Sharna Burgess in the 4th Chair: Halloween Night

It was a spooktacular night in the ballroom for Halloween and Sharna Burgess is back to breakdown the tricks, treats and scores!

The competition is getting tough and the judges are starting to focus on the details. Does Sharna agree that Alix and Val deserved the highest score of the night? And what did she have to say about Jen and Jan’s final dance of the season?

Hear a whole new perspective when Sharna takes her seat in the fourth chair! 

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:02):
And now welcome to the ballroom in the fourth judges chair.
It's Shanna Burgess.

Speaker 2 (00:08):
What's up, everybody, and welcome to another episode of Shanna
Burgess in the fourth Chair.

Speaker 1 (00:13):
I am Shanna Burgess.

Speaker 2 (00:14):
We had Halloween Night this week on Dancing with the
Stars and it was pretty phenomenal. I mean, I always
love a Halloween night because I'm a sucker for a
good storyline and playing amazing characters, and I feel like
we really got some of that this week. I feel
like some of the dancing was better, some of it
was okay. I feel like some of my scores might
be a little surprising on where I sat with things.

(00:37):
We had Sheryl Burke as a guest judge. I thought
she did a fantastic job. You know, there seemed to
be some time restraints on the judges this week a little.
It was a little pressure on them, although I feel
carry In did some wonderful judging and critiques in the
way she was delivering this week.

Speaker 1 (00:54):
I loved that from her.

Speaker 2 (00:55):
Derek seemed a little stressed on trying to get his
out in time, and I thought Cheryl did a really
good job of trying to deliver something that is you know,
kind and a compliment, but then also giving takeaways and
the moving forward that she said, there were some really
good stuff in there.

Speaker 1 (01:11):
You know.

Speaker 2 (01:12):
I think having those seasoned pros sitting behind the judges
table as these guest judges is such a cool idea because,
you know, we really bring something different, Like Derek, we
understand both sides of it, and sometimes we have little
insights and tips and tricks kind of like Kimmy with
the pen the other week, that we can share and
the things that we've learned from teaching people that don't

(01:33):
know how to dance how to dance, because it certainly
is a very specific art form that in itself. So
I thought Cheryl did a wonderful job and it was
great to see her back in the ballroom, as she said,
being back there with her family. I'm sure it was wonderful,
and I think they all did a really good job.
Let's get straight into it. We are going to focus
on the couples today. We're not going to focus on

(01:55):
the dance off session. The dance off is it's great,
it's fun, it's it's a thing. It goes for four minutes,
you know, the bless them, they did such a great job,
but it is exhausting. I don't think they get to
do their best work. I think it's really just survival
of the fittest when it comes to that. And I
know it was pretty much tied at the end, and

(02:16):
Derek was the tiebreaker, I think. But we have way
more to talk about when we're getting into the actual
dancers from the couples, So let's do that. First up,
we are starting with Mark and Whitney.

Speaker 1 (02:28):
They did a jazz I listen.

Speaker 2 (02:30):
We'll get into what the judges said first, but I
thought the mash up of this of the styles of
dance and the song was really brilliant from Mark. So
first up we had Cheryl opening up the judges' comments.
She complimented the choreography. She said, watch your timing and
watch in your peripheral. Obviously we know what peripheral is.
It's your vision on the side of your eyes. She

(02:51):
does need to use that more. This is a second
week in a row. I think now we're seeing some
timing issues, which is really interesting for Whitney because I
don't feel that we've seen that in the dances previously.
I don't know if maybe the pressure is setting in
there's more adrenaline coming into it. I know she had
quite an emotional week when we get into the things
she said in her package, but the timing was definitely distracting.

Speaker 1 (03:13):
In this one.

Speaker 2 (03:14):
Bruno said, it was mind blowing, so many different styles
of jazz. He called out Jerome Robbins Alvin Ailey. He
loved the tap section and so that we don't see
jazz like that very much on the show.

Speaker 1 (03:26):
It's absolutely true.

Speaker 2 (03:27):
The jazz content that was in there was so very authentic.

Speaker 1 (03:33):
It was just so very much on point.

Speaker 2 (03:35):
But what then Mark does, which he does brilliantly, is
he twisted it just enough to make it look stylized
in a different way, yet it was still keeping the
structure in the technique of that traditional jazz.

Speaker 1 (03:46):
When you're talking Jerome Robbins Alvin.

Speaker 2 (03:48):
Ailey, you're giving some incredible movements there, real core jazz
technique styled in a beautiful Halloween way. I thought that
was really brilliantly done by Mark, and I think that
Whitney really shone in those movements, with the exception of
the timing being off. Carry Anne said the out of sync,
so she called that too, and she told her to

(04:09):
just still enjoy herself and don't worry that, you know,
making mistakes is part of the process.

Speaker 1 (04:13):
Just enjoy the journey basically, you know. I agree.

Speaker 2 (04:17):
I think it's really hard being in Whitney's position, being
on top and feeling that pressure. I know they talked
about that in the package as well. There's a lot
going on in her world that maybe we don't know.
She's also doing the Mormon Wives show. I think we're
starting to see the pressure get on them. I know
they also had a lot of heated attention from things
that were happening in their world and online and social

(04:39):
media and whatever is going on. And I think carry
Ane's reminded to enjoy this is really beautiful and important
because this only comes around one time, and all the
noise of the social media comments and this and that,
the stuff that you cannot control.

Speaker 1 (04:54):
You cannot worry.

Speaker 2 (04:55):
About it because it just robs you of the joy
of this experience. So I hope that Whitney is able
to hear that from carry In to continue to enjoy it,
because she is incredible anyway, and she is growing every
week under Marx teaching. Every performance is really great to watch.
Just ignore the noise because it really doesn't matter. And

(05:15):
at the end of the day, she's going to have
this experience and I hope she gets to enjoy every
single bit of it. So I love that advice from
her and agreed the outer sync thing was pretty obvious.
Derek had lots of wonderful things to say. This dance
is for someone that can appreciate the nuance, which is
so very true. Often with Mark's choreography, you want to
appreciate the nuances of the musicality and the movement, or

(05:39):
how he has reformed and shaped jazz to look a
little twisted and a little something different. He used his
creativity within the assembly of the music, the way he's
created texture.

Speaker 1 (05:50):
And the little isms that happen in it.

Speaker 2 (05:52):
So not only is it texture and dance and beautiful,
there are isms that so beautifully create a character. And
then you look at it and it's not just dance anymore.
It's a whole other piece that you get transported to.
And I always love that that he can teach that
to someone. And the difficulty level in what he's creating
this season is incredibly high, and I think Whitney's doing

(06:12):
a fantastic job at that and That's also what Derek said.

Speaker 1 (06:16):
The difficulty level was out of this world, and he.

Speaker 2 (06:18):
Really complimented the brilliance of having that fossy esque smash
up with a Green Day song for Halloween, which I agree.
The whole vision of this was beautiful for me. I said,
these were my notes I got in. I said, I
loved the opening shot. I thought that was fantastic, and
then I wrote, oh, no, she's biting it, meaning she's
biting the timing. She's not a whole beat ahead, but

(06:40):
she is fractionally ahead of Mark and it just sort
of ricocheted for a lot of this routine choreography of
musicality amazing. Her spotting in her turns was great. She
was truly finishing all her movements to the fullest extent.
Nothing felt unfinished, nothing felt like it didn't have attention
paid to it.

Speaker 1 (06:58):
Everything to the tips of her.

Speaker 2 (06:59):
Fingers was telling the story the from the rais of
the eyebrows and the facial expressions to the tips of
the fingers. It was really brilliantly done, and I thought
she executed the movement very well. I wish that she
wasn't in the wrong pocket of the music. That's what
I say, and I say, I think adrenaline had got
to her. So Whitney is a fantastic dancer and for

(07:20):
her to move forward, she's just got to continue what
she's doing. But if she's gonna end up being out
of the pocket in that musicality, that's really going to
hurt her because we have a very high bar set
for Whitney, right and for her to now, you know,
it's a pretty big thing when someone is she wasn't
fully out of time, but with something like this choreography
with Mark, you want to be in the same pocket.

Speaker 1 (07:41):
Otherwise it takes your eyes out of it.

Speaker 2 (07:43):
You don't appreciate the nuances that Derek is talking about,
all those moments in it that were created. You kind
of aren't noticing as much because the pocket that they're
in of the music is slightly different. I do find
that musicians like Mark hit the music in a very
specific way. I find it with Brian, who was my fiance,

(08:03):
who was also he studied music in college, he in school.
He is always like right in a very specific pocket
of the music, and Mark is too, and it's very
much the right place to be. It's like not on
top of the beat. It's not the back end of
the beat, it's right smack bang in the middle of it,
and Whitney, I find is at the very very top

(08:25):
end of it, and that it just makes her look
fast and it really takes you out of it, which
is such a bummer because she is so good. So really,
all in all, I loved the routine. I'm obsessed with it.
I'm obsessed with the characters and everything, even the execution
of it and the way that it looked. I just
wanted it to be in sync, and there was so

(08:45):
much of it out of sync that it just got
to me a little on this one. So I ended
up being at a nine. I wanted to give it
a ten, but I just couldn't. She didn't do anything wrong,
she wasn't actually out of time. It was just the
in sync of being in the wrong part of the beat.
So it ended up being a nine for me. Judges
gave it a nine to nine to nine, and Bruno
gave it a ten. Bruno this season is very heavy

(09:06):
into the storylines and the characters and the intentions of movement.
If that's what he's looking for, then Whitney gave it
in spades and so I see how he landed on
a ten, but I was a nine. I played with
giving it a night, but I thought, no, it's that's
too far. It was brilliantly done.

Speaker 1 (09:20):
It was just out of pocket.

Speaker 2 (09:22):
Oh, Whitney actually said something in the skybox that I
didn't realize Robert had said before, and I want to
reiterate it because I love it. It's a great thing
we can all take into our world. Is that pressure
is a privilege.

Speaker 1 (09:33):
I thought that was.

Speaker 2 (09:33):
Such a beautiful line and delivered by Robert Irwin.

Speaker 1 (09:36):
I mean, of course, but I.

Speaker 2 (09:38):
Think we can all remember that when we're under stress
and under pressure and when things are hard, pressure is
a privilege to be.

Speaker 1 (09:43):
In that place.

Speaker 2 (09:44):
And I think changing that perspective for us in life,
and also for Whitney in this competition could actually be
a game changer for her. I hope I see her
in the Pocket next week because I really do love
watching her dance. Okay, moving on to all one that
you all have been talking about. What men you have
been asking me about is Jordan and Ezra. Let's first

(10:04):
get into what the judges said. So they were doing
a contemporary. Bruno said she is a feisty fighter. He
could see the story throughout it. He really connected with that.
I felt like he was not emotional, but very connected
to it. Like my darling. You can see the story
and the emotion in it, which was great. Carrie Anne
said that she saw something new and shifting in the

(10:27):
way that she was moving her body, and she really
likes the experimentation, but then said that the prop became distracting.

Speaker 1 (10:34):
So I think that we saw, yeah.

Speaker 2 (10:36):
There was something different in this contemporary in the way
it was moving, and I think it was maybe in
the character that they were trying to give it. There
was lots more contraction in her body and it was
made to look I don't want to say monsterish, but.

Speaker 1 (10:50):
Definitely like something was pulling her.

Speaker 2 (10:52):
Down and there was a weight on her and that
brought an interesting kind of movement to her body, which
I can appreciate. And as far as the becoming distracting,
I do have some thoughts on that, and I do agree,
so we'll get to that when I get into my thoughts.
Carrie Anne did say that she wanted the prop to disappear,
and that's what needs to happen.

Speaker 1 (11:11):
When you're using one.

Speaker 2 (11:12):
You can still use it, but it needs to disappear
and be a part of the movement, as she felt
that she struggled at times with her but she loved
the intensity, So I can agree with all of those things.
Derek said he loved the harness the Jackie Royal slash
Talia Favia. It's sort of type of choreography two women
used to look up their work is fantastic. Love the
acrobatics and the athleticism and which was amazing. But the

(11:34):
execution of the idea wasn't fully realized. And that's also
some of the thoughts that I wrote down that we'll
get into the idea of what it meant, what it represented,
the relationship between the two of them. It just the
story in it sort of got lost by the end.
I agree the execution of the idea didn't one hundred
percent land this time. It was a fantastic idea, but

(11:57):
I think it needed weeks be hashed out, not days
for this one. And then we had Cheryl who said
it's such a strong partnership.

Speaker 1 (12:06):
She wants to see the trust.

Speaker 2 (12:08):
And the bond between them come out in there dancing
a little bit more.

Speaker 1 (12:12):
Yeah, I totally get that.

Speaker 2 (12:13):
You will always want to continue to see that chemistry
and that bond between people out there on the dance floor.
I was like, okay, So Ezra represents the demons. That's
what he said in the package. But then when we
were up in the skybox, so this is one of
the things right with that rope. Ezra in the package
is telling us that that rope represents he's attached to it,

(12:33):
and he's the demons inside her that keeps trying to
pull her back and hold her down. But then when
we're in the skybox, we see Jordan talking about it
and saying, you know, talking about her experience of depression
and realizing that asking for help is okay and sometimes
needing to lean on someone or having that rope to
guide you or to lean on I don't remember her
very specific words, but saying that it's okay to need

(12:55):
that it's okay to need that help, and I was
like ooh.

Speaker 1 (12:58):
Either somewhere in the middle of the that story.

Speaker 2 (13:01):
Changed on what the rope meant, or they had two
very different ideas of what the rope meant. Certainly in
the delivery of the performance, Ezra was sinister and you
could see in his body in the way that he
was moving. There was something very dark and twisted about him.
He was that demon trying to control her and pull
her down. But her thoughts of what it meant seemed

(13:22):
to be very different, and so I found that really
really interesting. I feel that what happened with the rope
is it all just got a little too complicated with it.
I love the idea of it, I love the symbolism
of it, but I think we needed it to tell
a story more instead of being as acrobatic as it was,
you know, and maybe get rid of it sooner tell

(13:44):
the story. She breaks fears, free of it, and then
it becomes the invisible thing. Or maybe it should have
always been invisible.

Speaker 1 (13:50):
I don't know. Sometimes you've got to try things right,
you got to try these big.

Speaker 2 (13:54):
Things, and sometimes you fail. Sometimes you don't. I'm not
saying it was a fail, but I do agree with
Derek that I don't think it was executed to us
its fullest. I said, why do I feel like it's
not stretching enough and it's not finishing? Yeah, So I
found that in Jordan's movements, and maybe because so much
time was put into working on the rope and getting

(14:15):
it to work, because that's a whole logistical thing that
you have to figure out how to be consistent with.
That's a lot that her feet weren't as stretched and
weren't as pointed, that her body wasn't as stretched as
much as it could be.

Speaker 1 (14:27):
There wasn't as much release through.

Speaker 2 (14:29):
Her chest and her core when going into some of
her side by side stuff and her floorwork. I felt
there needed to be a more openness and freeness in
her movement. And now I understand when we're talking character,
I don't mean that.

Speaker 1 (14:41):
I mean in the technical movement of this contemporary was
she athletic? Yes? Did she execute it? Yes?

Speaker 2 (14:48):
So I can see why people are raging that it
didn't get the highest score, But unfortunately we're taken out
of the story of it. The story wasn't making sense,
it didn't necessarily connect and execute. We're distracted by the prop,
and then when we get into the dancing without the prop,
it wasn't stretched and big enough, It didn't take up
as much space. It didn't have the openness.

Speaker 1 (15:09):
In the body.

Speaker 2 (15:10):
If you compare when Jenna did that contemporary piece with
Yan right, I know Jenna is an absolute beast at
contemporary but look at the openness, the freeness in her body,
how much she expands in her chest and.

Speaker 1 (15:22):
Her body and her arms.

Speaker 2 (15:23):
It goes to every like tips of her fingers and
tips of her toes. Nothing is unused, even if the
feet are half flexed or whatever it is, it is used.
I feel like this was lacking a little bit of
stretch and tension and intension in the body, and things
just felt a little bit tight and short.

Speaker 1 (15:41):
And I also feel just to go back to it.

Speaker 2 (15:44):
But hopefully not to harp on it that I didn't
understand necessarily the story and the character that we were
told that it was going to be, within the choreography
and the execution of it. She fell to the floor
and then he picks her up by the harness and
spins her. But where is what does that mean for
him being the demons? And then she lands standing over him.
Is he's still controlling her? She never broke free of it.

(16:07):
It just left me with questions, you know, And so
I guess I just wasn't immersed in the story. And
then I didn't get to appreciate the dance because I
don't think it was rehearsed to its fullest. Extent of
what it could have been, so unfortunately, And y'all know
I'm a big, big Azra fan and a big, big
Jordan fan. At the top of the season, they were
one of the ones that I called out to go

(16:27):
all the way to the end. I want to see
them go all the way to the end, and I
love this season for Ezra.

Speaker 1 (16:33):
I think he took a risk. I think he took
a risk.

Speaker 2 (16:35):
He was trying something big and something bold and something new,
and he's figuring out how to do those things. And
I would never not want him to try. I think
you got to try, and he wills. Would you ever
want to try it with other than Jordan. She's absolutely phenomenal,
a great thing. But I think it just fell a
little bit short. I love that they gave it a crack,
and I hope he continues to give big things a crack.

(16:59):
But this one just missed the mark a little bit.
So the judges went nine, eight, eight, nine. I did
land on an eight. It is definitely the higher end
of an eight, and I almost went on a nine,
but being that a nine was the highest of the
night for me, I ended up landing on an eight
for Jordan because there was a lot in there to love,
but there was a lot more that it could have been.

(17:21):
All right, coming into the heart of the show, Andy
and Emma God, I love watching this man every week.

Speaker 1 (17:28):
Let's get into the judges straight away.

Speaker 2 (17:29):
So Carrie Anne said, every week you get better and better.
This week your posture is better. Use your legs more
to propel you. So, yes, posture is better, I think
naturally because Pasadoblay has that higher posture and the center
is higher, and you've really got to work on standing
tall like a mattador in the middle of the bull ring,

(17:51):
you know, projecting up to the gods, basically into the bleachers.
So yes, posture was better. I agree with that, And yes,
I agree with using your legs to propel you across
the floor. You'll hear Derek say the word stride, glide.
We need a little bit more power in the legs.
That's using the standing leg to generate some power and
you push your weight through it and off of it
so you can get a bigger, longer stride along the floor.

(18:12):
We definitely need to see some power coming in from Andy,
So I appreciate that critique from carry Anne. Derek snapped
the six paddle and called out some of the choreography
that was in there that was twist turns and chasse capes. Say,
very technical passa oblay steps from the syllabus book. They
did do those. They were missing the passo shaping. But

(18:33):
he definitely did do the steps. And he said, you're
out there doing it, man, and you're committing, which is true.
He is committing. He's giving it everything. He's having little
improvements every week. He absolutely loves it, and he and
Emma are doing a great job. And I think Emma's
doing a wonderful job with him. We are seeing him
do more steps and more content, so they are pushing.
Cheryl said, you are the heart of the show. She

(18:55):
also said Passo is a very dominant marching dance, and
you definitely marched through it. I think there was a
little like touch there of you march through it, as
in the feet were picking up off the floor and
you marched through it impossibly the wrong way. There was
a little bit of technique in there, like there were
some nice hill leads. He was trying to get that
higher posture. He was definitely learning it and trying. But

(19:17):
when the feet pick up off the floor, and it
gets a little bit stumpy, and you know that's when
it looks marchy in the wrong way.

Speaker 1 (19:24):
And there was a lot.

Speaker 2 (19:25):
Of smoke out there, so it was a little hard
to see all the footwork. She said that have more
tension in your arm movements all the way to your fingertips.
So yeah, getting a big stretch, letting it come from
your core, stretching it all the way up over your
chest and all the way through to your fingertips, keeping
that energy going all the way out. And when you
think you're at the end of your stretch, stretching even

(19:47):
further from it. You should feel like you are being
stretched on a stretcher when you are heading into lines
and using your arms. You never wanted to feel like
it's just easy. You always wanted to go past a
point so it can feel as big as it possibly can.
So I appreciate that note from Cheryl and I think
it really would help. And Bruno said you captured the
cult classic horror vibe and there was a ghost of

(20:10):
the Passo in there somewhere. Yes, you know what more
is to be said. I love those those tips from
the judges. They very much were my own notes. It
seemed that he was on time, which is great. That's
been a thing for the past for Andy, but he
was on time for this one, so I love this
for him. I said, give more, stretch, go bigger, and stride,
so again very much in line with the judges. The

(20:31):
judges gave it a seven seven seven, seven, which is
Andy's highest score. Yet I didn't feel it was as
strong as his jazz last week, so I'm back in
between a four and a five instead of a solid five.
But I'm probably just on the lower end of a five.
I think he did do good. I think he tried
to show Passo technique and there was some stuff in there,
and there was there was some true Passado Blake content.

(20:53):
So we'll be on the like the lower end of
a five for Andy this week. But I absolutely love
watching them. I love that he's made it through and
I can't wait to see what they do next week.

Speaker 1 (21:03):
You know, he's always a fun one for me to watch.

Speaker 3 (21:10):
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Speaker 1 (21:44):
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Speaker 3 (21:45):
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Speaker 2 (22:12):
Okay, now we are moving on to Elaine and Alan.
Oh my gosh, let me just say it sucks getting
injured on the show. It really really does. I've been
injured on the show. I've saining celebrities injured on the show.
It is just the worst. And they're at that point
in the competition where they're really trying to break out.

Speaker 1 (22:29):
She had an incredible week last week. She wants that momentum.

Speaker 2 (22:32):
She's obviously fighting against pain and injuries with different things,
but she's a fighter and a warrior. As Carrie Anne said,
my heart broke for them, and I am so glad
that they are through and that the power of the
people voted and she's going to get to do another week.
I cannot imagine what it felt like for her having
to sit. No, actually I can. It's happened to me.

(22:53):
I can imagine what it felt like for her. Actually,
it was Halloween for me that I had to sit
out of dancing with James Hinchcliffe. I choreographed one of
my favorite pieces I've ever done, which was a suicide
squad Joker and Harley Quinn inspired Veenie's Wilds. Jenna had
to step in for me and dance because I had
busted my knee. So I fully feel her pain, but

(23:14):
so glad that she's going to be back next week.
Let's get into it, the judges said. Derek said, even
though it was the rehearsal video, it's still impressed him
and yes, me too. Even though It was the rehearsal video,
and you know this is camera blocking, guys. She's giving
it what she can, but she's also thinking it's the
first time doing it on the floor, so everything looks
different than the room that they were rehearsing in, so

(23:36):
it's a lot to adjust to. Usually, camera blocking days,
things tend to feel worse and fall apart.

Speaker 1 (23:42):
So this was probably seeing it at its.

Speaker 2 (23:44):
Worst, right, We have to keep that in mind, and
yet it was still very impressive. Cheryl said she has
been underrated this season. I'm said to work on their transitions.

Speaker 1 (23:54):
Love that.

Speaker 2 (23:55):
Yes, I think their transitions were bumpy, especially in this
rehearsal video that we saw, and though could have been
smoothed out. Tricks can be a little tough. Alan is
wonderful at doing tricks with people. He's also wonderful at
Argentine tango. It's one of his favorite styles, and I'm
sure they would have really tightened those things up by
the time it came to show day. But agreed it
was looking a little bit bumpy on not just the

(24:16):
transitions with the tricks, but sometimes the combinations with the
ganchos that it sort of felt a little bit not
as flow.

Speaker 1 (24:24):
It didn't flow as much in its transitions.

Speaker 2 (24:27):
Bruno said, Alan, great job, the content, the lines, the placement.
If it had that layer of passion from when she
sits into a performance, it would have been sensational.

Speaker 1 (24:38):
Agreed.

Speaker 2 (24:39):
I think if we saw Elaine get to do her
thing on top of it, when that performer in her
kicks in and it's lights, camera action and we are ready,
let's go, it's live, I think we would have seen
a whole other level come out of her. And Oh
I love Argentine tango and I know Alan's so good
at it. I did a bunch of Argentine tangos with
him when we would tour, and I just can already
imagine what this was going to be. Carrie Anne said

(25:02):
she is a warrior, brokenhearted for her, and she knows
it would have been incredible. She's just got to come back.
So yeah, all the same things we said. I don't
think it's fair to really break down and critique her
all that much. I thought what she did in the
rehearsal package was fantastic for a rehearsal, and I have
no doubt that on the show night I probably would

(25:24):
have ended up around a nine for her. However, when
it came to this performance and having to judge on
the rehearsal performance, I was in between a.

Speaker 1 (25:35):
Seven and an eight. Now, I'd probably actually want to
give it the higher end of it. No, I don't know.
That's so hard, the higher end of a seven.

Speaker 2 (25:45):
But I ended up landing on an eight because what
was in there, the content, the detail, the combinations that
they did it really was beautiful. The opening links that
they did with the gun shows where she was flicking
in her legs all very authentic Argentine tango, all very
very beautiful and done smoothly. Her feet were gliding along

(26:06):
the floor really nicely. It was beautiful. And it's a rehearsal,
so it lacked performance and the passion of power, but
the execution of it was nice, so I did.

Speaker 1 (26:15):
I ended up on an eight.

Speaker 2 (26:16):
The judges gave it all eights as well, and I
ended up aligned with that because I think it's just
so hard to fully judge it being a rehearsal, and
my heart wants to give her what I think her
performance would have been, and then the judge in me.

Speaker 1 (26:29):
Is like, oh, dang it, what do we do?

Speaker 2 (26:31):
So we ended up on an eight, and I'm so
glad that you guys voted her through. We get to
see her again and maybe if they make it to
the final. You guys, if the show still does this,
they get a redemption dance, which might mean they will
let them do Argentine Tango again and she will get
to perform that. So fingers crossed, they get all the
way through to the end and they can redo or

(26:52):
do another Argentine Tango for us to be able to
see the magic that we missed out on on Halloween night.
Moving into Danie and Yell and Pasha, let's get straight
into the judges, so Cheryl said, a proper American smooth
Vennese waltz. She said she loved it, and she really
appreciated that. She said, in ballroom we exaggerate everything, the reaches,

(27:15):
the emotions, and she wants to see it.

Speaker 1 (27:17):
It's true.

Speaker 2 (27:18):
We are very very animated when we dance ballroom dancing.
I mean, look at Mark Ballas he's you know, I
think the poster boy for animation, but all of us,
watch all of us, we're very animated. Things are very exaggerated,
the lines, the reaching. We've talked about that already for
another couple. Everything is to its absolute maximum, and yes,

(27:40):
we do need to see that.

Speaker 1 (27:41):
I think we saw a little bit more.

Speaker 2 (27:43):
Of that from Danielle this week, but I do agree
I want more and more more of it. Bruno said
the movement reflected the turning of a dream. It was soft,
it was lyrical, and it was mental and he loved it.

Speaker 1 (27:55):
So no dance notes there.

Speaker 2 (27:56):
He just said that he loved it carry and said
she had mixed emotions about it. Some of the movements
showed so much progress, but sometimes a movement went from
elevated to small use. She wants her to use the
space more. She's a tiny woman with power I think
in her like she was trying to say that she's,
you know, a powerhouse, but she's in a small package, right.

Speaker 1 (28:18):
I don't think that was ever meant as anything negative.

Speaker 2 (28:21):
She was trying to say a nice thing here, and
she wants her to use that power, so let it out.

Speaker 1 (28:27):
I agree.

Speaker 2 (28:27):
I think Danielle has so much power, and I think
we saw moments of it. And I feel like when
she was telling us the story in the rehearsal package
of what she wanted it to be, there was almost
the power that I'm.

Speaker 1 (28:40):
Looking for in that.

Speaker 2 (28:42):
But then when it gets into the dance, we had
moments of it. I definitely saw in the beginning there
was more animation, more breadth in her body, more storytelling
with it. And then he broke away, and you know,
she started with the no no nos storytelling loved and
then only into the actual dancing. I do feel that
it was more animated, but it did have a little

(29:04):
bit more elevation in the beginning of it, and then
somewhere near the end it started to fall a little
bit short again. It felt like it got a little
bit messy. The movements weren't finishing. I even wrote, are
they rushing the timing or am I crazy? I haven't
confirmed with myself whether they were rushing timing or not
in one of the passes, but it felt like it
then got a little bit outside of the technique. It

(29:29):
got a little bit bumpy in its transitions and its closes,
its weight changes in its feet, and I just felt
that it went from something really amazing and then I
lost it, like the stumping at the end, and the
story didn't necessarily come across as much as I wanted to.
Now that being said, I thought her actual dancing was
really nice.

Speaker 1 (29:48):
She always does a beautiful frame.

Speaker 2 (29:50):
I could still have her soften that left hand on
Pasha's bicep and have it, you know, a little bit
softer in the fingers because it does hold on a
little bit too tight, and have her stretch out into
her window a little bit more.

Speaker 1 (30:02):
But it was nice.

Speaker 2 (30:03):
We did see that, and I think Pasha does beautiful choreography.
But I don't know that the story necessarily executed as
much as I wanted it to in this for me
to be like standing up and clapping and cheering. So
it was an improvement in the animation, but it wasn't
necessarily her greatest dance, I don't think, and maybe because

(30:24):
she had such a wonderful dance last week. But I
did appreciate that they were pushing forward with the storytelling
in this, and I want them to continue on that line.
Continue on the telling stories, continue on the creating characters
like this. Really take that into the next week, but
try and fill out the movements even more. Let that
character fill the movement and go all the way to

(30:45):
the fingertips. We seem to be saying that a lot
this episode. But let the movement be as big as
it possibly can, with as much energy in it and
stretch in it as it possibly can, so the character
goes all the way to the fingertips. The judges gave
it eight eight eight nine. I also landed on an eight.
I'm so glad that she's here for another week. I really,

(31:06):
really really want to see them stay for another few
more weeks, and I want to see them keep pushing
in this direction and just getting bigger and going.

Speaker 1 (31:14):
For more and more. Let's get into Robert and Whitney.

Speaker 2 (31:19):
They did an Argentine tango, another Argentine tango for the
night getting into Bruno. He said it was deadly hot.
It had the tension and intention of the style.

Speaker 1 (31:32):
Agreed.

Speaker 2 (31:32):
I think it was super sexy. It had the intention
of the style, the connection between them. I thought they
did really really well with that. Carrie Anne said he
is a leading man. He was in control the whole time.
It was amazing. He was leading her for the whole dance,
and she mentioned a moment that.

Speaker 1 (31:50):
He almost lost but he got back.

Speaker 2 (31:52):
I couldn't find that as far as seeing it on
the the feed from the cameras. Maybe there was something
in person, or if I missed it. Let me know
in the comments, Derek said, the first moment, Oh yes,
that first moment when he sort of like raised the
dead up and the power in him gorge Also because
it's like a completely different character to Robert Irwin. So

(32:12):
that's what's so amazing is when you see him switch
into this, like Robert Erwin's gone, like who is this man?
This is a whole other person doing this, And that's
just wild considering who he is and what he does.

Speaker 1 (32:23):
So I really really loved that from him.

Speaker 2 (32:26):
He loved the support, and Derek also complimented the support
of Whitney in the lifts and the partnering throughout, which
Whitney needed solid partnering and leading for her to be
able to do the things that she was doing. And
I thought that was also really impressive. Cheryl said, he
is a natural showman. She is a snob when it
comes to the Argentine tango. So she said as a

(32:46):
technical thing, she would have loved to have seen him
close his feet in between his achosos are when the
man is doing the flicks and kicking on his own legs. Yes,
his feet, his feet had a hole. A few things
going on for me in this one, So we will
get into that when I and I'll further explain what
Cheryl is saying. She basically said he needs to make

(33:08):
love to the floor with his feet. She was running
out of time, but yes, your feet need to have
a relationship with the floor. They can't pick up and
get stumpy. Your foot has to use every single part
of itself on the floor, from the tip of your
heel to the tip of your toes. You want to
use all of it and having that foot pressure in
the floor.

Speaker 1 (33:27):
And what happens is.

Speaker 2 (33:27):
When you're just stepping and just picking up your feet
to move, you're losing the relationship with the floor, which
means it loses power and groundedness. So what's happening with Robert?
What I noticed in his ouches when he was flicking
his legs, his feet were a little bit sickled, you guys.
And some of them they were coming in still flexed
when they were coming off the floor. There was one

(33:48):
pass that they did where it was sort of rotating
across the screen further downstage in the camera in the floor,
and it was like, oh, what was that meant to be?
I know it was meant to be a thing but
the feet weren't brushing the floor. The knees were too
far apart, the foot was a little bit flexed, and
it sort of took me out of what I think
it could have been. But I appreciate they that they tried,

(34:10):
and I appreciate that it was really trying to bring
in that authentic Argentine tango for the male choreography as well,
you know, not just Whitney doing all the work of
doing all the kicks and flicks, which sometimes I have
even done in the past when my celeb hasn't been
able to get it. She really taught him how to
do these things. So I appreciated it that we just
needed a little bit more love given to those feet

(34:31):
so they didn't look quite so sickled. My first thing
that I wrote was yes face with all the shouty
capital letters and exclamation points. I love that they were
giving a frame an a frame, so Argentine tango is
an A frame, not a Y frame or a V
So Argentine tango. The heads are closer together the boot
that you don't need to have full body contact in it.

Speaker 1 (34:52):
The booties can be away from each other.

Speaker 2 (34:54):
It's all about having those heads closer together, creating that
chemistry and that tenshion between the two and the giving
space in the lower half of the body for the
feet to be able to do what they're supposed to do.
And I thought they handled that really, really well. I
thought the tricks were seamless, and he really supported her
in that, and I loved it. I loved the storytelling.
Robert's musicality is wild to me. He seems to have

(35:19):
a better grasp on musicality and the pocket than say, Whitney,
not Whitney, his partner, Whitney Leavitt, and which is fascinating
because he's not a musical person. Or maybe he is,
but that's not what he does. He hasn't had training
in it, so for him to so very beautifully be
in the pocket of that musicality. Now, admittedly, the musicality

(35:41):
that they are doing and expressing in their routine is
a lot more simple than what Mark and Whitney's were,
so I probably shouldn't compare the two, and that is unfair.
But what Robert executed was beautifully in the pocket and sharp,
and it did the storytelling, and I'm just so flawed
by his performance. Every week at the moment he had
a couple where it lull there. So I thought this
was very very impressive for in Argentine tango. It had

(36:03):
all the things in it that I would want, with
the exception of the feet and the footwork being just
a little bit dodgy. So the judges gave it a ten,
a nine to nine and a ten. I landed on
a nine because the feet really like stuck out for
me that they were a little bit sickled. But I
absolutely loved it. And then this cutie up in the
skybox trying to give Elaine some love when it's his

(36:24):
time to talk, and you know, saying that they love
her and to get well soon.

Speaker 1 (36:27):
I just thought that was so sweet.

Speaker 2 (36:29):
All right, let's get into Jen and Yan Sadly, our
couple that we saw go home this week that they
had a contemporary which is Yan's Forte. I was very
very excited for this piece. Carrie Anne said the beginning
was off the charts so much sharper, but it's still inconsistent.
She wants her to be aware of her whole body

(36:51):
because her arms go limp. This is a very very
fair critique. The opening was fantastic. It was so sharp
the storytelling the can in her eyes, everything was spectacular.
I was like, oh my god, we were a whole
other gen coming out here like a yes, And I
loved like that he's, you know, yarn with the story
and he's obviously cheated on his wife or something. The

(37:13):
collars open, he puts the wedding ring back on, and
then suddenly there's this being there ready to kill him,
I believe.

Speaker 1 (37:21):
But I thought that was a really cool touch.

Speaker 2 (37:23):
I loved the opening. I love the way she shone
in that opening. And then yes, when you watch and
they get into the choreography of it, all her.

Speaker 1 (37:32):
Arms would go limp.

Speaker 2 (37:33):
Now, even if there is a style to it where
it's supposed to look a little floppy, but there is
a tension to it, there is a way that that
is supposed to still be purposeful, not actually floppy to
your fingertips, you know. And so I do agree with
carry Anne. It went from something so like, oh my god,
what's happening here? This is a breakthrough moment to oh no,

(37:53):
it's it's still sort of unfinished and sloppy. So I
get that being aware of the whole body is such
a great note because it's not just dance steps that
we do. Your whole body is involved in the movement,
so you have to pay attention to what everything is
doing and know where it's meant to be at all times.
Derek told Jan that he has had a great first season,

(38:14):
and oh, well, then I wrote, wait, is Derek annoyed
at something?

Speaker 1 (38:18):
Is something going on? I don't know what I missed
in there.

Speaker 2 (38:20):
I think it was the tension on time and people
not having feeling that they didn't have much enough time.
Maybe they were making time for the dance offt thing
that I felt. He was trying to get as much
out as he possibly could. He wanted her to stretch
her feet, especially in the kicks, the fankicks, the windmills,
all those sorts of things. But her commitment to the
character was fantastic. Yes, her feet, like her hands, were unfinished.

(38:44):
They didn't fully point all the way to the end.
The ankle wasn't as stretched and the toes were not
as stretched as it could have been. And so that
means that there just wasn't enough tension stretching through from
her legs all the way to her tips of her toes,
and so.

Speaker 1 (38:59):
It looked a little unfinished. And sloppy.

Speaker 2 (39:03):
Cheryl said, best dance, love the power and the grit.
Now work on the in betweens and the connection together.
So yes, one percent, I get that working on the
in between. So again, dance is not just the positions
that we hit or and it's not just the steps
that we do. It's how we get from A to B.
It's what does that middle space look like. It's the

(39:24):
in betweens of the lines and the movements. That is
where the texture lies, that is where the story lies,
that is where truly the dance lies. And so we
did miss that a little bit from Jen of the
the in between moments, it felt like it got to
that place of just feeling unfinished.

Speaker 1 (39:40):
Again. It all sort of comes back to that off
it not being a whole.

Speaker 2 (39:43):
Body experience of not knowing where everything is meant to
be at all times. You're sort of wondering why things
are floppy and why things aren't necessarily engaged with the movement.

Speaker 1 (39:53):
So I totally agree with that.

Speaker 2 (39:54):
Bruno said, it's got to the one movement has got
to carry on to the other, and like it's a
never conversation, we're all really saying the same thing here.
You know things looking unfinished. One thing has to carry
into the next. What is the in between? It's all same, same, right,
and different ways of saying it, and I agree with
it completely. I wrote opening heck yes, and then I wrote,

(40:15):
oh no, it's sloppy, and then where's the story? Where
did the story go? And then a big shouty capital
letters of feet. So I was on the same page
as the judges. I feel like, yes, Jan has had
a great first season, and I think he is learning
how to teach a non dancer how to dance. It
is so very different to teaching people that are already

(40:37):
studying dance and working on those things. You don't realize
just how much you have to teach, from the tips
of the toes to the tip of the head, And
when putting a whole number together in a week, it's
a lot of pressure to create it, to teach it,
to clean it, to perfect it, to all those things.

Speaker 1 (40:54):
And so I think he did a really good job
at handling it.

Speaker 2 (40:56):
I think he's probably learned a lot on how to
teach absolute beginners in the realm of dancing with the stars,
because it is its own pocket and its own bubble,
and to continue learning that skill of how to teach
non dancers how to dance. But I do think he
is going to be an asset to the show in

(41:16):
the seasons to come once he's really understood that and
truly gets a big grasp of the ballroom technique and
how to teach it and execute it, because also with
ballroom you have to think, and this is something that
our younger pros also learned, just like I learned, and
I came from pure ballroom background. You're not going in
teaching the stuff that you've been taught your whole life.
I wasn't going in and teaching a girl how to

(41:38):
do the girl steps. I suddenly had to go in
and teach the man how to do the man steps,
how to be a man, something that in my career
I had barely paid attention to. Because I have different steps.
It is a different type of movement. I'm going backwards
and he's going forwards. He has to learn how to lead.
I'm learning how to follow. They are different skill sets,
so you have to learn how to teach a different

(41:59):
skill set to what you've been learning your whole life
in ballroom dancing, and that is an art form, you know, Honestly,
the men almost have an advantage when coming in as
pros onto the show that are pure ballroom dancers because
when they are leading, they have an understanding of what
they need from the girl as far as her to follow,
because they're more aware of where they're putting the girl

(42:22):
right in how to guide her from A to B.
The girl lives her best life essentially being put into
these movements, and I, as a competitor, didn't pay attention
to what the guy was doing. I paid attention to
my own stuff. So there's so much to learn. When
pros come into the show, we have to give them grace.
I know there was a lot of attention on that
this week, and I have no desire to necessarily speak

(42:43):
on it other than saying everybody starts somewhere, everybody has
to learn. Everybody is coming in with advantages and disadvantages,
and the show is evolving into its own thing, into
a new thing, and I totally appreciate that. And I
think Yarn is going to be a beast in seasons
to come back. Yeah, he's got some stuff to learn.
He's also very talented, and I think he's going to
learn it. The judges gave it eight eight eight eight.

(43:07):
I was in between a seven and an eight. I'm
gonna be real with you. I don't know if it
fully made it to an eight. What I did appreciate
was the choreography. I thought the choreography was fantastic, and
Yan had her doing some stuff that like we haven't
seen celebrities necessarily do. He has a beautiful way of
connecting movements to one another. The flow of things like
that in his choreography was stunning. But I just think

(43:28):
her execution of it wasn't necessarily as finished as it
should have been. So I think I'm on the higher
end of a seven or low end of an eight.
I'm not going to commit. I don't need to, but
I'm sad to see them go. And congratulations on having
a great season.

Speaker 1 (43:50):
All right.

Speaker 2 (43:51):
We are heading into the last two of you guys,
So we are up to a big, big favorite of
the night, Alex and vow Vintage VOWLO.

Speaker 1 (44:00):
Well, I laughed my butt off on that, y'all. Vintage vow.

Speaker 2 (44:04):
None of you would handle vintage Vowel or Vintage Derek
or Vintage Mark or Vintage Max like it was brutal Back.

Speaker 1 (44:10):
In the day.

Speaker 2 (44:11):
But I loved that Alex came in. She's like, give
it to me, give it to me. I'm fine with crying.
I'm fine with the bruises. I want to be pushed.
And that is, as Carrie Ane said in her critique,
which we'll get into mad respect for during the process,
because that is that's dance.

Speaker 1 (44:26):
Man.

Speaker 2 (44:26):
It's brutal, especially when you're doing it at this kind
of level in a competition. Okay, judges said. Derek also
commented on vintage vow. That's what you got to do
to get it done. He said it was sharp, it
was controlled, it was intense, and it was fantastic. He
gave it no notes. Cheryl said, the passion and the
fire was there. Don't break hold. She doesn't love that,

(44:48):
but it was amazing and you are amazing, which Cheryl,
by the way, is right. As far as the rules
that they used to be, tango is not American smooth.
You are not supposed to break hold. But yes, yes,
couples have been breaking hold so much more in these
more recent years and it's not necessarily being pulled up.
So I don't know where we are with the rules.

(45:09):
I don't know if that's changed. I do know that
even when we had our original judges, people had their
things right. For Len, he really cared about you not
breaking hold, Bruno not so much.

Speaker 1 (45:21):
Carry Anne really cares about the lifts, Len not so much.

Speaker 2 (45:24):
So I think we have to understand that judges see
things the way that they see things. And I'm also
like Sheryl, I think I wasn't as a dancer, by
the way, as a pro I broke hold all the
time and took all the risks. But as a judge,
I think having these guidelines and boundaries really help and
make it make sense for everybody and for you at home.

Speaker 1 (45:43):
So I am the same.

Speaker 2 (45:44):
I believe that I would also say, but you broke hold.
So Bruno said it was drop dead good and incredible footwork,
complimented her on all the things, gave her no notes,
and carry said respect for joining the process.

Speaker 1 (46:01):
You gotta think like.

Speaker 2 (46:02):
Carry Anne was a solid gold dancer. She was a
dancer on Madonna's tool, like back in the day when
it was even more brutal than my day. That's like
the eat nails day. That's the I don't care if
your feet are bleeding, just dance day. That's the oh
you haven't eaten, doesn't matter day like it was brutal
being a dancer and to see someone like Alex come
in and be like, yeah, let's go.

Speaker 1 (46:23):
I don't care if I cry. Push me.

Speaker 2 (46:25):
And she pushed through it, and I love vow stepping
up to the plate with that, because you know, if
you want to push to get it to a certain point,
you gotta push and it's gonna be uncomfortable. Breaking to
new levels is always uncomfortable because it is doing something
harder and new, and that can be a challenge. Challenges
are hard. So I did love this dance. I didn't

(46:48):
love it as much as the judges on a technical aspect,
y'all might come for me for this. They did break hold,
so I was like, they broke hold. I don't know,
I don't really feel I don't I don't love that.
I think as a judge, I say, you broke hold,
but you know you took a risk.

Speaker 1 (47:05):
I loved the opening of it.

Speaker 2 (47:07):
I thought that was fantastic, and then we got into
the actual dancing, and I know it was really dark
and maybe it was really hard to see some certain things,
but for me with the camera angles, I could very
clearly see that they were almost much more in an
a frame hold than a proper tango hold. And I've
said this on all the other episodes, really getting into

(47:27):
the knees. Tango is especially way more into the knees
so you can get the power and the staccato action.
The staccato is where the leg builds up power and
it's sort of almost almost like a slingshot, right. It
sort of like builds up the tension so it consume
it can like shoot out and get some energy. I
tried to give you a sound effect to make that
make sense. I don't know if that helped. That it's

(47:48):
supposed to create energy in the first part of the movement.
As it moves, I saw the staccato, but their booties
were out, that the hips weren't together, the legs weren't
locked in. It wasn't the five points of connection as
I talk about that you're supposed to have in a frame.

Speaker 1 (48:05):
I felt like there was a lot of gapping between
their frame.

Speaker 2 (48:09):
And speaking of their frame, I felt like it was
a little wobbly, like the arms were moving with every
impulse and the energy was coming into it. I don't
want to see that in a tango frame. I want
to see it be stealthy, especially in tango. I used
to use this word all the time, stealth le. You
know when you see those videos of like Seal Team
six or whoever it is in all movies where the

(48:31):
SWAT teams are going in and they're running, but if
you see them running, they may be going fast, but
it's like dead silent and they're all just going like
one level and it's stealthy. I like tango to feel stealthy.
It's smooth, but it's powerful, and it has attacked to it,
but it doesn't bop up and down and get.

Speaker 1 (48:48):
Radily with its power.

Speaker 2 (48:50):
I felt like the power was kind of overtaking it,
so for me, I wasn't as in love. And also
in the side by side section, she was also biting
the timing just fractionally a little bit ahead of vow
wonderful staccato action.

Speaker 1 (49:03):
I will agree with that. Oh.

Speaker 2 (49:05):
I also thought like there was I honestly swear that
I caught a footwork mess up before she went into
her little Arabesque moment in the first past, right before
when the song says say it out loud. There was
a thing, I swear watching her feet there was a
little foot mess up. So for me, I was not
aligned with the judges on this one, and I was

(49:25):
in between an eight and nine, you guys, because I'm
not on the entertainment value love but on the technical
side of this, I wasn't obsessed with it, and it
was an eight. I said eight because of also the
break hold, but I was in between an eight and nine.
I'm not going to commit from one to the other.
I'm in between eight and nine, and I know that
might sound brutal. I also love Alex and Vow. I

(49:47):
love what they created. I was entertained for days. I
thought it was a fantastic routine, but I think the
execution wasn't as technically strong as it could have been,
and it was just not as stealthy as I wanted
it to be. But you know, she's going to stick
around for a long time. She's been improving in leaps
and bounds. So impressed with that, and I always am
excited to see what they're doing now, So I can't

(50:07):
wait to see what they have next week. Moving into
Dylan and Danny giving you Shadow Daddy vibes, I was
like Dylan loves Roman to see how cute.

Speaker 1 (50:18):
I love that for him.

Speaker 2 (50:20):
We got into a Viennese waltz and I loved.

Speaker 1 (50:25):
The opening of this. I thought it was great.

Speaker 2 (50:27):
Cheryl said, he is the most improved, but he has
to watch out for his bum. She call on it
lead and to lead with his legs. So yeah, his
booty was out again in this one. We didn't see
it in his last ballroom days, but it really came
back with vengeance in this one, and so it was
very distracting for me. His booty was out, It didn't
have as much drive through the legs as it could have.

(50:49):
There was gapping between the frame and so that was
definitely a shame. She wants him to lead with his
legs instead of Yeah, so basically his booty is out,
his headwaight is forward, so he's pushing himself forward with
his momentum, not driving through his power center and through
his standing leg So it does it just makes it
not have the flow that it's meant to have. However,

(51:11):
he did have unbelievable stride and power because he's tall
and strong. It was just not executed technically in the
correct way. So the look of it wasn't correct, you know.
Bruno said, it was kinky and hot and he loved it.
He was a convincing lead, but he said that show
is right about the bum basically keeping his booty in

(51:32):
and to watch the pivots a convincing lead. I will
say that he seemed to have great momentum with Danny,
and I think that might be what they're saying in
the lead.

Speaker 1 (51:41):
I think he was really there for her through a
lot of things.

Speaker 2 (51:44):
So I did love that, and he was convincing in
his character in this. I feel that he really owned
that shadow daddiness of it all. I feel like he
loved that and it was fun seeing him play that.
So the character of it was great. The intention between
them was smot I will agree with that too. Carrie
Anne said what separates him is understanding the emotional intention

(52:06):
behind the movement, and he already also understands the physical intention.

Speaker 1 (52:11):
Of the movements.

Speaker 2 (52:12):
And I didn't write anything after that, so I don't
know what she said after that, but yeah, I think
we're seeing him really start to build his understanding. He's
coming out of his shell more in his performances, giving
an emotional intention to the movement, which I think is fantastic.
We didn't necessarily see that from him in the beginning.
So I love that growth in him. And he really
is learning the technique. We've talked about that a bunch

(52:34):
of times, but I will say he's doing better in
the technique side of things on his Latin than he is.

Speaker 1 (52:38):
In the ballroom.

Speaker 2 (52:40):
Derek said, he is smooth as velvet, the chemistry, the broodiness,
the suspense. Watched the frame, but the stride was impressive.
So for the frame that Derek's talking about. Agreed, the frame.

Speaker 1 (52:50):
Was kind of his frame is good ish, like he
holds it up.

Speaker 2 (52:55):
But this time, especially because Viennese welts has so much rotation,
so it runs the risk with that centrifugal force right
the outside energy pulling it that the guy ends up
like his arms pull forward towards the girl, so his
elbows are coming out. It gets a little bit hunchy.
His back pulls back to the outside edge of the
energy that's centrivical force, and so it gets a roundedness

(53:19):
that you don't want. You want it to have width,
and it got a roundedness, and pair that with his
head position is still a bit weird. He's the left
of his when his head is turned to the left.
It is just two left. It's like he's trying to
look over his shoulder instead of trying to look over
his left hand. He needs to look over his left hand,

(53:41):
so he's also seeing where he's going. But it feels
like his head is turned way too fast, so it
almost looks it's not broken neck like, but it's just
an awkward position to be in and it's a fraction
of a distance. But he totally needs to adjust that, like,
pull the elbows back, get the width feel like everything
is supported from up and underneath, pull the head up
and high, pull the neck back and look over his

(54:03):
left hand. We definitely need to fix the frame and
get the booty underus. So there was actually a lot
in here that I felt needed to be fixed. Now,
what I did love was how it flowed his stride
along the floor, the power in it, the chemistry, all
of that.

Speaker 1 (54:19):
Super hot. Loved it.

Speaker 2 (54:20):
I even feel like there were some dynamics in there
and the way of that he was using his power.

Speaker 1 (54:25):
But it just technically fell short on the.

Speaker 2 (54:29):
Body contact and the five points of connection in a
frame and the frame itself. So the judges gave it
a nine to nine eight nine. I ended up on
an eight for Dylan and Danny.

Speaker 1 (54:39):
I really do think he's stronger.

Speaker 2 (54:40):
In his Latin dancers, but I did love I am
also a romanticy fan, so I did love the shadow
Daddy vibes that we were getting from Dylan this week.
All right, everybody, that was our last couple of the night. Gosh,
they're going quick now, We're getting really into it. I'm
so excited to see where everyone goes. And you know,

(55:01):
I think everyone is improving. The pros are doing a
fantastic job. I am just such a fan of the show.
I'm gonna hopefully be in the audience next week so
I can watch it live, because there's nothing quite like
being in the ballroom and seeing things live as well.
I love being able to do this for you guys.
If you have any questions, as always, please put them
in the comments on the social media clips so I

(55:22):
can try and answer them for you. And please come
join us again next week for another Sharna Burgess in
the fourth chair.

Speaker 1 (55:28):
Bye. Everyone,