"Oye Como Va," some kind of trance mix by Celia Cruz. You have to work to make the cha-cha sexy, but the dance itself meets you halfway, doesn't it? These two take it the rest of the way and then some, sizzling all over the floor. They snap their movements. Chelsea smolders right through the television. Thayne does too, although he clowns it up just slightly more than she does. I could do with a lot less grinning, seriously. It's a thing I have. But at least with these too it looks involuntary, like they're having an absolute blast out there. They're fantastic, which means I start to dread the judges' comments, fearing a shriek from Mary. Nigel loved it, saying he wondered at first how Matt was going to contain this "creature" next to him, but he pulled it off. He mentions a dance move that I can't even begin to spell. There is talk of standing on the platform of the hot tamale train. Mary laughs and yells and lavishes praise on them. Dan: "Damn, girl. I mean, come on. Sex-ay. She's hot." He jokes that Chelsea made eye contact with Nigel and then he didn't know what do with himself. I imagine Nigel had a few ideas, though.
Chelsie H. and Mark are up next. Chelsie talks about relying on dancing to help get her through the vague hard times she had growing up. Mark grew up in Hawaii, and for some reason growing up on an island means you have to find "your own little voice," says he. They'll be doing a contemporary piece choreographed by Mia Michaels. She says she's choreographing what Tim Burton's wedding would be like. Mark struggles early on, and Mia frets that he's not "getting it."
They dance to "Beautiful" by Meshell Ndegeocello. They are wearing much more white than I'd imagine at Tim Burton's wedding. Oh, he's a bird. He flits about. So does she. There is a lot of flitting. Then they sit down, and he rolls her down his legs and then somersaults over top of her. Nice. He does a bunch of lifting of her in which I can't really make out anything that's going on, because her skirts flap all over the place. Mia Michaels, love her or hate her, or, like me, remain utterly bewildered by her.
"Hell of a wedding reception that was, wasn't it?" asks Nigel, and suggests Mia has some strange relationships. Perhaps Nigel doesn't know who Tim Burton is? I don't know how you judge such interpretive things. I would be awful on a judges panel for Mia's dancing. Then again, a lot of the comments for her pieces are vague approximations of feelings about intangibles, right? Nigel loves it, and so did Mary, who praises the timing on the lifts, since those are hard to do. Dan says it must be an experience to take a trip inside Mia Michaels' head. He thought it was amazing.