Monday, November 12, 2018

DTWS S025, Finals: Blows My Mind, The Best of the Best


I’m sorry. I have to break with my usual format and present the best dance of the night first, cause OH MY GOD!!!!!!! But we’ll just leave that there for a moment, let you salivate and savor over what’s to come...


We kick off the Finals of Dancing with the Stars Season 25 with this lovely number.  Upstage rear, we have the Chmerkovskiy brothers with their women (Maks dancing with Peta, Val dancing with Jenna). As the camera pulls back from them dancing, the song playing says: “I came here for love.” Indeed. All is right with the world now. (This deliciousness, of course, choreographed by the awesome Mandy Moore.)


Julianne Hough is returning as guest judge (WITH Len Goodman there).


So they kick off the dances with a “Redemption Round,” wherein couples redo dances they did earlier, in hopes of getting better scores. (There is, of course, different music and costuming and sets.)

First up, Emma Slater and Drew Scott redo their paso doble, with some tips from Bruno. (It occurs to me that this is why they needed four judges, since we have four couples left.)


In the package, Bruno walks in supposedly decked out as a contractor, to which Drew scoffingly says, ”That is a dainty tool belt.” LOL It’s true. We’ve seen Jonathan’s. ;-) Ahem...

Bruno finishes with “If you don’t do it, I’m going to turn into Demolition Judge.” He’s holding a hammer. Drew notes: “You need a sledgehammer, if you’re going to be Demolition Judge.” (Made me laugh.)

The sets, if you can’t tell, are amazing. And Drew’s paso is better from the first movement.


Bruno: “I’m so proud of you. The makeover worked.” Carrie Ann: “I’m heartbroken, cause that was absolutely, by far, your best dance. (Cause he made a mistake.) There was a poetry that you’ve embodied now. It was really beautiful. I’m really proud of you too.” Len: “I’ve been going on about lack of finesse, well, I’ve gotta say, this had finesse, it had quality and control. I thought you did a wonderful job.” Julianne: “For me, your title is Most Improved.”

JUDGES’ SCORES: 36 (out of 40)


Frankie and Witney have Carrie Ann as a mentor. She recalls gasping the first time they ever performed, and gushes in the package: “You can win this!” (I don’t think they can, personally, given the competition.) Witney then gushes back: “She really knows what she’s talking about!” (*eyeroll*) So Carrie Ann tasks them with a foxtrot, and gives Frankie a solo. Frankie finishes with: “I don’t know what the others are doing, but I’m going to give Carrie Ann exactly what Carrie Ann wants.”

They dance to “I Won’t Dance.” Nice, better than their first foxtrot.

Photo courtesy of  DWTS/ABC  and Just Jared.
Carrie Ann: “This is the joy of dance for me. You had form, you had shape, you had confidence. Tonight I saw more freedom in your body than I’ve ever seen.” Len: “This was a more accomplished, polished performance than last. What I liked, you had that great mix of Hollywood razzle dazzle, but you still maintained foxtrot. Overall, a great job.” Julianne: “You had this boyish quality that’s innocent. Something happened. You were that Frank Sinatra manly man.” Bruno: “Great flair, great confidence, you took over the stage. You can never go wrong by channeling Fred and Ginger.”

JUDGES’ SCORES: 38 (out of 40)


As if we didn't have enough stuff jam-packed into this show, we have this Pitbull number with Fifth Harmony. And many of our wonderful dancers. (Bonus points if you can pick out our lovely pro dancers by the back of their hair.)

All I can think as I’m watching is that one of these Fifth Harmony chicks competed on this show, but I’ll be damned if I can remember which one.


Oh, no matter. Our #DWTS pros are more interesting anyway. *winks* at Sharna.

Oh wow. The nondescript one on the end is the former competitor. Wow. (Don’t have a pic.)


Lindsay and Jordan are doing a Charleston, with Len coaching them. Len insists that there must be “at least three recognizable Charleston steps” in the dance. Course, Len was in his element when the Charleston was popular, so he’s a good coach! (J/K, Len!)

Lindsay still has a bad knee, Jordan got a scratched cornea. *sob, sob* Do they do a great Charleston? What do you think?


Oh, and if you’re still not convinced, there was this little number.


Wow. That was unbelievable. Bizarre seeing a Charleston to this music, but for Jordan and Lindsay, it worked.

Len: “Your mission was to show me more Charleston content, which I saw. But I saw so much more. I’m proud of you two.” Julianne: “I’m like in shock. (See below.)”


Julianne (continued): “As a judge, it’s our job to know that you’re doing a choreographed routine. We need to look and try to find things to critique. When I watch you guys, I become a fan. I feel like I’m at a nightclub, and you guys just randomly grabbed each other. You get out there and you dance, and you live. So good!” Bruno: “This was another virtuoso performance. The actual content was sharper than a samurai sword, the timing and the musicality was off the charts. You two dance like two instruments, perfectly in tune, always a perfect fit. Extra-ordinary.” Carrie Ann: “It’s not about how good you are. You started this competition good. What’s amazing is that you continue to push yourself beyond your own boundaries every time. You dance on the edge.”

Jordan says that “Lindsay has made me a better artist.”


JUDGES’ SCORES: 40 (out of 40)

We have a break where they can pimp American Idol...


That leaves Julianne to coach Mark and Lindsey.  So their package shows how they are traveling (she’s performing, Mark's performing). Usually that’s one of my pet peeves, but these two are my favorites. Julianne is Skyping them for her advice. They are redoing their quickstep (the butterfly dance, which was so amazing).

In some ways reminiscent of that dance, Lindsey starts off in a white tuxedo and top hat. Now THAT’s some dancing! The entire number in hold (as it should be, but it’s very hard). Stunning dancing and choreography. Incredible moves and shaping. So beautiful.


Wow. That was an incredible dance.

Julianne: “The posture. You absolutely nailed it.” Julianne mentions how “that was like a Blackpool routine. You stayed in hold. Nobody realizes how hard it is to stay in hold. That was awesome.” Bruno: “You scoundrels. That was criminally good. It was silk smooth, my darlings. It was elegant, well-put-together. Fantastic job.” Carrie Ann: “It was vastly improved. I truly believe that you are the most improved. There was something so magical about what I’m seeing.” Len: “I know you can play the violin, but there was no fiddling about with that quickstep. Full of flair... the difficulty with  quickstep is to get the speed, but maintain the control, and you did that.”

JUDGES’ SCORES: 40 (out of 40)


Miche's Favorite Individual Dances
1. Lindsay and Mark (quickstep)
2. Jordan and Lindsay (Charleston)
3. Drew and Emma (paso doble)
4. Frankie and Witney (foxtrot)

Julianne does a dance as tribute to a woman. Alexander Jean (Mark Ballas and his wife, BC Jean) perform the song. And, at the end, she is lifted up through the ceiling. Pretty cool. “Wouldn't Change a Thing” is the Alexander Jean song (beautiful).

And now... THE FREESTYLE ROUND.

Oh, I just love that Drew and Emma are in the finals. Just love it so much. Cause that means a freestyle choreographed by Emma!!!

Their package talks about how the freestyle is supposed to be a reflection of the journey they've both had all season. Emma talks about how Drew’s heart got him this far (into the finals). (And that Property Brothers has huge fans with huge hearts...) She talks about how she didn’t expect him to be here from Week 1. And that if she won, she’d put her two Mirror Balls so that Sasha has to walk past them every day (he, who is Mirror Ball-less, at the moment). :-(


They tease the promo well, since it shows both Maksim and Val Chmerkovskiy in front of a sign which says "The Ukrainian Tea Room." This is gonna be good.




They actually DO have the Chmerkovskiys dancing in part of it (see above). And the rest of it is just WILD. There is a stop in the middle (Emma landmark), then right back into it. Just incredible.

(And Sasha was in it, and Jenna!)

Len: “The house is fixed, and you’ve become a hot property.” (Cut to: brother Jonathan in the audience, beaming). Julianne: “That’s exactly what a freestyle should be. Emma, I have to say thank you. The freestyle is about your true essence, and that was who you really are, Drew.” Bruno: “You really have exceeded all expectations tonight. That was such a treat. So inspired. So joyful. You had Maks and Val next to you, I can only look at you. That’s how you took this number and you made it yours. A delight from the beginning to the end.” Carrie Ann: “I agree. It was amazing, it was fabulous. It was such a crowd-pleaser.” Then she goes on to complain about how there were moments where they were off sync.

JUDGES’ SCORES: 39 (out of 40)

They do a promo for tomorrow’s big finale, where Val does a joke that makes me laugh.

Then a promo for DWTS Live.

My theory about a winning freestyle is very much like Emma’s: showcase the things that got you there during the season. Make it a mix of your strong points, and the points you want to emphasize more. Showcase really who you are, and the journey you’ve taken.

Witney has other ideas. Namely, this.


What Witney is underestimating here is that people like Frankie Muniz for a certain thing, and that thing is NOT this. Granted, he did veer off during the season into some very dark places, and that made those dances incredible, but it’s really not the basis for why we like him.


So this... ahem... choice, I think, is a miscalculation. This isn’t her. This isn’t him. (Whereas Emma and Drew’s freestyle was a personification of everything we love about Drew (and Emma). The quirkiness, the largeness, the houses, for heaven’s sake!

This thing of Frankie and Witney’s... Ugh.

There is even a producer in their package, saying: “Um, do you really want to do this?” And Witney agonizes, and Frankie supports her (and it’s the wrong decision. The producer was right.). Honestly though, I don’t think they would’ve won with a happy upbeat song either, cause both Jordan/Lindsay and Mark/Lindsey are so far ahead of them in talent, it really doesn’t matter.

Julianne: “The old Frankie would’ve played it safe, and done something fun and joyful and charming. But this is the end of the competition, and you’re like: ‘I’m not finished yet.’ And you decided to take a risk and do something out of the box. I’m really proud of you.” Bruno: “Frankie! What’s going on with you, all moody and menacing? You’re turning into the Prince of Darkness. It was very different. It showed a different side of you. And I really really liked it.” Carrie Ann: “You of all have made the most emotional journey. Really telling your truth. This was scary. All of us tuned into that.” Len: “Totally unexpected. You went right out of your comfort zone. You gave it your all.”


JUDGES’ SCORES: 38 (out of 40)

 

Lindsay starts the package by whining about how tough they have it because “people expected  to see him in the finals.” #BooHoo  Lindsay’s standard go-to freestyle is to throw in lots of lifts and tricks, no matter who she’s dancing with. “I want Jordan’s freestyle to be a showstopper,” says Lindsay. “We are working really hard right now to make this the best freestyle the show has ever seen,” says Jordan. No pressure.

And yeah. It’s pretty great, but it’s not ”the best freestyle the show has ever seen.” (That’s reserved for the next freestyle...) It’s a version of “Puttin’ On the Ritz” like you’ve never heard. What bugs me the most about it is that it is trying so hard to be a showstopper that it doesn’t really feel organic. It feels like you would expect a dance from a Broadway dancer to look like in their freestyle.

So Frankie gave us what we didn’t expect, but not in a good way. Jordan gave us what we did expect, and not in a good way. (Drew and Emma were just joyous and real and fun.)

Bruno: “It was a sensational showstopping number. Star power that is limitless. You’re a superstar.” Carrie Ann: “Your star shines so brightly. I cannot wait to see what else you’re gonna do. You never cease to amaze me.” Len: “It was a crackerjack of a number. I loved it. It’s just brilliant.” Julianne: “It was honestly everything but the kitchen sink. Every dance style, tricks and flicks, and everything.”

Jordan says: “Lindsay has made me a harder worker, a better artist, a better person through all of this. I am so endlessly inspired.”

JUDGES’ SCORES: 40 (out of 40)

Then we have former Mirror Ball champions talking about what it takes to win.

And then, there was this. Just look.



I am reminded of how exquisitely Mark Ballas crafts a freestyle around the person he’s dancing with. This freestyle trumpets Lindsey Stirling in every bar and note. They mention in the package how the idea for this dance came when he first met her.


Mark Ballas, the most creative dancer of everyone who’s ever been on Dancing with the Stars, somehow incorporated Lindsey Stirling’s virtuoso violin playing INTO the dance. Look.


And then, the mind-blowing part.


That, for my money, without question, was the best, most “showstopping” freestyle this competition has ever seen. My jaw was on the floor watching this magic unfold. Stunning, incredible.

They dance, and she plays, and she’s playing while they are dancing, and then he flips her, and she’s still playing... I just have no words. It was so incredible. And she’s a violin in so many sections of this (hard to explain). Just amazing.

Carrie Ann: “Last woman standing. Taking names. No one cares what any of us have to say. It couldn’t have been a better showcase of your uniqueness. That was you on crack, dancing.” Len: “This is becoming the War on the Floor. It’s just become a fantastic competition.” Julianne: “It’s honestly a quirky musical masterpiece of awesomeness. I love that you brought your element of who you are and how we know you, but then completely turn it on its head. It was amazing.” Bruno: “Oh my God. That was a modern classic extravaganza, conducted and orchestrated to perfection. It was so creative, so exciting, so imaginative. Bravo, Maestro.” 

Mark then takes a moment to talk about what it’s meant to him to come back. “It couldn’t be any better. Thank you to the fans, thank you to the judges. Thank you to the crew, the band, hair and makeup, everybody that makes this show happen.” (Now THAT’s a champion, IMHO.)

JUDGES’ SCORES: 40 (out of 40)

Then, we go to who goes home. :-(


Sadly, sadly, it’s Drew and Emma who go home.

MICHE’S FAVORITE FREESTYLES
1. Lindsey and Mark (OMG!)
2. Jordan and Lindsay
3. Drew and Emma
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Way below: Frankie and Witney (UGH!)

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Saturday, September 29, 2018

DTWS S025, Semifinals: Two Dances Each Include Recreating Iconic Past Dances


Here we are at the Dancing with the Stars Season 25 Semifinals. To my eye, the ones who most deserve to be here are the semifinalists: Emma and Drew, Jordan and Lindsay, Lindsey and Mark, Frankie and Witney, and Victoria and Val.

Tom Bergeron and Erin Andrews kick off the night (no opening number) by telling us that there will be two dances. One (whose concept I hate) is recreating iconic DWTS dances of the past. Ugh. The first, though, will be the pro selecting a dance which reflects their star partner. That sounds interesting.



Emma kicks it off by taking the concept seriously, picking the perfect song for a tango. Can you tell that Drew’s Scottish? In the package, Emma credits Drew’s “determination” with getting him this far. I would strongly argue that it was also the fans WHO LOVE HIM (and Emma) that got him into the semifinals. If it were just up to the judges, this couple would’ve been gone much earlier. (Even this week, they go into it at the bottom of the Leader Board.)

But in any case, they are dancing to “500 Miles.” It doesn’t get any better than that.  This music is great, the choreography is great, and it ends with the troupe (including Sasha) also dressed up in kilts flashing the band. Wonderful!

Len: “Well done, Braveheart. You came out, full of determination and attack. However, it was so full-on, you lost your posture, you lost your technique.” Bruno: “It’s the Flying Scottsman and the Tartan Army, going for a full flash. I don’t think the band will be able to play for the rest of the night. You have to make sure it didn’t turn into a Highland Fling. Tango is not skippy.” Carrie Ann: “No matter what you do, there is always an entertainment value. The tango lacked a bit of artistry.”

JUDGES’ SCORES: 24 (out of 30)


Val has chosen a contemporary dance which reflects Victoria’s medical struggles (and Val and Jenna Johnson are playing Victoria’s parents). Of course, Victoria is dressed in her beloved pink. Contemporary is my least favorite dance on this show, but this one was very powerful. Part of the dance showed how both Val (as the father) and Jenna (as the mother) had moments of their own struggles with Victoria’s illness, yet they showed their daughter only smiles and support. That was powerful.

JUDGES’ SCORES: 27 (out of 30)


In the package, they talk about how Lindsay hurt her leg. Also how Jordan is a good brother. So they are doing an Argentine tango to the song, “Brother.”

For me, I didn’t much like the song or the dance. We’ve seen a lot better Argentine tangos this season.

Carrie Ann: “Jordan, you are so much a part of what has made this season so fantastic. You have kept the standard extremely high. That was not your best performance.” Len: “You know I’m a fan of yours. The ballroom tango is like a guy dancing with his wife. The Argentine tango is like a guy dancing with his mistress. It’s as though you shouldn’t be watching it. This is a dance competition. Work on the DANCE.” Bruno: “What I saw, I saw your most mature performance to date.”

JUDGES’ SCORES: 28 (out of 30)



Lindsey and Mark are dancing a contemporary song to a song by Mark and his wife, otherwise known as Alexander Jean. It’s called “Head High,” because Lindsey reminds Mark of persevering, even through difficult obstacles, and holding your head high.

Like I said, I’m really not much for contemporary, but it was well done.


Len: “Lindsey, I think you’re a very talented dancer. Wonderful extensions throughout. You really blew me away, it was a really fabulous performance. Great routine.” Bruno: “Dynamic, athletic, surprising. It really captured the feeling of what it is to be one’s self.” Carrie Ann: “I was thinking about the quality of movement that you’ve expressed, from the beginning to now. It has changed so drastically. You’ve evolved so much. You used to be all sky and light and pastel, and now you are deep blood earth momma, girlfriend. There was so much primal beautiful energy in that dance.”

JUDGES’ SCORES: 29 (out of 30)



This is one of those rap songs I hate, but it's also got Frankie and Sasha and the troupe on a basketball court, so it’s fun to start off with. Oh, I hate this music so bad. I had to rewind to see what kind of dance this is supposed to be. Salsa? Really? Wow.

Fun moment when she rips his shirt open at the end. But for me, it was a struggle to make it through this entire dance. Ugh.

Bruno: “Talk about a salsa with street cred. Witney, you transformed the new kid on the block. I loved the originality.” Carrie Ann: “I don’t know if the song matched you. But you give it all.” Len: “You come out with so much enthusiasm. For me, it was too much hip hop, and not enough hip action. I needed the salsa.”

JUDGES’ SCORES: 25 (out of 30)


MICHE’S FAVORITE DANCES OF THE SEMIFINALS (Round 1)
1. Emma and Drew (tango)
2. Mark and Lindsey (contemporary)
3. Val and Victoria (and Jenna) (contemporary)
4. Lindsay and Jordan (Argentine tango)
5. Witney and Frankie (salsa) Really?


We have a palette cleanser in between by showing us wonderful Mandy Moore choreography of the #DWTS show ‘Light Up the Night.”

But then, on to Round 2.

Let me say this about that. One should NOT attempt to recreate classic DWTS dances from the past. They are classic for a reason. They are etched forever in our minds, and shouldn’t be marred with someone else trying to do them. That said, some of these surpass the original, some fall far short.

Overall, I really dislike it because one of the best things about this show is seeing the choreography from the pros. They do amazing work, and I want to see inside THEIR minds, not the minds of someone ten seasons ago. So I go into this round kicking and screaming.


Emma and Drew start us off recreating a jazz dance by Karina Smirnoff (with Corbin Blue, with Witney Carson also dancing with them).

Ugh. I also hate when they use the tap dancing sound effect, and the taps aren’t anything anyone is doing. Ugh.

This version has Drew dancing with four women, including Emma.



They do a very risky move that makes me scared for Emma, but it goes well. (Emma tried to compensate for the fact that Drew is a very different dancer, and put a different spin on the dance.)

Len: “It was fun, and fun to watch. You gotta work on finesse. Get more finesse in your dancing.” Bruno: “I’m just happy that Emma survived reentry. You captured the spirit of the dance. But it was more croquette than Rockette.” Carrie Ann: “There are high expectations. These are numbers that got perfect scores, by incredible people. You’re a very different dancer than Corbin. I love that you went for it.”

JUDGES’ SCORES: 24 (out of 30)

THIS DANCE COMPARED TO THE ICONIC: Different and more suited to Drew. Liked it a lot.



Victoria and Val are recreating a Charleston by Derek Hough and Amber Riley. But there were at least a couple of moves in this amazing Charleston choreography that Amber Riley DID NOT do. There were lifts and twirls and various troupe things (Derek and Amber just danced alone). One move that I’m surprised got past the ABC censors. (Nice!)

And while I do love Derek Hough’s choreography, in many ways, I love Val’s even more (in general and in this dance). Plus, Jenna and Sasha are in this dance. What’s not to love?

Bruno: “It’s incredible. Your acting tonight was right on the money. You gave it your own interpretation. It had charm, it had wit. And your timing was spot on.” Carrie Ann: “I didn’t think this was possible, but I forgot about Amber and Derek while I was watching you. It was uniquely yours.” Len: “That put a smile on my face. It was full of energy, full of razzamatazz. That was a performance.”

JUDGES’ SCORES: 29 (out of 30)

THIS DANCE COMPARED TO THE ICONIC: Much better to my eyes. Plus, Val looks so good in his vest and ascot. More Charleston in the iconic one, though. And lots more footwork from Amber originally.


Jordan and Lindsay have an impossible task. They are trying to recreate THIS dance.


(To my mind, one of the most perfect jives ever on this show, with choreography by Mark Ballas, dancing with Paige Vanzant.)


Everyone who is doing these iconic dances is using the same music as the original dance. This jive was danced to “Proud Mary” (not a slow song). The iconic part of this dance, other than the massively fast energy level, was that Paige and Mark did a double cartwheel, which was breathtaking.

So they start out the slow part of the music wearing red (as Paige and Mark did). Then strip them off to be:



They do a lot of the same choreography, with a Lindsay and Jordan ending, instead of the Mark-Paige ending. But they do the double cartwheel. It was pretty spectacular.

Carrie Ann: “OH MY GOD! First of all... (she screams). I am so glad you got that number. That is like the marathon of all jives in the history of Dancing with the Stars. Not only did you nail it, you also did the double cartwheel with straight legs.” Len: “People don’t realize how much really great dancing brings me so much joy. Over the years, there‘ve been good jives. There’ve been great jives. And now, we’ve got Jordan’s jive, which is the yardstick for everyone.” Bruno: “That was a triumph. Very rarely a remake can top an original. This one did.”

JUDGES’ SCORES: 30 (out of 30)

THIS DANCE COMPARED TO THE ICONIC: Different, but pretty damned amazing in its own right. Homage was duly paid.


What must it have been like, just then, I wondered? For Mark Ballas to hear the judges say the dance he created was surpassed by the competitors ahead of them?

Well, they are busy recreating the iconic tango that Meryl and Maks danced. In their package, they Skype with Meryl and she wishes them well.


Ha! That’ll show ’em. That was an amazing tango. Just beautiful.

Len: “There was plenty of snap, crackle and pop. I loved your head position when you went into the Promenade. Sharp and fast, and clear and crisp. It was a proper tango.” Bruno: “I think you raised your game tonight, just at the right time. That was a wonderful tango. The extended line, the placement, but what I love is the detail, the way you took these accents (from Meryl and Maks’ dance). Every change of direction was absolutely on the money. And it doesn’t happen usually in the tango. Tonight you two were like mirror images.” Carrie Ann: “About the recreation, I thought you did a fantastic job. You guys don’t have that sexual chemistry that Maks and Meryl had, you have this friend balance chemistry that is so powerful. Watching two of the same dance together, and it’s really stunning.”

This team is the only one who actually credited and thanked their previous iconic dancers. And as Erin is talking to them about that, Maks comes out and tells them they did a beautiful job.

JUDGES’ SCORES: 28 (out of 30)

THIS DANCE COMPARED TO THE ICONIC: Loved it as much as the Maks and Meryl version.

Maks says what I’ve been thinking about this whole thing: “You don’t compare art to art. This was just as special. It’s a different couple, a different season. You guys did an amazing job.”



Witney and Frankie are recreating a paso doble from Season 4 by Julianne Hough and Apollo Ohno. I think personally that it’s a producer’s trick to get her away from always dancing to rap music, cause this was a very Latin dance.

Frankie tells us in his package: “Not only do I belong in the finale, I deserve to win the Mirror Ball.” Did anyone tell him that people with ego like that don’t tend to win this show?

They vow to do the same choreography, even though it’s filled with things they wouldn’t normally do. Strangely, everyone previously danced to exactly the same music as the “iconic” version. This was kinda the same music, but Julianne/Apollo’s version sounded much more Spanish/Latin. Witney/Frankie’s version sounds really cheesy.

Bruno: “You gotta get your shoulders sorted for the paso doble.” Carrie Ann: “The good news? The audience went absolutely wild for you. Also, you handled your props beautifully. There were some moments that were absolutely fantastic: the knee slides, the things that you were worried about... The bad news is you’re stopping your breath sometimes. You have to breathe through your movements.” Len: “I can understand the innocence about you, and everyone can see: you’re doing everything you can. I like you so much, I don’t really want to talk about... there was not enough shaping. Paso doble is all about getting the shapes. Getting your buttocks under.”

JUDGES’ SCORES: 26 (out of 30)

THIS DANCE COMPARED TO THE ICONIC: They did all the difficult moves. The music much cheesier.

Who’s going home?


Let me just say: Victoria was CRUSHED. Crushed. Val did his best to console her.





MICHE’S FAVORITE DANCES OF THE SEMIFINALS (Round 2)
1. Lindsay and Jordan (jive)
2. Mark and Lindsey (tango)
3. Val and Victoria (Charleston)
4. Emma and Drew (jazz)
5. Witney and Frankie (paso doble)






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