So You Think You Can Dance Review Season 14 Episode 12
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It's Beyoncé's birthday, and the All-Stars are here with a routine that looks for all the world like information technology'south going to be a "Formation" tribute — and and then it isn't. It'south the last 24-hour interval to wear white, then our dancers start out the dark wearing all white. It's Labor Day, so we've eliminated…one of the hardest-working dancers in this contest?
What a big day for defying expectations.
Lex and All-Star Gaby
Choreographer: Luther Brown, Hip-Hop
"Humble" by Kendrick Lamar
FINALLY. Justice for Luther Brown. Justice for hip-hop. Justice for Lex's personality, which exists and is fun, thank you very much. Later on weeks of non-hip-hop dancers being told they got cadet, or whatever, when they did non, Lex shows up and gets down. And sure, every fashion that isn't Riverdance is basically Lex'southward way — his first performance was hip-hop! — but it'south nonetheless a treat to see a dancer this poised have this much fun. He'south sharp, he gets low, and I clapped when he landed that backflip at the end. Lex looks like a boy who got into trip the light fantastic toe considering of You Got Served. Typing that sentence fabricated me feel like the actual Crypt-Keeper.
The simply affair better than this routine may exist the quotes information technology inspires from our experts. "I'm the happiest Smurf in the village; I can tell you lot that," Luther says. Mary opens her critique with, "Okey damn dokey, Luther." And Cat raves, "I dearest information technology when Mary gets street." (Presumably she's referring to Mary'due south use of "dope" and not "okey-dokey.")
Logan and All-Star Allison
Choreographer: Sean Cheesman, African Jazz
"Kabila" by Lord KraVen
Our beginning entry from this evening's Most Valuable Choreographer is a very fast African Jazz number about warriors in a tribe who but come up out a night. Logan'southward lanky frame is a drawback when the moves are this quick, simply he keeps it precipitous and even manages to get a few graceful turns in at that place. Nigel loves a practiced double pirouette in second that ends in a leg grab (honestly, same). I, a burrow person, was tired merely watching this one. Logan, an alien, is so energized that he screams when they're through. Then he speaks in what I can simply assume is non a real language when Cat steps on his foot, which is too far. Have it down, Daniel Day-Lewis.
Keeping things culturally insensitive (on Beyoncé's birthday, of all days!), Nigel tries to Nige-splain Zulu dancers, merely he does too pay Sean a squeamish compliment, calling this "one of the most difficult and yet impressive pieces of choreography that I've seen Sean Cheesman do." Just wait until the end of the evidence, buddy.
Kaylee and All-Star Cyrus
Choreographer: Tyce Diorio, Contemporary
"DKLA" by Troye Sivan feat. Tkay Maidza
As presently every bit Tyce said this routine was virtually "people who had everything but now have null," I thought of Houston — and of my hometown in Florida, which is bracing for Irma just a week after flooding because of Harvey. If Tyce even had Harvey in mind here (and he's Tyce, and then he could have just as easily been inspired by the tornado in The Wizard of Oz or the tornado in Twister or, like, a Jamba Juice that was out of his season), I'm glad he didn't make information technology explicit, but I went into this with raw hurricane feelings anyway. I might be easy pickings, but I was moved.
The hard-hitting choreography didn't push Kaylee'southward comfort zone as much as information technology could have — it still feels like nosotros're catering to her uniqueness instead of challenging her to accommodate — but she moves with a power that's appealing yet. To quote Mary, "it was similar a reverberation I could feel all the way back here." To quote Vanessa: "strongness."
ASIDE: I'grand very into Vanessa'southward Mila-Kunis-in-Forgetting-Sarah-Marshall wait tonight.
Kiki and All-Star Jenna
Choreographer: Warren Carlyle, Broadway
"Dancin' Fool" past Barry Manilow
However we all feel about Kiki, I hope we can agree in these trying times that he is a soundbite automobile. He says of his commencement childhood performance, "It was lit." He pulls a Bey and responds to, "Yous have fabricated it and so far," with, "Thanks." He shrugs when Nigel asks if he's glad he auditioned: "Um. Yep." And notwithstanding Mary Murphy, in three words, blows him out of the water when she screams, "LORD HAVE MURPHY!"
I rewound it to be sure I wasn't dreaming.
Mary'southward put-that-on-a-t-shirt assertion is prompted by — you guessed information technology — a prop routine. And this 1 is props on props on props: Every fourth dimension Kiki and Jenna toss ane set of canes off stage, likely whacking some poor PA in the head, they're thrown another pair. And they catch them all! And that's all that matters! The issue I take with prop routines in general is that every bit soon every bit a prop enters the picture, nobody cares about anything other than how well the dancers keep track of that prop, which means the judges aren't really judging them on their dancing; they're judging them on how well they tin can catch things, and this isn't baseball.
So while the judges rave nigh Kiki and Jenna's hand-heart coordination, let's talk about their operation, shall we? I idea Kiki was a little bit stiff here at times. But I also thought he was suave as heck and did a great job playing to the oversupply, and he was meliorate than Jenna at not breaking grapheme when he caught those canes. Did you know in that location were canes in this routine?
Koine and All-Star Marko
Choreographer: Dmitry Chaplin, Jive
"Rock Around the Clock" by Beak Haley and His Comets
A notation on Koine'due south solo: I beloved Koine.
Koine (who magnanimously accepts Nigel'due south apology for mispronouncing her name by revealing, "In rehearsals, they call me Quinoa") is cast equally the hottie opposite Marko's nerd in this upbeat, cornball jive. They've both got style for miles, and they sell this number similar it's zip. To quote Mary, these ii are "slick." Mary loved how Koine filled out all of the moves, peculiarly when she and Marko were dancing adjacent. Nigel loved the tricks. Vanessa loved it so much she HIJACKS THE HOT TAMALE TRAIN, which is Blasphemy. That train is off limits. Information technology's just, like, the rules of feminism. (Recap continues on page 2)
Taylor and All-Star Robert
Choreographer: Mandy Moore, Gimmicky
"To Make Y'all Feel My Honey" by Mick McAuley and Winifred Horan
Goodbye, Bob. Hullo, Robert. One week out from that hair-flipping hip-hop routine, Mandy is hither to soften things up — and just in time. I was starting to forget what I loved well-nigh Taylor. Our gal is light as a breeze here; she and Robert make their lifts await effortless, and with an assistance from that stripped-down song, they keep this dance from feeling too sweet. Mary cries anyhow. I love information technology when Mary cries; she's only so ready to exist moved by these dancers. I'grand with Nigel when he asks Taylor to dig just a little flake deeper next time (compare this, for example, to Amy'southward work in Travis' "Wicked Game," and it still feels like Taylor has ane final layer to shed), but I wasn't mad at this piece i bit.
Mark and All-Star Comfort
Choreographer: Misha Gabriel, Hip-Hop
"No Twerk" by Apashe & Panther 10 Odalisk
Cat'southward been waiting for this one: Marking gets to stay in his "Condolement zone" this week. (Cat, from the balustrade: "Shall I bound?" NEVER.)
And Marker and Comfort accept both been waiting for this: They're not in a beloved story. This evening, they fight every bit ninjas — or, as Misha puts information technology, they "tap into that inner ninja" that everyone'southward got. Marker and Condolement do well at, uh, accessing their inner ninja, but as sharp as they are, this routine feels like it loses steam as it goes. Their partner work is messy, which is a shame because as much as Nigel claims the judges are just following the whims of the voters at the end of the show, he'south clearly underwhelmed here: He points out that the theme stripped Mark of his personality like he's a dog sitting by the window waiting for Marker'due south personality to come dwelling from state of war.
Vanessa is more enthusiastic. "I don't know if there'southward annihilation I dearest more than a ninja," she says — a beautiful, absurd judgement that almost makes upwards for her Hot Tamale Treachery.
Lex, Kaylee, and Logan
Choreographers: Dwight Rhoden and Desmond Richardson
"Strange" past LP
To round out the evening, the dancers break into small groups and requite a heave to the Kleenex industry. First upward, Lex, Kaylee, and Logan are handed the work of a couple of legends, Dwight Rhoden and Desmond Richardson, who've choreographed a piece with a timely bulletin: "Within our difference, nosotros find our commonality." Visually, information technology'southward kind of like "Seasons of Love," but in a swell way. The slice makes skilful use of Kaylee equally the only woman — and simply person with bluish hair — in the group, setting her apart in a blueish wearing apparel; as ever, Nigel is thrilled that she gets to exist "unique." But it besides exposes how much more work she has to do to go on Lex and Logan'southward level. Those boys are something else.
Taylor, Mark, Kiki, and Koine
Choreographer: Sean Cheesman
"Still I Rise (Maya Angelou)" by Alexis Henry
I CANNOT WAIT to migrate off to sleep past watching this 20 times while I scribble out a list of concrete actions I can accept to make a departure in my community. Lord have Murphy. This was powerful. Sean describes this piece as his promise for the world: "It's our diversity that makes us stronger." It's about standing together against hate, and equally our esteemed choreographer points out, that'due south non a bulletin this various grouping of dancers has to fake. "They are really diverse."
By virtue of the fact that it's set up to a reading of Maya Angelou's "Withal I Rising," this slice carries a secondary message about the weight of words — the rhythm and music in them. I've never minded crowd noise during routines, fifty-fifty emotional ones, but I wanted everyone to end cheering tonight and merely listen. LISTEN TO MAYA. As Vanessa points out, America needs this right now. Can y'all fax a dance routine to an elected official?
Anyway, art comes at a cost. To the elimination…
BOTTOM THREE: Kaylee, Marker, Kiki
ELIMINATED: Marker
I don't really know who is SCREAMING because Kiki is in the lesser 3, but I'm right in that location with the people who scream when Marking is knocked out. Out of these iii, he'd take been my last pick to exit. Nigel claims that the judges are following America's vote on this, but aren't the judges here to protect America from itself? It just feels like a cop-out.
Even so, I'grand non surprised at all to report that Mark continues to take the best mental attitude fifty-fifty after his elimination. Farewell, Marking. Keep information technology in the Comfort zone.
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So Y'all Think You Tin Dance
Nigel Lythgoe, Mary Murphy, and the viewers at home crown America'southward Favorite Dancer.
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Source: https://ew.com/recap/so-you-think-you-can-dance-season-14-episode-12/
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