The lovely Cat greets us, wearing a dress that looks like it was made out of shower tile and appears to have hip panniers. I am firmly in favor of Cat's clothing growing crazier as the season goes on...it makes all those babydoll tunics and booty shorts look positively normal! But I spoke too soon, because one of our special guest judges tonight is...Lady Gaga! (Also director Rob Marshall, who is dressed in an ordinary suit but whose face is bright orange...must go to Snooki's tanning salon.) Anyway, Gaga puts Cat's wacky dress to shame, because she is wearing a bright red and yellow jacket with a dragon on it, a red leather (vinyl?) military hat, and a long mermaid-blue wig. And sunglasses. As always from La Gaga, a lotta look.
I don't understand why we have two guest judges--the guests don't usually have much to say, and it doesn't seem like either of these two have serious dance training. Could they be fans, like JTF or NPH? Seems unlikely.
Anyway, without further ado, we launch into our dances for the evening! Sasha draws Pasha for a quickstep choreographed by Jonathan Roberts (whom I don't recall seeing before). The quickstep is usually a killer, because no one ever thinks it's cool enough to vote for it--will Sasha manage to rally her fanbase? (Apparently she danced on Adam Lambert's tour, and has fans from that. Reality miscegenation!) Sasha and Pasha point out that as a pair, their names are easy to remember. Can I just call them Spasha?
On to the dance--it's a funky percussive version of "Putting on the Ritz," and it's very playful in the opening, but then moves into hold and starts looking...well, like the reason a lot of people don't like to watch these ballroom numbers. To Sasha's credit, she seems light and zippy and Pasha is making her look great. There's one lift at the very end that looks like they missed it? She didn't get up very high and then Pasha sort of held her strangely as the music wound down. Now that they've stopped, I can get a good look at Sasha's headband, which seems to have roses and spikes and fur? That can't be right. Pasha jokes with Cat, kisses Sasha's hand and leaves so we can get to the jidges. Jidges?
Huh! Sounds like maybe Rob Marshall is also a fan? At any rate, he tells Sasha, "Every time I see you you're so elegant..." like he watches the show. And he does note that he thinks the quickstep doesn't show off Sasha's usual abandon, but that's the only drawback. Ooh, Mary is saying Ballroom Words now. Sasha's topline was good. Her running promenade and hop reverse turn were also excellent--Mary loves her body position, and gives her a big ol' "Whoo!" Nigel jumps on the "say who your favorite is" bandwagon to say that Sasha's his favorite--this week. Shut up, Nigel. But he loved her. And now it's time for Gaga...wouldn't it be great if she actually watches this show and could give real critique? She was a pretty good judge on "Idol." But no..."Sasha, I think you're just as shiny on the inside as you are on the outside. You're just a beautiful soul." Er, OK. But then Gaga disagrees with Nigel, so I'll keep listening. She tells Nigel she liked Sasha's slightly stiff and awkward carriage, because she thought "the choice to play it a little bit strange" worked for her as an interpretation of the choreography, working against the formality of the dance. Wow, I may have to take back my eyeroll!
NDI! Today my brother- and sister-in-law came to visit, along with their still-new baby girl. We walked the High Line (the new section is open!), and discovered that they have a fountain of sorts. Well, not a fountain, but a section (by the big wooden lounge chairs around 16th) where water flows over the concrete and then drains away, so the path is dry, but there's a spot to take your shoes off and splash a bit. (That, or the gardeners left a hose on.) The baby liked it, anyway.
When we're back, we're told that each contestant will have two routines tonight. I no longer make any pretense at knowing the rules of this show, since they change them seemingly every week, but for tonight, they dance twice. It's Caitlyn's turn, and she'll be dancing a Marty Kudolka hip-hop with Ivan, a new All-Star this week. Wow, Marty is a slender man. His cheeks are sunken like Christian Bale in The Machinist. Ivan has bulked up a little since his season, but is chewing gum in rehearsal, of which I do not approve.
They start with just Caitlyn onstage, on a prop bench feigning tears. I think she's been stood up. Ivan comes out from the wings in a fedora. (Well, it's not like he's riding the fedora like a car...he's just wearing it. It would be awesome if he rode in on a fedora, though.) The fact that I'm still talking about the damn fedora should suggest how interesting I'm finding this routine. I guess it's good...she has some good hip rolls and moves well, but it could have been any NappyTabs routine from the past four years, really.
The judges don't seem to agree with me, though, at least where Ivan is concerned. Mary starts off with a paean to him, talking about his lilt, his "sitting in the pocket," and other things that most of the dancers seem to encompass as "swag." She tells Caitlyn she was really good, not brilliant, and she kept up with Ivan. Nigel begins by saying, "I'm going to start with a little critique, only to try and help you." Oh, thanks, Nige! You finally decided to start actually judging? Nigel also says that Ivan "sits down in that pocket" and tells Caitlyn to open her legs a bit more and get lower...while he's going on, Cat says in a low voice, "Gaga, don't." The camera cuts to her feigning innocence (or maybe a little shocked that Cat called her out?), but I don't know what she was doing. I think she's already wishing she were seated somewhere other than next to Nigel. Gaga wants to play the crowd, and begins by telling Caitlyn, "I think you are extremely sexy" and turns to the crowd saying, "Don't you all agree?" to get a cheer. She felt she brought the sometimes-dated lyrical hip hop to life, but that she sometimes "relies on her center," and stops a movement, whereas Ivan continues completely through the movement. Wow, I can't even be funny if she's going to actually give specific critique about dance! But hey, she's a smart girl (went to Sacred Heart, dontcha know). Caitlyn's mom does not look like she appreciates Lady Gaga calling her daughter sexy. OK! Moving on--oh, right, sorry Rob Marshall. We have such talkers on this panel tonight! I don't think we needed them both. Rob also calls Caitlyn lovely, but encourages her to lose herself in the music more.
When we return, Cat tells us they're pressed for time because of all the dancing, so "we asked Tyce to tell us--very quickly--what he choreographed for Jordan and All-Star Ade." Tyce says they are playing "badasses" at a secret rendezvous in this pop/jazz number. I remain unconvinced, but I soften a bit when the music starts and they're dancing to Tina Turner's "Nutbush City Limits." Ade is on full "Forklift" detail here, basically just picking Jordan up and tossing her around like a rag doll. Not that she's not doing her thing, she's creating great angles--although her purple romper is doing her no favors. (Is there anyone who truly looks good in a romper? No matter how fit the wearer, it always looks like they're in a saggy diaper to me.) Overall, I think the technique here is good, but to be honest, I'm not really feeling the sexy connection between them that we're supposed to. I don't think Jordan can act, basically. Ade gives kisses and trots offstage--and we get to see that he didn't get his teeth fixed. He has a Lauren Hutton smile :).
Nigel goes first, and adored it. He marvels at how pliable she is, like a doll with limbs tugged apart by a little girl. (Gaga interjects: "I used to cut their heads off." The audience laughs, but Nigel seems just a little unnerved.) Gaga starts out, "You give me such hope, because it's no surprise that I am quite short." And then she lifts up a foot to show us the shoe she is wearing...and I say "shoe," but it's a red...something that does not look designed to go on feet. The sole must be a foot tall if it's an inch. Everyone marvels, and Gaga jokes that it's "a fashion catheter, so I don't have to go to the bathroom during the show." (Can't decide if I feel Hee! or Ugh! about that one.) But the point being, she loves Jordan's legs. Rob gives us our first Tyce shoutout of the night; ah, turns out that Rob knows him from when Tyce danced for him. (In Chicago? On Nine?) He loved it too, and says if he could scream like Mary, he would. Alas, this opens the door for Mary to just shriek for a full minute. Enough. But eventually she settles around to tell Jordan how much they love her extensions. So yay, Jordan.
No commercial break, we go right on to Melanie, who'll be dancing a Mandy Moore piece with Neil (meh). It's an "extremely athletic" contemporary piece, and rehearsal shows some amazing slo-mo footage of Melanie just flinging herself into Neil's arms. As we cut to performance, I'm delighted to hear the opening piano of "Total Eclipse of the Heart." Yay! My favorite thing about Mandy Moore is that her musical taste, like mine, is stuck in the '80s. Melanie has too much eyeshadow on, I think. The two of them are in standard contempo garb--she's in a white, flowy dress, he's in white pants and no shirt. Ooh, there are some awesome lifts, though. She looks great, and he's decent--to be honest, he's always been one of my least favorite contestants, and I think the least improved, based on his All-star stint last year. Melanie's out-dancing him. This one was completely in Melanie's wheelhouse, it must be said--she did great, but I don't think was doing anything she hasn't before.
The judges disagree, though, because they're all on their feet. Gaga starts and removes her crazy hat to accompany "My hat is off to you, baby. And you are my favorite in this competition. And I would hire you tomorrow to dance on my tour." (And we know she means it, since she already has Mark!) She loved it, loves her strength, and says she's the first dancer for whom she didn't watch the monitor, but just the dance. That's interesting...I didn't know the judges were able to watch the TV version as well as the live version. Rob says she's like magic, it's exquisite, and she "fills the room." Mary has her serious voice on, and praises Melanie's almost liquid quality, and her fearlessness in the leaps and lifts. (There's a lot more, but I'm eating dinner while typing.) Gaga jumps in again to talk about how well the dance interpreted the song, since it's about a love so strong it knocks you (and your partner?) to the ground. Nigel loved it as well, and says, "Well, I warned Sasha I was fickle, but I've changed my mind, and you are now again my favorite dancer." Then he mentions a particular arabesque that stunned him (and Gaga, apparently), and throws to...Ellen DeGeneres? Ellen's sitting in the audience with Portia (hi ladies!) as Nigel quotes one of her lines from her time as a guest judge howevermany seasons ago: "You are a carpenter, 'cause you just nailed it!" Er, I don't think that was good enough for a callback, Nige.
NDI: If you share my fondness for Bonnie Tyler, you must check out this video, the literal version of "Total Eclipse."
And we're back! Jason Gilkinson is choreographing a jive for Ricky and All-Star Anya. Yay! Anya! I think she got booted way too early on her own season, so I'm always happy to see her back. Only thing is, she was a brunette on her season, and has since gone blonde, which I always think looks harsh on her. She kind of looks like Ramona from RHONY. They're dancing to "River Deep, Mountain High"...the Celine Dion version. Oh, dear. (Also, I am having a reality competition pileup in my brain, because Lindsey and Cameron on The Glee Project just sang this as a duet, and suddenly I'm not sure which show I'm watching.) Ricky's in white shirt and black necktie, and Anya's in half a dress made of gold fringe. I can't even watch the dance, because I'm so distracted by this shitty cover. Ha! There's a great move where Anya flips Ricky over her shoulders...but alas, it's followed by a missed lift where I think Ricky doesn't get Anya high enough, and kind of drops her on her butt. Impressively, she still trusts him enough to finish the dance with a death drop, her head inches from the floor. Brave lady.
Rob starts us off with "his smile just lights up the whole room," which smacks of faint praise to me. But he praises a double tour (which Mary points out is not typical of the jive) and recommends Ricky dig into the floor a little more. Hmm, Rob, I'm sorry I wrote you off--apparently you actually know dancing as well! Mary's next, and she's prepared to be a little tougher--she felt that Ricky was in & out of the feel and missed the double bounce, but once the music picked up he improved. She calls out that bad lift, but praises him for coming back afterwards. Nigel says he did well, but needed to dance a little lower, and then calls out the same lift more strongly. Yeah, dude, we know, he missed it. (Gaga asks to switch seats.) Gaga says, "I have a sweet spot for you, and I don't know why." Um, that's not great. But she "loves that he's up there." However, she felt that Anya felt a little "Dancing with the Stars" (oh snap!) while Ricky felt more modern. Poor Anya--I'm telling you, it's the hair color. Go auburn, Anya!
Jess is next, and we get our first guy-on-guy dance! Oops, my bad, that's Lauren Gottlieb. I hate her. She was grossly overpraised on her season, a la this year's Ryan, she seemed smug, and she made a misstep in telling the nation that she sometimes claimed to be an Asian girl named "Misha Chan" in auditions. Blech. They'll be dancing a NappyTabs hip-hop (to use the term loosely) about a guy who's cheated on his girlfriend and wants to win her back. Aw, Jess looks cute! He's just in t-shirt and jeans with a plaid shirt over it, and he kind of has a Blaine-from-Glee look about him. He and Lauren are passing a flower back and forth: "Take it!" "No!" "Please?" They're dancing to Rihanna's "Take a Bow," incidentally, which ahs also been on Glee. This is a very Glee-ful show. Wow, their synchronized section looks great, very crisp. I think Jess could be hitting harder, but he's a good match for Lauren, actually. Sadly, he does not win her heart at the end--she flings her flower to the floor and marches offstage.
Mary starts us off, and she doesn't seem very excited at first. She tells Jess, "I want to say to you--progress. Every week it's been progress. And as good as Lauren is--and she is really good--you were really good tonight too." She felt that it came from Jess's soul, and was more honest than he's ever been. Yeah, it didn't feel stagey, which is very good for him. Jess is all, "Did Mary just say I had swag?" Nigel agrees with Mary and says, "I hope you realize what you've learned," and reminds us of NPH last week, who told Jess that he had to be careful not to mug. Gaga? She also seems a little less than excited, but says she has "so much respect" for Jess because, as a theatre student herself (Tisch), she knows how hard it is. Interestingly, she didn't love the choreography and the props, but she felt that he rose about the choreography. She says "The flower didn't need to be there, because your hand extension said the flower." Critique in which Jess gets props and NappyTabs gets scorn? I like it. Oh! And we finally get an acknowledgement that Jess has already been on Broadway several times: Rob tells us he's known Jess since Jess was little, performing in "The Grinch." Cat asks, "Was he a cutie even then?" and Rob graciously says he was a star even then. He also loved Jess's performance tonight, saying it was simple and pure and beautiful. Well done, Jess!
Now it's Tadd's turn--he'll be paired with last year's winner, Lauren Froderman (LoFro), in a Mandy Moore piece about two masterminds pulling off a heist. That's all we get for rehearsal footage--right into the show we go, as Tadd comes out in suit and (sigh) fedora to the strains of "Another One Bites the Dust." It starts out feeling kind of hip hoppy, but I guess this is...jazz? LoFro is also in a fedora, as well as the shortest shorts in the world. Oops. Tadd lost his hat somewhere, and now he's having to do all the hat lifting moves like charades, which looks odd. But good for him for pushing through. This definitely wasn't the equal of Mandy's previous piece, but it was fun to watch and they danced it clean.
Nigel begins by leering at LoFro in a fatherly way (ick) and then praising Mandy Moore for switching styles so dramatically from the "Total Eclipse" dance earlier. He also says that the style suited Tadd well, and reminds us all that as a b-boy, Tadd's "never had choreography placed before you." OK, I was convinced this was another sham, like Russell the Krumper who'd really been trained for years, but Google is insisting that Tadd started at 15 and has never had formal training. I'll allow it this time, Mr. Lithgoe...but watch yourself. I'm fast forwarding through the rest of him, though, because Nigel bugs. Gaga just says she thought it was amazing, and she loved the styling. Heh. Just as I'm about to roll my eyes, she laughs at herself for nattering on about the clothes--and then she makes it relevant by saying she wished Lauren's shirt had been buttoned a little higher so as to play on their androgyny more. (Why does this not surprise me coming from Gaga?) Rob gives Tadd props for pushing through when he lost his hat (which happened, apparently, when LoFro clocked him in the face--oopsy), and says he has something special. Mary wraps it up and says he looked like a young Elvis Presley, or Michael Jackson. Basically, he's just crazy-cool.
NDI! I have finally started back at yoga, and while the spirit is willing, the flesh is weak, weak, weak. My cousin Julie commented on Facebook that she likes making up her own poses (e.g., The Flaccid Carp), and I think she has the right of it. How about Wilted Celery? Or Sagging Basketball? And I'm a pro at Plush Carpet pose.
Marko is our last contestant, and he'll be dancing a Sonya Tayeh contemporary with All-star Allison! This could be great, and we've had a few weeks off from Sonya, so I'm actually eager to see what she's done. Apparently this piece is about the damage we cause to others by being harsh and judgmental, but then feeling guilty and wanting to change. Wow, that's a lot of message. They're dancing to Jeff Buckley, but not, refreshingly, "Hallelujah." It's a song called "I Know It's Over," which I don't know. Marko and Allison begin standing side by side, and then he just reaches over and flips her upside down onto his shoulder, while she walks her legs in the air. OK then! Begin as one means to go on, I guess. There's lots of flailing and stiff arms and legs in the usual Sonya vein, but these two are acting the hell out of it, and they have some lovely synchronized passages that then flow into a complicated lift or shape...especially at the very end. They come back together and stand side by side again, but now their arms are interlocked as Marko clutches his head in remorse and bends--Allison does a backbend onto him, still holding his arm. Well played, Sonya!
Cut to Gaga, who is weeping. Guess she liked it. OK, it was truly lovely, but I'm not sure it was "moved to tears" lovely. But ha! All the judges are on their feet, and now I notice that Gaga towers over the rest of them in her giant shoes. Allison gets her props and trots off, and Marko is also crying. Gaga finally starts, and says she's just so proud of Marko. "I know you really love to dance, and I know your mom's here." (The crowd cheers, sort of arbitrarily.) She goes on to express regret at the things she did to others in her youth, and then just tells Marko "Number one, number three, number ten, who cares? You've got it." (Mama Marko is crying in her seat.) Aw, Marko explains that it's sort of a big deal because Mama flew in from Guam yesterday, and he then apologizes to his mom for the bratty things he did as a kid. Oh, lord, the whole damn place is sniffling now. Rob, at least, is not crying, and gives Allison a much-deserved shoutout as a "true, true artist," and says that the two of them were an incredible partnership, and very moving. Mary is also in tears. "That was amazing, and we hear that word a lot, but you just can't say it enough with a guy like you." She feels that Marko adds a finish to his movements that puts him head and shoulders above the rest. Nigel plods in with, "I'm sorry, Cat, I can't be quick about this, because we've just seen a moment here that is about more than the competition." Oh, ugh, Nigel's all "SYTYCD brings together mothers and sons." He doesn't say that exactly, but that's basically the point. I know we've heard this a lot, but you just can't say it enough: shut up, Nigel. (And Cat has to fly through Marko's numbers to try and catch up with the clock.)
When we return, it's time for the contestants to dance together! First up are Caitlynn and Tadd, dancing a Jonathan Roberts foxtrot. Oh, poor things. Another vote killer. Tadd looks like he's wearing his dad's tux, but Caitlynn is gorgeous in a white Ginger Rogers gown. Her lines look great, but the dance seems slow to me. Not a lot of trot in this fox, it appears. Tadd does finish up with a good spin, and he has that sort of rakish George Clooney quality about him that will probably take care of him. Yup: Rob loves him, and her too. I see we're racing through the critique now. Mary doesn't think it was the most memorable dance of the night, but it was elegant. She wants more power and swing, and then there are more Ballroom Words. Sort of a mixed bag, but she enjoys them both. Nigel thinks the B in B-boy is for "ballroom" tonight, and that they made him want to dance up there himself. Gaga agreed, and loved the styling. She thought they were great, but she does call Caitlynn out on a slight competition quality about her hands. I love that she's really critiquing! They all are! If this keeps up, I won't even make fun of next week's guest judges. (I bet Carmen Electra feels like an ass now.)
Our next pair is boy-boy, Marko and Ricky, but they're stuck with a NappyTabs dance about janitors. But badass janitors! They're dancing to Diddy's "Bad Boy for Life" and they are clad in janitorial jumpsuits and carrying brooms. You know, I think NappyTabs are the dance equivalent of a prop comic--you might laugh at some of it, but it's still pretty cheesy. Ricky's doing pretty well here, I think; Marko's less crisp, it seems. Or, well, I can't tell who's off, but they don't seem quite in sync. Also, this song is utterly terrible. Marko does get to do one of those diagonal handstand moves, though. I got confused and thought I was watching Tadd for a minute. We go right to Mary, who shouts, "I guess it's no secret I LOVED IIIIIIIT!" There's shouting and gibbering and she loved it. Really? I thought it was kind of dull. Nigel praises Marko for looking "nasty," and Cat interjects "he used to be a bad boy." He thinks Ricky's still dancing a little high, and that he might fall into the bottom this week. The audience boos, and Cat reminds us that people have to vote for him. Gaga says Ricky has her vote! She liked it, but she thinks that "the interpretation of hip hop was a little bit contrived" and basically says that this looked like "Stomp," which is a million years old now. (She was nicer than that, but it's clear she hates NappyTabs' choreography. Hee!) Rob plays peacemaker by saying that NappyTabs are so, so good and the choreography was exquisite. Um, OK. But he loved both Ricky and Marko, especially the fact that they're such exquisite technicians (apparently the word of the night is "exquisite") and yet they're doing hip hop.
NDI! Have you seen this HP tablet ad with Manny Pacquiao? It's all about "They said I couldn't make it as a boxer, but I did. They said I couldn't..." yada yada. But one of the things was "elected to Congress." This guy's in Congress? Who does he represent? Oops. I was being nationalistic--he serves in the Philippines Congress. My bad, Manny.
Bonus NDI! In perfect synergy with tonight's show, we get a Shark Week ad set to Lady Gaga's "Show Me Your Teeth." This makes me happy on a number of levels. (Did I already post this? Too bad.)
We're back, and it's time for Jordan and Jess to dance a Jason Gilkinson rumba. (Seems like they should have done the jive, if only for the alliteration.) Just as Cat is wrapping up her intro, she gasps, turns to her right and says, "Oh my god you..." and then I can't hear the rest as the intro clip plays. What happened??? Who knows. Anyway, they're dancing to Adele's "Set Fire to the Rain," and they start out with Jess, in black, seated on a chair while Jordan does Warrior 1 next to him in a flame-red dress. Whoa. She turns, and I see that "dress" is a very generous description, as the thing is not actually seamed on the sides. If she's wearing underwear at all, I can't see it. Never have I so longed for a booty short. Strangely, she's dancing this number barefoot, although her feet are pointed at all times as though she's in heels. Did they do that because of Jess's height? Jordan is selling it hard, and I confess I haven't even noticed Jess. I think he's partnering well, but he's not bringing the sex appeal or charisma that she is (and I don't even really like her!) I think it could have been steamier, personally.
Oops, Nigel agrees with me, and says he didn't feel any chemistry between the two of them. OK, I take back one "shut up." He complains about someone's swayed back, but I don't know if he means Jordan or Jess. Gaga tries to jump in and argue--I think she just hates Nigel too--but he insists that it's not appropriate for the rumba. Basically, he didn't love it. Gaga isn't all that enthusiastic either. "Well...there was nothing wrong with it." Oops. She wanted a different interpretation, and didn't really connect with it, but she at least acknowledges that the dancers have no control over the song or the choreo. Rob, on the other hand, thinks that they brought out the best in each other. He also thinks that they both "come from theatre," and so he felt that they acted the piece well and "sees big theatre careers for both of you." Mary praises a specific lift (which Nigel also mentioned) as being well-executed and incredibly difficult (a back lift? Something.) but goes on to say that their connection and sensuality wasn't quite there because their partnering was not as elastic as it would have been with more time to practice.
Hee! We get a glimpse of our last two contestants, Sasha and Melanie, before we cut to commercial. They are dressed identically in bras and shorts, and they've spiked Melanie's hair to match Sasha.
So Melanie & Sasha are dancing a Sonya Tayeh jazz routine, and she can't wait to choreograph for them. We aren't given a theme--I think Sonya basically was like, "The show gave me two amazing toys to play with, and I am going to determine if they are fully posable like my childhood action figures." The music is like a video game, and Sasha is particular well-suited for Sonya's movement vocabulary, but Melanie is coming off a little soft and heavy for my tastes. The style that makes her so lovely in the lyrical stuff is working against her here, where you need more angles. However, the place is going insane, cheering, judges on their feet, and Sonya's just clutching her head in delight. Melanie can't stop giggling, and Sasha's throwing love to someone in the audience (Natalie?).
Cat asks Gaga what she thinks, and Gaga says, "In the dance community, when they do a really good job, what you do is you throw your shoe at the stage." She then takes one of her crazy shoe/breadboxes and hucks it onstage, where Sasha snaps it up! (Cat is saying, "Whoa whoa whoa whoa!", no doubt in fear that someone will be gravely injured.) She also says, "Everybody can pack up and go home, because that was the performance of the evening. I don't know what sex you are, I don't know what race you are...all I know is that was the future, and all that matters is you were born this way." Gaga, I'm giving you ten demerits for shameless plugging. Also for not throwing both shoes so each girl can have one. (The girls are just petting the shoe all this while.) Rob praises Sonya, praises Cat, and calls the girls unbelievable. But he doesn't throw any shoes. Mary loved their strength and power and jumps on the Sonya bandwagon. She thinks it was the best number she's ever done! (Really? I liked it, but I don't think it compares to some of her best work of seasons past. I'll have to watch again.) Nigel agrees it was fantastic, and calls Sasha "Sasha Fierce." He says "there is a a sliver of tissue paper between the two of you as to who is the best dancer." Poor Caitlynn and Jordan must feel like crap. Nigel's going on, but we've gotten distracted by Lady Gaga presenting her other shoe to Sonya. Gaga's pant legs puddle around her feet, as they were clearly hemmed for her now-gifted shoes.
And that's a wrap! Congrats to Cat for bringing it in on time. I've no clue who should go home tomorrow, because I think everyone left is good. I think we'll probably lose Ricky and Jordan, just based on their trips to the bottom thus far.