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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DTWS S025, Week 8: Previous Winners Return for Trios

Welcome to Week 8 of Season 25 of Dancing with the Stars. This is Trio Week, but this time, they are putting a little spin on it. (Usually the trio is made up of the two competitors, plus some pro that they choose—either one that got eliminated, or one of the troupe members). This year, the third person is a returning champion. (BTW, great hair, Erin!)

REGULAR ROUND

But before that kicks off, they are going to do individual dances.

Can we just stop and give some thanks to the amazing costumers at #DWTS? Look at this.

Sadly, the dance didn't match that quality. Although the troupe members were superb. Charleston is for sure my favorite dance on this show, but some people can’t really handle it. My favorite part of this dance was that Sasha and Jenna were in it.

Len: “That’s the way we start off a fabulous show.” He goes on to say that Terrell is the most improved celebrity (arguable). Bruno: “That was priceless. Your star is still rising.” Carrie Ann: “The dance never got away from you. You’re peaking, my friend.”

Len has inexplicably donned a ’20s hat for the judging.

JUDGES’ SCORES: 27 (out of 30)

These two went from the bottom of the leader board to near the top last week. Drew says he “honestly feels they are contenders for the Mirror Ball.” and he wouldn’t be wrong.

Drew talks in the package about how his life was something completely different before he met his fiancée. With that in mind, they dance this waltz to “Both Sides Now,” which Drew says is about how you could completely not know yourself.

About Linda, his fiancée, he says, “I couldn’t live without her.”

And they do just a spectacular waltz, with stunning incredible choreography by Emma. So beautiful. The version of the song makes it really poignant, too. They do this spin (there are a lot of spins in the choreography), but this one spin ends with them stopped, still, face to face. It’s so intimate and beautiful. (That is a regular element of her choreography that I love: a moment of stopping. It’s just stunning when she does it.) And the dance ends as it began, with her in his arms, catching her fall. Gorgeous. God, what a dance! Just incredible choreography. Loved the version of the song, too.



Bruno: “Your intentions were very clear and very deeply felt.”  Carrie Ann: “The intention was clear in the upper half of your body, but your lower half didn’t keep the tempo.” Len: “It was full of emotion. I loved the bit where you got a bit of light and shade, and then speed came into it, then back into the... It’s your frame. The frame has to be constant throughout the dance, and it’s not.”

So, I just wanna say this about that. The judges often have their picks of who wins (they love the dancers, those who execute things perfectly). I think the judges seem to be indicating that these two are among those who should go home.

America, thank goodness, has a mind of its own. And whoever originally came up with this show, and added in the “America votes” part was a genius. It makes ALL the difference. Cause I thought this dance was amazing. (And I voted as such.)

JUDGES’ SCORES: 22 (out of 30)

They scare us just before we go to break by showing us that Victoria had a muscle spasm during rehearsal. Very scary.

When they had this show on two nights, they did this thing where they showed the pros backstage, and what they said to their partners off camera. It really added context to the show, and I wish they did it more.

But they show Val and Victoria watching the package (last week), and after Val says, “Dance like you would dance with the love of your life,” they show Val onstage, saying to Victoria: “Have a good time. You’re dancing with me. I’m a lot better at dancing than talking.” (He is sublime at dancing.)

Val, the consummate lover (loved from afar by both men and women, as he told us earlier in the season), has to work with Victoria, who hasn’t had many torrid affairs. Last week, they had an issue because of her inexperience with love. She did, ultimately pull it off in the dance, but at first she looked like a deer in headlights.

Victoria says: “We’re bringing sexy back... (then laughs) I don’t know if I ever had it before.” (No, you didn’t.)

This week, they have the most passionate dance (other than rumba), Argentine tango. Many of Val’s smiley partners (I’m looking at you, Ginger Zee) had trouble with this dance (ie, turning OFF the smile thing and adopting a character who’s fierce, and takes no guff). Going into this, I don’t have big hopes for Victoria pulling this off. (Both because she’s not had masses of passion in her life, and because she’s one of the smiley ones.) Then again, Val Chmerkovskiy IS her teacher. So, let’s see.

Well, she’s way more successful with it than Ginger Zee was. Victoria even manages a sly wink to the camera, which helps to downplay her natural smiley thing. It sort of conveys that she’s playing him, which works.

It ends with them on the floor, which is very, very sexy.

Carrie Ann: “We’re heading into the Semifinals, and everything matters. I did feel that you tried very hard to master the intensity of the drama, but you dropped your eyes a lot. In those moments, I knew you did’t feel comfortable.” (As Carrie Ann says that, Victoria drops her eyes.) “The body movements were fantastic.” Len: “It was clean, and it was exact. It had a nice, smoldering intensity about it. The lifts were good. I didn’t really get transported to Argentina, but it was a very good job. Well done.” Bruno: “You looked good. Great shapes, great lifts, good lines. Now, you have to ACT the part. (She drops her eyes again.) It’s all about maintaining the character throughout the dance, in the Argentine tango above any other dance. It’s all about that tension, keep that going.” 

JUDGES’ SCORES: 24 (out of 30) 

There’s a nice #DWTS Live bumper with Jenna and Artem and Gleb and Hayley.

Last week, Lindsey had a rib injury and was in a lot of pain, but like the amazing trouper that she is, went on anyway, and did an incredible (and incredibly hard) paso doble. This week, they have the samba. The concept is loosely that Lindsey is the lion, and Mark is the tamer.

I know that one of the things the judges watch for in the samba is whether she uses the samba arm movements, as well as the leg movements, and boy, are they there! Lots of both.

Len: “In that bit over there, you didn‘t look quite as surefooted as you normally are... It was full of rhythm, great imagination. I loved the stationary samba walks. One or two bits, I found a bit irksome. You had a bit of bounce. You could‘ve had a bit more hip action.” Bruno: “It wasn‘t your standard samba. There was something kind of unexpected, and very avant garde about it, but I actually liked it.” Carrie Ann: “I loved the creativity. It was so cutting-edge and bizarre. I really loved that. But I’m going to agree with Len: you did not look as sure on your feet as you normally do... But it was a fantastic and brilliant samba.”

Tom steps in to correct Carrie Ann, who had said that “it‘s the semifinals.” (“It’s not quite the semifinals YET. That’s next week.”)

JUDGES’ SCORES: 26 (out of 30)

Last week, Witney and Frankie had a BLISTERING contemporary which landed them atop the leader board. Frankie is still in shock about it.

In honor of their perfect score from last week, they dance a Viennese waltz to Ed Sheeran’s “Perfect.” There is more attention paid to the words of the song than usual in a Witney Carson dance, and I appreciated that.

Bruno: “It was like being in a starlit dream sequence. It was so stylish, so elegant. Wonderful flow of movement. Very polished performance.” Carrie Ann: “So far, for me, that was the closest thing to perfection. You are so exquisite when you dance.” Len: “It was FAR from perfection. (He goes on to explain why.) It’s about an undulating movement across the floor. I never saw that.”

JUDGES’ SCORES: 26 (out of 30)

Lindsay mentions in their package about how she’s never received a Mirror Ball before. Jordan, the dancer, basically says he’s gonna help her get it. Jordan also asks if it’s physically possible to chassée that fast... We shall see...

They pass one of the toughest quickstep tests, and stay in hold the whole LONG dance. Really incredible. And not at all boring. (Costumes, sets and lighting helped. LOVED that pop of red under her skirt.)

Carrie Ann: “It was incredible. It was Bob Fosse and Austin Powers. It was brilliant and sassy.” Len: (gives a standing ovation, which he NEVER does). Bruno: “It was a quickstep like I’ve never seen before. It was a mixture of psychedelic pop art, Swinging ’60s and the technically most demanding, intricate quickstep I have ever seen, done with such ease. It was absolutely outstanding.”

JUDGES’ SCORES: 30 (out of 30)

MICHE’S FAVORITE DANCES OF WEEK EIGHT
1. Lindsay and Jordan (quickstep)
2. Emma and Drew (waltz)
3. Mark and Lindsey (samba)
4. Val and Victoria (Argentine tango)
5. Witney and Frankie (Viennese waltz)
6.  Cheryl and Terrell (Charleston)

TRIOS ROUND

Cheryl and Terrell team up with the very first #DWTS winner, Kelly Monaco (she’s still on General Hospital). DWTS was very different back when she was on...  Cheryl says in the package that Kelly is “one of my best friends.” And they are all doing a rumba. Terrell notes that Kelly “is single, and so am I. I hope she doesn’t get distracted at how handsome I am.” (*eyeroll*)

He says that if he gets three 10s, he’ll take Kelly on a date.

Cheryl does a lot of spinning for a rumba... Just sayin...

Len: “The first dance, the Charleston, really suited your personality. This one, not so much.” Bruno: “You’ve got two lovely cherries on your rumba cake. You’ve definitely brought the sexy back. I couldn’t quite look at the steps, I don’t know why...” (PRO TIP to competitors, if you think you’re doing poorly, just throw in lots of sex. It’ll throw Bruno off... and he’ll score you higher than you should normally get.) “It needed a little bit more rumba.” Carrie Ann: “First of all, I’ve never seen so many goofy grins by all the ladies (she motions to the ladies in the front row). I wanted to see more movement, more choreography. I think it wasn’t as challenging as it could have been, but it was well performed.”

JUDGES’ SCORES: 24 (out of 30) (Sorry, no date for Kelly.)

Oh wait, Tom Bergeron motions to the three dancers holding 10s up in the skybox. Heh.

Well, look who’s back with Emma! Rashad Jennings, whom she won her Mirror Ball with. YAY.  Drew calls Rashad his “swag coach.” Drew says he wants to “capture my inner Rashadness.” Good luck, baby.

But then, they are doing a cha cha to James Brown’s “Get Up Offa That Thing.” How can your swag not come out with that music? Emma’s choreography is again stunning, and she has a silent STOP moment here, too, except this time she’s gazing into Rashad’s face when she does it (Nice!). I just can’t stop smiling, this whole dance long.

Bruno: “I loved the funky disco feel. Keeping up with Rashad is a very hard act to do.” Carrie Ann gives Drew “the new title of Prince of Soul. I could feel you. You had everything goin‘ on. It raised your game tremendously.” Len: “What I liked was that everyone contributed to that performance.”

JUDGES’ SCORES: 25 (out of 30)

We come back from commercial with the troupe entertaining us with a bit of skybox choreography. Nice!

The basic premise of this dance is that Victoria is watching Val and Laurie win the Mirror Ball, and she dreams of having that too. The song is “I’ve Got the Magic (In Me).” They dance a cool jive to it, with Laurie pulling Victoria in.

Bizarrely, Victoria has a big black pile of duct tape on her back. Not sure what that’s all about. Odd for the costumers to leave something so visible, unless it’s supposed to represent her brokenness, and rising above that.

It was a pretty cool dance.



Carrie Ann finds the parts where Victoria had to act “the weakest. You didn’t quite know what to do with yourself. You need to remember: you’re the star.” Len: “Lots of recognizable jive mixed in there. It just needed to be a little bit more sharp and clear, during the dance.” Bruno: “Jive is all about accuracy and precision in the legs.”

Tom Bergeron then goes on to explain that Victoria is in pain, and she made some accommodations.

JUDGES’ SCORES: 24 (out of 30)

Mark Ballas is certainly the reason I started watching the show regularly. For me, he is still the one that brings the magic of dance the most consistently. His dances with Lindsey all this season (and really, with all his partners) have been creative works of art. But there is this other side to him. He just came from an extended stint on Broadway, starring in a show.

Jazz dance, I will remind you, is often called “Broadway dance,” except LA doesn’t think Broadway is that big a thing, so they call it “jazz dance” on DWTS. But every moment of this number, and specifically in Mark Ballas’ parts, you can just see the star he has become (even bigger than the star he was). Every kick is higher, every Broadway moment is drenched in Broadway. It is stunning and beautiful to watch.

And even the big stars who are Kristi Yamaguchi and Lindsey Stirling (certainly stars in their own right), can only stand in his starry shadow. He is unquestionably the star of this dance, and I loved every Broadway minute of it. And I am so grateful for every single minute that he is on the show.

Len: “On those two performances tonight, you’ve got no trouble.” Bruno: “It was classic Hollywood movie style. Everything I love. Well done.” Carrie Ann: “There was such incredible synergy. It was like I paid money to go see that dance. It was so fantastic. Clean and spot-on.”

JUDGES’ SCORES: 28 (out of 30)

Frankie is with Witney’s former Mirror Ball winning champion, Alfonso Ribero, for a jive.

Bruno: “There is something about Witney that brings the best out of both of you. You never overpowered each other. You had the perfect frame for her to shine.” Carrie Ann: “It was a very strong performance. Frankie, you looked intimidated at moments.” Len: “I thought it was full of energy, it was full of content. You’re a good dancer, Frankie. Come out and perform.”

JUDGES’ SCORES: 27 (out of 30)

All season long, Witney was pretty much begging to stay, and it was unseemly and made me not vote for them.

Corbin Blue and Jordan talk about how they are mirror images of each other, in their package. How they’ve had similar lives and career paths.

I’m sorry, but when you are watching this, you are watching nothing less than three professional dancers. So symmetrical. Great salsa.

Carrie Ann: “OMG. #Amazeballs. Triple fire emoji. The unison was sick. Amazing.” Len: “It’s not difficult to please old Len, really. Play good music, dance with rhythm and style, show me good technique and capture the character of the dance.” Bruno: “That was phenomenal. It was two bodies responding with one soul. You really represented what it is to be Latin. The joy of life, the joy of dance. Nailing every move. This dance will go down in DWTS history.”

JUDGES’ SCORES: 30 (out of 30)

Who’s going home?

MICHE’S FAVORITE TRIOS OF WEEK EIGHT
1. Emma and Drew and Rashad (cha cha)
2. Mark and Lindsey and Kristy (jazz)
3. Lindsay and Jordan and Corbin (salsa)
4. Val and Victoria and Laurie (jive)
5. Witney and Frankie and Alfonso (jive)
6.  Cheryl and Terrell and Kelly (rumba)

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