"DWTS" Week 2 (Take 2) Recap: Fire Burning on the Dance Floor
Helloooo, and happy Wednesday! Did you realize there was a special bonus episode of "DWTS" last night? If you missed it, fear not—we've got you covered, as always. Right off the bat, we will say that the show's wasting no time this season. Just barely recovered from Monday's elimination, we then had to bid adieu to a second couple last night 😭. But that's the name of the game, and like I said yesterday, anything goes when there's a Mirrorball at stake 🏆. On to the dancing!
Our special bonus episode's theme was Latin Night, which is arguably the most lit night of television in existence. The contestants brought it, especially considering they'd literally given it their all, like, 24 hours before. I'd called out Frankie Muniz and Witney Carson in yesterday's recap, and wow did they make an even stronger case for themselves last night. Their high-octane cha cha was polished, energetic, and danced with lots of confidence. The duo also proved that matching metallic silver get-ups are always a good idea.
Jordan Fisher and Lindsay Arnold were clearly still riding the high from their 24/30 score the night before. They danced a sizzling samba, and the chemistry was flying. Fisher was clearly having an amazing time, and it translated in his dancing. Also, shoutout to Arnold for really delivering on the bedazzled costume front, because truly, what is "DWTS" without the rhinestones? (Rhetorical question.)
This is a competition, though, and couples have their ups and downs. On the up last night? Mark Ballas and Lindsey Stirling, who delivered a textbook salsa performance after a less-than-stellar performance on night one (which only earned them a 21/30). First of all, Stirling's costume was the perfect example of why I continue to watch "DWTS" after 25 seasons—fringe, a big tulle situation in the back, and a dash of hot pink? Check, check, and check. But also, girl came out of NOWHERE with this kick (see my very professional diagram below):
Anyway, I digress, and they did an amazing job and scored a 24/30, a far cry from their 21 the night before.
The crazy part about "DWTS" is that everything's wonderful and sparkly for an hour, and then suddenly a hard-working couple is sent packing. The second pair to go this week? Debbie Gibson and Alan Bernsten. The quest for the Mirrorball continues, and so do our recaps—see you next week!
Misty Copeland. Her name is synonymous with exquisite artistry and outspoken advocacy. And her visibility has made a huge impact on the ballet world. Ballet's relationship with race has always been strained at best, hostile at worst. But Copeland's persistent message and star quality have finally forced the ballet industry to start talking about racial diversity, inclusivity, and representation. "The rarity of seeing ourselves represented is sad," Copeland says. "The more we see every hue and body shape represented on the stage, the more possibilities young dancers feel they have for themselves."
Last month, we asked why there wasn't a Best Choreography category at the Oscars—and discovered that many of you agreed with us: Choreographers should definitely be acknowledged for their work on the super-dancy movies we can't get enough of.
Now, we're taking matters into our own (jazz) hands.
Contemporary phenom Christina Ricucci has super-flexible hips, which means she can stretch her legs to unbelievable heights. But when she noticed herself making contorted positions in class, Ricucci realized she was approaching her extensions all wrong. "I went back to the basics in class, squaring my hips and using my turnout," Ricucci says. "I learned to create proper positions, rather than whacked-out versions of them."
Some dancers are so wonky they have a hard time supporting their high legs, while others struggle with limited flexibility. But no matter your facility, you can find a balance of stretch and strength to achieve your fullest range of extension. It's not about how high (or not) your legs can go: It's the quality of the movement, and how you get those legs up, that counts.
Yesterday, the dance community was heartbroken to learn that Jaime Guttenberg and Cara Loughran, both 14-year-old dancers, were among the 17 people killed on Valentine's Day in the shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Once upon a time (until the 2014 Winter Olympics in Sochi concluded, to be exact), figure skaters had to compete to music without words. Before this rule change, a skater faced an automatic point deduction if the music even hinted at vocals. Understandably, there were *a lot* of Olympic programs skated to classical music, and you'd tend to hear the same music selections over and over and over.
There are plenty of current Olympic figure skaters who'd make beautiful dancers (first among them Adam Rippon, whose gorgeously choreographed long program won the internet, if not the gold). But today, as we wait for the women's figure skating competition to crown its new champions, we wanted to throw it back to one of the most beautifully balletic skaters of all time: Sasha Cohen.
The high-flying leaps of grand allegro are meant to be incredibly exciting. But at the end of an intense ballet class, when you're exhausted, it can be hard to give them the attention they deserve. Want to pump up your big jumps? Follow these 10 vital tips from Jennifer Hart, curriculum director and instructor at Ballet Austin.
"Whole, low-fat, or skim?" The question of which milk to drink has gotten a little more complicated lately, with a wide variety of nondairy milks popping up in grocery stores. To find out which ones are worth your milk money, we had registered dietitian Monika Saigal answer some FAQs.