<p>Melinda of 'So You Think You Can Dance'</p>

Melinda of 'So You Think You Can Dance'

Credit: FOX

Recap: 'So You Think You Can Dance' Results - Down to 9

The bottom three is a surprise – but yet another girl goes home

A few thoughts about the opening number. One, Sonya may be the show’s best, or at least most creative, choreographer. Two, this is possibly the best top ten ever. And finally, it’s going to suck when voters eliminate all the girls and every opening number is a big sausage fest, at least when it comes to actual competitors. I’m just saying, there doesn’t seem to be a lot of love for the girls, and I don’t see that changing this week, either.

[Full recap of Thursday's (June 24) "So You Think You Can Dance" after the break...]

And it’s on with the show! Adam and Cat are going to see the new “Twilight” movie, and Nigel rescued two dogs. I feel so much closer to them now, although it seems Mia doesn’t seem to be part of the backstage chit chat, which makes me a little sad, as she seems like she would have interesting weekend plans. National Dance Day blah blah blah blah. Cat hasn’t been doing her NappyTabs routine. If you have exciting plans for National Dance Day, you can get your video aired on the show. Start talking money, and I might be more interested.
 
Cristina, Kent and Adechike are the first three on the block. First, we revisit Kent’s dance. And people love the Kent, so the Kent is fine. Kent is super happy about that. And his parents are thanking baby Jesus in the audience. Then, we review Adechike’s unnervingly fake smile dancing. If I had to pick someone to be in the bottom based on last night, I’d have to go with Adechike. But he’s also fine. Cristina, not fine. She is in the bottom three. Again. Which shocks Adam. He gives Cristina props for taking criticism, and knows she’s going to bring it. Actually, he said slaughter it, which seems a little violent. But fine, whatever, she will. I really, really don’t understand why Cristina keeps ending up in the bottom, honestly. There are some other girls who could disappear and I wouldn’t blink, but Cristina has regularly turned in strong performances. I don’t get it. Is it the braces? What, people? Where is the love for Cristina?
 
If I never see that Tide Free and Gentle commercial again, it will be too soon. That kid gives me the creeps. And please, don’t tell me how she looks just like your niece/daughter/best friend from kindergarten, or tell me how I don’t like kids. I just don’t like this kid. And, possibly, Tide. It’s elimination night, Cristina’s in the bottom three again, I’m allowed to be cranky, so there.
 
And we’re back. Four more dancers on the block.  Alex is… safe. Of course he’s safe. Even if he wasn’t safe, c’mon, the judges would keep him. I think he knows this now, because he doesn’t look as worried as last week. Or maybe he just looks tired, I don’t know.
 
Jose is… really not good at Bollywood but he’s a bright light or whatever. And he’s safe. I don’t get it.
 
Ashley has… curled her hair.
 
Melinda is… wearing high-waisted Spandex pants. Red high-waisted Spandex pants, mind you. This falls under the “just because you can, doesn’t mean you should” rule.
 
Between the two of them, the one in the bottom three is… Melinda. God, this is like last week all over again. Nigel says voters didn’t connect with her, and he blames the dress. Seriously, not the dress. Whatever you do, Melinda, don’t tap for your life.
 
Uh-oh, we’re down to the last three – Lauren, Billy and Robert. I find it hard to believe any one of these dancers would be in the bottom. Yes, Billy crumped, but he lived to tell the tale, which is pretty impressive. And both Lauren and Robert were solid last night. And the unlucky one is… Robert? Huh. Really, kind of a surprise. Was he really the weakest link of the boys last night? When Jose was murdering Bollywood? Mia doesn’t want to lose him and says he’s one of the judges’ favorite performers. I think Robert needs to cut down on the wacky/goofy crap when he’s not dancing, because it just makes the little tweens who could be crushing on him think he’s just as gross as the little boys sitting behind them making fart jokes during math class.
 
Just a thought – it seems that the producers are using a lot of the footage of the all-stars mouthing off to the judges (Courtney, Comfort, Anya, etc.) in defense of their partners during these recaps. I had been thinking that, given how it seemed to generally annoy the judges, we might not see this in future weeks, but now I can see why the producers might want to keep this. The dancers have clearly learned from previous seasons to take their lumps with quiet grace, so the all-stars are the only ones who can bring the drama. Kind of genius, really.
 
Time for a guest performance. Oh hey, it’s Bryan Gaynor. We love Bryan Gaynor. He performs with his two buddies, who make up the rest of Remote Control. I’m a little sad they all go for the mask option, but it doesn’t matter because crap, they’re good. Really good. I hope they get a hell of a lot of work from this. Even if they’re dressed like those metallic guys who’ll bust a move for a buck that you see at every tourist trap.
 
Next, Cristina dances her ass off. I really think Cristina has the potential to learn and grow, and this is a strong performance. Why she hasn’t found a following, I have no idea.
 
Melinda. Oh yay, she’s tapping. Yes, she’s a very good tapper. But the fact remains, tap is just the most spastic, ugly dance out there, no matter how good it is. I’d rather watch ducks waddle across the stage, honestly.
 
Robert dances. He also brings it. Judges, end our suffering and send home the tapper, please.
 
Debi Nova performs “Drummer Boy” She looks like Jillian Michaels’ slightly cuter sister. What’s interesting is her dress is both boring (beige) and weird (the hemline) at the same time. Someone needs a stylist, methinks. But the song’s fine. At least it’s danceable, which is always a good thing on a show about, well, dance.  
 
Cat is either gigantic, or Debi Nova is a midget. They’re kind of like one of those Guinness Book of World Records photos of the shortest and the tallest women in the world, except usually those women are not as cute and more on the creepy side.
 
Nigel reveals a decision has been made, and it’s not unanimous. He tells Robert it would be easier to kick him to the curb, due to the surplus of boys on the show. But, no can do. Then, he asks Melinda to step forward. He tells her the public just isn’t connecting with her, and he would have liked to let her go, but Mia and Adam wanted to keep her. So, that leaves Cristina. WTF? Nigel tells her she was brilliant last night, she’s grown each week, she wants to learn and her work ethic is good. So why not keep her? Cristina takes it like a champ.
 
Time to watch her inspiring montage, which, hello, just says to me she should stay on the show. Oh, crap, she’s tearing up. She thanks everyone for the opportunity and says she’s not going to cry and she’ll never forget the experience. This is just a drag, honestly. I know, we’re down to the final ten, everyone’s good, but I think Cristina should have outlasted Melinda, most definitely.
 
I notice the other dancers aren’t crying this week, at least not like the nervous breakdowns of last week. Boy, they toughen up fast. Last week they fell apart like soggy toilet paper. But there’s a big group hug for Cristina, which suggests that everyone is probably sleep deprived and exhausted, or maybe just jealous that Cristina gets to go home and eat a sandwich and take a nap, which probably starts sounding pretty good to everyone at this point in the competition.
 
So, can’t say this was the conclusion I’d hoped for this week. Another girl bites the dust, and not even the weakest girl, if you ask me. Although it might be interesting to see an all-guy final five, just for the hell of it. After all, it’s Alex and Billy’s contest to lose at this point, so how the next few weeks go is almost beside the point.
 
 
Do you think Cristina should have gone home? Do you think the girls are weaker than the boys? Who do you think is going to win?

 

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<p>Comfort and Billy Bell of 'So You Think You Can Dance'</p>

Comfort and Billy Bell of 'So You Think You Can Dance'

Credit: Kelsey McNeal/FOX

Recap: 'So You Think You Can Dance' - The Top 10 Perform

The judges take one dancer to task, but is their criticism fair?

Top Ten! Based on applause, or lack thereof, during the intro, Melinda and Cristina have their work cut out for them. But hey, you never know whose family is in town, so applause, shmapplause. So let’s get to it.

Cat Deeley reminds the audience that they’re live, which seems like a bad idea to me, because it’s practically asking someone to streak naked across the stage or start screaming epithets that will get Fox fined by the FCC. But “SYTYCD” fans may be too wholesome for that.
 
[Full recap of Wednesday's (June 24) "So You Think You Can Dance" after the break...]
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Alexander Skarsgard of 'True Blood'

Anna Paquin and Alexander Skarsgard of 'True Blood'

Credit: John P. Johnson/HBO

Recap: 'True Blood' - 'Beautifully Broken'

Vampire Kings, Nazi werewolves and a missing corpse. Just another episode of 'True Blood'...

It’s episode two of Season Three of "True Blood"! Which supernatural creature will get voted off the island tonight? Oh, wait, sorry, different show. But with all the shape-shifting and retractable-fang action going on among way too many cast members, it may actually be nice if some of those kill-offs the show producers have promised us come true soon. 

[Full recap of Sunday's (June 20) "True Blood" after the break...]
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<p>Melinda of 'So You Think You Can Dance'</p>

Melinda of 'So You Think You Can Dance'

Credit: FOX

Recap: 'So You Think You Can Dance' Results - The first dancer departs

Usher performs and debuts a Justin Bieber video, plus one dancer goes home

Okay, everyone, it’s results night, which means that, if you don’t like it, it’s all your fault. And you thought personal responsibility was dead and gone in this day and age. Go figure. Actually, since the judges step in and pick the worst of the worst, it’s not entirely your fault. But still.

[Full recap of Thursday's (June 17) "So You Think You Can Dance" results after the break...]
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<p>&nbsp;Alex of 'So You Think You Can Dance'</p>

 Alex of 'So You Think You Can Dance'

Credit: Mathieu Young/FOX

Recap: 'So You Think You Can Dance' - Top 11 Perform

One dancer delivers the best performance in 'SYTYCD' history

It’s time to get the dance party started! With auditions and the first sweeping, sometimes unfair (Anthony Burrell, we miss you!) cuts out of the way, we’re down to the final 11. I can’t say there’s a single truly weak link that’s emerged thus far, but then again, last week we were treated to a big love-in of an episode in which every dancer hoofed it in their chosen genre, while this week we’ll definitely see everyone pushed out of their comfort zones. But, given how strong this batch of dancers is, that may not result in the car wrecks of seasons past, so really, anything could happen. In other words, I wouldn’t place a bet on anyone. If anyone actually betted on this show. Which would be, honestly, a little weird, and probably not legal even in Vegas. So let’s begin!

 

[Full recap of Wednesday's (June 16) "So You Think You Can Dance" after the break...]
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<p>Anna Paquin of 'True Blood'</p>

Anna Paquin of 'True Blood'

Credit: HBO

Recap: 'True Blood' Season Three Premiere - 'Bad Blood'

Bill's gone missing, Jason's feeling guilty and the Vampire Queen is back

Man, it ain’t even three seconds into this here new season o’ "True Blood" and I’m already writin’ with a Southern accent. Does that mean that season three is gon’ be good, y’all? Let’s found out. Y’all.

[Full recap of Sunday's (June 13) "True Blood" premiere after the break, y'all.]
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<p>Aaron Paul of 'Breaking Bad'</p>

Aaron Paul of 'Breaking Bad'

Credit: AMC

Recap: 'Breaking Bad' Finale - 'Full Measure'

Five reasons why 'Breaking Bad's' third season was so good.

The trick to writing "Breaking Bad" is to keep painting Walter White into a tighter and tighter corner but also keep leaving him believable ways to exist in that corner. You've got to make sure that he's well and thoroughly hemmed in, but you've also got to make sure that it's not just easier for everyone he's involved with to kill him. They need to need him alive, much as it might pain them, and the greatest trick Vince Gilligan and his creative team have pulled through three seasons now is the fact that they have been able to keep this immense juggling game going. There have been some inelegant moments in all three seasons. There have been moments when the tight focus on plotting can overwhelm the character work (though not many). And the show's sense that all of Albuquerque consists of a couple dozen people will always rankle just a little bit.

[Full recap of Sunday's (June 13) "Breaking Bad" finale after the break...]

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<p><span class="Apple-style-span" style="font-family: 'Lucida Grande'; color: rgb(27, 27, 27); white-space: pre; ">Alexie Agdeppa of 'So You Think You Can Dance'</span>&nbsp;</p>

Alexie Agdeppa of 'So You Think You Can Dance' 

Credit: Mathieu Young/FOX

Recap: 'So You Think You Can Dance' - Introducing the Top 11

The final eleven show what they’ve got – and the strongest stand out

Tonight, it’s all about the final ten, I mean eleven, which is exciting and I’m sure I’ll be thrilled once the episode gets rolling, but first, I need to vent a little. After today, I promise not to gripe about this one more minute, but I just have to say – I’m still upset that Anthony Burrell didn’t make it into the finals. And the more I think about it, the more I think the judges made a horrible, horrible mistake. Judging from some of the comments I’ve seen online, I’m not alone in this, so I hope you’ll just humor me for a moment.

I realize that yes, this is about finding America’s favorite dancer, not the best. But in this case, I think the judges and, I’m guessing, the producers made a decision that was not only cynical but simply bad for the show. Anthony was clearly a stand-out talent, and the producers made a clear mistake in choosing Anthony to dance next to Kent and Alex. It was impossible to ignore that Anthony blew Kent out of the water, and worse, the judges even said so. So, for Kent to make the top ten when Anthony didn’t, well, it simply said to me that the judges (or more likely, the producers, because I don’t for a minute think they aren’t just as involved as the judges in these decisions, if not more so) think we’re all saps. That we value likability over talent, cuddliness over courage (I’d like to see Kent dance as well with a pulled hamstring), youth over hard-won wisdom. The stories of these kids are important to voters, yes, but I think most of us want to vote for the best dancer at the end of the day. I’d thought this was one of the rare reality competitions that valued pure talent, but now I feel that was just wishful thinking on my part.
 
More importantly, I’d like to think that this show gives dancers an opportunity they may not otherwise have, and looking at the top eleven, well, I’m scratching my head. Kent is going to college to major in dance. Billy and Rob are already dancing with the Alvin Ailey Company, for crying out loud. Alex, as much as I love him, is a working professional dancer. Though “SYTYCD” would give them opportunities, they might be similar to ones they’ll find on their existing paths. We weren’t given much of Anthony’s story, but it seems that, of all the dancers, he was the one for whom “SYTYCD” might make the biggest difference. Listening to him tell Mia how badly he needed this, it was a far different conversation than the giddy, weepy pleading from other, younger finalists. I got the impression (and granted, it’s only an impression), that Anthony has taken some hard knocks in trying to make it as a dancer. The other finalists wanted this. Anthony said he needed it, and it felt like his last hope was being taken away. I can’t think I was the only one who noticed he was the ONLY person who wasn’t surrounded by family or co-workers when he got the news. Maybe that was his choice, or maybe he’s truly on his own, trying like hell and meeting roadblocks at every turn. And now, “SYTYCD” has just thrown up yet another in his way.
 
And I’ll just say this – I’m worried we won’t see Anthony again. That maybe this was one obstacle too many. That he’ll either get injured again, or the damage done to his hamstring from dancing through his pain will result in something more lasting and problematic. That he’ll just take this as a sign that this wasn’t meant to be. I didn’t see a family rallying around him to cover the bills, after all. I hope I’m wrong. I want him to come back next season and win this thing. Because he could. He’s just that good.
 
Some people have said that, well, Anthony won’t grow as much as some of the younger dancers on the show. I’d argue that Anthony may be hungrier and more eager than any of them, because he wants it so badly. And, at the end of the day, he was BETTER. And really, it should just be that simple.
 
Anyway, now that I’ve gotten that (mostly) out of my system, on with the show.
 
[Recap of Thursday's (June 10) "So You Think You Can Dance" after the break...]
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<p>Nigel Lythgoe, Mia Michaels and Adam Shankman of 'So You Think You Can Dance'</p>

Nigel Lythgoe, Mia Michaels and Adam Shankman of 'So You Think You Can Dance'

Credit: FOX

Recap: 'So You Think You Can Dance' Las Vegas -- The Top 10

The final ten are chosen – and the judges deliver the good (and bad) news

 

It’s time for the final ten to be announced, whoo hoo! But I’ve got to say, I’m a little iffy on this new method of leaping from Vegas directly to the final ten. Granted, it certainly solves some problems the show has had once the final twenty were decided. When we had double eliminations and competing dancers were paired with one another, a so-so dancer could easily skate through to the finals on the strength of his or her partner. I also like the idea that we get to see some familiar faces back on the show and that they’re all dancing to their strengths – each returning dancer will be paired to their specialty as opposed to a specific dancer, making it even less likely viewers will be voting for a favorite couple. But are we ready to cut to the final ten so soon? The level of talent is already pretty damn high, and just one bad moment, much less one bad dance, could eliminate a talent who might have surprised by emerging as a winner in a past season. With so few slots, I just know some spectacular dancers are not going to make the cut, and let’s face it, that stings. We’ve just barely met these dancers, and now we’re kicking most of them to the curb! Waah!
 
But really, none of this compares to the new cheesefest starting tonight -- the judges are going to be breaking the good (and bad) news to the last group of dancers. In their homes. While they’re surrounded by hopeful loved ones. As they sob into the family sofa. I kind of hope someone’s parents are a little nuts and try to beat the hell out of one of the judges when they deliver bad news, just so the producers won’t try this again. For starters, it’s sadistic, plus it drags out a simple process for the purposes of doubling the length of what should be a one hour elimination episode and, finally, it smacks of “The Bachelor,” which is not a good thing. Ever.
 
Anyway, let’s get down to business. Time to see the final 58. And say good-bye to most of them. Uh, yay?
 
[Full recap of Wednesday's (June 9) "So You Think You Can Dance" after the break...]
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<p>The season finale of 'Glee'</p>

The season finale of 'Glee'

Credit: FOX

Recap: 'Glee' Season One Finale - 'Journey'

New Directions stares down Regionals, and Quinn stares down a face from her past.

 I’ve never met a show more analysis-proof than “Glee.” That doesn’t mean that there isn’t a lot to say about it, but I’m not exactly sure how much one says about it would actually go towards changing anyone’s mind about it. When the show works, it works so well that it bypasses the head and hits the heart, the land where criticism goes to die. When it doesn’t work, it fails so badly that you feel as if you’ve been literally hit in the head, wondering what in the world just happened. Throw in a more than occasionally odd mixture of satire, black comedy, earnestness, and musical theatre, and you have the modern-day equivalent of Shakespeare’s “problem” plays. 

And this is the show that’s already secured a third season. 

Let’s go over the rainbow and see what went down in the first season finale. 

[Full recap of the June 8 "Glee" finale after the break...]

When I read online that “Faithfully” would be a number in tonight’s episode, I jokingly suggested to my wife that the episode itself be called “Journey,” in that it seemed like the type of obvious title than makes “Glee” giddy in the morning. Turns out that joke was a lot less funny when it turned out to be the ACTUAL title of the episode. But while one can play the world’s deadliest drinking game by taking a sip each time a character in the show utters the titular phrase of the week, one can justify the lackluster Regionals performances through the title: it was more important to watch these people on the road to their big performance than to actually see the performance itself. 

After all, almost nothing truly impressed, from any group, at the supposedly show-stopping performances that represented the best of the Midwest region of the country. When Rachel told her mother Shelby that New Directions beat Vocal Adreneline, she was absolutely right. But that wasn’t exactly saying much. VA’s performance of “Bohemian Rhapsody” may have been a physically impressive piece of musical theatre, but a subpar expression of group vocals. But New Direction’s Journey medley wasn’t exactly barn-burning, either. Watching the expanded group share “Don’t Stop Believing” vocal duties was nice, but I still prefer the yearning of the once-smaller group’s initial rendition from the pilot episode. 

Watching these big production numbers points out one of the fundamental flaws of “Glee” in its first season: it keeps trying to sell us on how hard high school is, but never makes these big-scale performances look anything less than easy. I’m not suggesting Season 2 need be a realistic depiction of the rehearsal process, but it’s jarring to go from, say, Kurt’s complicated relationship with his father to a flawlessly choreographed number accompanied by a band that may or may not even have sheet music. The numbers are impressive without seeing the background work: they could be transcendent by showing the labor that went into making them. 

Amongst the myriad of musical-themed episodes of television that have aired over the past decade or so, the “Buffy the Vampire Slayer” episode “Once More with Feeling” stands out from the pack. Why? Because it depicts a world in which people’s emotions sometimes get so damn big that they have literally no other choice to express themselves in song. It’s the only proper form by which they can accurately express themselves. The songs are born from within. On “Glee,” these characters find existing songs and wear them as outward expressions, trying them on like a pair of pants, finding an external representation of what they themselves cannot feel. That’s why the Journey medley worked far less than Lulu’s “To Sir, With Love” later in the episode: the former was imposed on them by Will, and the latter was chosen by them as a more honest form of self-expression. 

When the musical selections on “Glee” truly work, they derive organically from character motivation as oppose to simple thematic relation imposed by the title of the episode. Watching the “Breakfast Club”-esque montage in which each member of New Directions let Will know how much the club changed their life gave context to a song that might otherwise seem like a trite tear-jerker. Had Will allowed them to learn songs that reflected their journey, instead of simply going for the easy montage, then I might have been behind their performance more.  But “To Sir” ended up being one of my favorite performances all year. Anyone that had a teacher that inspired them welled up at that number. “Glee” does these types of moments very well. They can’t often sustain them for an hour of entertainment, but they do short, searing bursts of greatness that occasionally make it stand out from the television pack. 

As mentioned before, “Glee” is already signed up for a 3rd season, which is pretty remarkable. But in some ways, that says more about “American Idol” than it does “Glee.” Both are centered around a viewing audience watching people performing cover versions of other artists’ material. This is fun to watch because nearly everyone watching these programs does that to one extent or another, and since it’s fun to mock the original performers, it’s often just as (if not more) fun to watch that performance once removed. In terms of hits versus misses, I think there are few that would argue that “Idol” outshone “Glee” this year. Simply by having the virtue of being able to pre-record and optimally stage these performances, “Glee” guarantees (as much as a show can) the type of performance that “Idol” used to feature on a consistent basis. 

I’ve focused almost entirely on the musical aspect of this finale, and the show as a whole, because I’m not sure the drama holds up to any type of actual scrutiny. It’s hard to talk about “stakes” when the rules of the show’s universe twists and bends to whatever needs the show has that particular week. Why Sue Sylvester would be let within 50 feet of another singing competition is beyond me, but it’s just the type of question the show doesn’t even want us to be asking. I didn’t even blink an eye when she got New Directions another year, because even though her entire arc this year was about the destruction of the group, “Glee” consistently changes the game when it writes itself into a corner. 

(I’d start a rant about Shelby’s apparent “I think I want to adopt a baby” turning into actually adopting Beth about fifteen minutes later, but I’m going to cut the show some slack and assume she’d learned about Quinn’s baby mid-year and planned this show as her last. Because the alternative makes me want to pull a Mercedes and bust the windows out ya car.) 

Here’s hoping Seasons 2 and 3 aren’t what Will described tonight as “a whole lot of middle.” These are small town boys and girls, living in their lonely worlds, with the occasional song to puncture the monotony of everyday life. That life may not sparkle like the lights on Broadway, but they are lives equally, if not more, worth celebrating. See Sue finally find something in common with New Directions through the callous eyes of outsiders makes me wish for a little more geographical and sociological perspective to seep into the show’s DNA. I’m not asking for “Friday Night Lights,” here, but a little of that could go a long way.  

In some ways, the finale set up next year to be…well, almost identical to this one. New Directions will get another chance at Nationals. Sue will get another chance to torment will. Madonna will get another chance to have her back catalog gainfully employed. Figgins will get another chance to be terrified of vampires. It will possibly feel familiar. Like an old song you used to sing. Hopefully, “Glee” can find a way to take that known melody and fashion it into something unexpected. 

What did you think of the season finale? Does Season 2 offer something different or just the same ol’ song? Leave your thoughts below! 
 

 

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