Brandon Jones is dancing "contemporary lyrical," which is probably a good idea. Jason Gilkison appears to be already planning exactly what he can have Brandon do. It's cut off way too quickly. Jason praises Brandon's strength and softness, and Mary accurately points out that Brandon seems really surprised by all this. Oh, and if he was on the borderline, try this on for size: he lost his father in a trucking accident. This sad, tinkly music is usually a good omen for dancers. And Brandon is going to Vegas. He seems pleased, although he then has to do the wacky "chasing the ticket down the sidewalk" bit.

Two dudes with acoustic guitars are serenading the line with a song about the show. They're the backdrop for a bunch of people who got tickets to Vegas, because obviously we don't have time to show all of them. Not when there are delusional Ringo Starr Daughters to talk to!

Hey, a Krumper! I'm not sure the show's really going to get that into a new krumper. He's Brian "Hollow Dreams" Henry, and he seems to kind of suggest that he's more real that Russell. He has a great line about Li'l C: "C put it to the mainstream. I'm takin' it back." Nice! He seems like a cheerful enough guy, but when the music starts, he's much more aggressive. I mean, it's Krump, so the aggression is important. He takes off his shirt (Mary: "Mercy!") and starts to really get into it. My favorite part is where he stares intently at his hands for a few beats. Nigel asks if he could make it more masculine, and Brian laughs. He really turns it on and off! Nigel starts to tell Brian about how Krumping comes from frustration, and Brian tells him his dance comes from praising God. Mary makes him put on his shirt so she can focus. Her first thing is that she wants him to be nicer about putting other dancers down. Brian starts to say that Russell opened the door for him and that he wouldn't be here if it weren't for Russell, which sounds to me like he's being very complimentary. But I don't think Mary's listening to him, because she says, "I was just talking about what you said earlier. Right to us, when we started." Brian figures she must be talking about Li'l C, then, so he tries to explain that as an underground dancer, he naturally chafes against the mainstream. Mary describes what Brian said as "That ain't nothin'" and says, "It's the tone of what you said. You can take what I said or leave it." She's not listening to him at all, and I admire him for not pushing it. He's caught in an argument where the other person has all the power. Jason wants to send Brian to choreography, because, again, he's good at a style they don't trust.