Tag Archives: Mia Michaels

Invasion of the Fan Perspective: So You Think You Can Dance’s Top 8

Invasion of the Fan Perspective: SYTYCD’s Top 8

July 7th, 2010

You could argue that tonight’s episode of So You Think You Can Dance is, in itself, fan service: after some have complained that the series’ switch to an All-Star format has taken away from the audience’s engagement with the dancers, the series took an opportunity with the Top 8 in order to bring back the old format as dancers performed two dances (one with an All-Star, and one with one of their fellow competitors). As someone who has been underwhelmed by the supposed benefits of the All-Star format, I was pleased to see the series return to its roots, and I actually quite liked the balance between the individual and paired performances – it was a twist of sorts on the “Paired Dance + Solo” structure the show has worked with in the past, and I preferred it to those episodes as I’ve always found the solos to be pretty uniformly boring.

However, fan response to the show’s seventh season invaded the series in another, less formal, fashion in this week’s episodes, as the fans were acknowledged within both the rehearsal packages and critiques for a number of the dancers. The series has acknowledged its fans before, but I’ve rarely seen them viewed as such a force within the competition in both explicit and implicit fashions, which is contributing to what has been a very intriguing (if not necessarily even) season for the series.

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SYTYCD (For the Cameras) & SYTYCD (with Another Dude)

SYTYCD (For the Cameras) & SYTYCD (with Another Dude)

June 30th, 2010

I was going to discuss some of the ways in which the All-Stars format continues to wreak havoc with some of the important qualities of So You Think You Can Dance, in relation to the judges comments that Billy Bell needs to work on his partnering skills, but since Nigel Lythgoe is apparently plugging his ears to any such criticism I won’t bother – if he’s not willing to accept the fact that there are trade-offs in his particular plan, and that some viewers don’t believe they come down in his favour, then that’s his prerogative and I won’t beat a dead horse.

However, there’s two things that I do want to discuss from tonight’s episode, which continues to provide plenty of fascinating insight into just how this competition works. Say what I will about the All-Star format, but it has revealed many of the contradictions inherent within the series’ structure, which gives me something to write about each week. In particular, I want to focus on Adam Shankman’s comment that Kent Boyd is one of the most “hireable” dancers the show has ever had, as well as the episode-ending, “gender-bending” hip-hop number performance by Alex and Twitch – while the former is predicated on a fairly rigid view of how dancers are judged by the audience (arbitrarily defined by the judges), the latter is a conscious (and hyped) effort to break away from that rigidity for the sake of memorability.

…and yes, it sort of comes back to the All-Star format, whether Nigel is listening or not.

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All-Stars, No Story: Confusion reigns over So You Think You Can Dance Season 7

All-Stars, No Story: SYTYCD Season 7

June 16th, 2010

When it was announced that So You Think You Can Dance would be changing its structure for its seventh season, in theory there shouldn’t be any complaints: after all, many of the show’s fans were frustrated by the sixth season, where the series felt stale for the first time. However, that staleness wasn’t really the result of the show’s structure so much as the decision to schedule the series in the fall (only weeks after the fifth season ended) and an unfortunate new stage which sucked some of the life out of the series. We were suffering from fatigue more than anything else, and while some small changes could bring us back to the franchise it seems as if Nigel Lythgoe decided to throw the baby out with the bathwater.

While we’ve known for a while that the series was throwing out its Top 20 structure and going with a Top 10 (in fact a Top 11) and teaming up the individual competitors with All-Stars from previous seasons, it wasn’t entirely clear just how that would work. The show is still a collection of 11 dance routines as it was before, but there are newfound conflicts in who we’re supposed to be paying attention to (the competitor or the All-Stars), and with Mia Michaels sitting in for Mary Murphy there is simply something different in the air.

And it’s proving to be, at least right now, a diversion from what used to make the show so engaging – while my choice of title may make it seem like the problem is that the show is focusing too much on the All-Stars (I couldn’t resist the play on No Guts, No Glory), the truth is that they didn’t focus on the all-stars at all, which is even more distracting and confusing for audiences and judges alike.

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Who Won So You Think You Can Dance Canada Season 2?

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Who Won SYTYCD Canada Season 2?

October 25th, 2009

Since I’ve been home this year, and since it has as a result been on every Tuesday evening, I’ve been following So You Think You Can Dance Canada where I didn’t last year. What I’ve discovered is that this is a show that can be really engaging for the reasons that any dancing competition show is, but that it constantly claims to be something “different.” It’s a weird cultural superiority scenario, wherein the mosaic we like to consider ourselves part of is somehow reflected by the decision to classify genres of dance more distinctly or how what the American show is claiming as progress (Tap Dancers! Krumpers!) was already achieved this season in Canada. The judges, as I ranted about early on during the competitive rounds, are also far too nice, often failing to critique routines that deserve some sort of constructive feedback.

It’s all part of the reason why I found tonight’s finale anti-climactic, as its celebratory tone was not that different from the self-congratulation that defines the show. I don’t think the show is misplaced in thinking itself to be entertaining or valuable to the development of Canadian dance, but there’s a point where that becomes the “point” of the show. And the result is that I actually don’t think we’ve spent enough time with these contestants for me to really suggest I am invested in them, or for that matter that the show is invested in them. The finale only further cements this fact, with some strange (if not entirely unjustified) approaches that indicate once and for all that this is not a show about dance so much as it is about how Canada is so uniquely situated to host a show about dance.

And tonight, Canada picked their ambassador.

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So You Think You Can Dance Season 5: The Finale Factor

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The Finale Factor

August 5th, 2009

While I accept any and all criticism of reality television as far as the sheer gluttony of the stuff that arrived on the airwaves over the past decade or so, I will say right now that the “Finale” is the reason the genre has continued to appeal to me. There is something about sheer uncertainty that few scripted programs can really match, as there is often no way to choreograph (eww, sorry) the twists and turns that could potentially happen. With shows like Survivor and The Amazing Race, any small snafu could completely alter the power structure, leaving your expectations in tatters on the floor while an unexpected winner is crowned. That’s the kind of story that keeps me hooked on (good) reality television, and the kind of story that makes me believe the genre has a definite place.

However, for shows like So You Think You Can Dance and its musical counterpart, American Idol, there isn’t always that same sense of uncertainty. Sure, there’s always a chance that expectations can be defeated, but for the most part things have been narrowed to the point where the final performances are not a surprise, and where the result is more a foregone conclusion. Last year, I don’t think anyone believed that Joshua, with his combination of braces and some fantastic and memorable routines was beyond likeable, was going to lose, so the suspense was somewhat gone. On these shows, dancers give so many performances that there is a lot of empirical evidence for how audiences are responding and voting, and as a result one can feel like the finale is only going to cement what has already taken place.

All of this being said, I feel as if this fifth season finale of So You Think You Can Dance is an example of a finale that has only further complicated what has been a very difficult to read season. Most thought that Brandon and Janette, so strong throughout the competition, were going to sail into the finals, but both found themselves in the Bottom at Top 8 and Janette even went home. Evan, meanwhile, has lacked a single breakout performance, and yet has never fallen into the bottom. The top two girls, meanwhile, are Kayla the Partner Killer, who was regularly in the Bottom Three, and Jeanine, who carried Philip early in the competition before emerging as a powerhouse when it mattered most.

The result is a competition that’s too close to call, but based on the evening’s events I think we can say that this is a finale that will truly matter.

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So You Think You Can Dance: All’s Fair in Love and Dance?

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Top 8 Performance Show

July 22nd, 2009

In the past four seasons, there have been a number of routines where emotional factors beyond the performance itself have played a role in their success. Two seasons ago, Mia Michaels did a piece where she imagined her reunion with her recently deceased father in heaven. Last season, Jean-Marc Genereaux and his wife France choreographed a piece for Twitch and Kherington inspired by their autistic daughter. In both instances, they were danced well, and there is a sense that the dancing itself was really besides the point: they were there to convey the emotion of the piece, and in those instances the steps were certainly secondary.

However, to be honest with you, I have my reservations about the place of a dance like Tyce Diorio’s Contemporary routine inspired by the fight against breast cancer that we saw this evening. [Before we move on from this point: I was emotionally moved by their performance, and felt the message about breast cancer was incredibly important. I am demeaning neither the purpose of the work nor their performance of it. Just making that clear.]

It was beautiful and moving, don’t get me wrong, and I believe they danced it well, but I think that there comes a point in the competition where such starkly emotional pieces may be too unbalanced for the competition to handle. There’s no piece that could possibly compare to what Melissa and Ade did in terms of emotional value, and I don’t necessarily think that it’s fair at this point in the competition, when the decision is entirely in America’s hands, for them to give a team essentially a free pass from any sort of legitimate critique. The strength of that routine, in my mind, should not be enough to hide the fact that Melissa and Ade’s Cha-Cha was perhaps the weakest routine of the entire evening, but the chances of them going home are now slim to none.

At the same time, of course, choreographers have the absolute right to be able to express their emotions through their work, and Tyce probably wanted to wait until he knew that all remaining dancers could handle the piece before showing it to the world. That all makes sense to me, it really does, but at the same time some part of me wonder if it’s particularly fair for one couple to have something so powerful and moving and the other to have something that inspired absolutely none of that emotion, and was never designed to do so.

I don’t think there’s a particularly answer to that, but a bit more discussion and some general observations after the jump.

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Performance Finale: So You Think You Can Dance Season Four

“Performance Finale”

August 6th, 2008

I haven’t blogged about what I deemed the summer’s guilty pleasure all those weeks ago, thus riling up a sizable segment of the show’s fanbase who viewed the term was disaffectionate. Well, needless to say, it was not intended as such – sitting around and watching So You Think You Can Dance has become a weekly ritual, first with some friends and then eventually with my parents as I’ve been spending a few weeks visiting at home.

It’s a show that you grow into more than perhaps any other reality program – there is a combination of personal achievement and massive variety that is unparalleled, and the limited audience involvement in selecting candidates keeps the dead weight out. This is a show where people are brought on for talent: not for how they play to the audience, not for their condescending attitude, but for their ability to dance.

And that means that, even with some surprises along the way, you get a finale of four strong dancers who offer up a great deal of entertainment and where all of the intense nepotism and laudatory comments usually dominating finales seems justified and deserved. I won’t pretend to know everything about dancing, but I have been watching enough to know where things might shake down for the impending final results.

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