Season 7’s Top 4: With Great Power Comes Blatant Posturing
August 4th, 2010
Well, America, the power is finally in your hands.
I’ve written briefly in the past about how So You Think You Can Dance represents a strange sort of mediated democracy, in that the judges maintain control over who goes home (albeit out of a Bottom Three selected by America) for a large portion of the competition – while it purports to awarding the title of “America’s Favourite Dancer,” America isn’t involved in the process until the finals begin, and even then their influence is limited up until a certain point.
While Season Seven has seen a lot of changes for the series, the one I find most interesting is that Nigel Lythgoe and his producers chose to wait until the final week before the finals to turn things over to America – instead of taking control halfway through the competition, as we’ve seen in previous years, America gets to make one single un-aided decision regarding an elimination.
I’m intensely curious to know whether this was something they had planned in advance, or whether it was – like most of the season – an on-the-fly decision which resulted from the producers’ access to each week’s voting results. I raise this point not to suggest that there was some kind of conspiracy, but rather to emphasize how there was something about tonight’s show which felt decidedly manufactured, as if America was being expressly sold these contestants as a result of their newfound power. This usually happens at this late stage in the competition, but part of what has made the last few weeks so engaging was the sense of looseness about it – without the injuries, I think this could have been a really exciting season, and I felt like I was being sold the idea of that excitement tonight rather than actually allowing it to come through in the performances.
Instead, it seems like the show was more focused than ever on selling us this particular set of contestants, which made for a less enjoyable show than in previous weeks.
When Art Meets Structure: Stacey Tookey’s Carefully Designed “Mad World”
July 29th, 2010
I’ve spent a lot of time during So You Think You Can Dance’s seventh season discussing the non-dancing parts of the show, primarily in terms of the producers’ decisions in regards to the changes to the series’ format. I think this is ultimately because I don’t actually know anything more about dancing than what the show tells me, and because this season has (for better or for worse) been defined my competition elements other than dancing – injuries, All-Stars and choreographer conflict have been key topics of discussion, and frankly all of that takes away from the fact that I actually think there are four legitimate contenders for this year’s title of “America’s Favorite Dancer.”
This week, it’s tempting to go down the same path: we have Adam Shankman dropping a “Balls Out,” we’ve got Nigel Lythgoe showing just how much attention he’s paying to this competition as he accidentally drops an “American Idol” in there (which he chalks up to his mind being elsewhere, as he’s returning to Idol as its executive producer for Season 10), and you’ve even got yet another injury, with Lauren being attended to by the medics following her Foxtrot with Adechike (and making for a woeful final sendoff where Cat Deeley has to inform America that the judges, minutes after cheering about the lack of injuries, that they had jinxed it.
And yet, for once I want to focus on the dancing, and one dance in particular. Stacey Tookey’s societal piece with Billy and Ade was perhaps not the most emotional dance of the season, but it by far (for me) the most impressive conceptually. And while I think that part of this has to do with its artistic value, which I don’t entirely feel comfortable discussing what I do want to briefly analyze is how the dance is the perfect mediation of the choreographer’s artistic image and this season’s structural challenges, delivering something which is capable of standing as a piece of art while also being something which seems to absolutely capture not just the vague “spirit of dance” but instead the show’s competitive elements.
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.
SYTYCD Squabble: Lythgoe v. Wall
June 24th, 2010
I don’t really have much to add to my previous opinions about So You Think You Can Dance’s seventh season, but I do think it’s important to note that they’re trying: they showed us the contestants picking their partners (albeit in a somewhat awkward fashion in a flashback to open the episode), and they allowed the All-Stars to remain on the stage during the critiques to support their partners. However, I still felt like there wasn’t really a connection being made with the dancers, and what growth we saw felt limited compared to the kind of growth and connection we’ve seen in past seasons. The show feels stagnant in a way that it felt last season when the two seasons butted up against one another with very little break, which isn’t making this feel as revitalizing as I think they intended it to. It’s better, don’t get me wrong, but the bigger problems remain even after the aesthetics and logistics have been worked out.
However, although there’s no major change in that area and because my opinions of the dancers didn’t change during tonight’s performances (which isn’t a good thing, just so we’re clear), I do want to talk a bit about one awkward moment that speaks to larger problems the show has faced from the beginning. There are now three ingredients to each performance: the contestant, the all-star and the choreographer. And the way this season, in particular, is set up is that the contestant is (presumably) paired with a fantastic dancer, given fantastic choreography, and then force to live up to that potential. At one point, Nigel welcomes a new choreographer to the So You Think You Can Dance “family,” and that’s very much how the show treats its own: with undying respect and unfailing praise.
The problem comes in circumstances where the choreography isn’t actually fantastic (or at least when the judges feel that the contestants were let down by the choreography), which happens more often than the judges are ever willing to admit (as no one wants to offend their family on live television). There’s often this odd tension where the judges don’t want to blame the dancer for mistakes made by the choreographer, but they also don’t want to throw the choreographer under the bus, which makes for an awkward half-criticism that struggles with the fact that the choreographers aren’t judged in any capacity.
Tonight, though, Nigel Lythgoe went so far as to twice call out a choreographer for a piece which he felt failed to meet expectations, and the fact that it was So You Think You Can Dance alum Travis Wall makes for a particularly intriguing bit of discord within this supposedly happy family and creates some problematic complications for the series’ constructive criticism.