So You Think You Can Dance: Results Show, 6/24/10

E: Well, that’s not how I thought that was going to go.

It’s not looking good for the girls this season, is it?  And okay, I know the male contestants generally have done better (winning 4 out of 6 seasons) and that in this season’s crop the buzz about the finalists has been very clearly male.  But when the contestants who performed the best end up in the bottom three, you have to ask yourself.  Can the carnage end?  Perky-cute Ashley and Lauren escape the bottom once more, but that’s all that can be said for the ladies.

A Sonya Tayeh jazz routine opens the show, to the rollicking tones of Roisin Murphy.  It’s good.  And very jazzy.  It’s like Sonya’s answer to Nigel’s question about the line between jazz and contemporary, which here is totally distinct.

Cat wears a strapless black leather minidress with an asymmetrical zipper across the front.  Nice.  And after some blathering about National Dance Day, she takes us right into the results.  First group: Cristina, Kent and Adechike.  Obviously it’s not Kent – I can’t imagine he doesn’t win the whole thing – but I know who of the other two deserves the bottom, and it ain’t the one who’s there.  I’m going to admit it.  I’m surprised that Adechike has as many fans as he does.  I know I’m hard on him.  I do like Adechike’s dancing, and he seems like a sweet kid.  Maybe I’m still mad about Anthony Burrell – I don’t know.  It just seems pretty clear who it ought to be.  All I can say is that next week, he better draw something that is not contemporary (or jazz) so we can see what else’s he’s capable of.

In the second group we have Alex, Jose, Ashley and Melinda.  Melinda seems the obvious bad apple.  Or maybe that’s just her high waisted, shiny, candy apple red “pants”?  Mother of God, those are heinous.  She got some flack for last week’s sparkly green jacket but it’s nothing like these pants and that shortened t-shirt. She managed to find clothes more ridiculous than her costume, and that’s a feat.  Now Ashley, on the other hand, seems just to be wearing practice clothes, but her abs are so stunning I can’t say anything about it.  And, yes – it’s down to the two girls (of course) and it’s Melinda in the bottom.  I’m surprised (but pleased) that Ashley is so popular.

Final group: Lauren, Billy and Robert.  Lauren goes first, which means she’s safe.  The contestants must catch on to that habit – but I bet they still have to look worried for the camera. Or maybe they’re just so worried that Cat might trick them?  It’s either Billy (totally ranked on by the judges) or Robert (chiefly praised) and doesn’t it turn out to be Robert?  Hmm.  Was it the initial lack of screen time – or was it, perhaps, the preposterous wackiness for the camera? I’m not surprised that after that heinous “sick/six” crap Robert pulled when asking people to call his number, voters were turned off.  Dude needs to stop shooting himself in the foot.  I’ve said it before.  The mugging must stop. Cure the ham, please!

Next up we have a fantastic performance from locker/scoliosis sufferer Brian Gaynor and his crew Remote Control, who we met back in the auditions.  They’ve got on thick tunics and hats and gold masks so they look robotic, something out of Doctor Who, and I love it.  They’re really very cool.  They get a standing O from the judges.  Three pretty unremarkable solos follow.  Robert impressed me less than I was expecting.  I might actually have liked Melinda’s the best, but Mr. E doesn’t think it’s enough to save her, and I think he’s probably right.

Debbie Novak performs her silly drummer boy song.  You know, fine, she’s good looking and has a certain amount of stage presence, but she’s sorely lacking in the voice capacity.  I enjoyed watching the All Stars dance – it was better than when she did the same song on Dancing With the Stars this spring – and I love Cat’s offer to be her bodyguard.  Very cute.  And that’s all I have to say about that wannabe Shakira.

Nigel tells Robert they considered cutting him for gender parity, but they won’t.  What does that prove?  Was it a warning to all the boys?  Did he just give up all the girls for dead?  Weird.  Then he tells Melinda that she’s a fantastic dancer, but she’s not vulnerable enough for people to connect with (and you know I’m not a big fan of hers, but I’d rather have him tell her “learn to talk about stuff other than your ambitions” than what feels like “you need to be cutesy like Ashley and Lauren”).  Then he says that he wanted to cut her, but Adam and Mia refused to let her go.  She takes her Wonder Woman pants and heads into the audience.  That means Cristina is gone.

I was pretty certain it was going to be Melinda, and I’m fascinated that it was Nigel who wanted to give the hoofer the old heave ho.  No one bothers to say why Cristina got the boot instead.  I mean, sure, it was her second week in the bottom, and whether or not the judges think it was deserved, this is a popularity contest in the end, and clearly neither Melinda nor Cristina are clicking.  Don’t you wonder if part of that’s because Cristina went first both weeks?  As with American Idol, it’s easy to forget about the person who went first.  I don’t really know why people haven’t voted for her otherwise.

And there we are.  Do the judges have to cut a boy next week, if given the chance?  Six boys and three girls – that’s not a lot of work for the male All Stars, is it?  Or is Melinda’s demise inevitable?  Is it fixed immutably in the stars?

12 comments on “So You Think You Can Dance: Results Show, 6/24/10

  1. Sonia says:

    I really hated to lose Cristina.

    Is there going to be a point where the judges can’t save someone? Has that been explained?

    Robert, Robert, Robert. Hope you learned your lesson.

    • E says:

      I have no idea how it’ll work – there must be a time when it’s all about the votes. When it’s down to the top five? Will that mean there’ll only be 2 finalists? So hard to figure this system out!

  2. MMGF says:

    THIS is exactly the problem with Mia and Adam as “judges.” You KNOW Mary would’ve kept Cristina (who deserved to stay over both of the other two.)

    • E says:

      I really wish we knew Adam and Mia’s rationale, because I just don’t get it.

      • MMGF says:

        I think it’s that they’re idiots.

        • E says:

          But now I think they’re double tools for backing out of their choice and beating Melinda up about it. It’s not HER fault they made the wrong choice last week – they didn’t need to rub her nose in it!

          • MMGF says:

            And that left no choice at all but to eliminate yet another girl. So, we got one extra guy before the finals even started, and we’re now down to a 3-1 guy-girl count. Booo! Although, I get the impression people really like Ashley. I wonder if she can be another Jeanine or Sabra or Russell, someone who evolves into a front-runner, even in this abbreviated season. I’d love to see that, because I really like her more and more each week. That said, I’m not sure there’s any chance to break through the talent of Alex or the pimping of Kent.

  3. the presidentrix says:

    I’ll admit that – for whatever reason – I have a really hard time connecting with their ballroom contestants, year after year. Maybe it’s that ballroom is so obscure as to its standards, so that good and bad ballroom are harder for laypersons to recognize. Maybe it’s the lack of story and genuine feeling in ballroom dance? That sounds ludicrous, even as I type it, because of course it is entirely possible to get caught up in the feeling of latin or ballroom, but it just seems so much easier to project real depth of feeling onto the contemporary-type dancers, since their forms appear to have more to do with freedom of expression: as if the choreography is really coming from inside them, when it’s really just another carefully rehearsed performance, like any other dance on the show. The narratives of latin and ballroom routines often seem so forced and even bombastic by comparison to the subtleties and variations of the other types. It’s hard to become devoted to a female contestant when, for example, her achievement of the week was that she did a really great job being completely dominated by a guy on stage.

    Still, I’m shocked that the *judges* chose poor Christina to go. Her routine may not have been a favorite of mine, but she inhabited it really well. I’m not attached to Robert at all, and Melinda annoys me, so I’m still awfully sad to see Christina go, even if she hasn’t been a favorite of mine to this point. What could they have been thinking? According to their own comments (though I struggled to agree with their assessment of her Week 1 ‘snake’ dance), Christina has done better so far than either of the other two. But they want to give the other two more chances and they just don’t care about her? Or something? *sigh*

    On a related note, I thought it was really smart (though allegedly randomized?) to give Melinda a dance this week that was about something bigger than charm and chemistry. I wasn’t swept away by the result – though it had its moments – but I like her better when she’s doing something thinky than when she’s giving the very off-putting impression that she sees herself as some kind of irreplaceable, consummate performer. Like you, I don’t want to see Melinda forced to act like the perky girls to get votes – I think Ashley might even be better off toning that down a little; it seems a little forced (whereas I believe that’s Lauren’s real personality, for better or for worse) – but right now Melinda is tapping into a big pet peeve of mine: young adults who think that being artsy and eccentric makes them Super Important Special Snowflakes.

    And ohhh, what if so few girls means that much less Mark? I want to see Mark dance EVERY WEEK.

    • E says:

      I want Mark every week, too!

      I love the ballroom dancers, but I understand what you mean about the contemporary choreography, and how it can feel more organic. Ballroom can be really constricted and stylized – but that can be wonderful, too. And the domination thing? They spoke about that as much in the Kent/Courtney jazz as they did in the Argentine Tango. It does sit oddly, but it’s more of a problem if every routine is about the boy dominating the girl. If the girls come out on top as much (a la Cristina’s paso) it’s not so bad.

      I think Melinda is putting a terrible spin on her ambition, in the sense that she’s making her ambition the story and not her possession of other talents. When Alex says that he plays the piano, you don’t get the same feeling of “and you must love me!” even though it’s a similar skill to songwriting. She could have just said that she was on that soap instead of repeating at every opportunity that she wants to be the next Judy Garland.

      Cristina’s dismissal is a real puzzle, given that she had two performances the judges loves (something you can’t say about the other two).

  4. MMGF says:

    So interesting. I feel exactly the opposite. I get swept away into the intricacy and drama of the ballroom dancers, and they’re usually SO good. I think of Anya and Janette and Pasha and Dmitry. Whereas a lot of the time I think the contemporary choreography is trying too hard, and getting too wrapped up in a “story.” And many people seem to come to the show thinking that they’re contemporary dancers, when, really, they’re just acrobats.

    • E says:

      I guess I see both of your points. The dancers, I like them all! I definitely agree that a lot of the contemporary dancers (hello, Neil) are stronger gymnasts than dancers. And we do get really swayed by the gymnastic tricks. And a lot of contemporary choreography can be a bit overwrought.

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