Noelle and Russell have a Tony and Melanie samba. It's hip-based, you know. So they'll be dancing to a hip-based song ("Hips Don't Lie") by a hip-based singer (Shakira). It doesn't click with me at all, and I'm not sure why. It looks like a samba, and there are, in fact, hips a-poppin'. Cat briefly makes fun of the costumes and hands it over to Adam, who thought it was too "nice". He feels there should be more nastiness in a samba. Mary doesn't want her samba too dirty and makes her criticisms in more technical language: there was not enough compression in the bounce. But she did like the joy. There was joy? Nigel wants Noelle to ooze sexuality and brings up Russell's alleged lack of lessons.
Ashleigh and Jakob seem to get along well. If they're such great friends, they should stay in touch instead of letting the show rip them apart and never let them see each other again. Wait, you mean there's a chance they aren't dancing together for the last time ever? Gosh! But back to the action: it's a lyrical jazz piece by Sonya. Jakob describes it as breathy, airy, and light. The music is "Time Flies" by Lykke Li. The dance has a lot of angles and swoops in it. I can definitely see the "airy." And the "lyrical." Adam is almost speechless with emotion, although he does criticize Jakob's extremely tight purple trousers. Mary liked it, which she expresses via the medium of shouting before she gets choked up. Nigel now likes this routine more than Sonya's earlier routine, which was his favorite until then. He professes his love for Sonya's work, and now Sonya looks like she's going to cry.
It's time for Round 2! Ellenore and Ryan have what Spencer Liff calls "a darker Broadway routine". Ryan is "power" and Ellenore is "innocence". That all sounds great, but they're dancing to "Razzle Dazzle" from the original Broadway cast of Chicago. Man, I hate that show. And I've seen it often enough that it's hard to ignore the original context, which has nothing to do with this dance. The dance seems fine. It gets the idea across and has some nice moves in it. I continue to be of the opinion that Ellenore is awesome. Adam praises the dance's "true traditional Broadway vocabulary", which means that they weren't just running back and forth wearing suspenders the way some Broadway routines on this show go. It looked like a dance you'd see in an actual show. Adam is giddy over how flexible and precise Ellenore was. Mary starts loud and works up to "WHOOOO!" She also reminds us that Ryan has a hurt back, so doing all these lifts couldn't have been easy. Then she calls Ellenore "The It Girl", which will come as a surprise to Myrna Loy. Wait, no. It was Clara Bow, wasn't it. Damn. I feel like I've just squandered all the credibility I got from that Hellzapoppin' link. Nigel is quite pleased about how well they put character on the dance.