let's be loved
31:03because
31:04I have
31:07the time of my life
31:10No, I never felt this way before
31:14Number 2.
31:16Dance at the Gym,
31:17West Side Story.
31:18From the first finger snap
31:20of the prologue
31:21to the high energy of America,
31:23it's almost impossible
31:24to choose just one standout moment.
31:26Okay, by me in America,
31:28everything free in America.
31:30For us will be in America.
31:33Okay, I'll go!
31:34However, we have to give the edge
31:36to dance at the gym
31:37for its beautiful storytelling.
31:39While the purpose of the dance
31:40is ostensibly to bring an end
31:41to the gang's rivalry,
31:42the dance-off becomes
31:43a stand-in for violence
31:44under the watchful eyes
31:46of the authorities.
31:47While each side tries to outdance the other,
31:57we get a brief interlude
31:58as Tony and Maria first meet.
31:59The choreography is truly inspired
32:12as dance serves to separate
32:13and unite the two sides simultaneously.
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32:32Number 1.
32:33Singing in the Rain
32:34Singing in the Rain
32:35Not only is the title member
32:51of this iconic movie
32:52one of its most famous scenes,
32:54but it's also likely
32:55what springs to mind
32:55when you think of
32:56the great Gene Kelly.
32:58After a kiss from Kathy,
32:59Don is so elated
33:00that even a little
33:01or a lot of rain
33:03can't dampen his spirits.
33:04Come on with the rain
33:07I have a smile on my face
33:10Jumping on lampposts,
33:12splashing in puddles
33:13and swinging his umbrella.
33:15This dance evokes so much joy.
33:17I'm singing
33:18and dancing in the rain
33:22Approximately a year
33:24after choreographing
33:25the amazing ballet sequence
33:26in An American in Paris,
33:28Kelly was handed a script
33:29that simply read
33:30Don dances in the wet street.
33:32Six words that led
33:33to the creation
33:34of a classic.
33:48Which movie dance scene
33:50have you tried to master?
33:51Let us know in the comments.
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