Monday, August 26, 2019

Why Women Kill S01E02: I'd Like to Kill Ya, But I Just Washed My Hair

© CBS All Access
The wives face the biggest obstacle to their marriages: sex
by Chuck Duncan

The second episode of CBS All Access series Why Women Kill was just as much of a hoot as the first one and did a great job at juggling the three concurrent storyline across five decades. I really enjoyed how the episode opened with a narrator, a man who had lived in the same neighborhood for his entire life, recounted the murders that occurred at the mansion in 1963, 1984 and 2019. He, and we, saw the covered bodies but ... we don't know who actually died. Of course we're led to assume it's the husbands but the title of the show isn't 'Why Wives Kill', so the victims could be a surprise come the final revelations. And this week, each wife faced what could be the biggest problem in all of their marriages -- sex.

In 1963, Beth Ann has confided in neighbor Sheila about her attempts to befriend 'the other woman', April. She did get the confirmation she feared that April did indeed know her guy Rob is married, and suggested he's strayed because of the boredom. Beth Ann did everything but announce she's Robert's wife, and her almost hysterical response, as a 'widower', to April's notions were more than alarming. But April didn't seem to pick up on any of the red flags. Sheila, meanwhile, suggests to Beth Ann that she needs to spice things up in the bedroom, or elsewhere, and gives her a marital sex manual, the images of which completely rattle Beth Ann.

But after getting a new hairstyle (honestly, in Robert's defense it didn't look that different) and spending her week's allowance on a new dress he didn't notice either because he said none of that mattered to him, Beth Ann took the dress off and came back to the dinner table completely naked. And Robert's boss was outside the window right at that moment, there to retrieve the briefcase Robert accidentally brought home. But Beth Ann wasn't about to give up, pulling a page out of the manual and trying some oral gratification on Robert in the shower. It didn't go well and he ended up crashing through the glass wall, requiring a trip to the hospital. And in the end, he still insisted on keeping his 'business meeting' that night, even though he was several hours late.

© CBS All Access
In 1984, Simone brings Karl home from the hospital, only to discover he didn't take a bottle of sleeping pills. He just hid them under the cushion of the chair in the bedroom. And he didn't need the cane he was using either. Simone was prepared to make their separation and eventual divorce easy on all of them, particularly because he daughter was getting married in a few months, but this deception was too much. But Karl had a trump card to play -- her catty friends, among whom Simone was the cattiest. If she throws him out now, they'll all know the truth and start gossiping about her, and that was just too much. Simone was even in for a bigger shock when her friend Naomi revealed she knew about Karl's affair because she saw his car parked at a seedy motel. She just didn't know who the woman was that he was seeing. Simone is actually okay with Naomi thinking Karl is cheating with another woman. She's also okay with finally setting up a booty call with Naomi's son Tommy (who we assume is now 18). That the only private place he had that was free was a catering van didn't sit well with Simone, but she couldn't deny Tommy's charm. And she was even more into him when he was ready for seconds just a few minutes after their first. So what if it was in a catering van. That still doesn't answer the question of who was lying dead on the stairs in Simone's mansion. Could Naomi find out about the affair Simone is having with Tommy and that's Simone under the sheet?

© CBS All Access
In 2019, Taylor has a different problem with Eli. The arrangement with Taylor's friend Jade is going well, but Eli is starting to become overbearing, flat out asking Taylor if they can have a three-way. Taylor is uncomfortable with the idea but Jade overhears them and says she's fine with that. The three head to the shower and Eli seems to get all the benefits and after they hit the bed, Taylor shoos him away so she and Jade can finish. He obliges and prepares some pie and ice cream for them all but after more than 30 minutes, the women still have not come downstairs. Eli spies on them and sees Taylor looking at Jade like he hasn't seen her look at him for some time. Is Taylor actually in love with Jade? It gets worse when Eli learns the two have known each other for six months, not just a couple of weeks, and that throws him into an emotional tailspin. Taylor assures him that she loves him, she loves everything they have together, and he seems to buy it. But jealousy is sure to rear its ugly head once again, sooner rather than later.

This episode has certainly given us a lot to ponder.

What did you think of this episode? Start a conversation in the comments section below!

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Saturday, August 24, 2019

BH90210 S01E03: The Photo Shoot

© FOX
 BH90210 puts the cast's fragile egos on full display
By Kim Tibbs-Krober

The flashbacks at the beginning of BH90210 continue to be among my favorite scenes, and this week's did not disappoint. It featured Brandon and Kelly in a black-and-white film noir fantasy at The Peach Pit, and it sizzled more than Nat's burgers. If only the rest of the episode could have matched this initial momentum. But alas, I believe this reboot fell victim to the mid-season lull in episode three of a six-episode arc.

The theme of the episode revolved around fragile egos on full display, both during the group therapy session with special guest star Carol Potter (Cindy Walsh from the original series) and thereafter. Jason confronted his wife about her obvious affair since he was unable to get her pregnant and temporarily moved out, while Gabrielle told her husband that she wants the freedom to explore her sexuality. Tori's husband felt threatened by her success and proximity to her handsome ex Brian, while Ian was seen spiraling out of control and drinking too much while facing his impending divorce. Jason also showed a fragile ego when confronting the writer who got his wife pregnant, though it was Ian who actually had the nerve to punch him out.

Tori began to question her skills as a producer when she was tasked to fire the show's head writer and had difficulty convincing Shannon to do the reboot. Jennie's ego was left feeling vulnerable in the wake of her divorce and the revelation that the group has a stalker. The cast made several jokes about receiving kinkier items from fans in the mail during the show's heyday, so it seems nobody but Jennie is taking the stalker seriously. Which is a shame because Brian has just handed him the keys to his kingdom after hiring him as an assistant/nanny. I'm still curious how the stalker story will play out, but if this episode was any indication, I have a feeling it's going to go out in a fizzle instead of an explosion.


© FOX
The Me Too Movement finally caught up with Ian, or should I say his exaggerated version of Steve Sanders. After attempting to flirt with one of the writers by telling her she had pretty eyes, he was put in his place for objectifying women and making them feel uncomfortable. I'm not sure it was entirely fair based on this one compliment, as he didn't make any remarks about her breasts or anything that went that far. He pondered aloud about flattery being banished and not quite understanding why. I couldn't help but sympathize with him to a certain degree. Dating must be more challenging today than it used to be, but I wouldn't know because I'm now a boring married person.

I loved watching the cast recreate their iconic photo of them all lying together on the floor, and it was great to see Mrs. Walsh once again giving various cast members advice, this time as an actual licensed therapist. At one point, Jason made a snarky comment to the head writer regarding him wanting to reunite the gang at The Peach Pit, saying that's "groundbreaking stuff." Watch it, Jason! That is what I wanted from the reboot, not this convoluted mess that seems to be unraveling quickly at the seams.

It seemed like everything was falling apart on Tori this week, which felt like a metaphor for the entire BH90210 reboot itself. They have three more episodes to get it right and redeem themselves. Something more exciting needs to happen next week to hold my interest. Can the stalker kill someone? Preferably not a cast favorite, but maybe Shannon or Christine? '90210: The Zombie Years' is sounding more appealing to me by the minute!

Purchase the season at FandangoNow!

Thursday, August 22, 2019

So You Think You Can Dance S16E11: Top 10 Perform, Round 2

© FOX
Two of the dancers get cut
by Stephen Mosher

Starting out the second of the Live Shows this week was a Travis Wall group piece to the song 'Sign of the Times' by Harry Styles. Last week I said that Travis Wall’s choreography has a look, that it’s predictable - and this week everyone in my house said “This is a Travis Wall dance!” because it has his stamp, his look, his emotion. And it was stunning. This is a Travis Wall number that shows why he is an Emmy winner. Just beautiful, from him and from all the dancers. It was gorgeous.

And so was Cat! Oh my gosh, what an outfit, what a hairdo, what a raving beauty!

Alright, let’s get to it. Last week I predicted that Eddie and Anna would go home this week and tonight all the dancers perform, in spite of knowing two will depart at the end of the show. The suspense begins now.

© FOX
Up first! Stephanie and Gino were given a chance to work with Emma Slater and Sasha Farber on a jive to the Little Richard song 'Long Tall Sally', and this number was nothing but personality! These two kids have each others’ backs, that’s how in tune they are with one another. The number was a joy to watch but the real joy was watching Gino step out of his style and go to live in another style! Kid was AMAZING and all the judges said so. After a standing ovation, they all basically said “yeah, yeah, Stephanie … BUT GINO!” It was overwhelming.

Gino: Safe. Stephanie: In Danger

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Moving on we get to Sophie and Eddie, who worked with Travis Wall on a contemporary piece to the Billy Eilish song 'When the Party’s Over'. This number was classic Travis Wall, if a bit simple, one assumes to accommodate Eddie, but it was beautiful in its simplicity and Eddie did a wonderful job, particularly by being a good partner to Sophie. He protected her, he was there for her, he held her up so all could see her brilliance. The judges were complimentary to Eddie, though maybe a bit nonplussed with their comments, seeming to go into detail with their Sophie critiques and favoring vagueness in their Eddie estimations. Mary did call Sophie Liquid Gold and told Eddie she was proud of him.

Eddie: In Danger. Sophie: Safe.

© FOX
Benanna are up next and Randi & Hef gave the kids a hip hop dance to 'Lottery' by K Camp. Both are actually cute at the acting bits that the choreographers gave them, but it was odd that Benjamin outshone Anna, dancing in her own style. I think it is because he dances with his heart, indeed, he leads with his heart. Everything he does is with his heart, and it affects the vibe between him and the crowd. As dancing goes, they were both good, and the number was cute, but tonight was all about Ben, who Laurieann told “your calling is absolutely to dance” but she was down on Anna. When Cat told the twosome their results, Benjamin almost cried when he was hearing he was safe, and then he did cry when he heard Anna was not. He’s a good boy who cares about his partner.

Benjamin: Safe. Anna: In Danger.

© FOX
Madison and Ezra scored when they got Ray Leeper to choreograph a jazz routine for them to Joe Cocker’s ''You Can Leave Your Hat On because this was one for the SYTYCD history books. They were both extraordinary but Ezra really stepped into the light with this one, showing nuances and gumption that people possibly did not expect from him. The commitment was incredible and the chemistry was off the charts. Nigel told Madison Bob Fosse would have loved her and Mary told them they lived up to one of the sexiest songs in history. Laurieann said “there’s dancing and then there’s DANCING!” and she was right. This is one of the routines on SYTYCD people will remember for years to come.

Ezra: In Danger. Madison: Safe.

© FOX
Mariah and Bailey, the couple to beat, pulled a hip hop routine with Luther Brown to the song 'Tempo' by Lizzo ft. Missy Elliot and it turned out to be the best number of the night. These two are simply astonishing, with so much attitude, such skill, and oodles of personality. Everyone had to be wondering who was sexier in this nasty number, and even though Bailey is all the damn things, it’s all Mariah. Who would have EVER thought a classically trained dancer could get this down in the pocket? And down in the pocket is what Mary said they were. The judges gave them a standing ovation and both Mary and Nigel told them they were the couple to beat. That poetess, Laurieann, said “do not make any other choice but believing in the greatness you were born with.”

Both dancers are Safe.

© FOX
During the eliminations it was made specifically clear that the judges factored in that night’s performances, as well as all that had come before. Then they sent home a tearful Stephanie and a resigned Eddie. He seemed to know it was coming, but she was hurt. And what this writer wants to know is this: if they factored in last week, and this week, and everything else, why did Stephanie go home instead of Anna? Stephanie has been giving solid performances, they praised her work tonight, she is always good. Anna has been hit or miss since Academy and she gets critiques and still they have kept her. Clearly, they just have a thing for Anna, and maybe it’s a thing I don’t see but I am determined to keep an open mind. It’s just difficult to figure them out at times.

In the meantime, though these two young ‘uns are off the show, their careers are started. They will go out on tour with the show and, eventually, land on Broadway or Dancing with the Stars, so it was all worth it. They are on their way.

So You Think You Can Dance airs Mondays at 8 PM on Fox.

What did you think of this episode? Give us your thoughts in the comments section below.

So You Think You Can Dance S16E10: Top 10 Perform

© FOX
The Top Ten have their first live performancesby Stephen Mosher

August 12, 2019 -  It feels like it has taken forever to get here but we finally arrive at the live performances and the Top Ten get to take the stage for the first time. This is what we’ve all been waiting for, though there are some predictions, naturally, that will begin to develop for everyone with an investment in the show. Let’s all see how our individual predictions go down!

© FOX
During the opening number 'This is Me' by Kesha, the cast wore all white and, during their Mandy Moore choreographed routine, there were FX that caused lasers to shoot from their fingers. It was a good enough number but it didn’t need the extra effects. Watching them perform, it becomes clear that there are no grown-ups on the show. There was a time when Ryan DiLello or Iveta Lukosiute could be seen dancing in the competition, but not today. It has come down to the youngest dancers in America, and I do love these kids but I smell a big pile of ageism on So You Think You Can Dance. That being said, together these youngsters represent something new: we’ve had casts of great dancers, though not necessarily casts with style. In this cast, even the lesser of the dancers has a style all their own. These kids all have a look, a signature, a style. It will make it interesting to watch them.

Tonight we will see duets by each pair, and a boys dance, and a girls dance.

© FOX
The first duo to learn they were dancing together were Mariah and Bailey, who were thrilled to be matched (everyone should be thrilled they were matched). The twosome were given a jazz routine by Mandy Moore to 'Love Shack' that showed them as what they are: the couple to beat. The smoldering, dirty dance routine was full of tricks, hits, chemistry and fun, and even though there were a couple of times when they went off, it didn’t matter to the judges. Dominic was “extremely jealous,” Nigel said they were “enormous in talent,” Laurieann said “BOOM!” and Mary announced she was “hopping on the Love Shack train.” Mary also said that Bailey was the biggest shock. Cat asked “the cutest couple I have ever seen” who was the leader in the pairing and Bailey said Mariah is his Boss.

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Stephanie and Gino were matched for a Luther Brown hip hop routine to the songs 'Ice Me Out' by Kash Doll. During rehearsals the contestants remarked that the style was hard on both of them but by the time they got to the performance they were in a good place, and in good costumes and makeup. Stephanie really brought the facial expression to the dance, and between the two of them, he had the hits and she had the swag. It was a nice dance, if a bit drab: Dominic thought it was okay while Nigel said Gino is struggling with the personality vs technique thing. Laurieann and Mary did not agree with the men - Laurieann told Gino he had her, while Mary thought Stephanie was off the charts.

© FOX
Anna and Benjamin met up with Emma and Sasha (married couple Slater and Farber) to learn a cha cha to 'We Run the Night' by Havana ft. Pitbull. Team “Benanna” (they named themselves) are lovely kids but they had lead feet in this number. It was all too slow and lukewarm, instead of fiery fast. But chemistry! Anna’s feet were flexed much of the time and, try though he might, beautiful Benjamin couldn’t get the lines and feet. They are sweet kids but this wasn’t the one, even if Laurieann thinks they are humble warriors and Nigel thinks they are sensational. A discreet Mary said it looked like they were having the time of their lives and Dominic asked Anna how many times she had danced in heels. One. The judges love these two and are soft pedaling it to keep them on the show.

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Stars in training Madison and Ezra landed a contemporary dance by Talia Favia to the song 'Lost' by Dermot Kennedy, and, dressed like Twyla Tharp dancers, they rolled around on the floor, emoting. It was very moving and powerful, and since Madison was dancing her own style, natch, she excelled - but it was Ezra who was the revelation because a ballroom dancer making this work for him is a beautiful thing … and the judges knew it. Mary called him a great partner and told them every single step was glorious. Laurieann said they had “so much power” and Dominic said it was his favorite routine of the night, noting that a mistake was a moment of imperfection, perfected. It was a win for the winsome twosome.

© FOX
Sophie and Eddie had Brian Friedman choreograph a jazz funk routine for them to the song 'Sushi' by Merk & Kremont, and while Sophie was in it, Eddie was totally out of his element - and he knew it, which made him aware of the audience, so he pushed really hard and tried to make up for his shortcomings with a lot of facial mugging. He was lost in the routine and lost in his costume - the designers did him no favors with this outfit, and he and the ‘stume and the dance all looked like a big mess, with Sophie as the cleaning lady who was trying, desperately, to tidy it up. Not one of the judges had a good thing to say about Eddie and Nigel summed it up by saying he was uncomfortable with Eddie’s performance. Meanwhile they all loved Sophie. Eddie has to know he will probably go home next week.

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The group numbers only ranked as OK for me. The women had a Travis Wall piece to 'Saint Honesty' by Sarah Bareilles, and you could tell it was a Travis Wall piece because his style can be so predictable, with dancers rolling around on the floor, flailing about, and his signature move of dancers picking up one dancer and either holding them mid-air while they walk or throwing them across the stage while still holding them. It happens in almost every one of his dances. I love Travis Wall, but facts are facts. Predictable.

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The men had a rather boring Luther Brown hip hop dance to the song 'Drop' by Smokepurrp, where it became obvious that Eddie was cast because of his popularity last season and his Instagram followers. He’s a darling boy and a marvelous tap dancer but the producers and the judges opted to put him on the show for his audience, bumping another boy dancer with more talent and a better shot at the show. Shame on them for doing it, but it’s all a ratings game, isn’t it? This number? Snore.

No one would go home this night. The voting would begin and the following week one boy and one girl would get the boot. If I had to choose I would say Anna and Eddie, but it’s up to America - and that’s always a gamble.

The best thing about getting to the live shows?

More Cat Deeley.

So You Think You Can Dance S16E09: Final Cut - The Top Ten Guys

© FOX
With this elimination the men are picked
by Stephen Mosher

August 5, 2019: The Top Five women having been chosen for the season, it came time to look at the men one last time before pulling the trigger on the live shows, and for some reason the choice of the men is always more dramatic, with a little more tension and a little more focus. It’s not that the women on the show aren’t wonderful and aren’t valued, it’s just the way it shakes down, like the Best Actress Oscar every year. It’s time for the boys.

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Bailey Munoz, 18, hip hop, was assigned a Jaci Royal contemporary piece with Lauren Froderman to the song 'Fire on Fire' and his stunning performance left Laurieanne speechless, Nigel shocked and Domick declaring, “That was the best B-Boy contemporary performance I have ever seen.” The thing about Bailey, the most delightful human being of all time, is that he is open. His heart and his mind are open to every experience, on the dance floor and in life. He is my personal choice to win the season.

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Ezra Sosa, 18, ballroom, was paired with Comfort Fedoke for a hip hop routine by Luther Brown to 'We Outta Here'. Surprisingly, the ballroom dancer brought his stankiest A-game, causing Laurieanne to say “it STUNK” and Mary to tell him the musicality was off the charts. It is always thrilling to watch a dancer rise to the occasion and Ezra is bringing it at just the right moment.

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Vlad Kvartin, 23, had the honor to dance with Melanie Moore for his Andy Moore contemporary piece to the song 'You Are The Reason'. I believe that there are dancers that the judges put on the show so that they have someone to cut, and Vlad was the unfortunate one to land on this list. His performance just didn’t do it, and he shows little chance of improving fast enough to make it onto the show. Nigel observed that the connection with Melanie was not strong enough and Laurieanne offered “don’t think up - just think out.

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Aleksandr Ostanin, 30, tap, had a ballroom routine with Lindsay Arnold, staged by Sharna Burgess to the song 'Sax'. After being urged by Nigel to shave, the dancer complied and while he did look good, the dance did not. He looked so uncomfortable in the genre and the lifts were downright scary, with Lindsay being at risk much of the time. With so many negative critiques from the judges, he couldn’t really wonder what his fate was going to be - it looked bad.

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Benjamin Castro, 18, contemporary, had the thrill to dance with Koine in a salsa put together by Oksana Platero to the song 'Papi Chulo'. This star in the making has shown he has the heart and the style and this performance pretty much guaranteed him a spot in the top five, with Mary saying he “put the seasoning on season 16” and Laurieann to remark “I felt you today more than ever.” Yeah, this is one to watch.

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Brian Volozanin (“Clocks”), 28, hip hop, was assigned a Spencer Liff jazz routine with Jasmine Harper to the song 'Take It. Now'. I like Clocks but he has limitations and this dance tested every single one of them, and it cost him a spot on the show. Mary said she was blown away, and I have to admit he did get out of his comfort zone and he was sexy, but when Dominic said “the leaps were so bad,” we all knew everyone knew it, especially Clocks. Laurieann told him she needed something to connect her to him, and Nigel flat out told Clocks it was bad, then told the judges it was bad. Not a subtle message.

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Brandon Talbott, 19, ballet, was paired with Lindsay Arnold for a salsa number by Emma Slater and Sasha Farber to the song 'Vivir Mi Vida'. It was pretty clear during rehearsals that he wasn’t going to be able to bring it and, indeed, the performance was clunky. Nigel hit him hard, saying he didn’t believe the chemistry, but Laurieann tried to build him up with, “You’re just beginning to see what you’re capable of.”

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Nathan Cherry, 18, hip hop, was matched with Melanie Moore in a contemporary Talia Favia dance to the song 'Weightless' and this dancer whom I had, not once, noticed finally came into the light. This was a memorable performance that caught everyone’s attention, though it may not be enough to move him forward. Nigel called the performance incredible, Mary labeled it intriguing, Dominic thanked him for his courage and Laurienn said he was “dancing in the empty.” If he doesn’t make it onto the show, it would be great to see him go away, study for a year, then come back next season.

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Gino Cosculluela,18, contemporary, got Lauren Froderman as his all-star and Ray Leeper as his choreographer. The jazz dance to the song 'That’s It (I’m Crazy)' showcased electric chemistry and mad skills. Dominick said he had composure, control and maturity. Nigel told him he is probably the best technical dancer this year but he needs to turn the light on. He has been a contender from day one and it’s not lost on anyone that he will make the show.

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Eddie Hoyt, 19, tap, was left for last - but then he has been saved for last the entire show so far. The producers noticed how popular and likable he is and how many Instagram followers he has and they are orchestrating a comeback after last year. I like Eddie, so I’m happy to go along for the ride, but orchestrating a comeback is different than orchestrating a win - and I don’t think Eddie is poised for a win. He will have to work hard when they get to the live shows. And he worked hard on this episode, dancing hip hop by Randi and Hef, and dancing it with Comfort Fedoke to the song 'Treadmill'. Eddie brought an impressive hip hop performance that might have a little too much bright facial expression, but that certainly had swag. Dominic said he had a growth spurt and Nigel told him it was the best performance he had given on the show. Laurieann said he was “in the pocket” and was “the sauce in the pocket,” prompting Mary to suggest he “bottle that sauce and we’ll sell it.” They clearly like him as much as America does.

All done with these final auditions, the judges are ready to send five gents to sit with the five ladies chosen the week before; and while the viewers have their favorites, the judges have certain criteria that they have to consider for the sake of the show. Just before dropping the blade on five men, Laurieann tells them “you must never give up on your dream.”

Cut:

  • Brian Clocks Volozanin
  • Aleksandr Ostanin
  • Brandon Talbott
  • Vlad Kvartin
  • Nathan Cherry
© FOX

Advancing to the live shows:

  • Ezra Sosa
  • Gino Cosculluela
  • Benjamin Castro
  • Eddie Hoyt
  • Bailey Munoz

So You Think You Can Dance S16E08: Final Cut - The Top Ten Girls

© FOX
With this elimination the women are chosen
by Stephen Mosher

July 29, 2019: In the final push toward the live shows, SYTYCD brings it home with the last two episodes that will determine who the 2019 contestants will be. First up: The top ten girls will be reduced to five in duet dances with all-stars. This would be a make or break moment for the women who have worked so hard for this moment.

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Mariah Russell, 19, contemporary, was teamed up with Jonathan Platero for a salsa choreographed by Mr. Platero’s wife, Oksana. Clearly the mentors here work well together because the dance, to the song 'La Malanga', drew hoots and hollers from the judges, and well deserved because the routine had mad tricks and lifts, all of which Mariah and Jonathan nailed. Mary called it “death defying” and Laurieann told Mariah that she had brought “the fire and the fight I’ve been looking for.” It was truly a shining moment for Mariah, who should advance to the live shows.

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Melany Mercedes, 24, salsa dancer, was paired with Fik-Shun for a hip hop number choreographed by Randi and Heff, to the song 'Get Silly'. Melany is a good dancer who did well here but it was clear she was being outdanced by Fik-Shun (but who wouldn’t be?), and Laurieann told her that there was attitude needed, while Mary told her she took a step up, probably because she really did get silly, and Mary was clearly proud of her fellow Latin ballroom gal. It was a joy to watch but it looked like it might not be enough.

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Ashley Sanchez, 24, ballroom, danced with Lex Ishamoto in a contemporary number by Jaci Royal. Ashley said she would “eat, sleep, and breathe this routine and cherish this moment” but when the time came for the number that was choreographed to the song 'Lovely', she was unable to come up to Lex’s level, and though Laurienne said she had had a breakthrough and Mary expressed her pride, it was a general consensus that Ashley had not brought the emotional content required by the dance.

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Anna Linstruth, 19, hip hop, was matched with Marko Germar for a Ray Leeper jazz dance to the tune 'Backwardz', and she really brought the sass, causing Mary to remark that she “gave in to the movement” and Nigel to comment that “this was the time to pull it out … and you did.” Dominic told her that “a smart dancer is someone that can take something that they’re not used to and make it theirs” and that she had done that. Anna is a good dancer but not a great one, but what she brought in personality kind of balances things out. She has SYTYCD written all over her.

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Madison Jordan, 21, contemporary, got to dance ballroom with Kiki Nyemcheck in a number created by Emma Slater and Sasha Farber. The routine, to 'Bola Rebola', was hot and sexy, if a little deliberate and lacking in some heat. Nigel didn’t like a particular “slow walk” across the floor that the women LOVED (frankly, so did I). Ultimately, the result was what we thought it would be: they love her. From the moment she auditioned for the show, it was clear she would make top ten. That clarity has not dimmed.

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Sofia Ghavami, 20, ballroom, teamed up with Marco Germar for a Spencer Liff jazz routine to the song 'Rinse and Repeat'. The number was drab, slow and boring, and Sofia looked like she was marking time uncomfortably, using her facial expressions to make up for the fact that Marco was outdancing her and she knew it. It fell flat for Dominic, too, but Laurieann said she was glad it was tough because she felt Sofia. Honestly, any dancer who has not risen to the occasion felt Sofia while watching. It was clear that it was over for the ballroom dancer.

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Sumi Oshima, 26, hip hop, got a chance to dance with Lex Ishamoto in a jazz number choreographed by Talia Favia, who urged the dancer: “don’t be scared.” The song 'Angels' gave Sumi an opportunity to change the game, but her emotions could not come up to the skills her body was showing, prompting Laurieann to observe “you fought to be noticed..you must not dance in your head”, meanwhile Mary insisted that “there's something about you that commands attention.” Mary is right, Sumi is captivating, but dance is about a lot of things, and hopefully one day she will embody all of that.

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Nazz Syldryan, 21, salsa dancer, was asked to dance some hip hop with Fik-Shun, courtesy of Luther Brown to the song 'Overseas'. The routine wowed the judges, who were hooting and shouting, they were so into it, she had so much stank on her. The connection between she and Fik-Shun was on fire, and the judges LOVED it. Mary told her she was “starring in that number” and she had “soul in the bowl!” It was a moment in the sun for Nazz, one that, in a perfect world, should send her to the live shows.

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Sophie Pittman, 18, contemporary, was lucky enough to ballroom dance with Kiki Nyemchek, doing a cha cha cha by Sharna Burgess. The connection was great and Sophie brought something to the dance, though each of the judges had valid critiques of her work, the kind of critiques that help dancers to grow. Mary: “I never want to see you think.” Laurieann: “Don’t forget you and the magic that you bring.” Sophie does have something, but she is young and needs a little mentorship to bring it out.

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Stephanie Sosa, 19, salsa dancer, had the good fortune to dance a Mandy Moore jazz dance with Robert Roldan to the song 'You Say', and it was the right time for Stephanie to deliver. The performance was stunning and emotional, though it wasn’t perfect, and the judges told her, straight up, what was missing from the offering. She took their critiques like a professional and it is clear she would do well on the show. Particularly of note was Laurieann telling her, “I was missing you surrendering to the vulnerability.” Nevertheless, they like her and it shows.

Finished with the performances, the judges played their dramatic elimination game, and they always do it to television suspense standards. In the end, though, five happy girls took seats and five unhappy girls left the stage. This writer doesn’t necessarily agree with the cuts, but I also don’t know who I would have given the boot to make room for Nazz, sadly, eliminated. I hope she will come back because of all the ladies who were cut, she is the one who, most, belongs on the show this season.

Cut:

  • Melany Mercedes
  • Ashley Sanchez
  • Sofia Ghavami
  • Sumi Oshima
  • Nazz Syldryan

© FOX
Advancing to the live shows:

  • Mariah Russell
  • Madison Jordan
  • Sophie Pittman
  • Stephanie Sosa
  • Anna Linstruth.

Saturday, August 17, 2019

Why Women Kill S01E01: Murder Means Never Having To Say You're Sorry

© CBS All Access
Marc Cherry returns in great form
by Chuck Duncan

Way back in 2004, Marc Cherry became an overnight sensation when his new TV series Desperate Housewives premiered on ABC. The show was a rating smash and garnered its share of controversy with conservative groups who felt the show was immoral and launched boycotts of Disney and the show's sponsors. Cherry and Company got the last laugh as the series went on to a successful eight season run, ending in 2012. Cherry then created another show for ABC that seemed like another surefire hit, Devious Maids, but the network eventually passed and the series found a savior in the Lifetime cable network where it ran for four seasons beginning in 2013. It's been a couple of years since Cherry has had a new series on the air but he's back and firing on all cylinders.

Why Women Kill premiered on subscription service CBS All Access this week and it was a fabulous debut. The women of the title are played by Ginnifer Goodwin (Beth Ann), Lucy Liu (Simone) and Kirby Howell-Baptiste (Taylor), wives living in the same house in different eras: 1963, 1984, and 2019 respectively. Beth Ann and her husband Robert (Sam Jaeger) have just moved into a mansion in Pasadena, something they can now afford thanks to his job with NASA. Beth Ann feels terribly out of place and isn't impressed with her loud Italian neighbors ... but she puts on a good face.

© CBS All Access
Simone and her husband Karl (Jack Davenport) live in the same mansion which has just been redecorated in stereotypically (but normal for the era) gaudy 1980s style and Simone is ready to show the place off to her friends. She's taken aback though when she learns one of her 'closest' friends doesn't really like her and has not come to the party. In 2019, Taylor and her husband Eli are in the process of remodeling the mansion again -- and Taylor is not putting up with any of the contractor's shenanigans. This couple has an open marriage and Taylor is bisexual, having a female lover on the side. Their agreement is that neither will bring their hook-ups to the house, but an emergency call from Taylor's newest fling Jade (Alexandra Daddario) makes it necessary for her to have a safe space to get away from a stalker ex.


© CBS All Access
Of course with a title like Why Women Kill, there must be some reason that each of these women are the focus of the show. Beth Ann accidentally overhears her neighbor Sheila (Alicia Coppola) telling another woman at the grocery store that her husband saw Robert kissing a cute blonde waitress at the local diner. Beth Ann doesn't want to believe it -- he'd never do that because of what happened to their daughter, she tells Sheila (but we don't know what happened at this point) -- but she drives to the diner after Robert calls and says he has a late business meeting, and she sees him kiss the waitress. She confides in Sheila, who tells her to confront the girl, and Beth Ann finds the courage to do so ... and finds that she's really a sweet girl. Does she know Robert is even married? Beth Ann almost runs but April (Sadie Calvano) sees something is bothering Beth Ann and convinces her to sit and talk while it's slow at the diner. Beth Ann decides that April will be her new best friend ... but how will she deal with Robert, questioning aloud when he will die during an evening dinner of meat loaf.

Simone, after learning of her friend's hatred of her, finds an envelope on the dining room table with her name on it. Inside are a strip of photo booth pictures with Karl and ... another man. Not wanting to cause a scene, she drags Karl to the bathroom and shows him the photos, then realizes this is not a one-time thing. She tells him to discreetly go upstairs and begin packing while she makes an excuse that he's taken ill, and then he can leave after the party ends. But she later finds him in a stupor having taking a bottle of pills. She calls for an ambulance and while the neighbors gather she tells them all he fell and hit his head. But she sees the now former friend Wanda and realizes it was she who gave her the photos. A catfight breaks out and the EMTs have to break them up. Later, her friend Naomi's son Tommy (Leo Howard), who was a waiter at the party, came to check on Simone and admitted he saw the photos. She was horrified but broke down and he consoled her, giving her a tender kiss and telling her he'd been wanting to do that since he was 13. She asked how old he was now and he said 18 ... in two days: 'As much as it would cheer me up to commit a felony, I think you should go.' But Tommy assured her that he is ready to show her the love she deserves (in more vulgar and direct words). But she's still got Karl to deal with.

© CBS All Access
Taylor has a slightly different issue. It's not that her husband is cheating on her, but when she brings Jade home he is firm that she can stay a night, or the weekend, okay until Labor Day which is Monday. But Jade is stunning and it's obvious he's attracted to her ... and Taylor isn't blind. When they wake up the next morning, their disaster area of a house -- clothes are strewn everywhere -- is spic and span and breakfast is waiting. Eli is kind of enjoying having a 'wife' who actually cleans and cooks. Taylor is a lawyer and barely has time for anything while Eli struggles to write a new script. Jade, it turns out, is a huge fan of his movie and that only makes her more attractive to him. His friend says Eli needs to bring up the idea of a three-way with Taylor since they're both into Jade. Eli isn't sure Taylor would go for that but the notion is enticing. So far we don't know yet what exactly pushes Taylor to 'kill mode' but it's coming.

The episode opened with The Husbands giving their recollections of how they met their wives, talking about how happy they were until ... and the episode ended with The Wives questioning why a woman kills, and who does she kill: the other woman or the man who wronged her, perhaps the friend who exposed a dirty secret? And do we condemn her or sympathize with her? And most importantly -- does she get away with it? All good questions that will unfold over the next several episodes.

I wasn't sure how the show would be from watching the trailer which I felt was a bit flat, but the first episode was a hoot, blending that patented mix of drama and comedy Cherry does so well. The show also looks fantastic, presented in an extreme widescreen image, looking like a 1950s Technicolor CinemaScope 'woman's picture' by Douglas Sirk (Imitation of Life, All That Heaven Allows) accompanied by a whimsical musical score by Mateo Messina that feels heavily influenced by the work of Danny Elfman. The writing and the cast are all on point making Why Women Kill one of the most entertaining new shows of the year and I am fully on board for the rest of the ride.

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