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.
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.