Back from commercial -- shut up, everyone! Let Cat talk! -- we revisit Katee and Joshua's interpretive hip-hop. They're safe. So the final couple in danger is either Jessica and Will, or Courtney and Gev. If the performances -- smoking tango for the former and dreadful disco for the later -- are anything to go by, it's going to be Courtney and Gev. Except it's Jessica and Will. Gasp! Cat asks the judges what the deal was. Dan says the judges weren't tough enough on some of the couples last night, but Jessica and Will weren't one of them. He unequivocally says they don't deserve to be in the bottom three.
So while the dancers prepare to dance for their lives, we're going to watch a performance of a "real legend." From popping pioneers The Electric Boogaloos, Popping Pete and... I can't quite make it out. Shonnie? There's a Shonn on the Electric Boogaloos homepage. It's fantastic, twitchy popping and locking and old-school breaking, with a beautiful slow-motion move in which one dancer tries to clothesline the other guy, who slowly lowers himself by bending at the knees. Awesome. And to top it all off, a little history lesson on popping and locking. Turns out it was invented by Elvis! Who knew?
Kourtni Lind dances for her life first. I always find the ballet/contemporary pieces odd in this context, because the dancers are given so little time that the ballet dancers desperately cram as much as they can into their thirty seconds, and it comes across more frenetic than graceful. There's barely time to clap for her before Matt's on the stage, reaching for the sky, kicking and -- plieeing? Arabesquing? If I say enough dance terms, eventually I'll get one right? Right? Rayven's next, with a dance that involves pushups and music box dancer poses. You know what would be nice? If the dingbat audience didn't shout out the final-second countdown. Watch the dancers, not the clock, guys. Jamie twirls and spins, does a handspring, some Latin moves.
After another commercial break, Jessica comes out with some come-hither moves, flips and cartwheels. She might be in danger because Nigel hasn't noted her resemblance to Shannon Elizabeth. Will's last, with the most interesting contemporary routine -- as much as you can generate some emotion with rhythmic arm-sweeping in thirty seconds, Will does that.
The judges go backstage to deliberate over who's going to go home, and also to avoid being exposed to the cultural crime against humanity known as the Pussycat Dolls. Mystifyingly, the audience is still around when the Dolls are finished "singing" and "dancing" and "not being skanky."