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Freelance entertainment writer, martial arts instructor, and mother of two.

So You Think You Can Dance, July 25th – Waiting on the World … and the Song … to Change


Watching the top 10 dancers being introduced at the beginning of the show, it’s still hard to believe Hok isn’t there. Or Anya. They both should have been top 10. I’m trying to put all that away, though, so that I can enjoy the show from hereon out. The dancers will now pick new partners each week and will also be dancing solos. The judges tonight will be the usual Nigel Lythgoe and Mary Murphy, along with Mia Michaels.

For their solos this week, they will all be dancing to the same Wade Robson choreography for the song Waiting on the World by John Mayer. Wade says when he was first told about this dance, he and his wife both thought it should have some meaning, and should be something everyone can connect to. It will be about peace and the war. He shows the dancers words that he thinks have to do with peace – communication, love, understanding, patience – and asks everyone to take a t-shirt with a peace sign on the front, and spray paint the word of their choice on the back. He then shows them the choreography that is supposed to be explaining this.

Lauren Gottlieb is the first to choose a new partner from the hat, and she chooses Pasha Kovalev. The dance they choose is hip hop, and she is really looking forward to it with Pasha, as he’s never done hip hop before, and she can break him into it. He thinks she really goes for it and kills it, and in fact the only thing he isn’t looking forward to is the possibility of letting her down. This is choreographed by Shane Sparks, who’s a little nervous, not knowing if Pasha can handle it. Tonight Lauren and Pasha dance to Fuego by Pitiful and in the beginning they look like a machine moving together, then break apart to dance separately, and we see they’re both in skeleton costumes. In the end, they go back together, and they begin to remind me of Transformers. It’s definitely a cool routine.

Nigel calls this a great opening routine, and he, too, sees that Shane created human transformers, and calls it really great fun. Nigel tells Pasha he has moved from Latin ballroom very easily into hip hop, which doesn’t normally happen. He thinks he’s the best Russian hip hop dancer. They had a lot of problems last week deciding whether Lauren was the one they wanted to keep, but tonight he’s glad they kept her. Mary calls it all unbelievable and a great way to start the show. She sees this as a great new partnership and thinks they instantly clicked. She, too, saw the whole transformer thing in it. She says she has a fever tonight, and the only prescription is to see more of Pasha and Lauren. Mia says when she first heard Pasha was doing hip hop, she was freaking out … in an awful way. Yet, he pulled it off and did it excellently. Mia tells Lauren she’s blowing up, and especially sees it after working with her last week. She points out that is meant in a good way.

Jaimie Goodwin is the first to dance a solo, and the word on the back of her shirt says “Honesty.” It doesn’t look like honesty, but looks more like freedom, like she’s searching for we way to be free. Dominic Sandoval’s shirt says “Love” on the back of it, and it definitely seems better than hers, although I’m not sure if I see love.

Sabra Johnson picks Kameron Bink as her new partner, and says she knew it would be him. He carries her into the studio like they’re crossing the threshold. They’ll be dancing to a Tyce Diorio contemporary routine. He wants this to show off Sabra and Kameron’s lines and sense of spirit, and wants to keep it simple. He likes their chemistry together. Sabra likes Kameron because he’s really strong, and she hopes that means he won’t ever drop her. Kameron thinks Sabra has cooler hair than he does. They dance to Amazing Grace by Crystal Lewis. It’s very angel-like, very spiritual. Both of them have some amazing leaps and spins.

Nigel thinks the routine was well-danced from Sabra and Kameron, and his only critique is just a little negative. He didn’t quite believe the emotional journey of Kameron, although he thinks Sabra soared. Yet, he cautions that he doesn’t want that to take away from how well he thinks they both did. Neither he nor Mary saw magic between the two of them. Watching Kameron, Mary didn’t think his extensions seemed to go on and extend like everyone else in his field. When she sees Sabra, it seems to just go on forever.

Mary thinks Sabra is up there in the heavens. Mia feels like Kameron was exposed tonight, as his dancing was somewhat immature watching his hands. He’s a beautiful man and strong, and that’s what’s getting him through, as he actually dances like a young competition dancer with no breakthrough. She tells him this as a teacher, wanting to see him make that breakthrough. Yet with Sabra, she sees her as full of grace, and she thinks her career is going to skyrocket, making her not want to wait to get her hands on her one day.

Sara VonGillern dances her solo with the word “hope” on her shirt. She’s the first one I can hear screaming at a certain point in the song, when actually everyone tonight is. Hers is just more noticeable. She look like she is definitely feeling it. Pasha dances his solo as well and has “communication” on the back of his shirt. Surprisingly, he seems to struggle with this, yet it would be hard to show “communication” when you are dancing a solo.


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