Melinda is next. We hear a little bit more about the old people with whom Melinda is friends. She and Pasha are doing salsa with choreographer Fabian Sanchez. I keep wanting to give Melinda the benefit of the doubt, but she just moves so awkwardly! Fluctuating wildly from heavy, clompy steps to listless moments of flair, it's just one mini-disaster after another. She gets her dress stuck under her heel right at the beginning, a la Ellenore from last season. She manages to snatch it off without breaking much of her stride, to her credit; but I'm pretty sure she only stepped on it in the first place was because she awkwarded up a move at the beginning. On the bright side, this is the first time I haven't paid attention exclusively to Pasha. Not exactly for the reasons Melinda would want me to, though. Nigel notes her lack of fluidity (yes). Mia says she had "bricks on [her] legs" at times (yes), and she and Adam BOTH say that they made a mistake dumping Christina instead of her last week. Man. I'd feel angrier about that if I thought Christina was headed anywhere in this competition, but she wasn't. And the crowd doesn't even boo that much! Ooof. The judges do appreciate her chutzpah, noting the heel save, but the technique isn't there. Cannot disagree.
Neil! Neil! Back again with another Lauren. They're doing Broadway with the fearsome Joey Dowling. The routine's set up to be some 1940's daydream thing. Lauren pretty clearly thinks Neil is The Hotness, which is just another reason I like Lauren. Another reason to like Joey Dowling is that the dance is set to Debbie Gibson from some Gypsy cast recording or another. Amazing. Lauren's dressed like Roxie Hart doing the "Hot Honey Rag," and there are a couple of moments that really pop, including the opening gambit where she announces her presence to Neil by slinking a leg over his shoulder from behind. The second moment, a slide across the stage where Neil holds on to her arms and pulls her back, actually pops one of Lauren's straps, and she spends the rest of the dance trying to keep a boob from popping out. She does a good job of it, too. I'm not sure if the connective tissue of the routine is all there, but it's danced well, all things considered. And it was an actual dance with a story for once in a Broadway routine, so that's something. Nigel talks almost exclusively about the "wardrobe malfunction" (yes, he does seem awfully impressed at that seven-year-old hackneyed phrase), and of course he's a creepy oldster about it. Mia wants a smidge more sexiness and femininity out of her, but Adam thought she was a young Cyd Charisse out there.