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At FreeStyleibre US offer available for people who qualify. Visit MyFreestyle US to see all terms and conditions. Certain exclusions apply. Data on File Avid Diabetes Care or Prescription Only Safety info found @freestyleibre us and now welcome to the ballroom. In the fourth judge's chair, it's Shanna Burgess.

Shanna Burgess (2:52)

What's up, everybody? And welcome to another episode of Shawna Burgess. In the fourth chair, I am Shawna Burgess. We had Halloween night this week on Dancing with the Special Stars, and it was pretty phenomenal. I mean, I always love a Halloween night because I'm a sucker for a good storyline and playing amazing characters. And I feel like we really got some of that this week. I feel like some of the dancing was better. Some of it was okay. I feel like some of my scores might be a little surprising on where I sat with things. We had Cheryl Burke as a guest judge. I thought she did a fantastic job. You know, there seemed to be some time restraints on the judges this week. A little. It was a little pressure on them. Although I feel Carrie Ann did some wonderful judging and critiques in the way she was delivering this week. I loved that from her. Derek seemed a little stressed on trying to get his out in time. And I thought Cheryl did a really good job of trying to deliver something that is, you know, kind and a compliment, but then also giving takeaways on the moving forward that she said there was some really good stuff in there. You know, I think having those seasoned pros sitting behind the judges table as these guest judges is such a cool idea because, you know, we really bring some. Something different, like Derek, we understand both sides of it, and sometimes we have little insights and tips and tricks. Kind of like Kimmy with the pen the other week that we can share and the things that we've learned from teaching people that don't know how to dance how to dance, because it certainly is a very specific art form that in itself. So I thought Cheryl did a wonderful job and it was great to see her back in the ballroom. As she said, being back there with her family, I'm sure it was wonderful. And I think they all did a really good job. Let's get straight into it. We are going to focus on the couples today. We're not going to focus on the dance off session. The dance off is. It's great. It's fun. It's. It's a thing. It goes for four minutes. You know, the. Bless them. They did such a great job, but it is exhausting. I don't think they get to do their best work. I think it's really just survival of the fittest when it comes to that. And I. I know it was pretty much tied at the end and. And Derek was the tiebreaker, I think. But we have Way more to talk about when we're getting into the actual dances from the couple. So let's do that. First up, we are starting with Mark and Whitney. They did a jazz I listen. We'll get into what the judges said first, but I thought the mashup of this, of the. The styles of dance and the song was really brilliant from Mark. So first up, we had Cheryl opening up the judges comments. She complimented the choreography. She said, watch your timing and watch in your peripheral. Obviously we know what peripheral is. It's your vision on the side of your eyes. She does need to use that more. This is the second week in a row. I think now we're seeing some timing issues, which is really interesting for Whitney because I don't feel that we've seen that in the dances previously. I don't know if maybe the pressure is setting in. There's more adrenaline coming into it. I know she had quite an emotional week when we get into the things she said in her package. But the timing was definitely distracting in this one. Bruno said it was mind blowing. So many different styles of jazz. He called out Jerome Robbins, Alvin Ailey. He loved the T section and so that we don't see jazz like that very much on the show. It's absolutely true. The jazz content that was in there was so very authentic. It was just so very much on point. But what then Mark does, which he does brilliantly, is he twisted it just enough to make it look stylized in a different way, yet it was still keeping the structure in the technique of that traditional jazz. When you're talking Jerome Robbins, Alvin Ailey, you're giving some incredible movements there. Real core jazz technique styled in a beautiful Halloween way. I thought that was really brilliantly done by Mark and I think that Whitney really shone in those movements. With the exception of the timing being off. Carrie Ann said the out of sync. So she called that too and she told her to just still enjoy herself and don't worry. You know, making mistakes is part of the process. Just enjoy the journey, basically. You know, I, I agree. I think it's really hard being in Whitney's position, being on top and feeling that pressure. I know they talked about that in the package. Well, there's a lot going on in her world that maybe we don't know. She's also doing the Mormon Wives show. I think we're starting to see the pressure get on them. I know they also had a lot of heated attention from things that were happening in their world and online and social media and whatever is going on And I think Carrie Anne's reminder to enjoy this is really beautiful and important because this only comes around one time. And all the noise of the social media comments and the this and that, the stuff that you cannot control, you cannot worry about it because it just robs you of the joy of this experience. So I hope that Whitney is able to hear that from Carrie Ann to continue to enjoy it because she is incredible anyway and she is growing every week under Mark's teaching. Every performance is really great to watch. Just ignore the noise because it really doesn't matter. And at the end of the day, she's going to have this experience and I hope she gets to enjoy every single bit of it. So I love that advice from her. And agreed. The out of sync thing was pretty obvious. Derek had lots of wonderful things to say. This dance is for someone that can appreciate the nuance, which is so very true. Often with Mark's choreography, you want to appreciate the, the nuances of the musicality and the movement or how he has reformed and shaped jazz to look a little twisted and a little something different. He used his creativity within the assembly of the music. The way he's created texture and the little isms that happen it. So not only is it texture and dance and beautiful, there are isms that so beautifully create a character. And then you look at it and it's not just dance anymore, it's a whole other piece that you get transported to. And I always love that, that he can teach that to someone. And the difficulty level in what he's creating this season is incredibly high. And I think Whitney's doing a fantastic job at that. And that's also what Derek said the difficulty level was out of this world. And he really complimented the brilliance of having that Fosse esque mash up with a Green Day song for Halloween, which I agree, the whole vision of this was beautiful for me. I said, these are my notes. I got in. I said I loved the opening shot. I thought that was fantastic. And then I wrote, oh no, she's biting it. Meaning she's biting the timing. She's not a whole beat ahead, but she is fractionally ahead of Mark. And it just sort of ricocheted for a lot of this routine. Choreography, musicality, amazing. Her spotting in her turns was great. She was truly finishing all her movements to the fullest extent. Nothing felt unfinished. Nothing felt like it didn't have attention paid to it. Everything to the tips of her fingers was telling the story from the, from the, the rays of the eyebrows and the Facial expressions to the tips of the fingers. It was really brilliantly done. And I. I thought she executed the movement very well. I wish that she wasn't in the wrong pocket of the music. That's what I say. And I say I think adrenaline had got her. So Whitney is a fantastic dancer, and for her to move forward, she's just got to continue what she's doing. But if she's gonna end up being out of the pocket in that musicality, that's really gonna hurt her, because we have a very high bar set for Whitney, right. And for her to now, you know, it's a pretty big thing when someone is. She wasn't fully out of time. But with something like this choreography with Mark, you want to be in the same pocket. Otherwise, it takes your eyes out of it. You don't appreciate the nuances that Derek is talking about. All those moments in it that were created, you kind of aren't noticing as much, because the pocket that they're in of the music is slightly different. I do find that musicians like Mark hit the music in a very specific way. I find it with Brian, who was my fiance, who was also. He studied music in college. He in school. He is always, like, right in a very specific pocket of the music. And. And Mark is too. And it's very much the right place to be. It's like the. The not on top of the beat. It's not the back end of the beat. It's right smack bang in the middle of it. And Whitney, I find, is at the very, very top end of it. And what that. It just makes her look fast and it really takes you out of it, which is such a bummer because she is so good. So really, all in all, I loved the routine. I'm obsessed with it. I'm obsessed with the characters and the everything, even the execution of it and the way that it looked. I just wanted it to be in sync, and there was so much of it out of sync that it just got to me a little on this one. So I ended up at a 9. I wanted to give it a 10, but I just couldn't. She didn't do anything wrong. She wasn't actually out of time. It was just the in sync of being in the wrong part of the beat. So it ended up being a nine for me. Judges gave it a 999, and Bruno gave it a 10. Bruno, this season is very heavy into the story lines and the characters and the intentions of movements. If that's what he's looking for, then Whitney gave it in spades, and so I see how he landed on a 10, but I was a 9. I played with giving it an 8, but I thought, no, it's. That's. That's too far. It was brilliantly done. It was just out of pocket. Oh. Whitney actually said something in the skybox that I didn't realize Robert had said before, and I want to reiterate it because I love it. It's a great thing we can all take into our world is that pressure is a privilege. I thought that was such a beautiful line and delivered by Robert Irwin. I mean, of course, But I think we can all remember that when we're under stress and under pressure and when things are hard, pressure is a privilege to be in that place. And I think changing that perspective for. In life and also for Whitney in this competition could actually be a game changer for her. I hope I see her in the pocket next week, because I really do love watching her dance. Okay, moving on to. Oh, one that you all have been talking about, many have been asking me about is Jordan and Ezra. Let's first get into what the judges said. So they were doing a contemporary. Bruno said she is a feisty fighter. He could see the story throughout it. He really connected with that. I felt like he was not emotional, but very connected to it. Like, my darling, you can see the story and the emotion in it, which was great. Carrie Ann said that she saw something new and shifting in the way that she was moving her body, and she really likes the experimentation, but then said that the prop became distracting. So I think that we saw. Yeah, there was something different in this contemporary in the way it was moving, and I think it was maybe in the character that they were trying to give it. There was lots more contraction in her body, and it was made to look. I don't want to say monster ish, but definitely like something was pulling her down and there was a weight on her, and that brought an interesting kind of movement to her body, which I can appreciate. And as far as the prop becoming distracting, I do have some thoughts on that, and I do agree, so we'll get to that when I get into my thoughts. Carrie Ann did say that she wanted the prop to disappear, and that's what needs to happen when you're using one. You can still use it, but it needs to disappear and be a part of the movement. She felt that she struggled at times with it, but she loved the intensity, so I can agree with all of those things. Derek said he loved the harness, the Jackie Royale slash Talia Favia sort of type of choreography. Two women you should look up. Their work is fantastic. Love the acrobatics and the athleticism and the amate it, which was amazing. But the execution of the idea wasn't fully realized. And that's also some of the thoughts that I wrote down that we'll get into the idea of what it meant, what it represented, the relationship between the two of them. It just. The story in. It sort of got lost by the end. I agree. The execution of the idea didn't 100 land this time. It was a fantastic idea, but I think it needed weeks to be hashed out, not days for this one. And then we had Cheryl, who said, it's such a strong partnership. She wants to see the trust and the bond between them come out in their dancing a little bit more. Yeah, I totally get that. You will always want to continue to see that chemistry and that bond between people out there on the dance floor. I was like, okay, so Ezra represents the demons. That's what he said in the package. But then when we were up in the skybox. So this is one of the things, right, with that rope. Ezra in the package is telling us that that rope represents. He's attached to it, and he's the demons inside her that keep trying to pull her back and hold her down. But then when we're in the skybox, we see Jordan talking about it and saying, you know, talking about her experience of depression and realizing that asking for help is okay, and sometimes needing to lean on someone or having that rope to guide you or to lean on. I don't remember her very specific words, but saying that it's okay to need that. It's okay to need that help. And I was like, oh. Either somewhere in the middle of the week, that story changed on what the rope meant, or they had two very different ideas of what the rope meant. Certainly in the delivery of the performance, Ezra was sinister, and you could see in his body, in the way that he was moving. There was something very dark and twisted about him. He was that demon trying to control her and pull her down. But her thoughts of what it meant seemed to be very different. And so I found that really, really interesting. I feel that what happened with the rope is. It all just got a little too complicated with it. I love the idea of it. I love the symbolism of it, but I think we needed it to tell a story more instead of being as acrobatic as it was, you know, and maybe get rid of it sooner. Tell the story, she breaks fears free of it and then it becomes the invisible thing. Or maybe it should have always been invisible. I don't know. Sometimes you got to try things, right? You got to try these big things. And sometimes, sometimes you fail, sometimes you don't. I'm not saying it was a fail, but I, I do agree with Derek that I don't think it was executed to us its fullest. I said, why do I feel like it's not stretching enough and it's not finishing? Yeah. So I found that in Jordan's movements. And maybe because so much time was put into working on the rope and getting it to work, because that's a whole logistical thing that you have to figure out how to be consistent with. It's a lot that her feet weren't as stretched and weren't as pointed, that her body wasn't as stretched as much as it could be. There wasn't as much release through her chest and her core when going into some of her side by side stuff and her floor work. I felt there needed to be more openness and freeness in her movement. And now I understand when we're talking character, I don't mean that. I mean in the technical movement of this contemporary, was she athletic? Yes. Did she execute it? Yes. So I can see why people are raging that it didn't get the highest score. But unfortunately we're taken out of the story of it. The story wasn't making sense. It didn't necessarily connect and execute. We're distracted by the prop. And then when we get into the dancing without the prop, it wasn't stretched and big enough. It didn't take up as much space. It didn't have the openness in the body. If you compare when Jenna did that contemporary piece with yarn. Right. I know Jenna is an absolute basic contemporary, but look at the, the openness, the. The freeness in her body, how much she expands in her chest and her body and her arms. It goes to every, like tips of her fingers and tips of her toes. Nothing is unused, even if the feet are half flexed or whatever it is it is used. I feel like this was lacking a little bit of stretch and tension and intention in the body and things just felt a little bit tight and short. And I also feel, just to go back to it, but hopefully not to harp on it, that I didn't understand necessarily the story and the character that we were told that it was going to be within the choreography and the execution of it. She fell to the floor and then he picks her up by the harness and spins her. But where is. What does that mean for him being the demons? And then she lands standing over him. Is he still controlling her? She never broke free of it. It just left me with questions, you know? And so I guess I just wasn't immersed in the story. And then I didn't get to appreciate the dance because I don't think it was rehearsed to its fullest extent of what it could have been. So, unfortunately. And y' all know I'm a big, big Ezra fan and a big, big Jordan fan. At the top of the season, they were one of the ones that I called out to go all the way to the end. I want to see them go all the way to the end. And I love this season for Ezra. I think he took a risk. I think he took a risk. He was trying something big and something bold and something new, and he's figuring out how to do, and I would never not want him to try. I think you got to try. And who else would you ever want to try it with other than Jordan? She's absolutely phenomenal. A great thing. But I think it just fell a little bit short. I love that they gave it a crack, and I hope he continues to give big things a crack, but this one just missed the mark a little bit. So the judges went 9, 8, 8, 9. I did land on an 8. It is definitely the higher end of an 8, and I almost went on a 9, but being that my a 9 was the highest the night for me, I ended up landing on an 8 for Jordan because there was a lot in there to love, but there was a lot more that it could have been. All right, coming into the heart of the show, Andy and Emma. God, I love watching this man. Every week. Let's get into the judges straight away. So Carrie Anne said every week, you get better and better. This week, your posture was better. Use your legs more to propel you. So, yes, posture was better, I think, naturally, because Passa Doble has that higher posture, and the center is higher. And you've really got to work on standing tall like a matador in the middle of the bullring, you know, projecting up to the gods, basically, into the bleachers. So, yes, posture was better. I agree with that. And, yes, I agree with using your legs to propel you across the floor more. You'll hear Derek say the word stride glide. We need a little bit more power in the legs. That's using the standing leg to generate some power, and you push your weight through it and off of it so you can get a bigger long stride along the floor. We definitely need to see some power coming in from Andy, so I appreciate that critique from Carrie Ann. Derek snapped the six paddle and called out some of the. The choreography that was in there. That was twist turns and chassis capes. They're very technical. Pasado Blay steps from the syllabus book. They did do those. They were missing the paso shaping. But he definitely did do the steps. And he said, you're out there doing it, man, and you're committing, which is true. He is committing. He's giving it everything. He's having little improvements week. He absolutely loves it, and he and Emma are doing a great job, and I think Emma's doing a wonderful job with him. We are seeing him do more steps and more content. So they are pushing. Cheryl said, you are the heart of the show. She also said paso is a very dominant marching dance, and you definitely marched through it. I think there was a little, like, touch there of you march through it. As in the feet were picking up off the floor, and you marched through it impossibly the wrong way. There was a little bit of technique in there. Like, there were some nice heel leads. He was trying to get that higher posture. He was definitely learning it and trying. But when the feet pick up off the floor and it gets a little bit stumpy, and, you know, that's when it looks marchy in the wrong way. And there was a lot of smoke out there, so it was a little hard to see all the footwork. She said, that have more tension in your arm movements all the way to your fingertips. So, yeah, getting a big stretch, letting it come from your core, stretching it all the way up over your chest and all the way through to your fingertips, keeping that energy going all the way out. And when you think you're at the end of your stretch, stretching even further, further from it, you should feel like you are being stretched on a stretcher. When you are heading into lines and using your arms, you never want it to feel like it's just easy. You always want it to go past a point so it can feel as big as it possibly can. So I appreciate that note from Cheryl, and I think it really would help. And Bruno said you captured the cult classic horror vibe, and there was a ghost of the Paso in there somewhere. Yes. You know what more is to be said? I love those that those tips from the judges, they very much were my own notes. It seemed that he was on time, which is great. That's been a thing for the past for Andy, but he was on time for this one so I love this for him. I said give more stretch, go bigger and stride. So again, very much in line with the judges. The Judges gave it a 7 7, 7 7, which is Andy's highest score yet. I didn't feel it was as strong as his jazz last week. So I'm back in between a 4 and a 5 instead of a solid 5, but I'm probably just on the lower end of a 5. I think he did do good. I think he tried to show paso technique and there was some stuff in there was there was some true paso blay content. So we'll be on the like the lower end of a five for Andy this week. But I absolutely love watching them. I love that he's made it through and I can't wait to see what they do next week. You know, he's always a fun one for me to watch.

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Shanna Burgess (28:23)

Okay, now we are moving on to Elaine and Alan. Oh, my gosh. Let me just say it sucks getting injured on the show. It really, really does. I've been injured on the show. I've seen celebrities injured on the show. So it is just the worst. And they're at that point in the competition where they're really trying to break out. She had an incredible week last week. She wants that momentum. She's obviously fighting against pain and injuries with different things, but she's a fighter and a warrior, as Carrie Ann said. My heart broke for them and I am so glad that they are through and that the power of the people voted and she's going to get to do another week. I cannot imagine what it felt like for her having to sit. No, actually I can. It's happened to me. I can imagine what it felt like for her. Actually, it was Halloween for me that I had to sit out of dancing with James Hinchcliffe. I choreographed one of my favorite pieces I've ever done, which was a Suicide Squad Joker and Harley Quinn Inspired Venies worlds. Jenna had to step in for me and dance because I had busted my knee. So I fully feel her pain. But so glad that she's going to be back next week. Let's get into what the judges said. Derek said even though it was the rehearsal video, it still impressed him. And yes, me too. Even though it was the rehearsal video and you know, this is camera blocking, guys. She is. She's giving it what she can, but she's also thinking it's the first time doing it on the floor, so everything looks different than the room that they were rehearsing in. So it's a lot to adjust to. Usually camera blocking days, things tend to feel worse and fall apart. So this was probably seeing it at its worst. Right. We have to keep that in mind. And yet it was still very impressive. Cheryl said she has been underrated this season and said to work on their transitions. Love that. Yes, I think their transitions were bumpy, especially in this rehearsal video that we saw. And those could have been smoothed out. Tricks can be a little tough. Alan is wonderful at doing tricks with people. He's also wonderful at Argentine tango. It's one of his favorite styles. And I'm sure they would have really tightened those things up by the time it came to show day. But agreed it was looking a little bit bumpy on not just the transitions with the tricks, but sometimes the combinations with the gun shows that it sort of felt a little bit not as flow. It didn't flow as much in its transitions. Bruno said, Alan, great job. The content, the lines, the placement. If it had that layer of passion from when she sits into a performance, it would have been sensational. Agreed. I think if we saw Elaine get to do her thing on top of it, when that performer in her kicks in and it's lights, camera, action, and we are ready. Let's go. It's live. I think we would have seen a whole other level come out of her. And I'm, oh, I love Argentine tango. And I know Alan's so good at it. I did a bunch of Argentine tangos with him when we would tour, and I just can already imagine what this was going to be. Carrie Ann said she is a warrior brokenhearted for her, and she knows it would have been incredible. She's just got to come back. So, yeah, all the same things we said, I don't think it's fair to really break down and critique her all that much. I thought what she did in the rehearsal package was fantastic for a rehearsal, and I have no doubt that on the show night, I probably would have ended up around a nine for her. However, when it came to this performance and having to judge on the rehearsal performance, I was in between a 7 and an 8. Now I'd probably actually want to give it the higher end of no. Oh, I don't know. That's so hard. The higher end of a seven. But I ended up landing standing on an eight because the. What was in there? The content, the. The detail, the combinations that they did. It really was beautiful. The. The opening links that they did with the gun shows where she was flicking in her legs. All very authentic Argentine tango. All very, very beautiful and done smoothly. Her feet were gliding along the floor really nicely. It was beautiful. And it's a rehearsal, so it lacked performance and the passion and power, but the execution of it was nice. So I did. I ended up on an eight. The judges G eights as well, and I ended up aligned with that because I think it's just so hard to. To fully judge it being a rehearsal. And my heart wants to give her what I think her performance would have been. And then the judge in me is like, oh, dang it, what do I do? So we ended up on an 8, and I'm so glad that you guys voted her through. We get to see her again and maybe if they make it to the final, you guys, if the show still does this, they get a redemption dance, which might mean they will let them do Argentine tango again and she will get to perform that. That. So fingers crossed they get all the way through to the end and they can redo or do another Argentine tango for us to be able to see the magic that we missed out on on Halloween night. Moving into Danielle and Pasha, let's get straight into the judges. So Cheryl said a proper American, smooth Viennese waltz. She said she loved it, and she really appreciated that. She said in ballroom, we exaggerate everything. The reaches, the emotions. And she wants to see it. It's true. We very animated when we dance. Ballroom dancing. You. I mean, look at Mark Ballas. He's the. You know, I think the. The. The poster boy for animation. But all of us watch, all of us, we're very animated. Things are very exaggerated. The. The lines, the reaching. We've talked about that already. For another couple, everything is to its absolute maximum. And, yes, we do need to see that. I think we saw a little bit more of that from Danielle this week, But I do agree. I want more, more, more of it. Bruno said the movement reflected the turning of a dream. It was soft, it was lyrical, and it was mental. And he loved it. So no dance notes there. He just said that he loved it. Kenne said she had mixed emotions about it. Some of the movements showed so much progress, but sometimes the movement went from elevated to small use. She wants her to use the space more. She's a tiny woman with power. I think, in her, like, she was trying to say that she's, you know, a powerhouse, but she's in a small package. Right. I don't think that was ever meant as anything negative. She was trying to say a nice thing here, and she wants her to use that power. So let it out. I agree. I think Danielle has so much power, and I think we saw moments of it, and I feel like when she was telling us the story in the rehearsal package of what she wanted it to be, there was almost. Almost the power that I'm looking for in that. But then when it gets into the dance, we had moments of it. I definitely saw in the beginning there was more animation, more breath in her body, more storytelling with it. And then he broke away, and, you know, she started with the. No, no, no. Storytelling. Loved. And then when we got into the actual dancing, I do feel that it was more animated, but it did have a little bit more elevation in the beginning of it. And then somewhere near the end, it started to fall a little bit short again. It felt like it got a little bit messy. The movements weren't finishing. I even wrote, are they Rushing the timing or am I crazy? I haven't confirmed with myself whether they were rushing timing or not in one of the passes that it felt like it then got a little bit outside of the technique. It got a little bit bumpy in its transitions and its closes, its weight changes in its feet. And I just felt that it went from something really amazing, and then I lost it, like, the stomping at the end. And the story didn't necessarily come across as much as I wanted to now. That being said, I thought her actual dancing was really nice. She always does a beautiful frame. I could still have her soften that left hand on Pasha's bicep and have it, you know, a little bit softer in the fingers because it does hold on a little bit too tight and have her stretch out into her window a little bit more. But it was nice. We did see that, that, and I think Pasha does beautiful choreography. But I don't know that the story necessarily executed as much as I wanted it to in this, for me to be, like, standing up and clapping and cheering. So it. It was an improvement in the animation, but it wasn't necessarily her greatest dance, I don't think. And maybe because she had such a wonderful dance last week, but I did appreciate that they were pushing forward with the storytelling in this, and I want them to continue on that line, continue on the telling stories, continue on the creating characters like this. Really take that into the next week, but try and fill out the movements even more. Let that character fill the movement and go all the way to the fingertips. We seem to be saying that a lot this episode, but let the movement be as big as it possibly can with as much energy in it and stretch in it as it possibly can. So the character goes all the way to the fingertips. The Judges gave it it 8, 8, 8, 9. I also landed on an 8. I'm so glad that she's here for another week. I really, really, really want to see them stay for another few more weeks, and I want to see them keep pushing in this direction and just getting bigger and going for more, more, more. Let's get into Robert and Whitney. They did an Argentine tango. Another Argentine tango for the night. Getting into Bruno, he said it was deadly hot. It had the tension and intention of the style. Agreed. I think it was super sexy. It had the intention of the style, the connection between them. I thought they did really, really well with that. Carrie Ann said he is a leading man. He was in control the whole time. It was amazing. He was leading her for the whole Dance. And she mentioned a moment that he almost lost, but he got back. I couldn't find that as far as seeing it on the other feed from the cameras. Maybe there was something in person more. If I missed it, let me know in the comments. Comments. Derek said the first moment. Oh, yes, that first moment when he sort of like raised the dead up and the power in him gorge also because it's like a completely different character to Robert Irwin. So that's what's so amazing is when you see him switch into this, like, Robert Irwin's gone, like, who is this man? This is a whole other person doing this. And that's just wild considering who he is and what he does. So I really, really loved that from here. Him. He loved the support. And Derek also complimented the support of Whitney in the lifts and the partnering throughout which Whitney needed solid partnering and leading for her to be able to do the things that she was doing. And I thought that was also really impressive. Cheryl said he is a natural showman. She is a snob when it comes to the Argentine tango. So she said as a technical thing, she would have loved to have seen him close his feet in between his ochos. Ochos are when the man is doing the flicks and kicking on his own legs. Yes, his feet. His feet had a whole. A few things going on for me in this one. So we will get into that when I. And I'll. I'll further explain what Cheryl is saying. She basically said she. He needs to make love to the floor with his feet. She was running out of time. But yes, your feet need to have a relationship with the floor. They can't pick up and get stumpy. Your foot has to use every single part of itself on the floor from the. The tip of your heel to the tip of your toes. You want to use all of it. And that foot pressure in the floor. And what happens is when you're just stepping and just picking up your feet to move, you're losing the relationship with the floor, which means it loses power and groundedness. So what's happening with Robert? What I noticed in his oos when he was flicking his legs, his feet were a little bit sickled, you guys. And some of them, they were coming in still flexed when they were coming off the floor. There was one pass that they did where it was sort of rotating across the screen further downstage in the camera in the floor. And it was like, oh, what was that meant to be? I know it was meant to be a thing, but the feet weren't brushing the floor, the knees were too far apart. The foot was a little bit flexed, and it sort of took me out of what I think it could have been. But I appreciate they. That they tried, and I appreciate that it was really trying to bring in that authentic Argentine tango for the male choreography as well. You know, not just Whitney doing all the work of doing all the kicks and flicks, which sometimes I have even done in the past when my celeb hasn't been able to get it. She really taught him how to do these things. So I appreciated it that we just needed a little bit more love given to those feet, so they didn't look quite so sickled. My first thing that I wrote was, yes, face with all the shouty capital letters and exclamation points. I love that they were giving a frame with an A frame. So Argentine tango is an A frame, not a Y frame or a V. So Argentine tango, the heads are closer together. The. The boot that you don't need to have full body contact in it. The booties can be away from each other. It's all about having those heads closer together, creating that chemistry and that tension between the two and giving space in the lower half of the body for the feet to be able to do what they're supposed to do. And I thought they handled that really, really well. I thought the tricks were seamless, and he really supported her in that. And I loved it. I love the storytelling. Robert's musicality is wild to me. Like, he seems to have a better grasp on musicality and the pocket. Pocket than, say, Whitney. Not Whitney, his partner, Whitney Levitt. And which is fascinating because he's not a musical person, or maybe he is, but it. That's not what he does. He hasn't had training in it. So for him to so very beautifully be in the pocket of that musicality. Now, admittedly, the musicality that they are doing and expressing in their routine is a lot more simple than what Mark and Whitney's were. So I probably shouldn't compare the two, and that is unfair. But what Robert executed was beautifully in the pocket and sharp, and it did the storytelling. And I'm just so floored by his performance every week at the moment. He had a couple where it lulled there. So I thought this was very, very impressive for an Argentine tango. It had all the things in it that I would want, with the exception of the feet and the footwork being just a little bit dodgy. So the judges gave it a 10, a 99 and a 10. I landed on a 9. Because the feet really, like, stuck out for me that they were a little bit sickled, but I absolutely loved it. And then this cutie up in the skybox trying to give Elaine some love when it's his time to talk and, you know, saying that they love her and to get well soon. I just thought that was so sweet. All right, let's get into Jen and Jan. Sadly, our couple that we saw go home this week, that they had a contemporary, which is Jan's forte. I was very, very excited for this piece. Carrie Ann said the beginning was off the charts, so much sharper, but it's still inconsistent. She wants her to be aware of her whole body because her arms go limp. This is a very, very fair critique. The opening was fantastic. It was so sharp. The storytelling, the conviction in her eyes, everything was spectacular. I was like, oh, my God, we've got a whole other gen coming out here. Like a yes. And I loved, like, he's, you know, yarn with the story, and he's obviously, you know, cheated on his wife or something. The colors open, he puts the wedding ring back on, and then suddenly there's. There's this being there ready to kill him, I believe. But I thought that was a really cool touch. I love the opening. I love the way she shone in that opening. And then, yes, when you watch and they get into the choreography of it, all her arms would go limp. Now, even if there is a style to it where it's supposed to look a little floppy, but there is a tension to it. There is a way that. That is supposed to still be purposeful, not actually floppy to your fingertips, tips, you know, and so I. I do agree with Carrie Anne. It went from something so like, oh, my God, what's happening here? This is a breakthrough moment to. Oh, no, it's. It's still sort of unfinished and sloppy. So I get that being aware of the whole body is such a great note because it's not just dance steps that we do. Your whole body is involved in the movement, so you have to pay attention to what everything is doing and know where it's meant to be at all times. Times. Derek told Jan that he has had a great first season. And, oh, then I wrote, wait, is Derek annoyed at something? Is something going on? I don't know what I missed in there, but I think it was the tension on time and people not having feeling that they didn't have enough time. Maybe they were making time for the dance off thing that I felt he was trying to get as much out as he possibly could. He wanted her to stretch her feet, especially in the. The kicks, the fan kicks, the windmills, all those sorts of things. Things. But her commitment to the character was fantastic. Yes. Her feet, like her hands were unfinished. They didn't fully point all the way to the end. The ankle wasn't as stretched and the toes were not as stretched as it could have been. And so that means that there just wasn't enough tension stretching through from her legs all the way to her tips of her toes. And so it looked a little unfinished and sloppy. Cheryl said, best dance. Love the power and the grit. Now work on the in betweens and the connection together. So yes, 100. I get that. Working on the in between. So again, dance is not just the positions that we hit or it's not just the steps that we do. It's how we get from A to B. It's what does that middle space look like. It's the in betweens of the lines and the movements. That is where the texture lies. That is where the story lies. Lies. That is where truly the dance lies. And so we did miss that a little bit. From Jen of the the in between moments. It felt like it got to that place of just feeling unfinished again. It all sort of comes back to that. Of it not being a whole body experience of not knowing where everything is meant to be at all times. You're sort of wondering why things are floppy and why things aren't necessarily engaged with the movement. So I totally agree with that. Bruno said, and it's gotta. The one movement has got to carry on to the other. Like it's a never ending conversation. We're all really saying the same thing here. You know, things looking unfinished. One thing has to carry into the next. What is the in between? It's all same. Same right. And different ways of saying it. And I agree with it completely. I wrote opening heck yes. And then I wrote, oh no, it's sloppy. And then where's the story? Where did the story go? And then a big shouty capital letters of feet. So I was on the same, same page as the judges. I feel like yes. Jan has had a great first season and I think he is learning how to teach a non dancer how to dance. It is so very different to teaching people that are already studying dance and working on those things. You don't realize just how much you have to teach from the tips of the toes to the tip of the head. And when putting a whole number together in a week, it's a lot of pressure to. To Create it, to teach it, to clean it, to perfect it, to all those things. And so I think he did a really good job at handling it. I think he's probably learned a lot on how to teach absolute beginners in the realm of Dancing with the Stars, because it is its own pocket in its own bubble. And then. And to continue learning that skill of how to teach non dancers how to dance. But I do think he is going to be an asset to the show in the seasons to come, once he's really understood that. That and truly gets a big grasp of the ballroom technique and how to teach it and execute it. Because also with ballroom, you have to think. And this is something that our younger pros also learned. Just like I learned and I came from pure ballroom background. You're not going in teaching the stuff that you've been taught your whole life. I wasn't going in and teaching a girl how to do the girl steps. I suddenly had to go in and teach the man how to do the man steps, how to be a man. Something that in my career I had barely paid attention to because I. I have different steps. It is a different type of movement. I'm going backwards and he's going forwards. He has to learn how to lead, I'm learning how to follow. They are different skill sets, so you have to learn how to teach a different skill set to what you've been learning your whole life in ballroom dancing. And that is an art form. You know, honestly, the men almost have an advantage when coming in as pros onto the show that are pure ballroom dancers, because when they are leading, they have an understanding of what they need from the girl girl as far as her to follow, because they're more aware of where he's put. They're putting the girl right and how to guide her from A to B. The girl lives her best life essentially being put into these movements. And I, as a competitor, didn't pay attention to what the guy was doing. I paid attention to my own stuff. So there's so much to learn. When pros come into the show, we have to give them grace. I know there was a lot of attention on that this week, and I have no desire to necessarily speak on it other than saying, everybody starts somewhere, somewhere. Everybody has to learn. Everybody is coming in with advantages and disadvantages, and the show is evolving into its own thing, into a new thing, and I totally appreciate that. And I think Jan is going to be a beast in seasons to come. But, yeah, he's got some stuff to learn. He's also very talented and I think he's gonna learn it. The Judges gave it 8. 8. 8 8. I was in between a 7 and an 8. I'm gonna be real with you. I don't know if it fully made it to an eight. What I did appreciate was the choreography. I thought the choreography was fantastic and Jan some stuff that like we haven't seen celebrities necessarily do. He has a beautiful way of connecting movements to one another. The flow of things like that in his choreography was stunning, but I just think her execution of it wasn't necessarily as finished as it should have been. So I think I'm on the higher end of a seven or low end of an eight. I'm not going to commit. I don't need to. But I'm sad to see them go. And congratulations on having a great season.

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Shanna Burgess (53:29)

All right, we are heading into the last two, you guys. So we are up to a big, big favorite of the night. Alex and Val. Val. Vintage Val. Lol. I laughed my butt off on that, y'. All. Vintage Val. None of you would handle vintage Val or vintage Derek or vintage Mark or vintage Max. Like, it was brutal back in the day. But I loved that Alex came in. She's like, give it to me, give it to me. I. I'm fine with crying. I'm fine with the bruises. I want to be pushed. And that is, as Carrie Anne said in her critique, which we'll get into mad respect for joining the process because that, that is, that's dance, man. It's brutal, especially when you're doing it at this kind of level in a competition. Okay. Judges said Derek also compliment commented on Vintage Vow. That's what you got to do to get it done. He said it was sharp, it was controlled, it was intense, and it was fantastic. He gave it no notes. Cheryl said the passion and the fire was There. Don't break hold. She doesn't love that. But it. It was amazing. And you are amazing. Which Cheryl, by the way, is right as far as the rules that they used to be. Tango is not American Smooth. You are not supposed to break hole. But yes, yes, Couples have been breaking hold so much more in these more recent years, and it's not necessarily being pulled up. So I don't know where we are with the rules. I don't know if that's changed. I do know that even when we had our original judges, people had their things right. For Len, he really cared about you not breaking hard hold. Bruno, not so much. Carrie Anne really cares about the lifts. Len, not so much. So I think we have to understand that judges see things the way that they see things. And I'm. I'm also like Cheryl. I think I wasn't as a dancer, by the way. As a pro, I broke hold all the time and took all the risks. But as a judge, I think having these guidelines and boundaries really help and make it make sense for everybody and for you at home. So I'm the same. I believe that I would also say, say, but you broke hold. So Bruno said it was drop dead good. An incredible footwork. Complimented her on all the things. Gave her no notes, and Carrie Anne said respect for joining the process. You got to think, like, Carrie Anne was a solid gold dancer. She was a dancer on Madonna's tour, like, back in the day when it was even more brutal than my day. That's like the Eat Nails day. That's the I don't care if your feet are bleeding, just dance day. That's the, oh, you haven't eaten, doesn't matter date, like, it was. Was brutal being a dancer, and to see someone like Alex come in and be like, yeah, let's go. I don't care if I cry. Push me. And she pushed through it. And I love Val stepping up to the plate with that because, you know, if you want to push to get it to a certain point, you gotta push, and it's gonna be uncomfortable. Breaking to new levels is always uncomfortable because it is doing something harder and. And new, and that can be a challenge. Challenges are hard. So I did love this D dance. I didn't love it as much as the judges. On a technical aspect, y' all might come for me for this. They did break hold, so I was like, they broke hold. I don't know. I don't really feel. I don't love that. I think as a judge, I say, you broke hold. But you know, you took a risk. I loved the opening of it. I thought that was fantastic. And then we got into the actual dancing and I know it was really dark and maybe it was really hard to see some certain things. But with. For me, with the camera angles, I could very clearly see that they were almost much more in an A frame hold than a proper tango hold. And I've said this on all the other episodes, really getting into the knees. Tango is especially way more into the knees so you can get the power and the staccato action. The staccato is where the leg builds up power and it's sort of almost. Almost like a slingshot, right? It sort of like builds up the tension so it consume. It can like shoot out and get some energy. I tried to give you a sound effect to make that make sense. I don't know if that's. That helped that it's supposed to create energy in the first part of the movement as it moves. I saw the staccato, but their booties were out, that the hips weren't together, the legs weren't locked in. It wasn't the. The. The five points of connection as I talk about that you're supposed to have in a frame. I felt like there was a lot of gapping between their frame. And speaking of their frame, I felt like it was a little wobbly. Like the arms were moving with every impulse and the energy was coming into it. I don't want to see that in a tango FR to see it be stealthy. Especially in Tango. I used to use this word all the time. Stealth. You know when you see those videos of like Seal Team 6 or whoever it is in all movies where the SWAT teams are going in and they're running, but if you see them running, they may be going fast, but it's like dead silent and they're all just going like one level. And it's stealthy. I like tango to feel stealthy. It's smooth, but it's powerful and it has a tack to it. It. But it doesn't bop up and down and get rattly with its power. I felt like the power was kind of overtaking it. So for me I. I wasn't as in love. And also in the side by side section, she was also biting the timing just fractionally. She was a little bit ahead of Val. Wonderful staccato action. I will agree with that. Oh, I also thought like there was. I honestly swear that I caught a footwork mess up before she went into her little arabesque moment in the first pass right before when the song says say it out loud. There was a thing, I swear, watching her feet. There was a little foot mess up. So for me, I was not aligned with the judges on this one. And I was in between an eight and a nine, you guys, because on. Not on the entertainment value, love, but on the technical side of this, I wasn't obsessed with it, and it was an 8. I said 8 because of also the break hold, but I was in between an 8 and a 9. I'm not going to commit from one to the other. I'm in between an 8 and a 9. And I know that might sound brutal. I also love Alex and Val. I love what they created. I was entertained for days. I thought it was a fantastic routine, but I think the execution wasn't as technically strong as it could have been, and it was just not as stealthy as I wanted it to be. But, you know, she's gonna stick around for a long time. She's been improving in leaps and bounds. So impressed with that. And I always am excited to see what they're doing now, so I can't wait to see what they have next week. Moving into Dylan and Danny, giving you Shadow Daddy vibes. I was like, Dylan loves romantasy. How cut. I love that for him. We got into a Viennese waltz, and I loved the opening of this. I thought it was great. Cheryl said he is the most improved, but he has to watch out for his bum. She called it lead and to lead with his legs. So, yeah, his booty was out again in this one. We didn't see it in his last ballroom dance, but it really came back with vengeance in this one. And so it was very distracting for me. His booty was out. It didn't have as much drive through the legs as it could have. There was gapping between the frame. And so that. That was definitely a shame. She wants him to lead with his legs instead of. Yeah. So basically his booty is out. His head weight is forward, so he's. He's pushing himself forward with his momentum, not driving through his power, power center and through his standing leg. So it does. It just makes it not have the flow that it's meant to have. However, he did have unbelievable stride and power because he's tall and strong. It was just not executed technically in the correct way. So the look of it was. Wasn't correct. You know, Bruno said it was kinky and hot and he loved it. He was a convincing lead, but he. He said that Cheryl is right about the bum. Basically keeping his booty in and to watch the pivots. A convincing lead. I will say that he seemed to have great momentum with Danny and I think that might be what they're saying in the lead. I think he was really there for her through a lot of things. So I did love that. And he. He was convincing in his character in this. I feel that we. So he really, like, owned that shadow. Daddiness of it all. I feel like he loved that and it was fun seeing him play that. So the character of it was great. The intention between them was smoking hot. I will agree with that, too. Kerrianne said what separates him is understanding the emotional intention behind the movement. And he already also understands the physical intention of the movement. Movements. And I didn't write anything after that, so I don't know what she said after that. But, yeah, I think we're seeing him really start to build his understanding. He's coming out of his shell more in his performances, giving an emotional intention to the movement, which I think is fantastic. We didn't necessarily see that from him in the beginning. So I love that growth in him. And he really is learning the technique. We've talked about that a bunch of times. But I will say he's doing better in the technique side of things, on his Latin than he is in the blood. The ballroom Derek said he is smooth as velvet. The chemistry, the broodiness, the suspense. Watch the frame. But the stride was impressive. So for the frame that Derek's talking about, agreed. The frame was kind of. His frame is good ish. Like he holds it up. But this time, especially because Viennese waltz has so much rotation. So it runs the risk with that centrifugal force. Right. The outside energy pulling it that the guy ends up like. His arms pull, pull forward towards the girl. So his elbows are coming out. It gets a little bit hunchy. His back pulls back to the outside edge of the energy, that centrifugal force. And so it gets a roundedness that you don't want. You want it to have width and it got a roundedness. And pair that with his head position is still a bit weird. He's the left of his. When his head is turning to the left, it is. Is just too left. It's like he's trying to look over his shoulder. Instead of trying to look over his left hand, he needs to look over his left hand. So he's also seeing where he's going. But it feels like his head is turned way too far. So it almost looks. It's not broken neck like, but it's just an awkward position to be in and it's a fraction of a distance. But he totally needs to adjust that, like, pull the elbows back, get the width, feel like everything is supported from up and underneath, pull the. The head up and high, pull the neck back and look over his left hand. We definitely need to fix the frame and get the booty under. So there was a. There was actually a lot in here that I felt needed to be fixed. Now what I did love was how it flowed it, his stride along the floor, the power in it, the chemistry, the. All of that. Super hot. Loved it. I even feel like there was some dynamics in there in the way of he was using his power, but it just. Just technically fell short on the body contact and the five points of connection in a frame and the frame itself. So the judges gave it a 9989. I ended up on an 8 for Dylan and Danny. I really do think he's stronger in his Latin dances. But I did love. I am also a romantasy fan, so I did love the Shadow daddy vibes that we were getting from Dylan this week. All right, everybody, that was our last couple of the night. Gosh, they're going quick now. We're getting really into to it. I. I'm so excited to see where everyone goes and, you know, I think everyone is improving. The pros are doing a fantastic job. I am just such a fan of the show. I'm gonna hopefully be in the audience next week so I can watch it live because there's nothing quite like being in the ballroom and seeing things live as well. I love being able to do this for you guys. If you have any questions, as always, please put them in the comments on the social media clips so I can try and answer them for you. You and please come join us again next week for another Shana Burgess in the fourth chair. Bye, everyone.

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Shanna Burgess (67:45)

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