M: Blah blah blah… Christmas blockbusters… blah blah blah… Oscar bait… and here they are:
E: What kind of sadist decided that would be a good idea, eliminating contestants at the top of the show and then making them dance? What a ridiculously horrible thing to do; it started us off on a down note and tainted everything that came later. FOX, you know this is mostly your fault. Give them a results show! Seriously. What’re you showing that can’t wait? Nothing.
Now, if you can get past that ghastly downer of an opening, there was a lot to enjoy about this week’s show. I’m sorry I took so long to bring my thoughts to you! Combine a national holiday with school vacation and a heat wave and you get an E who rarely visits her computer. I’ll try to be as speedy and pithy as possible.
Let’s start with the actual opener.
E: Almost as exciting as meeting the Top Twenty – let’s see the pairs!
And, how fun: the first competitive episode opens with four of the dancers (Jasmine Harper, Alexis, Curtis and Paul) hopping out of a car with the license plate SYTYCD and dancing their way through a loading dock, layered in sweat clothes and hats. They’re grooving to Herb Alpert’s “Putting on the Ritz” – mostly instrumental but with a little choral section which I guess is the part attributed to Lani Hall. To the side of the loading dock, Tabitha sits between Jade and BluPrint at a table, dancing with their hands. All 20 dancers, a whole raft of choreographers – Sean Cheesman, a be-feathered Travis Wall, Jason Gilkison, Napoleon and a super cool looking Christopher Scott – get in on the fun, dancing through racks of clothing (where Aaron fakes a move on a very surprised Nico), through make up and the control booth and popping out of dressing room doors. They swan through a little cafeteria area where extras/staff members snap their fingers, past a guy in a gorilla suit, past a bar where an older bearded man stands with a trumpet. Mary Murphy steps out of some staging to dance with Jason, and Nigel tries his hand at animation; all in all, there’s a great feeling of camaraderie and good spirits. The dancers end on the stage in retro tuxedos in a lovely synchronized ending, and Cat pops up a the end, laughing and smiling with sleek hair and a hot pink t-shirt mini-dress.
And, yep: the man with the trumpet was Herb Alpert himself, who Cat points out in the studio audience – and also in the studio audience are choreographers responsible for this piece, the D’umos. Napoleon is wearing their little boy in a carrier on his chest. Yay, D’umo family!
E: Here we are with the second in our series on the Oscar nominees, winners, and the performances that were unjustly forgotten. To see our thoughts on the supporting actor category, go here.
MMGF: So, here we have one of our, shall we say, less competitive competitions? And the Academy obliged by giving us who we all expected.
E: Oscar season is finally over, and I am ready for some new movies! Now, it’s not quite last March (when we were thrilled with anticipation for The Hunger Games) but this March oughtn’t be too bad. There’s a pleasantly long list of films worth checking out, I think.
C: Yes, a surprising number, actually! We’re finally out of the midwinter doldrums, it seems.