It’s not an overstatement to say that “So You Think You Can Dance” (SYTYCD) has been a driving force in championing and elevating dance for the past two decades. This reality TV show has undeniably inspired a new generation to embrace dance, reintegrating it into mainstream popular and artistic culture. For anyone involved or interested in dance, the impact of So You Think You Can Dance is undeniable.
Consider the landscape of Broadway shows before and after the rise of “So You Think You Can Dance.” Previously, a significant gap existed between traditional Golden Age musicals or revival shows and more contemporary productions that often prioritized simple staging over complex choreography. Now, groundbreaking shows like “Jagged Little Pill” and “Hamilton,” celebrated for their innovative, narrative-driven choreography, demonstrate a clear shift. This evolution in stagecraft owes much to the increased appreciation and demand for sophisticated dance, arguably fueled by the popularity of shows like So You Think You Can Dance.
On the surface, “So You Think You Can Dance” appears to be another reality competition show, similar to “American Idol.” However, largely due to the influence of producer and long-time judge Nigel Lythgoe, a former professional dancer and choreographer himself, SYTYCD evolved beyond typical reality TV tropes. It became more of an artistic endeavor, aiming to produce high-caliber dance performances and nurture the growth of its contestants into well-rounded artists. Lythgoe’s vision for So You Think You Can Dance prioritized artistic merit and dancer development.
This commitment to artistry was even reflected in a deliberate change to the show’s prize title, shifting from “America’s Best Dancer” to “America’s Favorite Dancer.” This subtle but significant change emphasized that while audience votes would determine the winner based on personal preference, judging artistic merit is inherently subjective. As Nigel Lythgoe famously stated, “we don’t vote dancers off this show, we vote dancers on…”. This philosophy underscored the show’s focus on celebrating talent and providing a platform for dancers to shine, rather than strictly adhering to a rigid “best dancer” hierarchy.
The format of So You Think You Can Dance has seen some adjustments over the years, but the fundamental structure has remained consistent, always emphasizing the artistry and growth of the dancers.
As a devoted SYTYCD fan, I eagerly anticipated Season 18, which recently premiered. However, my initial excitement soon turned to concern, leading me to ask:
“SYTYCD – WHAT ARE YOU DOING?”
It’s crucial to clarify that this critique is in no way directed at the dancers themselves. They are exceptionally talented, arguably among the best contestants the show has ever featured. Nor is it a reflection on the judges, SYTYCD alumni Alison Holker and Maksim Chmerkovskiy, and (for the audition rounds) Comfort Fedoke, and JoJo Siwa, who joined after auditions – all beloved figures and highly competent in their roles.
The issue lies in fundamental alterations to the very essence of what So You Think You Can Dance is and has always represented.
Let’s outline some key changes that raise concerns:
The initial auditions we witnessed appeared to feature a carefully selected group of dancers. While it’s understood that not every audition is televised, this season’s selection felt artificially curated, lacking the organic discovery aspect of past seasons. Furthermore, the audition process seemed limited to a single, undisclosed location, raising questions about accessibility for dancers outside that specific area. Was the audition pool geographically restricted this season? Were dancers flown in, or was opportunity limited to a smaller segment of the dance community? The perceived limitations in audition scope are a departure from the traditionally broad reach of So You Think You Can Dance.
Moreover, the elimination of “L.A. Week,” a crucial phase where dancers historically faced rigorous challenges, learning diverse styles and demonstrating rapid growth, is a significant loss. This season, we were only presented with two group audition routines, comfortably within the stylistic wheelhouse of most contestants. By the time these group numbers were shown, the audition pool had already been drastically reduced, with no clear explanation of the selection process. The absence of L.A. Week removes a vital element of the So You Think You Can Dance journey – the intense learning curve and stylistic exploration.
This lack of transparency extends to the crucial elimination decisions. While seemingly minor, the absence of insight into judging rationale becomes particularly troubling when considering SYTYCD’s history of celebrating diversity, including dancers of varying body types and those with disabilities. This season, for instance, we were introduced to Kaylee (only her first name was provided), an incredibly talented dancer diagnosed with Ehlers-Danlos syndrome at 21, who uses a wheelchair due to her progressive mobility limitations.
Kaylee delivered a breathtaking audition and advanced to the next round. In previous seasons of So You Think You Can Dance, this would have meant witnessing her navigate L.A. Week, adapting choreography to her wheelchair. Even if she hadn’t progressed to the Top 20 (or 10), the judges would have provided viewers with an explanation of their decision. Kaylee’s journey would have been a part of the narrative, showcasing the adaptability and inclusivity SYTYCD often championed.
However, in Season 18, Kaylee was celebrated during her audition… and then seemingly vanished without a trace. This abrupt disappearance leaves the unsettling impression that despite on-camera and apparent off-screen support, a decision was made that she couldn’t “keep up,” though this was never explicitly stated or shown. This is especially disheartening as Kaylee wasn’t the only diverse contestant to experience this. Several other remarkable dancers, including a dancer with a larger physique and a drag performer (whose names are unfortunately difficult to recall), were similarly celebrated, advanced, and then quietly disappeared from the narrative of So You Think You Can Dance.
The final group selected for the show was a Top 10, a smaller number than in many past seasons, further compressing the already truncated season. Then, in the very first week of competition, two dancers were eliminated. The following week, another two were sent home, leaving only six dancers remaining just two weeks into the competition. This rapid elimination pace prevents viewers from truly getting to know or connect with roughly half of the initial Top 10. The accelerated eliminations in Season 18 diminish the audience’s ability to invest in the dancers’ journeys on So You Think You Can Dance.
This season’s stated focus is on “finding dancers who could work in the real world right now and give them real-world challenges.” The first week’s “real-world challenge” involved a music video shoot. The Top 10 were divided into two groups and tasked with filming music videos that featured minimal actual choreography, making it difficult to even discern individual dancers. Week two presented a “Broadway challenge,” again dividing the group in half and giving each three days – a generous THREE DAYS! – to learn a short routine.
With all due respect, the demands placed on dancers in previous seasons of So You Think You Can Dance far exceeded the rigor of these “real-world challenges” and were a much stronger indicator of their professional potential. Contestants in the past routinely learned complex duets, often in styles completely outside their comfort zones, with minimal rehearsal time, in addition to demanding group routines. Three days to learn a short musical theater piece is, frankly, more rehearsal time than many professional dancers receive in actual show productions. The “real-world challenges” in Season 18 seem to be a watered-down version of the demanding training that So You Think You Can Dance is known for.
Furthermore, limiting the performance segments to just two numbers per week, involving larger groups, continues to hinder audience connection with individual dancers and detracts from the artistic depth the show once offered. The focus on large group numbers limits opportunities to showcase individual artistry, a hallmark of classic So You Think You Can Dance seasons.
Seemingly in an attempt to amplify “drama,” the producers decided to house the contestants together on camera. While contestant living arrangements in previous seasons were not explicitly shown, the current season includes staged scenes in the house, focusing on manufactured drama about competition, interpersonal relationships, and dating. This manufactured drama feels out of place in So You Think You Can Dance.
Fortunately, the dancers themselves appear uninterested in manufactured drama, and these house segments come across more as lighthearted camaraderie than “The Real World”-style conflict. However, the time spent on these diversions feels misallocated when it could be dedicated to showcasing, and celebrating, exceptional dance. The emphasis on manufactured drama detracts from the core appeal of So You Think You Can Dance: the dance itself.
Another significant change is the absence of a live audience during performances. The only live audience present is for the elimination reveal. The lack of live reactions, cheering, and applause during performances creates a sterile atmosphere, making the performances feel less about artistic expression and audience connection, and more solely focused on winning a competition. The energy of a live audience was integral to the So You Think You Can Dance experience, and its absence is keenly felt.
Compounding this issue is the apparent elimination of audience voting this season. Without audience voting and live performance energy, So You Think You Can Dance risks transforming from a communal celebration of dance artistry into a prolonged, and somewhat tedious, job interview. The soul of So You Think You Can Dance was rooted in its connection with the audience, a connection that seems to be fading.
The plea is clear: PLEASE refocus So You Think You Can Dance on artistry! Bring back more numbers with fewer dancers, allowing for deeper exploration of choreography and individual expression. Return to in-depth discussions about the artistic choices behind the dances, the creative process, and dancer development. Let us truly get to know these incredibly talented individuals beyond fleeting glimpses in large group numbers. Even the first eliminated dancer in past seasons was given a memorable duet in the first episode – a chance to shine that seems absent in this new format. Being relegated to the background of a generic music video, or mastering a simplified Broadway routine in three days, does not genuinely test these dancers or showcase their artistic capabilities in the way that classic So You Think You Can Dance challenges did.
Having witnessed the heights that So You Think You Can Dance can reach, these changes are disheartening. It’s difficult to imagine that Season 18, in its current format, will inspire a new generation to dance or even encourage viewers to attend a live dance performance. This is a heartbreaking prospect. SYTYCD occupied a unique and vital space in our cultural landscape, serving as a global incubator for new dance talent and innovation. If that platform diminishes, the impact on the dance world could be profound. There is still time to change course. Please, So You Think You Can Dance, prioritize artistry, re-engage the audience, and return to the heart of what made this show so transformative. You risk alienating a dedicated fanbase, but there’s still an opportunity to recapture the magic.
