“So You Think You Can Dance” (SYTYCD) has undeniably revolutionized the dance landscape over the past two decades. Many argue, and rightly so, that this reality TV show has been a driving force in advocating for and elevating dance, inspiring a new generation to embrace the art form and reintegrating dance into mainstream popular and artistic culture. Just consider the evolution of Broadway. Before SYTYCD, a stark contrast existed between traditional Golden Age musicals or revival shows and contemporary productions often relying on simpler choreography. Now, groundbreaking shows like “Jagged Little Pill” and “Hamilton,” celebrated for their innovative, narrative-driven choreography, exemplify the show’s impact.
On the surface, SYTYCD resembles other reality competitions like “American Idol.” However, under the guidance of producer and long-time judge Nigel Lythgoe, a former professional dancer and choreographer, SYTYCD quickly transcended the typical reality TV drama. It evolved into an artistic endeavor focused on crafting high-caliber dance pieces and nurturing the artistic growth of its contestants. This shift was even reflected in a deliberate change of the prize title from “America’s Best Dancer” to “America’s Favorite Dancer.” This subtle but significant alteration emphasized that audience votes reflected popularity, not necessarily objective “bestness” in art. As Nigel Lythgoe famously stated, “we don’t vote dancers off this show, we vote dancers on…”. The show’s format has seen variations over the years, but its core structure has remained consistent, always highlighting exceptional talent and dedication.
As a devoted SYTYCD fan, the premiere of Season 18 was highly anticipated. Yet, within moments of tuning in, a sense of unease began to grow. It’s with a heavy heart that I must ask: “SYTYCD – WHAT ARE YOU DOING?”
It’s crucial to emphasize that this critique is in no way directed at the dancers themselves. They are, without a doubt, exceptionally talented – perhaps among the most gifted contestants the show has ever seen. Nor is it a reflection on the judges. SYTYCD alumni Alison Holker and Maksim Chmerkovskiy, alongside initial audition judge Comfort Fedoke and later addition JoJo Siwa, are all beloved figures and experts in their own right.
The concerns lie in the fundamental alterations to the very essence of SYTYCD. Let’s break down the key issues:
Curated Auditions and Limited Scope
The initial solo auditions presented in Season 18 felt meticulously curated, showcasing a select group of dancers. While it’s understood that not every audition is televised, this season’s selection felt artificially constrained. The single audition location raised questions about accessibility – were auditions limited to a specific geographical area, or were dancers flown in? Regardless, the talent pool appeared significantly narrower.
The elimination of “L.A. Week,” a crucial phase where dancers traditionally grapple with diverse styles and undergo significant growth, is a major loss. Instead, viewers were presented with only two group audition numbers, comfortably within the dancers’ familiar styles. By this point, the auditionees had already been drastically reduced in number, with no clear explanation of the selection process.
The Vanishing Act: Lack of Transparency in Cuts
The absence of transparency surrounding crucial elimination decisions is a significant departure from previous seasons. This is particularly concerning given SYTYCD’s history of celebrating diverse dancers, including those with varying body types and disabilities. This season, Kaylee (only her first name was mentioned), a remarkable dancer diagnosed with Ehlers-Danlos syndrome at 21 and a wheelchair user with progressive mobility challenges, delivered a breathtaking audition and advanced to the next round.
In past seasons, this progression would have meant witnessing Kaylee’s journey through L.A. week, observing her adaptation of choreography to her wheelchair. Even if she hadn’t reached the top 20 or 10, the judges would have provided viewers with an explanation. However, in Season 18, Kaylee’s inspiring audition was celebrated, only for her to disappear without a trace. This abrupt absence leaves the unsettling impression that, despite on-camera support, a decision was made that she couldn’t “keep up.” Disturbingly, Kaylee wasn’t the only diverse contestant to experience this vanishing act. Several other talented individuals, including a dancer with a larger build and a drag performer, were similarly lauded, advanced, and then quietly removed from the narrative.
Rushed Eliminations and Minimal Exposure
The final group selected for the show was a Top 10, a smaller number than in some past seasons but still substantial. However, the subsequent rapid eliminations have been jarring. Two dancers were eliminated in the first week, and another two in the following week, reducing the group to just six within the first two weeks. This accelerated pace means that viewers have barely had the opportunity to connect with or witness the artistry of half of the initial Top 10.
“Real-World” Challenges Miss the Mark
Season 18’s stated focus is “finding dancers who could work in the real world right now and give them real-world challenges.” The initial weeks’ challenges, however, fall short of this goal. The first week featured a music video challenge where the Top 10 were divided into groups to film music videos. These videos prioritized visual presentation over substantial choreography, barely showcasing individual dancers’ talents. Week two presented a Broadway challenge, again dividing the group in half, giving each group three days – a generous three days – to learn a short routine.
This pales in comparison to the rigorous demands of previous SYTYCD seasons. Contestants historically faced incredibly tight deadlines to learn complex duets, often in styles outside their comfort zones, in addition to demanding group routines. Three days for a short musical theater number is, frankly, more rehearsal time than many professional dancers receive in actual productions.
Furthermore, limiting the show to just two numbers per week featuring larger groups means that individual dancers remain largely unknown to the audience. The focus on crafting compelling dance artistry, a hallmark of SYTYCD, is significantly diminished.
Unnecessary Drama and Sterile Performances
In an apparent attempt to inject drama, Season 18 incorporated a “house” segment, filming contestants living together. While the living arrangements in previous seasons were not explicitly shown, the staged kitchen conversations and manufactured drama about competition and interpersonal relationships feel forced and out of place. Fortunately, the contestants themselves seem uninterested in manufactured drama, and these segments resemble a team bonding rather than “The Real World.” However, valuable screen time is being wasted on this superficial content instead of showcasing more dance.
The absence of a live audience during performances, except for elimination reveals, further detracts from the show’s energy. The lack of immediate audience reactions, cheers, and applause renders the performances sterile, feeling more like a job interview than an artistic expression intended to move people.
Compounding this issue is the apparent elimination of audience voting this season. SYTYCD is losing its essence as a communal celebration of exceptional performers and risks becoming a prolonged and tedious audition process.
A Plea to Re-center Artistry
The plea is clear: return the focus to artistry. Prioritize more numbers with fewer dancers, allowing for deeper exploration of choreography and artistic choices. Spend time discussing the creative process and the artistic intent behind the dances. Allow viewers to truly get to know the contestants and their unique talents. In the past, even the first eliminated contestant had the opportunity to perform a memorable duet in the premiere episode. Being relegated to the background of a contrived music video or given ample time to learn a simplified Broadway routine does not adequately test these dancers’ abilities or inspire audiences.
Knowing the heights SYTYCD has reached in the past makes these changes particularly disheartening. It’s difficult to imagine that Season 18 will inspire new dancers or even encourage viewers to attend a dance performance. SYTYCD occupied a unique and vital space in our culture, serving as a global incubator for dance innovation. If that platform diminishes, the implications for the dance world are concerning. It’s imperative to reinstate artistry and audience connection at the heart of the show. The current trajectory risks alienating long-time viewers, but there is still time to change course.
On a more positive note, let’s remember the magic SYTYCD is capable of. Here are just a few personal favorite SYTYCD numbers that exemplify the show at its best:
(Note: The original article ends here without listing favorite numbers, so the rewritten article will also end here, maintaining the original’s content and tone.)
