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.
Season Two’s Cult of Personality
April 24th, 2010
You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.
When a show is making the transition between its first and second seasons, personality is perhaps its greatest asset. If you’re going to be creating new stories, and if you tied off a lot of the show’s loose ends in the previous season, you’re creating a situation where suspense and anticipation are replaced by creation and expectation. These are different beasts, and if you’re not ready to fully commit to a fast-paced serialized series then your best strategy is to use your show’s personality in order to “weather the storm,” so to speak.
What Buffy the Vampire Slayer does early in its second season is use personality as its ultimate goal, if not necessarily doing so in a straightforward or consistent fashion. The show has always been about its characters, and our attachment with the series’ strong but somewhat uneven first season is likely based on Xander’s wit, or Willow’s pragmatism, or Giles’ cantankerousness, or Buffy’s hidden vulnerability. However, while the second season does continue to rely on Xander’s one-liners or Giles’ dry sense of humour, it is not content to coast by: starting with the premiere, “When She Was Bad” and extending into “Halloween,” the show puts each personality under a microscope in ways which verify the importance of personality to the success of this series on the sides of both good and evil.