Tadd has Ellenore and Sonya. Yay! I promise to try to pay attention to Tadd. It's about two people who are from a time when they're not meant to touch. Then they become overwhelmed by lust and before you know it, Sonya is shouting at Tadd to kiss Ellenore's feet. The dance itself has a chair and a chandelier. And they actually swing from the chandelier! I thought it was just set dressing. It looks fun! The foot-kissing doesn't seem to be part of the dance, so I guess Sonya was just making Tadd and Ellenore perform for her amusement.

Cat comments that she really wants to go swing on the chandelier. But she's a professional, so she doesn't. I think she forgets to send Ellenore away, because she's still there as Nigel does his critique about how there wasn't really enough dancing for him. C gives Big Ups to Sonya, and she accepts them. Christina suggests that Tadd and Ellenore get a room and then tells Sonya that she loved it. She likes it dirty. Mary shares backstage gossip that "some" people wanted to cut Tadd, but that he's shown he's still growing. She also claims that he gave a whole new meaning to the phrase "swinging from the chandeliers," but really he gave the original meaning. She also thinks the chandelier was dangerous, which I like. It's nice to know that someone's worried about the dancers' safety.

Caitlynn's mother is proud of her. So, via videochat from the Black Sea, is her father. Her solo involves a lot of running and leaping and twirling.

Ricky has Dee Caspary and Jaimie (from season three). It's a combination of two standard SYTYCD tropes: a relationship on the skids and one dancer working the other like a puppet. Ricky's the puppeteer. They're in standard Contemporary Whites, too. It's a fine dance, but I can't fight the feeling that I've seen every aspect of it before. I don't remember Jaimie, but she does a very good job. So that's something!

Cat give Jaimie her appropriate introduction and dismissal. C liked how well Ricky did with the sticks he had to use as marionette sticks. As Cat points out, he gives props for the props. Christina wants to talk about Ricky's solo to "Body Language" from a few weeks ago, which she loved. Fine, I'll accept that you watch the show! She also cribs a few phrases from C's cheat sheet. Mary describes it as beautiful, free-flowing movement. And I don't even disagree with that. It was beautiful, but I wasn't into it. It's probably because I'm dead inside. Nigel complains again that Ricky dances too high. But he loves his lines.