It’s not an overstatement to say that “So You Think You Can Dance” (SYTYCD), a prominent You Can Dance Tv Show, has dramatically reshaped the landscape of dance over the last two decades. This show has been instrumental in igniting a passion for dance in a new generation, propelling it back into mainstream popular and artistic culture.
Consider the evolution of Broadway choreography before and after the rise of this you can dance tv show. Previously, a stark contrast existed between traditional Golden Age musicals or revival shows and contemporary productions, often characterized by simpler, less integrated choreography. However, shows like “Jagged Little Pill” and the groundbreaking “Hamilton,” celebrated for their narrative-driven and innovative dance sequences, demonstrate a significant shift. This evolution owes much to the influence of you can dance tv show like SYTYCD.
On the surface, “So You Think You Can Dance” appears to be another reality competition, akin to “American Idol,” but for dance. However, under the guidance of producer and long-time judge Nigel Lythgoe, a dancer and choreographer himself, SYTYCD quickly transcended typical reality TV tropes. It evolved into an artistic platform focused on creating high-caliber dance pieces and nurturing the artistic growth of its contestants. This you can dance tv show prioritized artistry over manufactured drama.
The show even intentionally rebranded the winner’s title from “America’s Best Dancer” to “America’s Favorite Dancer.” This subtle but significant change emphasized that while audience votes determined the winner, artistry isn’t about being “the best.” As Nigel famously stated, “We don’t vote dancers off this show, we vote dancers on…” This philosophy underpinned the core ethos of this you can dance tv show.
While the format of this you can dance tv show has seen minor adjustments over the years, the foundational structure remained consistent – until now.
As a dedicated SYTYCD enthusiast, I eagerly anticipated Season 18. However, just a few episodes in, a sense of disappointment began to set in. My reaction can be summarized as:
“SYTYCD – WHAT ARE YOU DOING?”
It’s crucial to emphasize that this critique isn’t directed at the dancers. They are exceptionally talented, possibly among the most skilled contestants in the show’s history. Nor is it aimed at the judges – SYTYCD alumni Alison Holker and Maksim Chmerkovskiy, along with initial audition judge Comfort Fedoke and later addition JoJo Siwa, are all beloved and excel in their roles.
The issue lies in the fundamental alterations to the very essence of what SYTYCD, this beloved you can dance tv show, represents.
Let’s outline the concerning changes:
Curated Auditions and Limited Scope
The initial solo auditions felt heavily curated, showcasing a seemingly pre-selected group of dancers. While SYTYCD has never shown every audition, Season 18’s auditions felt artificially streamlined. The single audition location raised questions about accessibility and the diversity of the dancer pool. Was participation limited geographically? Were dancers flown in? The impression was of a significantly restricted talent pool for this you can dance tv show.
Furthermore, the elimination of “L.A. Week,” a crucial element of past seasons of this you can dance tv show, is a major loss. This week allowed viewers to witness dancers grappling with diverse styles, learning, and evolving under pressure. Season 18 offered only two group audition numbers, comfortably within the dancers’ typical skill sets. By this stage, the number of auditionees had already been drastically reduced without clear justification, diminishing the developmental arc that was a hallmark of this you can dance tv show.
Unexplained Cuts and Diminished Diversity
The lack of transparency surrounding critical eliminations is particularly troubling. Historically, SYTYCD has celebrated diverse dancers, including those with varying body types and disabilities. This commitment to inclusivity made this you can dance tv show stand out. This season, Kaylee, a remarkable dancer with Ehlers-Danlos syndrome who uses a wheelchair, auditioned and advanced.
In previous seasons of this you can dance tv show, Kaylee’s journey would have continued through L.A. week, showcasing her adaptation of choreography to her wheelchair. Even if she didn’t reach the top ranks, the judges would have provided viewers with insight into their decisions.
However, in Season 18, Kaylee was celebrated during her audition only to disappear without explanation. This absence suggests a disheartening possibility: despite on-camera support, a decision was made that she couldn’t “keep up.” This is doubly concerning as Kaylee wasn’t the only diverse contestant whose journey was abruptly cut short. Several other talented dancers, including a larger-bodied dancer and a drag performer, were similarly praised, advanced, and then vanished from this you can dance tv show narrative.
Rushed Format and Superficial Challenges
Season 18 debuted with a Top 10, a significant reduction in numbers even before the competition truly began. The elimination of two dancers in the first week, followed by another two the next, whittled the group down to just six within the first two weeks. This rapid pace prevents viewers from connecting with and understanding the dancers, a core element of the emotional investment in this you can dance tv show.
The stated focus of Season 18 is to “find dancers who could work in the real world right now and give them real-world challenges.” The first week featured a music video challenge where the Top 10 were divided and filmed music videos with minimal choreography, making it difficult to even discern individual dancers. Week two presented a Broadway challenge, again dividing the group, with a mere three days to learn a short routine.
However, the challenges in previous seasons of this you can dance tv show were far more demanding and realistically reflective of the professional dance world. Contestants routinely learned complex duets in limited time, often in unfamiliar styles, alongside demanding group routines. Three days for a short musical theater piece is generous compared to the pressures of professional productions.
The limited number of routines per week, focused on larger groups, further hinders audience connection and diminishes the opportunity to appreciate individual artistry. The focus on “real-world challenges” in this you can dance tv show seems to have missed the mark.
Unnecessary Drama and Sterile Performances
In an apparent attempt to inject drama, Season 18 introduced on-camera “house” segments, following contestants in their shared living space. While living arrangements in previous seasons were likely communal, these staged kitchen conversations about competition and romantic interests feel forced and detract from the dance focus. The contestants themselves seem uninterested in manufactured drama, turning these segments into lighthearted team interactions, but they still consume valuable screen time that could be dedicated to dance on this you can dance tv show.
Furthermore, the absence of a live audience during performances, except for elimination reveals, creates a sterile atmosphere. The lack of immediate audience reactions, cheers, and applause drains the energy from the performances, making them feel like auditions rather than artistic expressions meant to move viewers. This you can dance tv show has lost its vital connection with a live audience.
The rumored absence of audience voting this season further transforms SYTYCD into a prolonged job interview, devoid of the communal celebration of dance that once defined it.
A Plea to Re-center Artistry
To the producers of this you can dance tv show: please refocus on artistry. Bring back more numbers with fewer dancers, allowing viewers to appreciate individual talent and the nuances of choreography. Reintroduce segments that delve into the creative process, explaining artistic decisions and dance techniques. Let us get to know the dancers as artists before they are eliminated at breakneck speed. In past seasons of this you can dance tv show, even the first eliminated dancer had the opportunity to perform a memorable duet. Being relegated to the background of a contrived music video or given ample time for a simplistic Broadway routine hardly tests their dance capabilities.
Knowing the heights this you can dance tv show is capable of reaching makes these changes all the more disheartening. It’s difficult to imagine Season 18 inspiring a new generation to dance or even attend a dance performance. SYTYCD occupied a unique and crucial space in global dance culture, serving as a vital platform for cultivating new talent and pushing the boundaries of dance. If this platform diminishes, the dance world will undoubtedly suffer.
Please, producers, prioritize artistry and audience engagement once again. There is still time to reverse course and prevent alienating loyal viewers of this once-groundbreaking you can dance tv show.
On a more positive note, let’s remember some of the breathtaking dance moments SYTYCD has given us over the years. (Perhaps for another article!)
