By Sabrina Rojas Weiss
Last night, the sheer amount of dancing that was packed into more than two hours is making my head swim at the prospect of recapping it all. Out of the 20 partner numbers and 10 solos, I'm sure there are plenty of dances that were great, but I'm arbitrarily narrowing it down to the ones that stuck in my head (for better or worse). If your memory differs, share your own recap in the comments below!
Ellenore and Jakob: I wonder how the others reacted when they saw that these two were paired up this week? Not even the evil quickstep could take them down. Nigel was forced to make up something about Jakob's elbow in order to pretend they weren't perfect. And when they did Sonja's routine, their movement was so musical and expressive and effortless, I kind of feel like "dancing" isn't an adequate word for it. I do wish we'd seen the rehearsals for this piece and Sonja's explanation — were they spiders? Frogs?
Ellenore's solo: As usual, most of the contemporary dancers' solos are complete, snooze-worthy replicas of each other. (Will someone please get these kids some choreography lessons?) But Ellenore is the shining, quirky exception to all rules. See, kids? You can do more than just rolling on the ground and pulling at your hair.
Jakob: Give him the prize already. Side note: Jakob's "small town" of Windermere, Florida? That's the ritzy Orlando suburb where Tiger Woods terrorizes fire hydrants.
Russell: His solos are so simultaneously raw and scary and fun. And then he goes and nails the jive! Props for bringing Mollee along for the ride, and for somehow not making a contemporary piece set to Roxette's "Must Have Been Love" cheesy. Mollee, I don't get why the judges still love you and your too-cheery face and your blatant hairography. BTW, I think I also have a crush on Russell's adorable parents.
Ryan: If the makeup artists stopped using magic markers on his eyebrows, I might pay more attention to his dancing, but Ryan makes my "Better" list for dancing to the Scorpions' "Rock You Like a Hurricane," which elicited this comment from Cat: "You have no idea at the electric guitar I was playing backstage." I would pay to see that.
Kathryn: While her rumba was kind of awkward and jerky, she really looked like an old-school movie star doing "Choreography" from "White Christmas." Kids, look up Danny Kaye now. And I agree with the judges: She makes Nathan act like a man.
Ashleigh and Legacy: Proof that the right partner really matters. The judges tried to place all the blame on the "really hard" choreography of their first piece and the "not enough hip-hop" of the second. Truth is, these dancers' growth still isn't going to bring them up to Ellenore and Jakob's level in a matter of months. On the other hand, Legacy's solo was one of the most beautiful, moving breakdancing routines I've ever seen. And his street partner Flea's mullet deserves its very own show.
Nathan: Last week, Adam told Nathan to be more careful about seeming shallow in the interview packages. So this week, Nathan did his best to conjure up tears for the package and onstage after his show. Not to knock a guy for appreciating his parents' sacrifices, but that timing is a little fishy.
Fox censors: They actually felt the need to write "LM*AO" instead of LMFAO on the screen during Mollee's solo. The letter F is too much for people to handle now? Someone better tell "Sesame Street."
The missing rehearsal packages: I know there was a lot to cram into this episode, but I really, really want to know the story behind Legacy and Ashleigh's Mr. and Mrs. Dracula routine. And why Nathan had to wear a sequined turtleneck for the rumba.