Next up, Pasha. "Ain't Nothing Wrong With That" by Robert Randolph and the Family Band. He's looks pretty good to me -- especially to a guy like me who barely mastered the junior-high sway-step dance that you do to everything when you're a teenager -- a little more jazzy/Broadwayish than I was expecting.
"Everything" by Lifehouse is Shauna's music, as she launches into a contemporary routine in which she gives everything she's got. Still, it's effing LIFEHOUSE. She should go home on principle. She tells Cat, "I left my heart right there!"
Jimmy's dancing to "Veins" by Charlotte Martin. It's a good contemporary routine, a lot like Shauna's, only with a lot more arm-windmilling. Cat asks him why he deserves to stay, and he babbles about his heart being in it.
After the break, Faina's dancing to "Do You Love Me" by the Contours. She's got a knee-length skirt on that she twirls really nicely, but I have to say that she's shown herself to be capable of a lot more than this. Cat asks her what goes through her mind before she goes out onstage to dance for her life. Apparently, she thinks, "Okay, I'm going to dance right now." Interesting. I love you, Faina, but I have to admit I was starting to worry that you were in trouble here.
Cedric's dancing to Imogen Heap. Really? And his solo routine is incredible, all boneless arms and legs. Cat asks him if he's confident he'll be safe again tonight. "I'm at peace either way," he says. Good answer.
Cat asks the judges to go backstage to make their decision. "Don't envy you," she says. Well, yeah, but Cat loves everybody. Daddy Yankee comes out on stage to yell at us about how he likes the way you do it. They should call this song "Bathroom Break." Be back in a sec.
The women are brought back onstage, lined up according to height, with Cat on the end, so it kind of looks like they're getting really strong cell phone reception on the stage. Nigel says the judges were unanimous in their decision. Jessi steps forward, and Nigel says they didn't like her solo tonight. Nigel doesn't like her? Ouch. Shauna steps forward, and the audience cheers (it didn't for Jessi). Nigel says she really did dance for her life tonight, so she can go and sit down and rest up for next week. She's safe. Faina steps forward. Nigel says he knows how difficult it is for ballroom dancers to do solo routines. "It didn't really happen for you tonight," says Nigel. Her foxtrot was really good, so was she let down by her partner? Was she let down by her partner last week? They don't know (even though Nigel won't shut up about how difficult Cedric is for a partner). But they can only judge her against the other two dancers tonight. Which means she was better than Jessi? Oops, Nope. She's toast. CRIMINAL. Faina tells Cat that the experience was the greatest thing she's ever had in her life, and then we look back at a montage of the ridiculously sexy Faina's journey.
Now, the men. The judges weren't unanimous this time. Pasha steps forward, and Nigel tells him his solo was not good enough, and he'll have to do a lot better if he's to remain in this competition. Yes, Pasha's safe. We're down to Jimmy and Cedric. First time through, I thought Cedric was so done. Nigel drones on about the debate the judges had (last week too) about whether they support a dancer's uniqueness or potential. He says "uniqueness" about a million times. Cedric represents the uniqueness while Jimmy's the talent. Nigel says that he's been in the middle, and this week, he's supporting Cedric one last time, and warns Cedric against screwing up again. I have to admit, upon my second viewing, I found myself swayed by Cedric's beyond-unbelievable solo routine. Damn you, Nigel Lythgoe! All your talk of "uniqueness" is starting to make sense!
But you cut Faina. You're dead to me. All of you.