For nearly two decades, “So You Think You Can Dance” (SYTYCD) has undeniably championed dance, propelling it into mainstream culture and inspiring countless individuals to embrace movement. It’s a significant force behind dance’s resurgence in popular entertainment and artistic expression, captivating a new generation. Just consider the evolution of Broadway choreography – pre- and post-SYTYCD. The stark contrast between traditional, revival-style shows and contemporary, often static musicals has blurred. Now, productions like “Jagged Little Pill” and the groundbreaking “Hamilton,” celebrated for their narrative-driven and innovative choreography, exemplify this shift.
On the surface, So You Think You Can Dance Season 18 appears to be another reality competition show, akin to “American Idol.” However, under the guidance of producer and long-time judge Nigel Lythgoe, a seasoned dancer and choreographer himself, SYTYCD quickly transcended mere competition. It evolved into an artistic platform dedicated to crafting high-caliber dance performances and nurturing the artistic growth of its contestants. This commitment 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 shift underscored the idea that audience votes, while determining a favorite, didn’t equate to defining who was objectively “best” in the realm of artistry – a domain where subjective interpretation reigns supreme. As Nigel eloquently stated in one episode, “we don’t vote dancers off this show, we vote dancers on…”
The show’s format has seen adjustments over the years, but its core structure remained consistent – a celebration of dance talent and artistry. As a devoted SYTYCD enthusiast, anticipation for So You Think You Can Dance Season 18 was high. The premiere a few weeks ago was eagerly awaited. However, a sense of unease quickly settled in, leading to a resounding question: “SYTYCD – WHAT ARE YOU DOING?”
It’s crucial to emphasize that this critique is in no way directed at the dancers. Their talent is undeniable; they represent some of the most exceptional contestants the show has ever seen. Nor is it aimed at the judges. Beloved SYTYCD alumni Alison Holker and Maksim Chmerkovskiy, along with Comfort Fedoke (for initial auditions) and the ever-entertaining JoJo Siwa (joining post-auditions), are all excellent and well-suited to their roles.
The concern lies in the fundamental alterations to the very essence of what SYTYCD is.
Let’s break down the key issues:
Fundamental Changes in SYTYCD Season 18
Limited Auditions and Missing LA Week
The initial solo auditions presented this season felt conspicuously curated, showcasing a seemingly pre-selected group of dancers. While it’s understood that we’ve never witnessed every single audition, this season’s selection process felt artificially controlled. The audition location remained undisclosed, but the implication of a single, undefined location raises questions. Was audition access limited to dancers within a specific geographical area? Were prospective dancers flown in, creating an artificially limited pool?
