For nearly two decades, “So You Think You Can Dance” (SYTYCD) has undeniably been a driving force in championing and elevating dance. This reality TV show has ignited a passion for dance in a new generation and played a significant role in reintegrating dance into mainstream popular and artistic culture. It’s hard to overstate the impact of So Think Dance and how it has reshaped the landscape of performing arts.
Consider the evolution of Broadway shows before and after the rise of “So You Think You Can Dance.” Previously, a stark contrast existed between productions emulating the Golden Age style or revival shows and contemporary musicals that often prioritized singing over intricate choreography. Now, groundbreaking shows like “Jagged Little Pill” and the phenomenon that is “Hamilton” are celebrated for their innovative, narrative-driven choreography, a testament to the influence of shows like SYTYCD in pushing dance boundaries and making audiences so think dance in new ways.
On the surface, “So You Think You Can Dance” might appear to be another reality competition show cut from the “American Idol” cloth. However, under the guidance of producer and long-time judge Nigel Lythgoe, a former professional dancer and choreographer himself, SYTYCD quickly transcended the typical reality TV drama. It evolved into an artistic endeavor focused on crafting high-caliber dance pieces and nurturing the contestants into well-rounded artists. The very shift from awarding “America’s Best Dancer” to “America’s Favorite Dancer” underscored this philosophy. It emphasized that while audience votes would determine a winner based on personal preference, true artistry resists definitive rankings. As Nigel Lythgoe famously stated, “we don’t vote dancers off this show, we vote dancers on…”, highlighting the show’s core mission to celebrate and promote talent, making viewers so think dance was about growth and artistry, not just competition.
Alt text: Nigel Lythgoe, SYTYCD judge, guiding dancers, emphasizing artistic growth over competition in dance.
While the format of “So You Think You Can Dance” has seen adjustments over its many seasons, the fundamental structure has remained consistent, until now. As a dedicated SYTYCD enthusiast, I eagerly anticipated Season 18. However, it wasn’t long before a sense of disappointment set in, leading me to question: “SYTYCD – WHAT ARE YOU DOING?”
It’s crucial to emphasize that this critique is in no way directed at the dancers, who are exceptionally talented, perhaps among the best the show has ever seen. Nor is it a reflection on the judges – SYTYCD alumni Alison Holker and Maksim Chmerkovskiy, and JoJo Siwa, who are all beloved and highly skilled in their roles. Comfort Fedoke also appeared during initial auditions. The issue lies with the fundamental alterations to the very essence of what SYTYCD has always represented, changes that may make audiences less likely to so think dance positively.
Let’s examine a list of key changes that are cause for concern:
Questionable Audition Process and Eliminated Stages
The initial solo auditions presented on Season 18 felt meticulously curated, almost artificially so. While it’s understood that not every audition is televised, this season’s selection gave a strong impression of being pre-selected to a degree that felt disingenuous. The audition location remained undisclosed and appeared to be singular, raising questions about the accessibility of auditions this season. Was participation limited geographically? Were potential contestants flown in, further narrowing the pool? Regardless, the audition phase felt significantly more restricted than in previous seasons, potentially limiting the diversity and breadth of talent showcased and making it harder to so think dance about the widespread appeal of dance.
The complete elimination of “L.A. Week,” a crucial element of past seasons, is a significant loss. L.A. Week provided viewers with invaluable insight into the dancers’ resilience, adaptability, and growth as they tackled various dance styles outside their comfort zones under pressure. This year, we were presented with only two group audition numbers, comfortably within the stylistic wheelhouse of most participants. By the time these group routines were shown, the audition pool had already been drastically reduced to a very small number, with no clear explanation of the selection process.
Lack of Transparency in Eliminations and Representation
The absence of transparent explanations regarding critical elimination decisions is particularly troubling. Historically, SYTYCD has been lauded for its celebration of diverse dancers, encompassing varying body types and dancers with disabilities. This season’s approach casts a shadow on this inclusive legacy. For instance, Kaylee, a remarkable dancer diagnosed with Ehlers-Danlos syndrome and a wheelchair user, delivered a captivating audition and advanced to the next round. In previous seasons, this progression would have meant witnessing her journey through L.A. Week, observing her innovative adaptations of choreography to her wheelchair. Even if she didn’t reach the top ranks, the judges would have provided viewers with an explanation of her journey and elimination.
However, in Season 18, Kaylee’s inspiring audition was celebrated, only for her to seemingly vanish without a trace. This abrupt disappearance leaves the unsettling impression that despite on-camera and perhaps off-screen support, a decision was made that she couldn’t “keep up,” a sentiment that undermines the message of inclusivity SYTYCD once championed and makes it harder for viewers to so think dance about dance being for everyone. This pattern of celebrating diverse contestants in auditions only to have them quietly disappear was repeated with other talented individuals, including a larger dancer and a drag performer, further fueling concerns about representation and transparency.
Alt text: Wheelchair dancer Kaylee, SYTYCD contestant, representing disability and dance, highlighting diversity concerns.
Abbreviated Season Structure and Misplaced Focus
Season 18 debuted with a Top 10, a significant reduction in numbers before the competition even properly commenced. Subsequently, the elimination of two dancers in the first week, followed by another two in the second week, has resulted in a Top 6 after a mere two weeks. This accelerated pace deprives viewers of the opportunity to truly connect with and appreciate the individual dancers, hindering the development of audience favorites and making it difficult for viewers to so think dance about the individual stories of the dancers.
The rationale behind these drastic changes, according to the show, is to “find dancers who could work in the real world right now and give them real-world challenges.” This translated into a music video challenge in the first week, dividing the Top 10 into two groups. Each group filmed a music video with minimal discernible choreography, making it nearly impossible to distinguish individual dancers. The second week featured a Broadway challenge, again dividing the group and tasking each half with learning a short routine in three days – a generous timeframe compared to the demanding schedules of professional dance.
This “real-world” focus feels misguided. The rigorous demands of previous SYTYCD seasons, where contestants mastered complex duets in diverse styles with minimal rehearsal time, were far more indicative of real-world dance industry pressures. Three days to learn a short musical theater routine is, frankly, luxurious compared to the realities of professional show production and does not challenge dancers to so think dance on their feet the way previous seasons did.
Furthermore, limiting the weekly performances to two larger group numbers prevents viewers from truly getting to know the dancers’ individual strengths and artistic voices. The emphasis on group performances overshadows the artistry and individual expression that were once central to SYTYCD’s appeal.
Forced Drama and Lack of Live Engagement
In a seeming attempt to inject manufactured drama, Season 18 incorporates “house” segments, following the contestants in their shared living space. While communal living might have been the norm in previous seasons, the crucial difference is the overt focus on staged interactions and manufactured narratives about competition, interpersonal dynamics, and romantic interests. Fortunately, the contestants themselves appear uninterested in indulging in such drama, with the house segments resembling lighthearted team bonding rather than “The Real World”-esque conflict. However, these segments feel like wasted airtime that could be dedicated to showcasing more dance and fostering a deeper appreciation for the artistry, distracting from the core reason viewers tune in to so think dance.
The absence of a live audience during performances, except for elimination reveals, further diminishes the viewing experience. The lack of immediate audience reactions, cheers, and applause creates a sterile atmosphere, transforming performances into exercises in competition rather than opportunities to move and connect with an audience. Compounding this issue is the reported absence of audience voting this season. This shift away from audience participation transforms SYTYCD from a communal celebration of dance talent into a protracted and impersonal job interview, losing the sense of shared passion that made viewers so think dance about dance collectively.
A Plea to Re-center Artistry
Knowing the heights SYTYCD is capable of reaching makes these changes all the more disheartening. It’s difficult to imagine Season 18 inspiring a new generation to embrace dance or even attend a dance performance. SYTYCD occupied a unique and vital space in our cultural landscape, serving as a global incubator for new dance trends and talent. If this platform diminishes, the potential consequences for the dance world are concerning.
The plea is clear: re-center artistry. Prioritize more intimate performances that allow individual dancers to shine. Reintroduce segments that delve into the creative process, exploring choreographic choices and artistic intentions. Allow viewers to truly get to know the dancers beyond fleeting glimpses in group numbers. By shifting the focus back to artistic depth and audience engagement, “So You Think You Can Dance” can reclaim its unique position and continue to inspire viewers to so think dance for years to come. There is still time to adjust course and recapture the magic that once made this show a cultural phenomenon.
Alt text: Dance duet performance, SYTYCD dancers, emphasizing artistry and emotional connection in dance.
And, on a note of hope, revisiting some of the most memorable SYTYCD numbers from past seasons serves as a powerful reminder of the show’s potential and the enduring power of dance to move and inspire.
