Can I be fierce for a minute?

Thursday, August 15, 2019

Agents of SHIELD S06E09: Collision Course (Part 2)

SHIELD’s Collision Course comes to a crashing conclusion

Surprises abound!
by Brandon Coulson

There certainly was a lot to take in this week as 'Collision Course Part 2' was jam-packed with, well, just about everything! Sarge wasted no time in trying to take over the Zephyr and if I have one complaint this week it would be the sharp turn in character Sarge takes. After being a measured and seemingly always in control type he quickly unraveled through the episode.

You could argue being so close to Izel and completion of his mission drove him there but I just felt a couple of the outbursts and loss of composure felt very out of character for him. The biggest of course and what is likely what turns the tide for him was the coldblooded murder of his crew member Pax. The scene leading to this was actually quite clever though, as they actually do have a plan to keep Yoyo from stopping them in the form of a force field. The back and forth of their force field and then Yoyo baiting Jaco to lower it, however briefly, giving her the window to sneak Mack a key, all of that was very nicely laid out. It felt logical. Sarge realizing Pax was bait and executing him made no sense as the force field was already down and all he actually did was reduce his own team and in the end turned Jaco against him.

On the ground, the atom bomb diffusion scenes played very funny, with Deke’s failure to diffuse and Snow finally realizing her own mortality, but Daisy has easily become the deus ex machina of this series. First vibrating the bomb to keep it stable and later when inundated by countless Shrike she dusts them with little effort. It’s like why don’t they just have Daisy handle every problem to start? Yes, I know the bomb could have gone off, it was a last resort, blah blah blah. I just want to have a clear picture of what her powers are and their limitations. Oh and the 'are all women this powerful on your planet' line … a little on the nose but cute.

I did actually enjoy all of these scenes even with my gripes. I actually really enjoyed the whole episode and I loved some of the smaller touches throughout. The two two six code sequence made me very happy as of course SHIELD would have a trouble code, that’s a basic security protocol. The sequence itself was very tense with the code being delivered in both directions and both teams realizing they’re in the same frying pan. Oh and yes I did notice that in addition to the Truck’s 'Collision Course', we also get another with Sarge flying the Zephyr straight at the ship in orbit. You’re very clever, good for you.

Sarge and Mack fighting was a pretty entertaining fight even though the thought of any Coulson lookalike beating Mack is pretty laughable. But it was an appropriately sloppy dirty kind of fight. The back half of the episode was just sprinkled with lots of great moments. Jaco and Yoyo’s heart to heart, the attempt to take down Izel and then escape through Jaco’s coat portal was a great callback, and his eventual sacrifice (in vain) actually made me sad to see him go. For a character that started as a silent brute, Jaco ended up as someone I could have seen joining the cast.

Of course we all knew Izel wasn’t really killed as there was no final confrontation or reveal of her plan. What did shock me was May unloading a clip into Sarge’s chest, seemingly killing him. Now while he does appear dead, and we all but know Izel controlled May to do it, I feel like whatever Sarge is will be revealed with a resurrection or a cloning, and in some way, shape or form we aren’t done with Sarge yet. Especially since Izel teases that the reason he has no memories is because he never did. A lot of questions still to answer.

And our fake out ending also wrapped up the threads of Mack and Yoyo's obvious, eventual reconciliation though it still was very sweet. Almost as adorable as Deke and Fitz, or Bobo as he calls him, wanting his grandpa’s approval so badly. Deke was actually kind of endearing here and I’d love to see this dynamic continue on.

With four episodes left we certainly seem primed to run full steam to the finish and I honestly have no clue where things are heading, in the best way! I only hope the final reveal of Izel and Sarge’s true natures are worth the mystique they’ve built up so far.

Wednesday, August 14, 2019

BH90210 S01E01: The Reunion

The characters we love to loathe are back ... sorta
by Kim Tibbs-Krober

BH90210 premiered Wednesday night on FOX, and an estimated 3.8 million viewers tuned in to find out what had happened to their favorite spoiled teens from the '90s. However, if you were expecting to catch up with your favorite characters to see what their lives had amounted to within the 20 years since the original show went off the air, you may have been sorely disappointed. I know I was. Yeah, it was good to see everybody again (Brandon Walsh, Kelly Taylor, Donna Martin, David Silver, Steve Sanders, Andrea Zuckerman, and even Brenda Walsh), but why did the show's producers decide to go with the format they chose? Your favorites are back, but they're playing washed-up alter-ego versions of the actors who portrayed the characters. It made the reunion feel bizarre and a tad uncomfortable at times. It was also confusing trying to weave fact from fiction. Why would real-life Jason Priestley and Jennie Garth hook up now in their mid-50s? Did Tori Spelling really lose her virginity to Brian Austin Green back in the day? What was that kiss about for Gabrielle Carteris, was that more of a commentary about her character Andrea or herself?

Maybe the show's producers thought it was a clever twist on the traditional reboot to offer us an Inception-like take on the reboot craze currently sweeping Hollywood. Maybe the show's forerunners thought it would be fun to play themselves this time instead of the angst-filled teens and 20-somethings they were forced to portray for a decade. Maybe they all felt like taking a creative risk to see if the gamble paid off. Whatever the reason, I'm not sure how I felt about the first episode of what promises to be a six-episode roller coaster of mixed feelings and waves of nostalgia. It felt like everybody was playing a gross exaggeration of themselves - the version painted by the paparazzi and the prying eyes of the public for the past 30 years. And it rang hollow in several places - hollower than the souls of this spoiled in-crowd once felt.

Since Luke Perry's stroke and subsequent death in March, I have made it my personal mission to binge-watch all 10 seasons of the original series that aired on FOX from 1990-2000. I remember when the show was on in its heyday and even when it lingered on the airwaves long past the time when anybody thought it was the cutting edge of cool. I graduated from high school in 2000, and I can say from personal experience none of my friends were still faithfully watching the series when it went off the air. It had become somewhat of a joke by then, riddled with too many repetitive storylines of date rape, drug addictions, failed engagements, petty lies, and one-night stands. Throughout the course of the show, I think everyone lived in Casa de Walsh at one point or another except for maybe Donna. And don't get me started on how many times it felt like the Peach Pit and After Dark changed hands. By its final season, Beverly Hills, 90210 had become a pale reminder of what it once had been, but it's also something that's hard to walk away from completely. It's been like this train wreck I couldn't stop binging all summer, as I waited to see how it would all end in anticipation of seeing where it would all go when it came back full circle.

I was actually looking forward to seeing if Janet and Steve were still married and how their daughter turned out. I wanted to know how many times David and Donna got divorced and remarried. I was curious if Kelly ever got back with Brandon and what kind of a blaze of glory Dylan McKay went out in since Luke Perry was no longer alive to reprise his breakout role. I wanted to see a cat fight erupt between Brenda Walsh and Valerie Malone (Tiffani Amber-Thiessen). I wanted to see Ray Pruitt (Jamie Walters) carrying pumpkins and humming 'How Do You Talk to An Angel?' again. And now I just feel cheated out of all of this because the show decided to go in a different direction for its reboot. However, it's still a train wreck of sorts that I can't look away from. God help me, but I'm curious to see where it goes. I'm also hoping it all makes sense and provides a sense of closure by the end.

There were a few stand-out moments during the premiere. I enjoyed watching the actors occasionally poke fun at themselves, such as their failed marriages, bad career moves, and their tendency to be overshadowed by more successful spouses (looking at you, Brian Austin Green, but I still love you). I loved it when Tori Spelling stole her former Donna Martin prom dress in an insane attempt to recapture something that was lost. And the moments in the end where the ensemble grew somber on the airplane felt eerily compelling. I think it was Tori who remarked something like, 'We're not all going to be around forever, but something we created will be.'

I think that sums up the show pretty well. Luke Perry the actor may be gone, but his rebellious heartthrob Dylan McKay still beats strong in the hearts of the generations who watched this show in the 1990s and the generations who haven't yet discovered the Aaron Spelling melodrama. Time marches on for everyone, even your favorite TV characters. Although Ian Ziering never seems to age at all. I swear he will be 80 and still sporting that mischievous Steve Sanders grin I've come to love. Out of the entire 10-year first run, his character is the only one I didn't grow to hate at one point or another. Who knew an egomaniac could be so likable?

Let's face it: Beverly Hills, 90210 was never the show winning all the accolades for its thought-provoking commentary or Shakespearean levels of acting. It's a fluff piece focused around some of the most selfish characters ever created. But they're the selfish characters we love to loathe or loathe to love, I'm still not quite sure. Ask me in another 20 years. Now cue the catchy theme song I'm going to have stuck in my head all week.

What did you think of BH90210? Tell us in the comments section below!

So You Think You Can Dance S16E07: The Academy Pt. 2

Emotions run high as dancers say goodbye and contestants say hello
by Stephen Mosher

Part Two of The Academy aired on July 22nd and it was a really fun, and really emotional, night for the dancers who, by this point, are cashed. In fact, at one point Mandy Moore told the interviewing camera that 'they are mentally at capacity ... and that’s when the best stuff comes out' - clearly the truth because some of the dancers absolutely rose to the occasion.

The first of the remaining 54 dancers to come out on stage were the contemporary boys, Jarrod Tyler Paulson and Luke Romanzi. Both dancers are talented and endearing but the judges chose to release them both and both men took it very well. Jarrod said he would leave with his head held high, while Luke declared he would come back even stronger and harder next year. Good sports, both of them, they are the type who will succeed, either on this show in a future season, or in life. Tyler, being the stand-up dude he is, waited around to see how Madison would do, because she was next onstage.

The contemporary girls were Madison, Juliette and Kaeli. Juliette and Kaeli were dismissed, with Kaeli sharing that she was 'proud of myself'. Madison, when asked how she felt about the performance, said she felt good about it before Mary told her that she was magical and that it was 'difficult for me to see anyone else.' Jarrod was waiting outside for Madison and when he got the news he could not have been more thrilled or more supportive. She states that she will, now, dance for the both of them. I hope Jarrod comes back next year, he really has something.

Down to 43, Mandy Moore and Robert Roldan get the entire gang onstage for a dynamic group routine that will combine all the dances they have done this week, to an entirely new piece of music. I love the way she talks to them - she is firm and demanding, but kind and supportive: 'I’m on your team!' And when she teaches them the dance, she is in it with them, making sure they are challenged and that they all meet the challenge. 45 minutes later, when she is finished with the choreo lesson, the dancers are all dispatched to the lobby and other areas of the theater to get it together, and it is a beautiful thing, watching all these young people help each other. They are all competing for a spot on the show, and they are helping each other. That’s not nothing. There were examples seen that, among these 43, there are 'a bunch of leaders' and those leaders helped to guide the team in, even if Eddie Hoyt does seem to be erring on the side of being dramatic and emotional, when he could just get his head in the game, focus, and do the work instead of complaining, which reminded my husband of a story he was told by a friend who danced on Broadway for many years:

During a grueling rehearsal with the legendary Chita Rivera, the dancers were on a break during which all were sitting around and lamenting the pain, the hard work, the complex choreography. Passing by, Ms. Rivera overheard the conversation and said, 'Are we complaining about dancing now? Is that what we’re doing? … Never complain about getting to dance.' Wise words from the greatest, if you ask me.

Returning to the competition, Nigel tells the camera that this stage of the game 'scares the hell out of them, and it should' and that 'every second counts.'. Well these beautiful young dancers waste no time, indeed, capturing viewers’ attention and the judges’ attention with a spectacular performance of Mandy Moore’s routine. It was truly magnificent. Of particular note to this lover of dance was how Madison was not only front and center, but how you couldn’t get your eyes off her, and it would have been the case had she been in the back. She just has that quality about her, as do Sumi and Bailey. This number was, in fact, so good that Dominic was crying. Had I been watching it live, I probably would have been crying, too.

The dancing done, the judges began another round of eliminations with Sophie being told by Mary that she brought magic that day and by Laurieann to 'stay in it!' Sweet Sydney was cut but was a good sport about it, while Mariah and Melany were told to prepare for their solo rounds. Other dancers staying included Ezra, Stefan, Stephanie, Eddie and Madison. Eliminations sent Desi, Jordyn, Elan, James and Caroline home, and the count was down to 33 as they gear up for the solo rounds. When Desi left Laurieann told her to 'Keep fighting and you’re gonna be fire' and Desi told the camera, 'I’m so proud of myself' -- one hopes she will come back again, she was a refreshing change from so many of the other departing dancers who were so bitter. It’s an unbecoming look.

As far as the solo round goes, I couldn’t breathe while Gino was dancing, there was so much color and light to his performance, while Sumi was all precision and stillness, dancing with every part of herself, even her face, in a most confined space on that huge stage. Dominic was destroyed, face in hands, unable to contain his emotions. Eddie came forth in a baffling costume that weighed him down, especially when one of his shoes came loose, but he kept on going, dancing like the artist he is - but he really needs to get control of his emotions. Bailey was the only remaining dancer to get a lengthy display of his solo because the program faded into quick showings of who got cut and who advanced -- but while Bailey was onstage it was a perfect display of talent, timing, personality and heart. The kid is marked for stardom.

By the end of the episode, some lovely dancers had to take hits and bad news, some handled it with grace and others, not so much. I am sorry for Stefan Yeritsyan to go but maybe he will be back, it would be nice. With these final eliminations, SYTYCD 2019 had its Top Twenty.

Girls: Anna, Sophie, Ashlye, Sofia, Nazz, Madison, Melany, Stephanie, Sumi and Mariah.

Boys: Bailey, Brandon, Benjamin, Ezra, Vlad, Nathan, Aleksander, Gino, Clocks, Eddie.

Now, I’ve been a SYTYCD watcher and fan since season one. I’ve studied the show and I am usually pretty good at predicting who will move forward. You can tell by how much time the camera and interviews give certain contestants that they will be on the live program, you can tell by the lackluster performances of dancers who get lackluster critiques and still end up in the Top 20 that their sole purpose on the show is to be one of the 10 who get cut, and you can tell by sheer grit and talent, who is meant to be on the show. I am going to predict (and I hope I’m right but if I’m not, I’ll own it) that the dancers who make it to the live shows are:

Girls: Anna, Sophie, Madison, Sumi and Mariah

Boys: Bailey, Benjamin, Ezra, Gino and Eddie.

And I can already tell you that Benjamin and Gino have captured, completely, my heart, but that the winner of the show should/will be either Madison or Bailey - probably Madison.

Let’s see how I did by coming back next week to see some real dancing!

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

So You Think You Can Dance S16E06: The Academy Pt. 1

Beauty and brilliance rise as the dancers bring their A-Game
by Stephen Mosher

We’ve seen five episodes of SYTYCD 2019 and this week the sixth brought the dancers and us to The Academy. In this first episode focusing on the toughest week of the competitors’ lives we see them begin the process of being broken. That’s what The Academy (previously Las Vegas) has always been about: weeding out the weakest of the pack. In three days and with four rounds, elite choreographers come in and work these kids within an inch of their lives and the panel judges them mercilessly (except when they don’t because one of their favorites did poorly and could be cut - in these cases they selfishly look the other way, cutting other dancers who actually brought their A Game) in a Lord of the Flies manner to achieve the survival of the fittest. 79 dancers have made it to The Academy. 20 will move on to the live shows. 10 will enter the competition. It’s crunch time. As the evening of sweat, sorrow and satisfaction begins, the viewers see Laurieann say, 'Make the choice to believe in yourself!

The hardest choice ever.

First up is the Hip Hop round and their choreographer will be Luther Brown, who declares he needs precision, energy and star quality. Brown is an old school choreographer who demands you keep up and keep quiet, so he jumps right in with complicated and 'hard hitting' moves, and the dancers either follow along or get lost, with Brown stopping only long enough to reprimand those dancers who are talking, like a school teacher or gunnery sergeant. It was actually beautiful to watch and I applauded the scolding. After only 90 minutes of learning the choreography (which my husband laughed at and said, 'NINETY MINUTES! That’s a DAY! Come to Broadway where a dance call moves a lot faster!' which made me laugh), the dancers are sent onstage in groups, where they take their destinies into their own hands.

The first dancers to hit the stage were the three female hip hop dancers, Dezi Saenz, Sumi Oshima and Anna Linstruth, who did such a bad job that Nigel commanded that they dance again. Anna was particularly lost in the choreography and Laurieann told them to 'dance like big girls!' which must have worked because the second time around they were better and all three were put into the next round.

Following the women are three hip hop dancers: one popper and two B-Boys. Michael Sales and Samuel Sweetser fared the worst, with Samuel simply stepping out of the routine when he forgot it. Mary was yelling at him to 'stay in it!', Dominic urged him 'keep going' and he tried but the simple truth is he just gave up and during the critique Nigel told him, 'Never, never, never give up,' before the panel cut him and Sales, leaving only Brandon Ron in the competition.

When the judges cut Victoria Neukom and Lauren Luteran, they showed resilience and a determination to get better and come back next year, while Shamus Moriarty whined and pouted and said that the judges made a mistake which, clearly, they did not.

Sophie Pittman, Jay Jackson and Benjamin Castro are lucky with the judges, garnering compliments and advancement in the game, while other dancers earn nothing but vitriol from Nigel, who is so mean to them that Laurieann says to him, 'Slice and dice, why don’t you!'

The next segment features Howard Johnson (who needs to add a middle initial to his name and get away from comparisons to the hotel chain) and the adorable Edwards twins, Colton and Trent. Trent had a TERRIBLE showing at this stage of the game, unable to keep up with the other two boys, and constantly looking back at Colton to follow his moves. At the end of the round the judges advanced Howard and Colton but asked Trent to dance for his life, but he was not able to bring the magic that he exhibited during his initial audition. One of the judges blurted out 'What was THAT?' after a particularly sloppy move and, finally, Mary had had it and simply cut the music and the audition, at which point he was cut, and Laurieann murmered, 'Welcome to the real world.' It was sad to see the two best friends separated and Trent put up a stiff upper lip but it was clear he was crestfallen.

On Day Two, as the choreography round changes focus to Ballroom, there are 69 remaining dancers who are excited to see married dancing sensations Emma Slater and Sasha Farber walk onstage to teach them (the uber demanding) Cha Cha. Watching Emma and Sasha teach is a true joy - they lead through positive feedback, which a lot of choreographers eschew in favor of bootcamp training. The ninety minute intensive they put the dancers through is exciting to watch and the Dancing With the Stars alums wish everyone well as the competition resumes with three couples, ready to Cha Cha Cha their way onto the live shows.

Gino Cosculluela is paired with Ashley Sanchez and they are simply glorious to watch. Dezi Saenz dances with Darrell Allen and they hit some bumps in the road, especially Dezi. Sofia Ghavami teams up with Benjamin Castro and it is just magical. The judges confer and it is obvious Dezi is worried but Mary declares they are all amazing and going through to the next round.

Up on stage next are Maia Bliudniks and Frank 'Ghost' Crisp Jr, Lukas Bartunek with Mariah Russell, and Eddie Hoyt alongside Anna Linstruth. All in all, they aren’t very good, except for Mariah and Lukas who are just gorgeous and sexy and everything else. Ghost coasts through on massive amounts of personality and Eddie gets by with likability. When it comes time for the cuts, they release Maia, telling her she just isn’t ready, pass everyone else through, except for Eddie, whom they make fight for it. And he does. Eddie sticks up for himself and pretty much demands that they advance him. So they do!

In quick glimpses we see the judges cut Jalen Sands but she says she is holding it together and it’s pretty obvious she will be back next year, and they release Colton Edwards, who takes it on the chin and declares he will work harder and be back next year. This is the kind of spirit that belongs on SYTYCD, the kind that, frequently, rises to the top. A tearful Bridget Derville-Teer departs under a cloud of defeatist self-pity. That never rises to the top.

The final round of Ballroom dancing featured Gianna Newborg and John John Tarrayo, Gabe Flowers and Sarah 'Smac' McCreanor, and Stefen Yeritsyan and Madison Jordan, whose boyfriend, Jarrod Tyler Paulson, was seen being advanced in a montage earlier in the show. John John wows the judges, while Gianna looks lost, Smac poses more than she dances but Gabe offers her attentive support, and Stefen and Madison are the clear standouts. A beaming Jarrod watches from the wings. When it is finished, Mary cuts Gianna who, smiling through tears, says it was the best experience she’s ever had. Fifty bucks says she comes back. John John, Stefen, Gabe and Madison all get put through to the Contemporary round but the judges are really unsure about Smac, so they ask her to dance for her life. After a slightly heated discussion it is decided that her talent does not come up to the level of her personality and she is sent home. She takes it well, which might be an indication that she knows she needs more training. One hopes she gets that training and gets herself onto the show next season.

54 dancers remain and the incomparable Talia Favia is kicking their asses for the Contemporary round. I LOVE the way she communicates with these dancers! She is an incredible teacher and choreographer who gets down on the floor and does the dance with them. She is freaking amazing.

First group! Samuel Nelson, Benjamin Castro and Jay Jackson. Samuel and Nelson are clearly extremely well trained dancers, while Jay is remembered for appearing last season in drag. But this season he showed that he has worked like mad during the last year. It was a wonderful run for Jay. Castro fared especially well with this piece, leading Dominic to tell him that he saw 'an authenticity in emotion and connection to this music.' When asked what he was feeling he said, 'It was a mixed feeling of being inspired, to surrender to the music,' and the judges sent him on to the next round. Samuel will join him, but Jay will not. The judges paid him much compliment and ask him to come back, but Jay informs that he is 30 and cannot return. 'This has been a dream come true ... It may not be what you’re looking for and that’s okay, because it’s what I was looking for the whole time, and that’s belief in myself.' In his departure interview Jackson said he loved his experience and wouldn’t change it for the world.

Bailey Munoz and John John are roommates and Filipino brothers and deliver what could well be the most astonishing performance of the evening, drawing out cheers, applause, physical and emotional reactions, and a standing ovation from the judges. Bailey in tears, he talks about being not just a B-Boy ... I’m a dancer.' The two besties are overcome with emotion when Dominic tells them, 'Every B-Boy that’s been on this show would be proud.' Duh, natch they are both moving forward.

It was the perfect ending to the first day of The Academy. As Mary put it, 'I can’t wait to see what they do …' and neither can I. I’ve been with this show since the first season and I always have certain ideas about who will be chosen for the live shows. Last season I picked Slavik out of the back of a group before the show started paying real attention to him. I have some private notions on who will win one of the coveted 20 spots that will be narrowed down to 10 …

But for now I’ll keep those a secret. But if anyone wants to let me know who they are thinking will move forward, I am longing to know.

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

Monday, July 15, 2019

So You Think You Can Dance S16E05: Judges Auditions #5

It’s not the heat it’s the humanity
by Stephen Mosher

If Episode 4 of SYTYCD was about meeting interesting characters, Episode 5 is about that box of Kleenex you’re going to need! Have Mercy, with the heartstrings and the tears. But the truth is that I loved every minute of it.

Andrew Avila (25) and Melany Mercedes (24), salsa. This twosome from the Bronx returned after last season, clearly having noted and listened to the critiques they were given! The judges were super excited by them and their street brand of Latin ballroom, loaded with sharp hits and fluid hips - so excited they ovated them after their number to ‘Sal A Bailar’. The height difference between the two is so pronounced that Andrew barely had to exert himself to do a high kick over Melany’s head! Mary called their style authentic, and when it was remarked upon that they took the old critiques well, Andrew laughed and said, 'I smiled my ass off!' It will be a real pleasure to see what the duo brings to The Academy.

Dancer number two was Michael Sales, hip hop. Michael, 25, hails from Matawan, New Jersey and spends a few minutes sharing that he was bullied as a youth, wishing to be an athlete but unable to because people ostracized the young Filipino - so he found a Breaking Club in his school and it lead him to a life where he was named one of the Top 100 Best B-Boys of 2017. The personality-laden dancer delivered a dance to ‘Perm’ that lead Laurieann to thank him for 'paying honor to the groove', Nigel to use the word 'stunning' and Dominic to tell his fan 'I am inspired by YOU.' After comments like that, it was a given he would be at The Academy.

Mariah Russell, contemporary, is a completely irresistible 19-year-old from Nashville who shared with everyone that her father has been in jail since she was 6 or 7 and that her Mother did all she could to provide for the family, including dance lessons. This young dancer is petite, but not when she is in motion - then she becomes a Titan, performing breathtaking feats of strong athleticism and lyrical fluidity, never once forgetting that the face is a part of the dance. Mariah gives good face. This was a true story she told us, leaving Laurieann in tears: 'I see myself in you … Don’t worry about what other people think … You got to fight,' and then she offers her would-be protege some great advice: 'You’ve got one dance … get there quicker.' Nigel expressed, 'When the choreography hits the impact of the music it just exhilarates us.' Mariah walked on the stage a girl and left a woman with a golden ticket to The Academy.

A montage showed contemporary dancers Shamus Moriarty(18), Olivia Alboher (18), and Luke Phillips (19) delivering what appear to be dances good enough to send them to The Academy.

Phoebe Kochis, jazz. The adorable 19-year-old from Denver was born with Down Syndrome, and her Mother was told the girl would never do anything they expected. At an early age, though, the child showed a proficiency for dance and the parents enrolled her in class. Now it is her time to 'reach for the stars' and try for that which has been her dream since she was six. The winner of the Colorado Miss Amazing Pageant (for young women with disabilities) told Laurieann, 'I am overcoming to be a star on So You Think You Can Dance!' and, with that, won everyone’s hearts. Her number to ‘Tore My Heart’ showcased her limber abilities and her limitations, but the judges loved her. 'You’re my hero,' said Laurieann, while Mary told her, 'You’re a ham out there!' Dominic lovingly flirted with the Sass Master, and the wonderful, gorgeous, loving, gentle Nigel told her honestly that she would not be right for the competition but that he would love for her to be his guest at The Academy. There was no dry eye anywhere as the elated young woman left the stage with her Golden Ticket.

James Cody, hip hop. The 26-year-old Grand Prairie native has tried out for the show in Seasons 10, 11, and 12, making it to Vegas in season 12. He confesses that he has a diagnosis of Type 2 Bi-Polar, an illness that troubled his father, who took his life at the exact age James is now. 'Dance is absolutely something that helps -- it’s a mood stabilizer, a natural one.' His hip hop/robotics number to ‘Take/Give’ reminded me of the great clowns of the silver screen, and my husband called him a 20th Century Scarecrow from Oz. Mary 'Loved every second of it,' Nigel said, 'You annoy me because you are brilliant at what you do ... I don’t believe you have done your homework.' Ever the poetess, Laurieanne offered, 'Your future self deserves for you to humble yourself and strategize for a bigger win' and though it was touch and go for a moment, they put him through to The Academy. Like they ever weren’t. The young man impressed by telling the offstage camera, 'I am going to work TO NIGHT.' Git ‘er done.

Maia Bliudnika, contemporary. From the moment her performance to ‘Rain Dance Marian Hill Remix’ started, it was clear that this 19-year-old from Leominster, Mass. is a diva. It’s immediate. You can see it. The precision leaves you awestruck, indeed Laurieann was slack-jawed with awe. Nigel: 'It never stopped being entertaining.' Dominic: 'Absolutely loved it.' Laurieanne: 'The lines went on forever' and Mary: '..played everything right … one of the most perfect auditions of the season.' They did not lie. She was a revelation - one headed to The Academy.

Last season we all met Eddie Hoyt, a tap dancer from Boscawen, NH. Now 19 and living in Utah, teaching dance at a prestigious dance school, Eddie shares how much his life was changed when, last season, he came out on television. There were growing pains for him and his parents, but all is good now, evidenced by teary-eyed mom and dad sitting in the audience. Eddie shared his story with the audience through words and then did it again with a completely magnetic tap dance that left the entire panel of judges at a loss.Tears streaming down her face, Mary commended Eddie because he 'put so much into it' before declaring, 'I don’t think I’ve ever cried over a dap routine!' Laurieanne told the virtuoso performer that 'greatness needs no explanation', and it was clear he was going to The Academy. That is when the daring kid without boundaries shared the most amazing secret of all: the routine he had just done to ‘If You Want Love’ was not choreography - it was him freestyling. Laurieann threw her hands up and Dominic said: 'You’re gonna make me cry again, man!' And with Mary saying, 'It’s always been a yes for me,', he had his Golden Ticket to The Academy.

And that is it for the auditions. All the beautiful people who left it on the floor are on their way to The Academy, otherwise known as Hell Week. And, kids, we are all ready for it, when it happens Monday, July 15 at 9 PM.

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

Read more by Stephen at Hotchka.com!

Friday, July 12, 2019

Agents of SHIELD S06E08: Collision Course (Part I)

SHIELD is on a Collision Course!

Snowbunny?!
by Brandon Coulson

So our storylines merged, quite suddenly, into one this week. As 'Collision Course (Part I)' wasted no time in getting everyone back into the same orbit, literally as we start with FitzSimmons, Izel, and crew arguing over the safety of making a jump back to Earth with wonky equipment. Though they barely have time to argue how bad the odds are before the jump is made and goes off without a hitch, like with zero bad side effects.

The space side of things got the short end of the stick in general this week, as they spend the episode slowly floating towards Earth and complaining that communications are not working which, let's be frank, is just lazy writing so their arrival is a surprise. It would have been easy to show Izel sabotage the comms or something, anything to make it seem reasonable. Instead it’s just bad equipment and Fitz can’t fix it.

Throughout the episode we get little visits back to the ship peppered in to show us Izel is actually the monster Sarge has been hunting. Which confuses me a great deal as to how everything ties together this year. Like was he just from another planet entirely, not another Earth? Also we seem to find out she destroyed the Chronicoms' world so I assume they will be involved soon too but apparently she’s been searching the universe for the monoliths for awhile and only now decided to check Earth. Umm, later on we get told she shows up in ancient Incan legends so she lived on this planet for a while yet never thought about checking it until now … I just found there to be one too many coincidences and the logic seemed thin at best.

Luckily on other areas we saw much more reason than before as Mack had some damn sense this week and while he let Sarge lead the way going forward, he only gave him one of his crew, Snow, and kept the other two as insurance that Sarge would come back. Also choosing to follow behind was wise as we found out Sarge is a big fat liar.

Sarge’s scenes with May and Daisy worked pretty well. Watching Daisy play coy and not let on about her powers was smart and Sarge wisely sensed something was up and tested her, well actually baited her into outing herself. There were still many more questions raised about Sarge’s origins. Izel ominously says she knows his secrets while Sarge shows he’s never heard of DNA before, very odd details like this and his animosity when anyone questions his past give a very Tahiti type feel to things. On top of this, Izel paints Sarge as the monster and herself as an innocent, which of course we know is not true. The real question is whether Sarge is misguided or truly evil.

As part one of two, this episode was mainly setting up the pieces for next week to pay things off. Sarge’s cool teleportation through Jaco’s coat was a highlight and got his team minus Snow together and on the loose, though having them escape only for Yoyo to immediately recapture them, to getting broken out again was a bit much, but it was still fun. Meanwhile Deke finds a bomb in Sarge’s rig set to ram a Shrike tower and explode, taking out two hundred square miles or so. Oh and this comes after we find Snow and Deke’s gross hook up so I guess between that and Sarge leaving her she will be on SHIELD’s side now. You take that along with Izel speeding towards them and possibly the Chronicoms coming too and you would think next week was the finale.

While there are four more episodes to come, I do think next week should shed a lot of light on just who or what everyone is and give us a clear path for the last string of episodes. While not the highs of earlier this season, overall it was still a fun time to be had.

What did you think of this episode? Tell us in the comments section below!

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Friday, July 5, 2019

Agents of SHIELD S06E07: Toldja

Sarge gets to say Toldja! On SHIELD

Holy Shrike!
by Brandon Coulson

Following last week’s incredible episode was going to be hard but 'Toldja' did a pretty good job of it. Picking up from the end of last week, FitzSimmons and Enoch found themselves transported back to Kitson and of course immediately lost their teleportation disc. While this beat was very funny, it also should be pointed out that by setting their story there, and the Earth side mostly on base, this was a very cost efficient episode as well.

The space side of things was definitely much lighter than last week. With Gemma reminiscing about her high times on Kitson to a cameo from Anthony Michael Hall as Mister Kitson himself. This whole visit to Kitson, while not quite as fun as the first go round, still managed to hold some charm and surprises. Little things like sending Enoch away to the brothels and having a guillotine test of strength, all made for a great entertainment.

They also managed to nicely tie up all the loose ends and send our team home finally as a mysterious woman named Izel wants them to help her find artifacts buried on Earth. These turn out to be the troublesome Monoliths and perhaps we’ll finally get an answer as to what they are and where they came from!

I can’t say I was sad to see Enoch go. His role had become superfluous and mostly he just screwed things up. I hope the pager he gives them is more to leave the door open in the future and not for the end of the season. If anything I’d like to see them streamline things by the season’s end and regain a bit more focus to the series.

Back on Earth it was the Sarge show as, even in captivity, Sarge seemed to be calling the shots. It was nice to flesh out Jaco’s character a bit. Hearing his story of a large family of Bakers humanized him some, which helped once he started hacking and coughing until he went full on dragonfire mode. I could see the whole escape from within coming so I was relieved when Quake easily put him down.

Some really good mind games here with Sarge and Mack too. Their whole god talk and the way they both tried to play each other worked very well. My only gripe would be when Mack sends his teams to capture the two Shrike and they put them both in the same containment cell. I know there was no way to know how crazy two together would get but you would think Mack is smart enough to keep any captives separate much less an interdimensional doomsday creature. The whole sequence of the creatures bonding and ripping through their cell and threatening to kill the entire plane of agents was well laid out. Though the series is starting to rival Star Trek for the number of 'red shirts' that get taken out. I swear every time one of our main cast says 'agent so and so, follow me,' I just start chuckling 'cause we all know what’s going to happen. Of course the same here as Agent, lets call him Rando, gets a spike to the head and another comes close if not for Yoyo’s quick hands.

We got an answer to whether Deke knew about Fitz (he didn’t) and he actually showed some genuine emotion for once. Of course this came after getting hilariously blown off by Daisy and acting like a hurt puppy dog as a result. I’m still not Team Deke but he was fairly entertaining here.

By the episode’s end Sarge, as he predicted, has basically taken control. I know the affect they were going for by having the entire room turn to Sarge for answers but it did feel a bit too quick for this team to just say okay we’ll listen to this nut now. It was just a bit abrupt.

My biggest fear is that Sarge will end up staying on this Earth and taking over SHIELD, basically replacing Coulson. I hope against my instincts that he will leave at the end of the season and Coulson will finally and truly be gone. We got this sort of fake out multiple times with Ward and it wears very thin very fast. Otherwise still a very good time.

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So You Think You Can Dance S16E04: Judges Auditions #4

A cast of characters show up for the show
by Stephen Mosher

Episode four of the new season of SYTYCD was sure full of interesting people! Really, what a cool and groovy bunch we got this week, each one of the contestants looks like someone you’d want to know in real life. And Laurieann wanted to know one of them in real life, too, till she found out his girlfriend was in the house!

First up is Jalen Sands, 18, performing to ‘Desperado’ before the credits to the show even roll. We just jump in with the contemporary dancer who is extremely compelling, performing fascinating floor work and contortions. None of the flailing about we get from some contemporary dancers - it’s all controlled and calculated. But no judges’ remarks, so we don’t know what happens to her, except that she is going to The Academy, as the credits roll. Along with Jalen are these dancers moving forward:

Trent and Colton Edwards, contemporary. The 18-year-old identical twins are ADORABLE and if they don’t go on the show and (one of them) win the show, some producer is going to snatch them up for some kind of reality show or talk show or something. They exude personality in the best way. These best friends have had three years of training, yet they turn in an electrifying performance to ‘Ten Miles High’ after which Nigel gives them a Standing O and all the judges pass them through, with Laurieann saying they were 'unique, awkward, fearless, not cut from the same cloth' which was a good set up for a joke from one of the twins. Dominic said he thought 'please don’t suck.' Well, they didn’t.

Bryan 'Clocks' Volozanin, hip hop. Bryan was on Season 12 but got cut at the Green Mile. Since then he has been a professional dancer in Las Vegas, which I kind of think isn’t fair. I mean, if you have a union card to perform professionally, you sort of have a leg up on the competition. Nevertheless, he turned in an amazing performance to ‘Printer Jam’ about which Laurieann said was ’your timing is everything' and Nigel called entertaining. The only thing is that this season there’s no suspense. They’re only showing us the dancers that are so good that they would have to be put through. We watch the show now and a dancer like this comes out and we’re like: ‘oh yeah… he’s going through.' Still, he’s good, and he’s cute, so he’ll be good for the show.

In a series of clips, we see hip hop dancers John John Tarrayo (24), Lorenzo Rangel-Santos (20), Gerald Taplin (28) and Anna Linstruth (19) all get put through to The Academy. See? No suspense.

In a longer montage with more footage, we see a fun little theme when three ballroom contestants compete with dance partners who have already competed on the show. Sofia Ghavami danced with Kiki Nyemcheck, while Vlad Kvartin danced with Magda Fialik, and Annie Lynn Sheketoff danced with Ryan Dilello. It was great seeing the old competitors again and, natch, all three new contestants will be going to The Academy.

Sydney Burtis, tap. This 18-year-old was diagnosed with autism at an early age and began dance lessons to help her to connect with others, and it sure has paid off. She is currently studying dance at Pace University and she gives a brilliant performance to ‘Any Other World’ in lime green tap shoes. She has great musicality and is definitely a show woman. Nigel said he didn’t get her choice of music and that it didn’t work but I totally got what she was doing. Still, after critiquing her musical selection Nigel said: 'Ignore all that comment' and gave her a yes, as did the rest of the judges, sending the super cute dancer to The Academy. Sidney admitted to Dominic that she has posters of him on her wall at home. He thought it was flattering … and a little scary. And Mary said, 'There isn’t anybody in this room you didn’t connect with,' so yay for those dance lessons, mom!

Jarrod Tyler Paulson, contemporary. The 26-year-old does auto repair and construction when he isn’t dancing but dancing is his life … as well as his girlfriend Madison Jordan, 21, who danced right after him. They met in dance class and fell in love, and while they chose to dance apart, not as a duo, it is palpable how much they are into each other, and each others’ dances. Jarrod goes first to ‘Stand By Me’ and wows the judges IN BLUE JEANS yet, causing Laurieann to say, 'I would stand by you any day of the week' - but Laurieann does seem to flirt with the mechanic quite cheekily, in a really charming manner. The dance is truly magnificent and emotional causing Dominic to say Jarrod is 'exactly what this show is about.'

'I was not expecting that,' said Nigel before offering the Academy bound dancer his own seat so he could watch Madison, an alopecia-diagnosed young woman whose 'control was magnificent,' according to Laurieann. Madison is quirky and interesting, filled with drama and technique while performing to ‘Woman’, and Mary remarks on the juxtaposition of softness and strength in the powerful performer, while Nigel wants to audition their kids. In fact, even though their dance styles are wildly different, Nigel urges them to dance together, which they do, to the delight of everyone. It is a pleasure to see this young twosome advance.

The one rejection of the night was Antonio Frias who embarrassed himself by dancing salsa solo. With very little technique, the Floridian simply looked lost up there and, thank goodness, Mary gave it to him straight, rapidly putting him out of his misery. She’s so wonderfully gentle about it, but she doesn’t lie. She tells him he’s not good enough with very specific critiques, the kind a dancer needs in order to grow. Thank heaven she is so gracious because maybe now he will go train some more and get better. He could, as we saw when Nigel pulled a random woman up from the audience to dance with him and he did, indeed, improve. Not by much, but there was a marked difference. Nigel totally saved face for the poor guy.

And thus ends the night of characters on SYTYCD. It will be fun to get to know them all better at The Academy, but we will have to wait an extra week, as it will NOT air the first week of July, but will return on July 8th for the final night of Judge’s auditions.

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

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Saturday, June 29, 2019

Colin Cunliffe presents It’s a Gay Gay World

Can I Be Fierce celebrates Pride Month

Colin Cunliffe puts the Gay in Pride
by Stephen Mosher

I was 17 the first time I went into a gay bar. I paced the street outside for what seemed forever before getting the nerve up to go in, and once inside, I was terrified. That terror lasted for years. Once I was in college I tried to hide who I was, afraid of being judged, afraid of being rejected, afraid of being hurt. Even when, a few years later, I found a man who helped me inch my way into the light, I was afraid. It was the early 80s. We had to behave a certain way in public. We couldn’t hold hands at the movies or in restaurants, we would have to surreptitiously brush up against each other. We couldn’t kiss in public or say 'I love you'. We were out but in the shadows.

I remember going into my first adult bookstore. I paced the street outside for what seemed forever, terrified I would be seen going in, terrified I would see someone I knew there, even though they would be doing the same thing I was doing. I was living in the gay neighborhood of Dallas and, still, I was terrified every time I walked into a gay bar, every time I walked out of a gay bar, and almost every minute that I was inside that gay bar.

It took time before I was able to let go of the terror and live in the light.

But it’s a new mutherf*cking day, baby.

Gay people of 2019 are still discriminated against but they will not be kept in the shadows. Since 1969, the year of the Stonewall Riots, the month of June has been hailed as Gay Pride and all around the world people have pride celebrations. They do this to protest, to remember, to celebrate. The people who participate in Pride are many and they go by many labels. Gay, Lesbian, Bisexual, Transgender, Queer, Nonbinary, Gender Fluid, the list goes on. There is a group of people who celebrate called Allies - they are the people who celebrate and support, even though they themselves are not part of the queer community. There are, in short, many people who participate in Gay Pride.

And a lot of them were present recently when the nightclub at Pangea hosted Colin Cunliffe presents It’s a Gay Gay World.

If you had told terrified 17-year-old me that 38 years later I would be married to a man whose hand I would hold in public, and that there would be a nightclub show where I would watch a man with a lumberjack beard and eyeliner wearing a leather jockstrap, harness and cap singing to a room packed with people about being queer, I would have called you a liar. But I didn’t know, then, that activism actually works and that my people would not only be living in the light, we would BE the light. And it feels good in the light, which is exactly where Colin Cunliffe and company belong.

A veteran of six Broadway shows, Cunliffe entered the theatre at Pangea wearing a black onesie with a sequined heart on the front, harlequin cutouts on the sides and a crotch that rode so high that there was every chance that, at any moment, the audience would be knowing Colin more than they had anticipated. Over the onesie, he wore a kind of ringmaster/bandleader jacket in bright red with gold trim, and on top of his head he wore a top hat with a feather longer than King Kong’s arm. His face was made up in high glamor and sported blue mirror steampunk sunglasses. It was fabulous and uncomfortable at the same time. Fabulous because of sheer fabulosity and uncomfortable because I know I would never have the bravery to wear so audacious an outfit myself. With a metaphysical embrace of his willing audience, Cunliffe launched into what I can only describe as an LSD inspired version of 'Strawberry Fields', complete with a story about his Gay Uncle Jack - this is no Broadway chorus boy; Cunliffe is a raconteur, a poet, a showman, an activist, and an inspirator. He declared this night the night of Gay Pride when he and his family will gather to 'Get as gay as we possibly can', pausing to make the audience 'Clap as gay as you can' and teaching all how to properly say 'YAAAAAAAAAAAAAAAAAAAAAAAAAASSSSSSSSSSSSSSSSS!!!!!!!!!' Setting my discomfort to one side, I settled in for the ride.

Cunliffe’s guests were all members of the New York theatre community, each of them beautiful and accomplished, some less flashy than others, some more trashy than the others; and each of them brought to the tiny cabaret stage a passion for life and love and living in the light.

Daniel Reichard’s take on a gay Mr. Rogers was charming and funny, balancing naughtiness and bawdiness with a message about loving your neighbor and yourself, 'There’s no person just like you', and wrapping up his appearance with a mash-up of ‘It’s You I Like’ and ‘It’s Such a Good Feeling’, including a sing-along, which should cast a light on the average age of the audience. The choice to bring the Jersey Boys alum up first was a smart one because once the life-threateningly handsome charmer had finished his number, the audience truly did feel at home in this Beautiful Gayborhood.

Jonathan Ritter took the place of the show’s maestro extraordinaire, Lance Horne, to present his own composition after sharing a personal story about growing up and struggling to reconcile Gay with God, a journey to which many can relate. With a lovely, mellifluous voice, Ritter brought forth that song you listened to in high school that always broke open your heart - it was sublime.

Emma Sofia Caymares simply flew up on the stage the moment her name was called, bedecked in a beaded brassiere, rhinestone studded belt and a take no prisoners lust for life. 'I decided to be subtle today cause that’s what I do!' and she was subtle enough to sneak a horn player into her smashing mash up of 'Born This Way' and 'Express Yourself'. For Pride. Madonna and Gaga. Um. Yes, please. When it was time for the Fosse/Verdon veteran to turn the stage over to the next performer, a grinning Cunliffe took hold of the mic and cried out 'She’s stupid!' Duh, he meant stupid with talent.

My heart skipped a beat when the dreamy star of Broadway’s Pippin took over at the keyboards to play his self-penned 'Backrooms'. Before starting the song, though, Erik Altemus dedicated the performance to the victims of PULSE almost three years later to the day, offering that 'without community, we really don’t have anything.' I loved that, in a celebration of being gay in your own personal way, Mr. Altemus appeared in modest dress, lit sage and brought us all into the deepest place of our hearts with a singing voice reminiscent of our own voice in that place where we are at our most introspective and vulnerable. How nice to get to go to that place, without actually having to go there.

Andrew Fitch took some time off of Waitress to open a vein for an appreciative crowd by singing a lovely little ballad called 'Brave', written by that girl who wrote Waitress. In Fitch’s hands, the Sarah Bareilles anthem became a lovely lullaby of hope and dreams, and where he went with his heartfelt performance, the audience was sure to go.

The entire room at Pangea had their hands in the air, cheering and mouthing the words to 'Colors of the Wind' as Sapphire Hart delivered the lyrics that have a different meaning as an adult than they did as a child, as a reply 'to everyone who’s ever told you you are not okay being who you are.' It was like being at a Big Gay Tent Revival, and if they had passed a plate, I would have put money in it, that’s how good it was.

A new trio of singers made their debut on this night and, with it, 3rd Vers made a room full of people happy, sending them home fans of their tight harmonies, entertaining girl-group-ography and powerful vocals. This self-proclaimed 'little faggot brotherhood' declares that they are 'three queer loving, sex-positive, gay men', a statement backed up by their leather wear, their camp fierceness, and their unapologetic mission statement to stay absolutely true to who they are. There were no cheers for 3rd Vers when they finished singing ‘Hang With Me'. There were screams.

Returning to the stage for another number, Cunliffe shared the story of his Red Ringmaster jacket, a gift from the famous Richard Simmons, who met Colin one night after Pippin when, in a moment of boldness, Cunliffe asked for Simmon’s jacket and the exercise guru told him 'Give me your address and I will send you a coat you will never forget.' The coat arrived with a note reading 'Never make a promise you can’t keep.' And having told this story, Cunliffe changed, right before our very eyes (with a little coverage from some friends) into a leather jockstrap, a harness and cap, before mashing up Tori Amos’ 'Leather' and Bette Midler’s 'Knight in Black Leather'. Cunliffe brings it all center stage and then leaves it there. We don’t need our imaginations when he is around because the rock star voiced Cunliffe has nothing to hide. It’s all on his sleeve -- if he had a sleeve to put it on. 'It’s about community,' says Cunliffe, 'We are all family.'

The next member of the family to hit the stage was the voice-like-a-trumpet, sequin sheathed Jack Bartholet, whose natural way with a crowd brought us all into the past with the question 'what does the gay world mean to you?' before telling us his answer with the fascinating 1920 tune 'The Lavender Song'. It was a thrilling performance worthy of Piaf, and it made me anxious to check out his show Lady With a Song at Pangea on June 27th.

Time to wrap it up, so Cunliffe, wishing to 'honor all of the ghosts who left us - it is important that we remember them' brings back Mr. Reichard for a lovely little ballad: the Disney classic 'Baby Mine', taking on a new meaning in this moment of introspection and retrospection.

However. It’s Gay Pride. It can’t end with a ballad. It has to end with a bang.

Enter Michael 'Bucky' Buchanan, probably the greatest male singer I have ever witnessed up close, capable of vocal pyrotechnics people only dream of being able to craft, for a sexy as f*ck mix of 'Make Me Feel'/'Kiss'/Sylvester. With a little request for the audience that 'we collectively participate' in the insane arrangement, this magical presence with a one-of-a-kind voice showed everyone how little it actually takes to live authentically. With audience and actors alike helping him along with our self-made percussions, he wailed the roof off of Pangea, bringing the entire room to its feet. It was a brilliant way to bring the entire cast onstage for an encore of 'Freedom' by the late, great George Michael, a perfect ending of a night celebrating being gay, being as gay as you can, being as gay as you want, being as in love with yourself and your life as you can be, and Just. Living. OUT. Loud.

Somewhere, in my past, in the long past, twinkie, terrified, 17-year-old Stephen felt a shiver run through him because there was, in some parallel universe, going to be a day when he felt, when he knew, it was okay to be gay. In fact, it would be more than okay. It would be Fabulous!

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