With the talent level that remains on So You Think You Can Dance, it’s hard to imagine who is going to be leaving the show this week. They’re all that good. Mark Kanemura was looking like he might be vulnerable this week, because as good as he is, there are three other guys that are that much better. The same goes for Comfort. She got a chance to come back last week and ended up staying, and as much as she has finally kicked it into gear, it’s probably not enough to save her.
Tonight, joining Nigel Lythgoe and Mary Murphy, we have Toni Basil. She’s a new one to the panel! Cat Deeley asks what she’s been doing since the hit Mickey. That’s a long time span to cover, as I was in high school when that song was big. She explains she’s working with Bette Milder as her dancer and choreographer, and will begin working with Tina Turner soon on her tour. That’s impressive.
Will Wingfield picks Courtney Galiano out of the hat and they’ll be doing hip hop and samba this week. For the samba, they’ll be working with Jean-Marc Genereux who talks about an underneath meringue/salsa/mamba in this dance, calling it a feast for the hips. That’s fitting, as the only thing Will knows about samba is there are a lot of hips. Courtney thinks all the hips are a lot of fun. They dance tonight to I Fell in Love With the DJ by Ché Nelle. The definitely have the hip action down, as Courtney shows she can do it just as good as Chelsie Hightower. They pull off a great lift at the end as well.
Nigel feels tonight is going to be a good night. He tells Will and Courtney that when they weren’t thinking too much about technique, they were fantastic, yet there were some times it got caught up in technique and became very placed. He also thinks all the guys on this show look like they’re from the movie 300, meaning maybe there will be a sequel, 300 the Dance-Off. There was a lot of good stuff that he didn’t think they’d get, but did.
Mary wants to know where Ashton is, as she thinks she’s being Punk’d. There’s supposed to be two contemporary dancers up there, but all she sees are two samba dancers. Will’s technique wasn’t always there with the hip rolls and footwork, and while the hips were loose sometimes, at other times they weren’t. For Courtney, Mary just has one of her patented screams. Toni claims every dance style takes a lifetime to achieve it, and for two contemporary dancers, she was having so much fun watching this, she forgot she was supposed to be judging. Toni felt they brought the life of the samba to it.
Comfort talks about starting to dance with the other street dancers, saying she wasn’t one of those girls to wear skirts all the time. She started it with her brothers and was tricked into going to a performing arts school by her father who said it was all about hip hop. For her solo she dances to I Got This Down by Simian Mobile Disco. Her solo is really inspired tonight. She has completely come alive since coming back.
Twitch picks Katee Sheen from the hat who pulls the dances contemporary and Broadway. She talks about knowing Twitch from before they came on the show, so this is extra exciting. Mia Michaels is choreographing this routine that is supposed to be about a boyfriend and girlfriend having a fight. He’s too cool, and she’s psycho, catty, and codependent. She actually does kick him by accident really hard while warming up to this. Mercy by Duffy is the backdrop for this dance, and they even share an onstage kiss at the beginning of their anger. They have a door as a prop that they walk through and slam on each other. This is just a really fun dance, although taken out of context, it sounds odd.
Nigel claims it’s hard to critique the dancing as the performance was just fantastic. He has to be honest that he was in situations like that before, with a woman banging on the door, but he wasn’t going to let her out. Mary says she can’t believe he said that, and he adds he wasn’t going to mention Mary’s name, prompting a scream. Back to the dancing, Nigel has to wonder what goes through Mia’s head. They danced it brilliantly and everyone was captivated. They can only ask them to do their best, and he thinks they did with one of the most entertaining routines to be on the show.
Mary hits Nigel then tells him to play along with her, prompting him to say that’s what she said last time, eliciting another scream. She does a knock knock with him … who’s there? Two. Two who? Two of the best dancers we’ve seen on this show! Whoo! She calls it a lot of fun and says when props come out sometimes they aren’t used, but they used it and abused it. She loved it, and it was brilliant. Nigel points out the fabulous moment when Twitch opened the door at one point, and Katee was hanging on the other side. Mary liked when she was choking him with her legs. Maybe all that has a lot to do with the imaginary relationship Nigel has conjured up in his head.
Toni tells Will and Katee they’re lucky to be choreograhed by the reigning queen of contemporary dance. She wished it was her. Twitch lucked in because it was funk music, and Tony thinks he should get on his knees and thank Mia for that seamlessness between the styles. She didn’t take notes on this one either, as she loved it once again.
Will first got stated dancing after watching Dirty Dancing, especially the end part where Patrick Swayze jumped off the stage. His mom got him into classes, and he started out with hip hop and tumbling, then got more serious into it. Once he came to L.A., Debbie Allen ended up seeing him and got him into her academy on a full scholarship. Tonight he’s dancing to Get Up Offa That Thing by James Brown, and he even has a James Brown wig and outfit on. This is absolutely brilliant and amazing … and waaaay too short.
Mark pulled Comfort from the hat, and with them both expected to not make it much further, this could be an interesting week for them. They pull fox trot and hip hop as their dances for the week. For hip hop, they’ll be working with Tabitha and Napoleon. It’ll be a dance about kids being stuck in detention and what they do when the teacher leaves. The Breakfast Club, it sounds like. Comfort had detention every day, but Mark never did. Comfort calls the dance absolutely thick with no time to think, and Mark just hopes their fire to stay out of the bottom two will fuel their dance. They dance to Party People by Fergie feat. Nelly, they, too, are using props. For them, it’s two school desks. They have thick high school jackets on, so it has to be tough to dance to that, but they do a flip lift thing that is amazing.
Mark shows what he wrote as sentences in school today, and it’s a piece of paper that says over and over again “I will not be in the bottom.” Nigel is in no mood to joke, though, as he tells Comfort it’s a surprise to him that she dances so much better in choreography than in her solos. Three were no steps in her solo, and here she was absolutely incredible, meaning she needs to transfer that to her solo. Yet even more surprisingly was how good Mark was. From the pair of them, he loved the pickup into the back somersault roll. If they are in the bottom two this week, it’s just that others were better than them.